INDIAN CLASSICAL MUSIC

Author(s): Priy Chatterji

Source: East and West, Vol. 8, No. 4 (JANUARY 1958), pp. 360-370
Published by: Istituto Italiano per l'Africa e l'Oriente (IsIAO)
Stable URL: http://www.jstor.org/stable/29753940
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 INDIAN CLASSICAL MUSIC

Mythology. who were all weeping over their broken limbs.

Visnu stopped short and inquired of them the
The origin and inspiration of music in In? reason of their lamentation. They answered
dia, like all other classic arts, are attributed that they were the R?gas and R?ginls of music
to Divinity. Lord Siva is considered to have created by Mah?deva; but as one anchorite
created sound, rhythm (i.e. music) as well of the name of N?rada, ignorant of the true
as the dance. Of the six ancient r?g?s, five knowledge of music and unskilful in perfor?
came out of the mouth of Siva and one out mance, had sung them recklessly, their fea?
of his divine consort P?rvati. It is also inte? tures were distorted and their limbs broken,
resting to note that Sarasvati ? the daughter and that unless Mah?deva or some other dis?
of Siva ? is worshipped as the Goddess of creet and skilful person would sing them pro?
Music, Culture and Learning. Her instrument perly, there was slender hope of their ever
is the Vina, the most classic instrument in being restored to their former state of body.
India, the creation of which is attributed to N?rada, ashamed, kneeled down before Visnu
Risi N?rada. and asked to be forgiven ?.
To Risi N?rada was ccrevealed)) by Divine To N?rada is also attributed the authorship
Grace the laws of music and he is regarded of (( N?radasiks? ? (of uncertain date) which
as the most accomplished heavenly musician is a great treatise on music and is referred to
and singer. There are many stories in my? by scholars still today. As already mentioned
thology which illustrate N?rada 's vanity in above, N?rada is supposed to have created
considering himself the perfect musician and the Vln? and is believed alive even today,
the greatest devotee of Visnu. All of them roaming the universe singing his worship and
however end with a moral through which the adoration to Visnu, accompanying himself on
great God makes N?rada realise that humility the Vina.
before art and devotion, are the primary steps It is interesting to note here, that two mu?
towards attaining perfection. This, I may say, sical instruments that have been deified in
stands eternally true for all artists and devo? India from time immemorial are the flute and
tees. Here is one of the stories regarding N?? the drum ? Krsna's flute (Murali), and Siva's
rada the musician. (( Once upon a time the damaru (small drum). The universe is said to
great anchorite N?rada thought within himself rotate and revolve around the woven music
he had mastered the whole art and science of and rhythm of these two instruments. Even
music. To curb his pride the all-knowing today of all musical instruments, the flute and
Visnu took him to visit the abode of the gods. the drum are the ones most used amongst
They entered a spacious building the inmates the people. In the remote villages, in work,
of which were numerous men and women, play and feasts, these are the two instruments

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 that predominate. In the classical field, the Sanskrit scripts are today found in Tibet, hav?
flute has given place to the voice, hence the ing been carried there for safety by Buddhist
saying cc her voice resembles that of a flute ?: priests in the face of religious and political
the drums have remained, as the chief accom? persecution. If historical records of the land
panying instruments. Mention is also made are scanty, it is still more so of the country's
in the Vedas of the flute (venu), the vln? musical history. Further, as the music from its
(saptatantri) and the drum (dundubhi). very concept to the present day has been un?
Also forming part of the Hindu musical written (though nowadays a type of simple
mythology are the heavenly musicians and notation is used) this has greatly added to the
dancers of Indra's (King of the Gods) court, difficulty of evaluating the origin, evolution
the G?ndharvas, Apsar?s, Kimnaras and N? and development of Indian music.
ras. The G?ndharvas united in matrimony In the S?ma-Veda where the Divinity is
with the Apsaras (heavenly dancers). The worshipped through songs (chants) we find
Kimnaras and N?gas were also heavenly mu? the mention and trace of a scale of seven notes.
sicians. These supernatural dancers and sing? It is also found that Vaira and Kafi That
ers had at their command a musical art of (explained later) are prevalent in most of the
the highest perfection. By the charm of their S?ma Veda chants. Opinion is however di?
art they could even distract the yogic trance vided, among experts regarding the Suddha
of a great muni. It was Aps?ra Men?ka who (pure) Scale during this period. Some hold
distracted Visyamitra's meditation with her that it was the Kafi That, while others believe
dance and out of their love union was born that Vaira That was the Suddha That at that
Sakuntal?. time.
From the supernatural we come to reality. After the Vedic period in music came the
Great risis and m?nis were considered masters Classic Period. During this period, the Sud?
of the musical art. Bh?rata-m?ni was the first dha That (Scale) was the K?fi That. It was
to draw up the laws of music, dance and also during this period that the theories of
drama, elaborately and in great accuracy in Gr?m? (scales), M?rechana (modes) and J?ti
his N?tyas?stra (the date of this treatise is (species) came into existence (explained in
sometimes given as 500 A.D.; but very likely detail in the paragraph on Scales). All Sanskrit
the actual composition is much older). Tum musical treatise Bh?rata's N?tyas?stra, Saran
buru (no date avialable) is considered to be ga Deva's Sanglta-Ratnakar, etc., were based
the first singer and many legends exist regard? on these theories. The music of the period
ing his great art in vocal music. itself, was based and developed on these
theories.
As already mentioned the origin of music
History. in India lay in the Vedic songs and chants.
From then on, it grew and developed without
Unbroken historical records of any kind suffering any degression or set back. Very
are rare in India. Records of the history of rapidly it became a highly specialised, com?
the land, its arts, literature and religion are plicated and well appreciated art. Many are
all regularly interrupted and broken, so that the stories that have come down to us illus?
few definite dates are available to the modern trating the musician's esteemed position in
historian. The methodical and fact-loving ancient Indian society and the public's high
Westerner attributes this absence to the In? regard and admiration of the arts. In the
dian's philosophical attitude to life and J?takas there is the story of how cca feeble mu?
living by regarding everything as transitory sician, M?sila of Ujjain, whose music on the
and ever-changing, and therefore not worth vin? was 'like scratching on a mat', came to
recording. In my opinion this is a wrong and learn of Guttila of Banaras (the Bodhisatva
unimaginative judgement. The history of In? in an earlier birth). Guttila's parents when
dia is very ancient and the changes suffered they heard him said, 'Shoo! Shoo! the rats are
through natural disasters, invasions, and deli? gnawing the vin? to pieces'. Guttila who, as
berate destructions have been so many that, Bodhisatva, was 'skilled in discerning from
some of the most valued records, books and the lineaments of the body' said, 'Go, my
scriptures have been lost or destroyed in the son, this art is not for you'. But M?sila got
path of history. It is a well known fact that his way; and Guttila Bodhisatva, who 'did not
some of the most important and ancient stint his knowledge', at last pronounced his

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pupil perfect. M?sila pressed to be taken into fourth and seventh cent.), explanations of r?g?s
the king's service. This was done; but the as understood by the later schools of music,
king awarded Guttila twice as much as his are found. Perhaps the most interesting an
pupil. M?sila protested and forced matters to nalysis of the musical art of the period can
a contest, of which proclamation was rnade to be found in the Paiicatantra (5th century) in
tuck of drum. The Bodhisatva reflected that the story of the Jackal and the Ass. The ass,
he was old, and that 'if he beats me, death eager to sing and to prove his knowledge of
in the woods is better than the shame which the art, says to the jackal ? There are seven
will be my portion'. So to the woods he went; notes (sv?ras), three scales (grama), twentyone
but 'kept returning through fear of death, modes (m?rcchanas), fortynine K?ta-t?nas,
and going back to the wood for fear of shame', three time units (matras), three voice-Regis?
so that, 'the grass died as he walked and his ters (Mandra, Madhya and Tara), three layas
feet wore away a path'. In his trouble Sakka, (Vilambita, Madhya, Druta), six ways of sing?
the king of the Gods, appeared. Guttila was ing, nine emotions (Rasas), thirtysix R?g?s,
to break, in the contest, one string after an? forty languages (Bhas?) ?. This is a further
other, beginning at the 'beestring', and the proof of the already highly developed form
music should be as good as before. 'Then of musical art then in existence in India. One
you shall go on playing with nothing but the of the most important ancient treatise on
body; and from the ends of the broken strings music along with Narada's Naradasiks? is
the sound shall go forth and fill the land of Bharata Muni's N?tyas?stra (500 A.D.) ex?
Banaras for the space of twelve leagues'. All pounding in minute detail and with great ac?
happened as was foretold, and the scholar, curacy the theories of music, dancing and
beaten out of the field, was stoned and torn drama. Naradasiks?, whose system shows a
in pieces by the populace ?. (Fox-Strangways) considerable advance on that of N?tyas?stra,
In Ganakya's Arthas?stra he recommends is attributed by foreign experts to a later date
(c song, instrumental music, recitation, danc? but the Indian belief is that the treatise was
ing, acting, writing, playing on the vin?, flute the compilation of the great sage himself.
(venu), and drum (mrdanga), knowing the As a result of the Moghul invasion of India,
mind of others, making scents, and garlands, after 1000 A.D., music in India divided into
shampooing, employing alluring words - those North Indian or Hindustani Music and South
who know all these and can teach them to Indian or Karnatic Music.
courtesans and actors should be provided with In North India, the R?ga-R?ginI theory de?
a livelihood by the State?. One wishes that the veloped and held sway till the 19th century,
same wisdom prevailed in modern times and when the That theory of Bhatkhande was intro?
artists were not left to brave the world on
duced. In the R?ga-R?ginI theory, the entire
their own.
R?ga world derived from six ragas and thirty
From very early times, important treatise on six r?gims. These original six ragas are con?
music by experts, explaining in detail the sidered to be of divine origin. They each have
science of this art in all its manifestations, the
six cc wives ? or feminine r?gas-(r?gims) and
ideals to be followed and adhered to, have
these in turn have cc putras ? or sons.
existed. In Rkpratis?khya (400 B.C.) we
Poet Jayadeva, native of Kunduli in Bengal
find mentioned the three gramas, and the
seven notes of the scale. In P?nini's Grammar (circa 1100 A.D.), is amongst the first of the
Indian musicians about whom definite facts
(ca. 4th century B.C.), comments on dancing are available and whose life and activities are
and music are found. I have already men?
tioned above the story in the J?taka, thereby not shrouded in legends. Jayadeva, author
demonstrating that the art of music had al? of cc Gltagovinda ?, assigned to each of his
ready then reached a complexity and perfec? poems a r?g? and a t?la (rhythm). Though
no musical notation was then in use and his
tion very high. The Vin? or Saptatantra (seven
stringed) then in use was decidely neither a melodies have come down to us by tradition,
primitive nor a simple instrument and it fol? it is to be believed that his original melodies,
lows logically, that the music which was com? as those of today, were exquisitely sensitive as
posed for it wasn't simple either. In the trea? were the subjects of his songs.
tise of Manu (200 A.D.) we also find signifi? Music at that time was not the prerogative
cant references to music and dancing. In or passion of poets and musicians only. King
Brhaddesi of Matanga M?ni (between the Nanyadeva (1096-1137 A.D.) in his Sar?sva
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 tahrday?lankar included many new Desi ragas his descendants adopted the Rabab and became
such as, DaksinI, Saurastrl, Gurzari etc. founders of the cc Rababi School ? while Sa
In the 13th century , was produced the most raswati and her husband, Misri Singhji ? an
monumental work on R?ga-R?ginI-Saranga excellent vlna player ? took up as their fa?
deva's (1210-1247 A.D.) Sangltratii?kara. It mily instrument ? the vina, and their descen?
is considered as one of the greatest landmarks dants became known as the cc Vinkars ?. Both
in the musical history of the country. Sangl branches of the Tansen family carried on his
taratn?kara is accepted as an authority by traditions and founded the two most impor?
musicians of both North and South India. tant North Indian schools of music. Some of
Many other important treatise on music were India's greatest musicians of later times are
written during this period. To quote a few, found amongst their descendants and disciples.
Sangitasamayas?ra of Parsvadeva (13th cen? The Moghul court at Delhi, was at this
tury), R?g?rnava (1300 A.D.), the last was period of North India's musical history, a
accepted as the leading authority in North focal point of art and artists. Music of North
India during the 14th century, Subhankara's India reached its zenith at the court of the em?
Sahglta Sagar (1308 A.D.), Locana's R?ga perors. The disruption of the Moghul empire
t?ranginl, Ahobal's Sangitaparijata, etc. These led to the dispersal of the descendants and
were all considered authoritative sources of followers of the Tansen School of Music. They
reference. flocked to the courts of Ayodhya, Bettia,
The Moghul emperor Akbar (late 16th cen? Rewa, Banaras and other princely states. Ram
tury) was a great patron of the arts as well as a pur was their last stronghold. Unfortunately
musician himself. He was an able player on their number dwindled as many of them
the Naqqarah (a drum used in pairs) and had died without leaving any children to follow
composed about two hundred melodies. Per? their tradition. The late Nawab of Rampur
haps his name in relation to the musical history was a devoted patron of music and both the
of the land would not have been remembered schools ? ((Rababb) and ((Vinkars)) ? flou?
if he had not played such a vital role in the rished in his court. Muhammad Ali Khan
life of India's greatest musician of the time was the last of the great rababiya of Mian
? Tansen, ? a Hindu Brahmin whose real Tansen School and Muhammad Wazir Kan,
name was Ram Tanu Panre. the last of the great Vinikars. Now this tra?
Akbar invited Tansen, ? pupil of the great dition survives in Ustad Dabir Khan and his
Haridas Goswami ?, from the court of Raja Uncle, Ustad Sagir Khan in Bengal.
Ram of Baghelkhand, to be his own court mu? As already explained with the Moghul
sician. In Akbar's court, Tansen soon became invasion and establishment of an empire, the
the idol of the emperor and a musician without arts of North India, including music, were
equal. In Ain-i-Akbar one reads cc a singer influenced by the new comers. With the al?
like him has not been in India for the last
ready existing Indian ragas and raginis, me?
thousand years ?. Tansen's contribution to lodies of Arabia, Persia and even Egypt inter?
North Indian music is immeasurable. He creat?
mixed and thus new ragas were created, e.g.
ed many new r?g?s: Darbadri Todi, Mian-ki Turuska (Turkish), Todi, Hijaj, Harakh, Ya
Mallar, Mian-ki-Sarang etc. His art was a man etc. Amir Khusru, poet, musician and
perfect fusion between the ancient art and statesman (1295-1316 A.D.) of the court of
music of India, which he received from his
Allauddin, created many important innova?
gurus, R?md?s and Haridas, and the arts of tions in Indian music. He invented several
Arabia and Persia with which he came in con?
tact later. The result of this fusion has left new ragas ? H?fi, Iman etc. He also invented
the sitar ? a modification of the vlna, and
a style, an art, and an imprint on North Indian
music, which is living still today and is at once introduced the Kawali style of singing.
recognisable and identifiable. Tansen was Some important treatise on music were
the greatest master of the North Indian mu? written during the 19th century ? Muham?
sical art and the perfection reached by him in mad Reza's Nagmat-e-Asarphi (1813), Krish
his performances has now become almost un? nanda Vyasa's Sangita-R?g?kalp?druma, S.
believable and legendary. He also created the M. Tagore's Universal History of Music, Pan?
instrument Rabab. Both the children of Tan? dit Batkhande's Treatise, etc. The latter
sen, son Bilash Khan and daughter Saraswati brought the entire raga world under ten Thats
were excellent musicians. Bilash Khan and or scales. These ten thats were established as

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the ten permanent or standard Thats and all at Tiruvaiyyar near Tanjore in 1843, where
ragas and raginis were derived from them. the great man was sitting with his disciples.
As North India from 1000 A.D. onwards, M?r?r, after listening to the disciples, express?
came under varying influences of different ed a wish to hear Ty?gar?ja himself. 'Who is
cultures and arts of the middle Eastern coun? the man, said Tyagaraja in Telugu', that can
tries, and developed a musical art which assi? ask me to sing? 'Apparently the audience were
milated the foreign with the native, it gave to hear hirn only when he sang of his own
rise to a school known as the North Indian accord. He asked who was the man, pointing
or Hindustani School, which had its un? to M?r?r, who sat with a flagged Tambura in
mistakable characteristics and colour. The his hand; and was told that M?r?r could sing
South, on the other hand, owing to its geogra? a little. A Pallavi was then sung round, and
phical position, lived and developed more in when it came to Govinda M?r?r's turn, the
isolation. Moreover, it was never completely other instruments had to be laid aside and his
conquered by the Moghuls. As a result, Hindu Tambura only used, so high was the pitch of
art survived and retained its purity and ancient the music. He sang it in Shatkala, and Tya?
traditions in the South. This was true of garaja, after remonstrating with the under?
music as well as of all the other arts. Even statement of M?r?r's powers, improvised on
today we find the best of Hindu architecture the spot a song in the Sri R?gam, which is
in the South, the Northern works of art having the Ragam sung at the close of performances,
been destroyed by invasions and wars. of which the burden was, 'There are many
South India retained all the characteristics great men in the world, and I respect them
of Sanskrit music and developed the art ac? all'.? ( Fox-Strangways).
cording to its ancient traditions. During the There are many important treatise on
time of Bahrata, Natya or ? drama ? was the South Indian music. To mention a few, Pa
meeting point of glta (song), vadya (instru? ripadal (100-200 A.D.), Manikkavachakar
mental music), and Nrtya (dancing). This tra?
dition has remained in the South. All South (6th.-7th. century), Svaramela-Kalanidhi of
Ramamatya (1550 A.D.) etc.
Indian songs can be adapted as accompani? After the schools of the North and the
ments to a dance. Temple dancers (Devada
sis), who had existed both in the North and South had enriched and developed the melo?
the South, continued their art in the South dic musical art of India to a point of unsur?
passable accuracy, intricacy, melodic beauty,
while they ceased to exist in the North under
the Moghul rule and the introduction of pur? rhythm and virtuosity, music in India (as
dah (veil). As a direct result of this, in North true even today) ceased to create or grow
India women of respectable families were further. There was lack of inspiration, dar?
debarred from dancing which came to be look? ing and venture necessary for the creation and
continuance of art. The later musicians of
ed down upon as a profane art. So vocal and
instrumental music in the North developed the North and the South, great virtuosos in
independently of each other and of the dance. their art, followed only in the foot steps of
Another important point distinguishes South the past masters. Music in India became static
Indian music from that of the North. In South and lost its dynamic quality. Gone were the
India, the pure scale continued to be Kafi days of Tansen when so much was created and
which in turn had led to further creation.
while in the North, the Bilawal That became
the pure cc That ?. While in North India from Rabindran?th Tagore, great poet and mu?
1000 A.D. onwards, the R?ga-R?ginl theory, sician, gave a certain impetus with his music,
already existent, continued to develop, in the which has come to be identified so completely
South approximately about the 14th century, with him ? Rabindra Sangit, as it is known.
the Mel theory developed. The entire raga His melodies all have a definite imprint and
world of the South Indian or Karnatic music character of their own. One can at once
was brought under seventy-two cc Mels y> identify a song of Tagore. He wrote more
(groups). than two thousand songs, all delightfully mu?
Like Tansen in the North, Tyagar?ja was sical and poetically superb. But Tagore's
a great musician of the South as was also Go music has not revolutionised music in India.
vinda M?r?r. There is a popular story illus? He only founded another school of music and
trating the greatness and humility of these two singing which has continued to live indepen?
great artists, cc They met at Tyagar?ja's house dently but happily in the parental house.

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The Indian scale. specific scale. There are three types of M?r?
chanas, 1) Sampurna (complete) with all the
The first indication of the Indian scale is seven notes of the octave, 2) Kharab, with six
found in the S?m? Ved?. There is a clearly notes of the octave, and 3) Orab, with five
defined seven note scale found in the chants. notes of the octave. Thus there are twenty
The names of the notes then known were how? one Murchanas, as each of the seven notes of
ever different to those of the Sanskrit or later the octave can have three types of M?rchanas
period. I give below a table with the names || J?ti or Species. Each of the two gramas
of the scale as known during the Vedic period have seven M?rchanas each, i.e. fourteen in
the Sanskrit period, and as they are known all. But only seven of these fourteen are in
today together with their corresponding equi? practical use and are known as j?tis.
valents of the European scale. The Indian scale has twentytwo cc sr?tis ?
or microtonal intervals in the octave. Each
Vedic Period. of them has a name, and specific attributions
of divine qualities are implied to each of
Ud?tta, Anud?tta, Svarita,Atisarga, Kru them. It is important to note that these di?
visions are not always equal.
sta, Pracaya, Atlsargiy?.
There are also three pitches in Indian mu?
sic. The lower or Mandra, the middle or Ma
Sanskrit Period. dhy?, and the higher or Tara.
Swaraj, Rishav, G?ndh?r, Madhyam, Pan
cama, Dhaibat, Nis?dha. R?ga.

Modern Names. According to Muni Bharata a R?ga is what

cc colours and pleases the hearts of all ?. The
Sa, Re, Ga, Ma, Pa, Dha, Ni. Shastric definitions of raga disclose that the
Indian musical art aims more at achieving
European Scale. an universal appeal rather than a limited ap?
peal for a knowledgeable few. And this is
Do, Re, Mi, Fa, Sol, La, Si. further stressed by the fact that every r?g?
represents an universal emotion and not one
As already explained, there is a diffe? limited to any particular country or people.
rence of opinion among experts regarding There are for example r?gas with sentiments
the pure scale in use during the Vedic period. of Santa (quiet), Karun? (Pity), Prema(love),
Some believe that it was the Bhairo That, Bhakti (devotion) etc. sentiments which are
whereas others believe that it was the Kafi common to all humanity. Ragas are based
That. However during the Sanskrit period either on definite human sentiments or ma?
(it is now definitely accepted) Kafi That was nifestations of nature. Popley, the well
the pure That. It was also during the Sanskrit known authority on Indian music, defines
period that the theories of Gr?m? (Scale), r?g?s (c as different series of notes within the
Murchana (Modes) and Jati (Species) develop? octave which forms the basis of all Indian me?
ed. I shall now briefly explain these terms, lodies and are differentiated from each other
- Gr?m? literally means a ? village y> and there? by the prominence of certain fixed notes and
fore implies the orderly arrangements of the by the sequence of particular notes. y> This
notes of a scale. explains the technical and the special charac?
Originally there were three gr?m?s - S? teristics of the r?ga system. 0*ne may define
gr?ma, M? gr?ma and G? gr?ma, but the a raga in many ways but it must be remem?
last one has been long obsolete. S? Gr?ma bered that, in Indian music, the mood or sen?
r?g?s included r?g?s with sudhya or pure re timent is of primary importance. The root
(re) while M? Gr?ma r?gas included effects meaning of r?ga is cc passion ?.
with Komol Re or (Refo). Now there are R?gas are broadly divided into three clas?
seventy two scales in Indian music and each ses ? Suddha, when there is one r?ga only,
scale has more than twenty r?g?s derived Chayal?ga or Salanka when two r?gas are
from it. So there are really thousands of mixed, and Sanklrna, when there are more
r?g?s. || Murchana or mode, means the rise than two ragas in the composition.
and fall from and to a particular note of a The origin of r?gas is considered to have
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 three sources: 1) M?rga R?ga or r?g?s having All the characteristics of a r?ga are found in
supernatural and heavenly origin, 2) Des! r?? the M?rchanas (modes), Gamaks (graces)
gas or r?gas composed by musical seers and and Tans. A single melody may he sung in
sung by expert musicians, and 3) Loka-San many different variations by introducing new
glta or r?gas based on popular folk music. tans built up on the basic melody. In Indian
The first two are known as Kal?barta R?gas music it is here really that the virtuosity of
and derive their origin from the Vedas. The the musician is put to test. The richer and
Atharva-Veda gave rise to the M?rga R?gas, more varied the t?ns and gamaks, the greater
whereas the main structure of the DesI R?? the improvisational power of the musician.
gas has its origin in the S?m? Veda. Rishi For it must be remembered that Indian music
N?rada, the divine musician, who has al? is all unwritten and the exposition and co?
ready been mentioned here before, is said to louring of a r?ga depend entirely on the per?
have given (( form ? to music and created former. It is on his creative powers alone
words and rhythm. The original six R?gas that the greatness of the performance lies. So
and thirty six R?ginis (feminine) are of M?r? in reality, every Indian musician is really a
ga origin. These are: composer as well. He has as basic materials
the r?g? and its characteristics to work on, and
1) Bhairab R?ga.
R?ginis - Ramkeli, Gumkeli, ?sh?, Pra if he has had his training under an expert gu?
bhati, Lolita, Todl. ru of a good school his technique would also
stand him in stead, but really it is in his crea?
2) Malkosh R?ga. tive powers as a musician that his greatness
R?ginis - Bhairabi, Baghesri, Bhimp?lasri, or mediocrity lies.
Ahiri, Khambati, Lankeshwari. Tansen has become almost a legendary fi?
3) Hindol R?ga. gure in India on account of his bravura and
R?ginis - Kalyani, P?ri?, Marw?, VasantI, technique, just as Paganini in Europe. In
PancamI, Bibh?s?. this connection there are two immortal stories
about Tansen recorded in the annals of the
4) Megh R?ga. time of Akbar.
R?ginis - Suh?, Mallari, Saindhabi, Mada Tansen had become the leading court mu?
mati, SauratI, Ad?n?. sician in Akbar's Court and the favourite of
5) Sri R?ga. the Emperor. Rival musicians wanting to
R?ginis - JayetsrI, MalasrI, Dhanesri, Ba destroy him requested Akbar to command
r?ri, Purb?, Gouri. Tansen to sing the Dipak (fire) Raga one day.
As already previously explained, every r?g?
6) Dlpak R?ga. invokes either an emotional sentiment or an
R?ginis - Bilavall, Bihangar?, Shankar?, element of nature. Dipak raga invokes fire
Kedar?, Kakubh?, Natika. in the body and Tansen knew that if he sang
There are many different tabulations of the Dipak raga, the heat thereby created in his
the six r?g?s and the thirty six r?ginis. The body would consume him. Yet an Emperor's
above is adopted by the Tansen School. command could not be set aside. So Tansen
In a R?ga there are three important notes, to forestall his inevitable destruction, request?
Graha ? the note on which the raga begins; ed the Emperor for time and in the mean?
Nyasa ? the note on which it ends, and Amsa while began coaching the Megha Raga
the predominant note or Badi of a raga. The (clouds) to his daughter Saraswati and anoth?
Amsa is the soul of the raga. It is the note er great pupil of Swami Haridas ? Rupaba
on which the life of the composition rests. ti. The arrangement was that by perfect tim?
A r?ga is introduced by Alap ? a slow ing and agreement the moment Tansen would
ever-unfolding exposition of the raga which begin the Dipak raga at Akbar's court, Sa?
prepares the ground for further elaboration raswati and Rupabati would immediately
of the melodies in the succeeding movements, begin the Alap of the Megha Raga. The effect
In Alap, the notes of the raga are sung in a wanted was to invoke rain to put out the
loose kind of rhythm, not to words but to fire produced by Dipak Raga.
syllables ? A-NA-TA-RA-NlA-RI-RE-NUM. When news spread that Tansen would sing
In the North Indian Alap there are four Var Dipak Raga,, people from all parts of the
nas or cc colouring stages y> ? Asthai, Antara, country rushed to Delhi to witness this great
Sanchari, and Abhog. Of this more later. phenomenon. And so it happened that as
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Tansen began the Dipak R?ga, the other two From very ancient times each raga has
musicians began Megha R?ga to counteract it. been associated with a particular emotion or
Tansen had had small earthen lamps put all passion. Bhairaba is the raga of devotion,
around the court, and the agreement with the peace, godliness, Malkosh is the raga of
Emperor was that the moment these lamps spring, joy, love, Megh, that of rain, ecstatic
would take fire from the heat produced by al joy, Sri, that of prayer, relaxation, aspi?
the r?ga he would stop singing. As he began ration, Dlpak, that of fire, courage, enthu?
the alap, all present began to feel hot and siasm, and Nat, is the raga of fighting.
congested as on a full summer's day, and as As regards classifications of the raginis and
he proceeded, it became hotter and hotter, the Putras, there are even greater differences
till all of a sudden the room burst into fla? of opinion. The Tansen School propagates
mes, and emperor, courtiers, spectators, all the following classification:
rushed out to save their own lives. Tansen
1. Bhairav's R?ginis - R?makeli, Gum
himself, scorched and burnt, rushed to his
kell, Jogiy?, Lalit?, Probh?tl, B?ng?ll.
home where his daughter Saraswati and Ru
pabati by continued singing of the Megh Ra? 2. M?lkos's R?ginis - Bhairavi, Kousl,
ga brought down rain upon the city of Delhi B?gesri, G?ndh?rl, Pancaml, Kh?mbabatl.
and soothing coolness to Tansen's body. This
3. HindoFs R?ginis - Kaly?nl, P?ri?,
is not a mere story. It is historically record?
Hindoll, Bibhas?, BasantI, Malabi.
ed. It is firmly believed in India that music
can move the elements. Dipak raga is al? 4. Megh's R?ginis - Mailar!, Saindhabl,
most forbidden to mortal singers. Tansen's Mad?matI, Pal?sl, SouratI, K?fi.
descendants are also forbidden to sing this 5. Srl's, R?ginis - Dh?n?srI, JayetsrI,
r?g? and it is very rarely heard in India. M?lasrI, P?rabl, Gourl, Bar?rl.
The other story recorded about Tansen is
when the Emperor asked him to sing a night
raga at high noon. As Tansen began the The Th?t Theory.
alap, evening shadows engulfed the area
where he was singing and soon night came Professor BJiatkhande in the 19th cent, di?
down.
vided the raga world in Th?ts, and thus gave
In this connection, it must be mentioned
rise to the Th?t theory. He brought all exist?
that all r?gas and r?ginis have definite fixed
ing ragas and raginis as deriving from ten
hours for their performance and this rule is principal Th?ts or scales.
never broken by the musicians. These were:
There are two theories regarding ragas.
The earlier, the R?ga-R?gini-Putra theory and 1. Kaly?n That. - (Fourth augmented).
the later theory of Bhatkhande, the That 2. Bil?val Th?t. - (ordinary major
theory. scale).
3. K?fi Th?t. - (Third minor and Se?
The R?ga-R?ginl Theory. venth minor).
4. Kh?mb?j Th?t. - (Seventh minor).
According to this theory, there are six prin?
5. M?rav? Th?t. - (Second minor,
cipal r?gas, each of which has six or five
Fourth augmented).
r?ginis (wives or Saktis) and their offsprings,
Putras. 6. P?rabl Th?t. - (Second minor,
There are many different lists of the six Fourth augmented, Sixth minor).
principal ragas but the following two are 7. Todl Th?t. - (Second minor, Third
generally accepted. minor, Fourth augmented, Sixth minor).
A: 1. Bhairava, 2. Malkos, 3. Hindol, 8. Bhairavi Th?t. - (Second minor,
4. Sri, 5. Megh, 6. Dipak. Third minor, Sixth minor, Seventh minor).
B: 1. Bhairava, 2. Pancama, 3. Vasant, 9. Asavarl Th?t. - (Third minor, Sixth
4. Sri, 5. Megh, 6. Nat. minor, Seventh minor).
The Tansen school follows the first clas? 10. Bhairav That. - (Second minor. Sixth
sification. minor).
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 All remaining ragas, raginis and putras de? the raga and to the individual musical taste
rived their origin from one of these Th?ts ac? of the performer.
cording to the notes found in their make up. There are four varieties of ?l?p. But there
are two different classifications of these.

A) 1. R?g? ?l?p - This kind of ?l?p pre?

Ideals and characteristics of Indian Music. sents the main characteristics of the raga in a
simple and straightforward way. It shows
The singer or player in Indian music is the V?di (sonant) Samav?di (consonant),
ruled and guided by certain aesthetic prin? Graha (the note on which a r?g? begins),
ciples regarding his performance. These have
been classified as: Nyas (the note on which a r?g? ends), and the
main phrases of the r?g? in a direct way and
1) R?garanga - To expound a raga in a at once. Mid, Chunt and plain ornamenta?
way that will not only be technically perfect tions are used. This is also known as ?oc?r
but which will also give aesthetic pleasure to ?l?p.
listeners.
2. R?p-?l?p. In this, each phrase of a
1) B?k-anga - The words of the song raga is improvised and many varieties of com?
should be poetically suited to the melody and plicated ornamentations are used, including
the mood of the music. There must be har? gamaks.
mony of spirit and sentiment between the 3. Sama ?l?p. This variety uses lots of
melody and the words. Chunts and ?ms (slide) but no gamak.
3) Kriy?-anga - The words, the melody 4. Sthal-?l?p. This form of Alap ex?
and the tala or chhanda should be in unison pounds in great detail and at length, the chief
and harmony. A happy union should be features of the raga.
fused between words, music and rhythm.
The second classification is as follows:
4) Ay?nga - (Hindusthani term). The
music should be ornamented with Midr (slur) B) 1. ?oc?r-?l?p. This corresponds to Ra?
Gamak (graces) Chunt (jumping from one ga Alap and shows the main characteristics
note to another without slur) and Lahak (slow of a r?g?.
vibration between two notes). 2. Kayed-?l?p. This corresponds with
5) Dhy?n?nga - The r?ga should be me?
Rup-Alap. In this variety, two, three and
ditated and concentrated upon in both its gradually other notes of the raga are intro?
duced. All kinds of ornamentations are used.
aspects of form and mood.
6) T?l-anga - Perfection of the tempi 3. Bandhan-?l?p. This kind of Alap
uses fixed tans composed by master musi?
and the rhythm. Words, tans and ornamen? cians.
tations in the music should all be in rhythm.
4. Bist?r-?l?p. This kind of Alap is full
7) R?j-anga - Technical virtuosity. The
of improvisations, based on the main phra?
performer should give full scope to his skill ses of the raga or the main notes of the raga.
and virtuosity.
?l?p has three broad divisions regarding
tempi. 1) Bilambit or slow, 2) Madh or mid?
? lap. dle tempo and 3) Dr?t or fast tempo. This
applies generally to vocal alap for instru?
Alap may be said to be the introduction to mental alap has further sub-divisions which
r?ga. It is expounded slowly and gradual? are explained later.
ly with or without a fixed rhythm. Originally The Bilambit or slow movement itself has
the term Ananta-Hari-Narayan ? was sung four divisions.
in the vocal alap but ? during the Moghul
period, for its obvious reference to the Hindu a) Asthai. This is considered the ?face?
deity Vishnu, the term was substituted for of the r?ga-?l?p. This implies that every r?ga
A-Na-Ta-Ra-Na-Ri-Re-Num in North Indian has a form and Asthai is its (( face ?. This
vocal alap. There are no fixed rules or for? part of the alap is played in the mandra
mulas as to how these syllables should be (lower) and madhya (middle) octaves.
sung. They are used by the singer in the way b) Antar?. This is considered the
best suited to the notes and the rhythm of (( heart ? of the r?ga-?l?p. The range of its

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 execution lies between the middle octave (Mu (complex). Suddh Tan uses the notes in ascent
dara) and a few notes of the higher octave and descent in a straight and consecutive order
(tara). e.g. Sa Re Ga Ma Ma Ga Re Sa etc, K?t
T?n is formed hy combining the notes in an
c) Sancarl or the <c navel ? of the r?ga.
irregular and wayward fashion, e.g. S G R -
Its range lies between the middle and the low? R G S etc. There are ten varieties of Suddh
er octave.
T?n and forty nine varieties of Kut Tan. But
d) ?bhog or the foot of the raga. The in Sanglt-Ratn?kar, 5740 varieties are illus?
range of this section of the alap lies between trated as a result of permutation and combi?
the middle of Mud?r?, high up into T?r? and nation of notes.
returning to the Mudara octave.
After the four parts of the Bilambat alap, T?la.
madh or middle tempo comes in and this part
of the alap has no restriction regarding the The Indian T?l? or time measure in music
three octaves. After Madh or Madh Jord as
it is also known, Drut or fast tempo follows. is a direct development from the metres of
Here too there is no restriction regarding the poetry. Poets and scholars have always laid
octaves. great stress on the exact values of the syllables
in verses. In this lies the origin of t?l?. The
In Bilambit ?l?p, the syllables A-Na-Ta
Ra-Na-Ri-Re-Num are sung. In Madh and of the time or t?l? is given by the clapping
beat
of hands. Unlike the theories of raga which
Drut these are also used. At the end of the
vary greatly in the North and the South there
Drut, the ? Sargam )) or the notes of the scale
themselves may be sung as is the use in Southis more similarity in the theory of tala as
India. found in the two parts of the country. The
nomenclature however varies.
T?l? is based on m?tra?s or note lengths.
Instrumental ?l?p. The normal duration of a m?tr? is a second.
Generally six main note lengths are cited,
The Vln? and the Rab?b are considered the based on their relative duration values to a
ideal instruments for playing instrumental m?tr?. These are:
?l?p. As in the vocal alap the instrumental 1) Anudruta - 1/4 m?tr? - 2) Druta - 1/2
alap is also divided in three broad divisions m?tr? - 3) Laghu - 1 m?tr? - 4) Guru - 2 ma
slow, middle and quick tempi. But, as al? tr?s - 5) Pl?ta - 3 m?tr?s - 6) K?kp?d - 4
ready mentioned, these three main divisions m?tr?s. The Sem School (Tansen School)
are further sub-divided, e.g. instrumental bi? however propounds an elaborate exposition of
lambat alap begins slow but increases speed note lengths.
in the second stage or Antara. Further, the The time-units or note-lengths in various
middle tempo or Madh is sub-divided into four combinations make different t?l?s. Each sec?
parts according to the difference in tempi and tion of a t?l? is subdivided into several sub?
the strokes used. The Drut or fast tempo has sections. That section of t?l? which forms the
ten divisions according to the strokes and the principal beat is the most important and is
tempi. It is in the Drut movement that fixed known as Som. The unaccented portion of
rhythm or Tala comes in. a section of a tala is known as Ph?hk and is
Based on the classic instruments Vina and
shown by an empty wave of the hand.
Rab?b, many other instruments have been
There are three main tempi of t?l?-Bilambit
created and these are Sursringar, Surbahar,
(slow), Madh (medium), and Drut (fast). The
Sarod and Sit?r. In North India, in recent
times it is the Sarod and the Sit?r which are chief instruments used for tala are 1) Mridan
ga and 2) Tabla. The technique of execution
in great vogue and so alap is played on these
two instruments also. and the types of t?l?s used for these two instru?
ments are different from one another as also
the physical construction of these two types of
T?n. drums. The tablas are smaller and the two
drum-heads are on two separate instruments.
The development and combination of notes While played they are held almost vertic?
is known as t?n in Indian music. There are ally. The Mrdanga on the other hand has the
two kinds of t?n-Suddh (simple) and K?t two drum-heads on the same instrument and

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is held in a horizontal position. The drums 2) Adhik?rl ? One who can create and
are tuned to the Sa or the first note of the compose music and tans out of his own inspi?
scale of an instrument or a song. ration and imagination.
Drummers have a curious system of ccboles?
or drum words which indicate to them not 3) R?sik ? One whose music is full of
<c rasa ? or sentiment.
only the particular kind of tala to be accom?
panied but also the strokes of the beats. These 4) Bh?bak ? One who is a poet as well as
boles are composed of syllables e.g. Dh? - a singer or musician.
Dhin - Dhin - T?, T? - Dhin - Dhin - T? etc.
5) Rancak ? One who has a perfect tech?
nical command over melody or rhythm or both.

Eight Types of Musicians. 6) N?bak ? One who can <c create y> new
ragas.
According to the Shastras and tradition, 7) S?bak ? One who can sing the same raga
there are eight cc types y> of musicians. in different styles.
1) Sanc?ri ? One who cc reproduces ? the 8) Dh?bak ? One who can compose new
music and the style of his teacher. ragas as well as new styles of tans.

Priy? Chatterji

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