A HISTORY OF INDIAN LITERATURE EDITED BY JAN GONDA VOLUME VI Fase. 1 1977 OTTO HARRASSOWITZ - WIESBADEN EMMIE TE NIJENHUIS MUSICOLOGICAL LITERATURE 1977 OTTO HARRASSOWITZ - WIESBADENA HISTORY OF INDIAN LITERATURE Contents of Vol. VI Vol. VI: Scientific and Pechnical Literature, Part III B.toNijonhuis ‘Musicological Litoraturo Fase. 2: BLK Matilal ‘Nylya-Vaidorika. ‘A. Kunst Vedanta, T. Getbium ‘Yoga Philosophy M. Hl Sampkhya Philosophy G. Maximilien Parva-Mimimyai B. Dagens “Architecture, Seulpture, Technics NN. Other Sciences (CHP-Kuratteafnchae det eaten Bothek ‘A Melry of oon Mersey Ju Gonda. ~ Wiesbaden : Harstowls, oa ‘at 6 Seeks so hte err: P.8.Fase 1+ lens, Bm: < Wleshaten:Haransoit. 177 oe “Ge tony of ats ertures Ya 0 Sle and Yoho era; Fae.) isan Sadie ue armsowts, Wen 17 le Rec etn Moog nema Stren sa cane cs Yrnge amertug sober Boar he Gio emo Pie a Oemsy Sa BE PREFACE In this emall contribution to the “History of Indian Literature” the present ‘writer has confined herself to a survey of thoso Sanskrit works on musio and dance that havo been published. A description of the manuscript material would go far beyond the seope of this outline.' AA first check of tho available catalogues of manusoripts reveals that hundreds of musicological works in Sanskrit aro spread all over India, stored in numerous government librarica and private collections. When the New Catalogue Catalogorum will have reached the F of rdga and the » of saxigita, which are the keywords to most of the musi- cological titles, an inerediblo number of music manuscripts will come to light, It is to bo hoped that by that time the preservation and accessibility of ‘manuscript will havo improved due to a better co-ordination of the activities * + For a survey of the mas. material in this field the render may consult the articles by V. Raauavan, Some names in early sutgltalteraturo, in BENA 6 (1000), P. 19-28 and BSNA 6 (1957), p. 23-80; Lator Sanita Litoraturo, in BSNA 17 (1900), p. 1-24 and BSNA 18 (1061), p- + Soo V. Raouavan, Manuscripts, catalogues, editions. Steps taken, for tho collection, preservation and utilization of manuscripte, Bangalore 1963,Emmic to Nijonhuis MUSICOLOGICAL LITERATURE ‘Tho oldest documents of Indian literature, the Vedas, convey tho first woitten information on Indian music. The numerous references! in Vedio literature bear testimony to the important placo music held in tho Vedio rituals, tis gencrally assumed that tho religious hymns of the Reveda, for practical ‘purposes selected and re-arranged in a series of textbooks for the priest-singer (udgdir) the so-called Simaveda, were recited in a musical way. The method of reciting, more specifically, the number of notes used in reciting or singing, varied from one Vedic school to the other. From the Kauthumas, Ranayaniyas, ‘and Jaiminlyas, who, for conturies, remained faithful to their own traditions, ‘song books (gina) with different types of musical notation have come down to ‘Tho 685 one-strophieal hymns of the Purvarciki collection were sung to a number of standard melodies (séman), indicated by particular names.* The ‘song book corresponding to this collection, the Grimageyagina, shows the adaptation of the hymn texts to these melodies, that isto eay, prolongation of vowels, repetition of syllables and intorpolation (indiscriminately called + GB. 13, 1, 5,1; 18, 4,2, 8; AiK. 1, 4: of, A. B. Kirmu, The Aitaroya Rranyaka, Oxford’ 1900 (1960), p. 272-8; PB. 6, 0, 12—14; of. W. Catano, Paficnvinsia- Brahmans, Coloutta 1981, p. 88; BSS. 3, 11; 26, 17; LSS. 1, 6, 6ff; 4 1, 11; 698. 17,3, 110; ef. W. Caran, SutkhByana Srauta-Sitra, Nagpur 1969, p. 477; SCS. 1, 22, 1; 4, 7, 813 A.C, Coowanaswanry, Tho parts of a vind, in JAOS 80 (1990), P. 244-203; the same, Tho old Indian vind, in JAOS 61 (1031), p. 47-60; 5B. 1, 42; of. W. Catan, Das Jaiminiya-Dethmane in Avawabl, Arsatordein 1010, p. 1433 ‘pSS, 21,17, 1 to 21, 20, 4; Naz8, oetion 1, chs. 1-8. For furthor information see ‘AA. Macooeit and A. B. Kermu, Vedio Index, London 1912, exp. 11, p. 283; 316. * Viz. tho Porvareikd, tho Uttarireikl and the Rranyakasamhite. For the histor. {cal development and intorreationship ofthe Simavedictoxta compare W. Caan, Pafcaviméa-Brihmape, Introduction; J. Gowba, Vedio Literature, Wiesbaden 1976, ch. VIE, 1. * "Tho songs of tho PGrvarcik& aro noted down in the Grimagoyagina, thoso of| the Arapyaknsarphita in the Arapyageyegina. The Obagina and Ohyagina contain tho notations of tho songs of the Uitardreika. Compare R. Sniex, Dio Notationon der vedischon Liederbuchor, in WZKM 27 (1913), p. 305~246 ‘For tho various ppeculations on the origin of tho aman melodies and their presumable contrafast nature neo Goxpa, Vedic Literatur, p. 314-5.4 E, to Nijonhuie stobhas).* This procedure resembles the technique of the sequontiao and tropac of the European Gregorian chant in the Middle Ages. ‘Tho adaptation of the melodies of tho basic stanzas (yoni) of tho Parvareiki, to the threo-strophical songs of the Uttardrcilté roquired a strong memory and improvisational skill rom the part of the priostsinger. For purposes of atudy the rules of adaptation wore laid down in tho Puspasitra,* which might bo regarded as ono of the oldest documents of musicologica! literaturo in Sanskrit ‘Thia work is representative for a whole class of tochnical works on Vedic recitation (sitras, prdtitachyas, éikgds), which supply us with details on metre, phooetis, musical notes, ote. Howover, this vast technical literature could so far not solve thomusicological ‘problems connected with the recitation of the Vedie texts. Tho differences botwoon the oral traditions of Kauthumas and Jaiminiyas as well as the discrepancy between the veritten sources (ganas) and the surviving oral tradi- tions havo apparently discouraged Sanskritists and musicologists, At the Deginning of the presont century Simon, Burnell, Caland, Felbor and van der Hoogt did some research in this fiold.® Simon? explained the Ranéyantya rotation, but could not deeipher the Jaiminiyn notation. Raghavan, Bake and Faddogon wrote a fow articles on tho subject! and Staal studied Nambudici recitation.\t Except for Raghavan, nobody paid due attention to tho Dhira- + For a dofinition of stotha soo Gonva, 0.c., p. 316. « R Suiox, Das Pugpasittra (edition and Gorman translation), in AUKBAW -philol, K1) 23 (1009), p. 481—780. 1 Bksantra, od. by Sonya KAxta, Lahoro 1993; Delhi 1970; Naradiy’ Sikea, od, by Sarvavnata Siwasndatt, Caleutta 1890; Toittiriya Pratidtichyasttra, od. by W, D. Warren (text, translation and notes), in JAOS 9 (1870), ropr. Delhi 1973; Simovidhanabrihmana (with Vedirthaprakiée of Siyana and Padirtham’- trovivetl of Bharatesvamin), od. by B. R. Stansta, Tirupati 1064; Nidinasitra by Patatfall, od. by K. N. Bratwaaan, Lahoro 1030; Simatantra (a pratiéikhya of tho Simaveds) od. by A. BL, Ramanixua Dixgrra, Varanasi 1961; Pafcavidha- fattra and MBtralakgana, ed. by B. B. Suanxca, Tirupati 1970; ef. R. Ststox, Das ‘PoHcavidhasitra, Breslau 1913. TA. C. Bunwett, The Aryoysbrihmana, Mongaloro 1870; th same, Siman chants from the Argeyebrahmapa, in 8. M. ‘Taoone, Hindu Bfusio compiled from Gatious authors, Caloutta 1876, Varanasi +1906, p. 407412; for R. Sintow, soo notes 3, 6 and , Fexnen, Dio Indische Musik dor Vedischen und der Klassisehon Zeit, in SKAW (philos.-hist. KI.) 170, 7 (1912), p. 1180, 5-3 vaw pen Hooor, Tho Vedio Chant studied in ite toxtual and metodic forma, Wagoningen 1929. Siow, Dio Notationen der Vedischon Liederbdchor, in WZICM 27 (1913), P- 305=346. % V. Raamavan, Present Position of Vedio Chanting, in BITC Madros 1967, p. 9; the samo, Sime voda ond Music, JMAM 33 (1962), p. 127—193; A. A. Baz, Tho Practice of Simaveda, in PTATROC Baroda 1935, p. 143-155; tho samo, Bomer- Ieungon sur Entetehungegoschichte oinoe Modus, in KB Bamberg 1963, Kassel 1064, p. 184; B. Fanpzoon, Studios on the Simaveda, in VKNAW (Now Series) 51,1951). ‘i J.B. Sraat, Nambudiri Veda Recitation, The Hague 1961. Musicological Literature 5 nalakgapa by Sabhipati, which was the key to the incomprehensible Jaiminlya notation. Tt was only recently that Staal, Parpola and Howard took grester Interest in thia work. Tt is to be hoped that Parpola's publication of the Dhérapelakgana and photographe of the corresponding complicated hand ‘ovemenia (cheironomia) aswell asthe dostoral dissertation of Wayno Howard vill inspire musicologists to greater enthousiaam before the last musical rem- nants of this great ritualistio tradition will have disappeared for oer. ‘Whereas in the secondary Vedio literature, i.e. the aitra, dikes and prat dabhyas, music is treated a8 part of the recitation technique, in the oldest technical literature on drama the thoory of music is treated along with tho art ‘acting and dancing. The ancient Indian drama was the prototype of @ esaratkunstwerk” in which music, theatre and dance played an equally important r6le, Tho Natyasiatra,’* composed ca. I* century B, C. or I+ contury A. D., ia the oldest theoretical work on dramatics that has been handed down. Without entering into a discussion ofthe question of its authorship one can only say that this vork is gonorally ascribed to crtain Bharat, but this neta rather vagun tSmayabo ten Wh toro“ dae” in ‘opening verses 1, 1~39 we are informed about the mythical origin of the work: How to god Bruhn aught dramniossieno (xiv to to ego Bhar, ‘who handed this knowledge over to his hundred sons: Sipdilya, Vataya, Kohala, Dattila, ote. The extant work deals for tho most part with ataging, ‘acting and dancing. Only chapters 28-33 aro devoted to tho science of music (gindharvaveda or gindharvadastra). Raghavan" holds the view that the music of thin poriod was unalterable, sacred musio (marge), « counterpart of Vedic aman recitation, as against the variable, local styles of musie (deli) that developed at a later age. Regerding tho rdloof music in the ancient Indian drama the Niyadiatra iteclf states that uring tho preliminaries of a play particular dhrued (“fixed”) songs were per- formed in honour of the gods.'* Some additional verse to chapter 8, which are 2 Sant s00 nota 11; A. Panrous, The literature and study of the Jaiminiya Sinaia in trp nd proen Hink 10 p.12-1s Ware Hoan 'Kouthuvna, Rapdyaniya and Joiminlye School of Simavedic Chant, forth coming (Yalo Univ. Press, Now Haven}. ' Bharata’s Najyadistr, ed. by Pawprr Srvaparra and KASnekrm PAXDUBANO Panan, Kivyamlé Goris 42, Bombay 1604; ch. I-XIV by J. Grosses, Dhirat Nitye-Gistram, Poris—Lyon 1808; Nohyadasro, with the commentary of Abhi vagupta, ed. by M. Raxaxgsya KAvr and J. 8. Bam, T (Goskorad's Orient Serine 36), Baroda 1926; It (GOS 06), Baroda 1924; IKT (GOS 124), Baroda 1084; TV (G08 ids}, Boroda 1004; Najyasdstra, ed, by B. N. Sanuk and B. Urkouyiva, E880, antrsJo00; Nobels Nivaye Sgr rem, Bombey 168; Nabe a, ed. by Mf. Guosm, I, Coleutta 100%; 11, Caletta 1050; NUyadtatra, rane. Ina by on to, Coit rote fh * ¥- Raguavan, An outline literary history of Indian music, in p.db and 08 eee : BRN. 6,108,6 B. te Nijonhuis aot found in all manuscripts," contain moro oxamplos of theso laudatory songs, ‘sung during the preliminaries, i.e. examples of an althépant dhravd, 9 pa varlant dhrued, an apalrsla dhruod, an agdilé dhruod and a vikgiplé dhru ‘hich aro all Siva hymns. However, it is not very likely that only roligious songs were sung in the ancient drama, in which not only gods, but also human beings of all types of character figure.!* One ean hardly imagine that all dhruvd songs performed at ‘the entrance (praveda), at the departure (nigkrama) or in transitional situations (ntara) of tho heroes and heroines, or thoso songs which were oxccuted for the diversion (ékgepa) or pacification (prasida) of the audionco, wore oxclusively of a religious charactor. Besides, not only had overy situation in a drama its specific type of dhrued song, but overy song should also be in harmony with the ‘character represented on the stage and tho sontiment (rasa) to be oxprossed. ‘Tho correct application of the dhruwd songs is described in chapter 32 of the ‘Natyasistra, This chapter contains a long exposition of the metres to be used in tho various dhruxd songs, but does not givo us detailed information on the music to which these song texta wero set. Only near tho end of the chapter!™ five of the seven ancient grimarégas, namely madhyamagrima, sagjagréma, ‘sidhérita, pafeama and kaiéika, aro montionod in connection with the five main parts (sandhi) of the ancient drama, via. the opening (mutha), the progression (pratimukha), the development (garbha), tho pauso (vimaréa) and the conclusion (nfreahana). It is not very likely that tho dhrwed songs wore only composed in the grémardgas, but, as tho language of those songs was originally Prikrt,! they may also have boen sct to local rdgas (desirégaa). Tho cloventh century commentator on tho NétyasSstra, Nanyadova, montions in his Bhata- ‘tabhiaya, besides the motres of the diruoa songs, their appropriate régas and ‘The musical chaptors of tho Natyasistra deal with the following subjects: 40: Genoralthoory of music, vita: micro-intorvals (érui), intervals scales (grdma), socondary scales (mirchand), modos (ja), ENTS I-10 jtie and thir appopriat ome; 171: tho mood tina (warpa), oramentation (alamara), formation of toxt syllables (gts); 82102 fd 108121: technique of tho ancint Indian archod harp (oes), with an izcussion on the preliminary songs (bahirgta) in 12215 ‘oh. 30, which has only thirtoon verses, deals with the bamboo flute (van) Comparing this moagro section with tho large futo sections in the other Sansk: ‘works on music, we can only guess that part of this chaptor is lost. 4 M. Guosu, The Nityadiatra (transl), I, App. p 532. 3 BIN. chapter 34. 3 BRN. 32, 485496. 4 Raamavan, Outlino .. » p. 07. * Compare a handwritten copy of tho Poona Ma. from Mr. A. Daniélow’s eollec- ton, eh. 10, ‘Musicological Litarature 7 ch. 31, 1-61 deals with tho ancient rhythmie aystom (dla); application in tho prolcninary songs of the Gedriia typo; 220-380: in the soven {raditional songs, viz. madraka, wllopyaka, epardntats, prakart ovenaka, rovin: daka and stare; 290-480; in the cotuepadd and Idaya types of dance, At tho end of tho chaptoc, 480488; tho thre tempi (laya); 480403: the three movements ‘or guita (yo), and 403602; tho throo waya of beginning (pd) are discussed. ‘ch. 32 treat mainly of tho application of te dhrued songs in the drama. Only at tho end ofthe chapter wo find some bref romatka on the music of these song, that isto say, 485—480: therdgas; 488401; formation of tho text eyllables (gilt)? 492: the definition of a song (gina); 404-488: tho quali of a inger; 409600: ‘tho charactoristics of a vind playor; 500-602: tho characteristics of a Muto playor; 603-611; malo and fomalo voices; 612-519: qualitice of teacher and isciplo; 619-524: tho dafecte ofa singer. ‘ch. 23 deals with the mombrenophonie (avanaddha) class of thythmie inatru- ments, i.0, the various anciont types of drum, mrdaiga, ponava and dardura toi tocniquo, this application in a dravoa and their manufastare, ‘The Natyaséstra is written in o difficult type of Sanskrit, which requires completo understanding of tho technical terms. Manomohan Ghosh hasachioved 4 great work by translating the whole treatise, His notes contain numerous cross references, but for a comploto understanding of the work theso notes should be moro dotailed and refer to a larger number of technical works, In illustration of Bharata's stylo the following passage (32, If.) may be cited: “Listen (now) from mo about thoae types (of songs) which have been called Dhruvis by Brahmanas such as Narada and others. The Rk (the recitation of Rk stanzas), Phniki [this torm is othorwise unknown] and Githé (the Saman chants}, and tho Soven (traditional) Types (of songs) which have seven different measures, aro called Dhruvis, O Brihmanos, I shall discuss th lifforont imetres which boing created from those types, attain Dhruvis. Tho five classes of Dhruva have always the following limbs (atiga): ‘Mukho, Pratimukha, Vaihiyasako, Sthita, Pravrita, Vajra, Sandhi, Sampharana, ‘Prastira, Upavarta, Migoghito, Caturasra, Upapita, Pravepl, Sirgaka, Samp: isfaka, Antaharana and Mah3janilea. Songe consisting of ono, two, three and four Vestus {principal parta) aro respectively called the Dhruva, Parigitika, ‘Madraka and Catugpada. The Dhruva is so called, bocauso in it words, Varnas, Alarpkira, tempo, Jiti and Pints aro regularly (dhrweam) connected with one ‘another. Depending on different conditions, the Dhruva aro known to be of five classes. I shall speak of tho seven lirabs which they consiat of, Limbs of the ‘Privedikt Dhravl are Upaghita, Pravrtta, Vajra and Simalce. ..” (transl, by Af. Ghosh) ‘Though also working with the limited number of samngita texts that were available, the present writer has given some more detailed information and definitions of the technical torms of the anciont Indian music in her commentary on Dattilam,* a compendium of ancient Indian music, written after the ‘Nityasdatra and before Matadga’s Brhaddedt. Dattilam, od. by K. Sipaérva Sisrn!, Trivandrum Sanskrit Series 102, ‘Trivandrum 1930. E. az Nisewavis, Dattilam, a compendium of ancient Indian ‘muse (ints, transl. and comm), Thesis, Utrocht 1970.8 E, te Nijonbuis ‘Tho latter work was most probably composed before Damodaragupta’s time (last part of the eighth century), since this author quotes Matafiga in his Kutfanimata.** As compared to the Dattilam, which, though the original, lost ‘york may havo been larger, is in its extant form nothing but « compilation of ‘the musicological material exposed in tho Natyadistra, tho Brhaddesi provides ‘more interesting information on the ancient Indian ragas. Besides the tra tional gramardgas also rigas of local origin (desirigas) are described. Unfor- tunataly the only available manusoript, on which the edition by K. Simbasiva Séstci* is based, contains many incorrect readings, is incomplete and stops in tho middlo of tho prabandha chaptor. It is a pity that the chapter on ‘musical instruments (vidyédhyiya), especially the section on wooden wind instruments (susra), is lost, since Bataiiga must have been an expert on the flute. ‘From tho times after the composition of tho NatyaSistra up to the eleventh century, when Abhinavagupta and Ninyadova wrote their commentaries on the Nityasistra, not many musical treatises have come down to us, excepting the Dattilam and the Brhaddest, A small toxt on music and dance, bearing the title Aumapatam,* probably dates from tho first centuries of the Christian ora. ‘Although this text still requires a lot of emendation and correction, itis vory interesting, because it contains some information on the rdgas of the ancient, period, which is not found in the Natyasistra and the Dattilam. From quota- tions by later authors wo know a number of names of other early writers on the theory of music, but thus far their works have not come to light.t* One may find in some manuscript libraries works bearing ancient titles and referring to ancient authors, but these names appear to be fictitious. Many a later ‘unimportant author used one of these famous old names for making him- self tho reputation of an expert, Works liko Kobaliya Abhinaya Sistra,"” Dattila-Kohaliya,** Ragasagara,"* and Arjuna Bharata® may servo os amples. "hs Jong os musicologial works from this period aro so rare, we may also collect: some information on the music of those doys from productions of +» Diswopansaurea, Kulfanimata, Kivyarls Series 3, Bombay 1887, vores 854. 1 Batanga, Beheddel, ed by I. Sinadrva Shera, Trivandrum 1958, + Soo ABmINAVAGUPTA on BhN. 30, 10: Baroda ed. p. 147; Guosm, Tr. II, p. 62 and Distopanacurra, Kujfanimeia, Bomboy od. p. 32 and 110. ‘tT eiiion of Aumapttarn by X. Vasuoieva Sksra, Madras 1957 is based on manuscript from tho Government Oriental im, Library at Madras end one frm {he Bhandarkar Onoatal Resear Inaitute at Poona, or Raotavay, Some names in early sagt Iiterature, io BSNA 6 (1966), p. 1928 and BNA 6 (1057), p. 25-90. adres Ms. Ma, at Tanjore. Ms. at Modras. 3 Ms. at Tanjore. Musiologial Literature ° Utorature such as tho Epics, Mahabharata and Ramayana,* the Purinas,** K6Glidisa’s drama’s* and othor works ‘The oldest music notations that have come dovn to us are the Kudimiyamalai rook inscriptions mado in the seventh century at Kudimiyamilai in the Pudukotiai State of South India, by order of the Pallava king Mahendravarman of Kafici. Unfortunately the music material remains incomprehensible, since ‘usicologists aro unablo to oxplain the tone-syliables, the number of which is too large to correspond with the number of micro-intervals or imicrotonal alterations of the seven classical basic notes (svara). A remarkable text from tho older period is the Gitalamlcira,*” composed by ‘8 certain Bharata, According to the fifteenth century compilation Saiigita. siromani tho Gitélamkira is a work “which confutes the violent arguments of its opponents” (vidimaitagajaiula). As a matter of fact, this work puts forward remarkable theories. Tho thirty-six rdgas, the names of which aro etymologically explained in chapter 14, are called tarnas (“colours, shades”). ‘Thoir classification in threo groups, malo (puruga), female (str) and descendant (apatya), foreshadows the riga-rigini-putra system of later times. Danislou** suggests that the term varna, which is, in the same connotation, only used in ‘the Naradiya Siksa and the Vayupurina, but in the othor ancient texts replaced by the more common term raga, may represent the older name for mode. I ‘agreo with Daniélon that the Gitdlamkira isa text from tho older period, but I ‘would only observo that it must have been written before 1199, the date of the Paficdkhyanake recension of the Paficatantra, which contains the story of the singing ass, mentioning tho thirty-six varnas.®* Tho Gitalamksra treats the three gramas in an unusual wey. Instead of treating them as tone systems or * L, Oxomrnny, Clasicel music in the Mahabhfrata, in JSNA 6 (July—Sopt 1967), p. 78-88 ©. Duara, Musical Cultaro in tho RamByana, in 10 4 (1037-98), p. 447— 453; V- Raouavay, Msi inthe Adbhuta Rimtyane, in IMAM 16 (184), p © A. Danufzov and N. R. Buarr, Textes dos Pustna our la toro musica, Pondichéry 1000; V. Racuavan, Music in tho Byheddharmapurine, in JMAN 9 (1938), p. 37—30; tho samo, Music in the Litgapurina, in IMAM 19 (1948), p. 203206; 8. PrasAnananoa, Analysis of music in the Markandeya Purina, in SMAM 35 (1068), p- 130—13 Y, Raouavas, Kilidiaahrdayam (= Music and dance in Kalidaaa's works; in Tam, in SMEAR 24 (1983), p. 197160. 'V. Racitavax, Busi in’ anoiont Iterature, in JMAM Conforenes Souvenir 1950, . 58. # R. Sarvaxndvaya (od.), Tho Kugimiyimilai inscription on music, $f Varalalcpnt Acadomy Publication Soris 3, Mysoro 1967, "A. Dantéiou and N. R. Bua (eda), Le OttSlamkra, Pondichéry 1960. % Dantuou and Buats, Lo Grtalamltra, Introd. p. XII. * Paficatantractt.ed. by J. Herat, Harvard Univ, Cambridgo, Massachusett, 1908, book 6, tale 41.10 E. te Nijenbuis basic seals, like the other authors do, and describing their spcifio interval arrangement (seara) in numbers of micro-intorvals (éruti), the author of this text only gives characteristic series of four notes for each of them, which sound like eadences of modes. This points to an older Indian system, provalent at a time when gadjagrama, madhyamagrdma and gindhdragrama still functioned as ‘modes, whereas in later times these grdmas came to represent the basic sealea of the artificial janya-janaka system, which lists overy raga under a parent rdga, the latter under ono or more theoretical modes (jai), derived from the basic seales (sadja- and madiyamagrama. Tn the eleventh contury several commentaries on the Natyasistra wore written, First to be mentioned is Abhinavagupta’s well-known commentary Abhinavabhirati.*t An English translation of this work would be useful, since itis » mine of information on the older period. It refers to many authors and ‘quotes from works which are still to be discovered. Howover, a good translation ‘will only be possible after a new edition of tho Abhinavabhiratt hi published, Unfortunately, the manuscript on which the Baroda editi based — thus far the only existing sourco of our knowledgo of this work —, is, very corrupt and requires much reconstruction work with the holp of other toxts.tt ‘After the Abhinavabhirath, towards the ond of tho eleventh century, Nanyadova, king of Mithila (1097-1164), wrote his large commentary on the Nityasistra, named Bharatabhisya or Sarasvatihrdayalamkira, which con. tains four mein sections: tdcika, digika,sdlvika and dhdrya. Of tho first section Acaling with musi five chapters have been published, * namely: 1, uddetadhy jtgidhydya; 3. érulytidhytya; 4. miirchanddiyiya; 5, clamkaradhydya. five has eight small eubdivisions (prakarana): varadlamtara, gamake, i, widyadisvara,geyapadadi ‘The remaining five chapters (6. jdlyidhyaye; 7. rdgotpatyadhysya; 8. marga- gilddhyiya; 9. desigtladhyiya; 10. widyadhyaya) are atill to be publishod. The Research Section of the College of Music and Fine Arts of Banaras Hindu ‘University is preparing a new reconstruction of the Bharatabhigya.** + tn Saragadeve'seystem tho fret to aro ail clause as ragas, that i to sey, 18 Guddha gramardgan; of. S3r6SR. 2,1, 8. Edited togothor with tho NBtyadtaira by M. Rxaaxagya Kavi and J.S, PaDE in 4 volumes, GOS 36, 68, 124, 145, Barodo 1626, 1984, 1064, 1904. According M. Guosty, The Najyadistra (tran), T, Introd. p. XIE, Abhinavagupta's taxt in fall of seriptorial binders and roquires @ now critical edition, ‘© Compare V. Raonavase, Somo Corrections «in ALB 18, 9—4, p. 190200; ‘bid. 2, 14 pee. no}, p. 307408. Now edition: Nityabiatra of Bharatamani, I (ch. 1=M) with the comm. Abhinaveblitrl! of Abhinavagupte and Medhusident- Dalaksiga of Madhustdana Séote, edited by B. Sits}, Veranast 1971. ‘8 By C. P. Desat, Khairogarh 1961, ‘ Dremlata Sermi, Segitertj, Z, Bonaras 1909, Introd. p. 142. ‘Musicological Literature u Tn tho Dogiuning of tho twelth contury Nandikebvara may have witton his two works on dancing, tho Abhinayadarpanat® and the Bhacataryava.** The former work deals withthe gestures, head movements and facial expression of Alancora; the latter with tho gesture, the head movements the facial expression tho, maraments of the feot and the legs, tho standing poses, as well as their combination and application in th various items of dance. Chapter 7 descr all tho 108 trnditionl ita, Charen esribes Tu 1131 tho Ghalukya king Somotvara the Third compiled hia eneyclopacdi work, named Minasollse of Abhinitehacintameni,= whch sortie os sections on music and dance. His ton Kavicakravarti Jagedekamalle, who rulod from 1134-1148, wrote a treatizo on musi, the Somgltacugamay which illustrates its exposition of the ragas with melodic ‘examples. ° Haripila, a king of Gujerat, who ascended the throne after Aj 1179, is the author of » work on music and dance named Saaigitasuc in 6 chaptors, dealing with 1. nya; 2. tla; 8. wldya; 4. abhinaya and vase; 5. éruli, evara, grama, riga; 6. prabandha, ° Some interesting information on the application and emotional content of tho older rigas ean bo gathored from Jayadeva's Gitagovinds, lyrica, semi-dramatio composition in twelve episodes (ddhydya) consisting of mono. Jogues (in a. 60 dokas) and twenty-four songs of eight lines (aslapedts), This work, tho author of which was @ court post of the Bengal king Lakemane (twelfth century), is generally considered to'ropresont an intermediate stage between the ancient Indian drama and modern Indian dance dramas, such as the yatrs in Bengal, the Bhdganatamelandtakas in Tamil Nadu and the kuehipud anco dramas in Andhra Pradesh. ‘The songs of the Gitagovinda, which oyndora himsolf may have sung in accompaniment ofthe dancing of his wile = in ep ni ef et wy A Soocanat ang a eng (ie nicola rine Engh 2 Sma ea itty teas cane Thai eae a cater a XK, Vasuprva Sisral, SMS 74, Tanjore 1957. eae Someévara, Minasollasa, G. K. Sntoonperan, jaroda, i ap 8 Me Sethe. SES ETI nett oy Yaa cos era eos taco aby Ds. Vauaoeas 2 Fela mugs sagt puns pte masa ee pe parr te eon Soe emerge Wrignts fe nie as town cae ee Seuked Spumiie mans vides ac are, Sanskrit mes. in GOML Mysore, Mysore 1900, mentions under section XI, no. 1017 a eee * Compare V. Racmavast, Bhagavata-mela-nbak, in, june ae 0g la-nbjaka, in JISOA 1937 (Juno—Doo), into English2 2B. to Nijenhuis Padmivati," are composed in various rigas and tilas, However, as catly as 1903, in comparing some older editions of the Gitagovinda,** Richard Simon** noticed that the names of some ragasdiffored from ono edition to tho other. Sinco the correct interpretation of old Indian rdgas has beon forgotten, in ‘modern performances of the Gitagovinda tho aylapadis aro no longer sung in their original rages, but in modern Hindustani and Karpaak ragas. "Tho Bhivaprakéa,*? a well-known work on dramaturgy writton between 1176 and 1250 by Saraditanaya, deals in chapter 7 with the general principles ‘of murio without entering into detail "The largest work that has for a long time been the most important soureo of information on the ancient period, ia the famous Sarpgitaratnakara!® written by Sériigadova in tho first half of the thirteenth contury. Tho author's father Soddlala, who eame from Kashmir, worked at the court of king Singhann Dova of Devagiri (= modern Daulatabad) from 1210-1247. Sarigadove himeelf was a royal accountant in the king's office. His treatise on music and dance, which refors to numerous ancient authorities, beeame the standard work on the theory of Indian music, Most of the later authors quoted largely from this work: and sometimes took great pains to connect the out of date theories of grdmas and drat with contemporary music. ‘The Sampgitaratnakara is a work in seven chaptors. Chapter 1 is subdivided into cight sections (prakarana) dealing with: the philosophical context of sound (ida): in 1. padarthasamgraka and 2. pindotpatt; the musical aspects of sound (nada): in 3. nada, sthina (register), éruti (micro-interval) ; svara (interval) and. jati (mode), their association with particular classes of human beings (Kula), gods (daivata), seers (rsi), verse metres (chandas), stereotyped sentiments © KC. Vasupeva Sismt, Gita Govinda with Abhinaya, Tanjore 1903, Introd. pd. * calcutta 1808; Bonn 1836; Bombay 1884; Bombay 1899. 4 R. Sion, Die Notationen des Somanitha, in SKBAW (Philos.-philol. u. hist. KEL, 1803, p. 480, note 1. * For mdiava (1, 0 and 13) one could find malavagauda, for degdihya (0 and 10) elavardt, for varddi (10 and 21) degovardt, for Redara (11) gurjars, for gurjart (18) ‘amakarl or pojamaitjar, for desavardgi (10) axdvart. Tho editions eoom to agree on 2,5, 7 ond 16: gurjart; 3, 14, and 20: vasanta; 4 and 24: rdmakart; 8: karadfa; 12: natart oc gonatari; 17: bhairava and bhairavt; 22: earadt; 23: vibhidga. Saradatanaya, Bhivaprakiéa, ed. with an introd. by Yapuormt Yariniza ‘Sviat of Molkot and KC. 8. Rasasviott Siseal, GOS 45, Baroda 1968, ' Sarigadova, Safgltaratnikara, od. by M.. Tetaxo, publ. by H. N. Apto, Land IT, Anandaérame Sanskrit Series $5, Poona 1807. The Safgitaratnakare by Sarhgedeva with Kallindtha’s commentary and English translation, by K, Vs piwta Cnesiasant, Union Press, Calcutta 1920. Tho Samgitaratnikara of Sirf. {zadova with the Kaldnidhi of Kallingtha and tho Sameitasudhikara of Simhabhd- Pala, od. by 8. Susnanstaxva Siva, I, 11, IIT, 1V, Madras 1943, 1044 (rovisod by Y. Tcppyastkodnya, 1959), 1951, 1969. Siragadove, Sagitaratndkaro I (ch. 1, vara), transl. into’ English with dotailed notes, by C. Kuxuax RAsK, ALS 61, Madrea 1946. Sirigadova, Sadgitaratnakara, English trandl. of ch. 7, by K.Kox- ‘vows? RAK and Raouk Bonxtzn, in ALB 28 (1050), 3 and 4, ‘Musicological Literature 13 (rasa); 4. scales (grima-mirchand-krama-tana); 5. overlapping (sidharana); 6, melodie line and ornamentation (varpdlaiara); 7. mode (jal); 8. formation of toxt syllables (git). Chapter 2 has 2 sections: ono on grimardgas, cto. and one ‘on rdpatigas ote. Chapter 3 deals with performance practice: prakirea. Chapter 4 doals with the structure of compositions: prabandha, Chaptor 5 deals with the ‘older rhythmic systom of margaldlas and its application in the ancient dhruv songs as woll as tho later rhythmic system of desitlas. Chapter 6 is the chapter ‘on musical instruments (widya) with the classical division into chordophones (latavadyani), aerophones (susiravddyani), mombranophones (dnaddhautdydni) and idiophones (ghanavddyani). Chapter 7, a large chapter in 1678 verses, deals ‘with all aspects of anciont Indian dancing (nartana) according to the Natya. astra tradition, As compared to the danes chaptor of Nandikesvara’a Abhina- yyadarpane itis moro extonsivo and informative, but its troatment of most of ‘the subjecta seems to be moro brief than in the Natyasistra. ‘The chapters on music of the Sampgitaratnikara not only provide us material for the study of the ancient Indian music, but give us also some insight into contemporary practice. Sariigadeva draws a clear distinction between ancient (pérvaprasiddta) and contemporary (adhundprasiddia) ragas and presenta 1 Aotailed description of tho construction and temperament of contemporary sti zithers (vind) and transverse flutes (wana). ‘A-small work, tho dating of which remains uncertain is the Safigitasamaya- sira by tho Jain author Pirévadova, Originally this work had ten chapters, but since the first chapter and part of tho socond chapter aro lost, the present cdition** contains only nino cheptors. Ch. 1 deals with sound (adda), pitch (Gheani), resonating body (Jarira), definition and classification of vocal music (Gita), rhythmically free introduction (Alaplt), melodie line (varpa) and orna- ‘mentation (alambira). Ch. 2 procedes with the dlapli and treata the various types of melodic phrases (sthdyd). Ch. 3 deals with rigas; ch. 4 with the various typoa of composition; ch. 6 with tla; ch, 6 with dancing; ch. 7 with tala; ch, 8 with vocal musio (gia); ch. 9 again with téla. Though the definitions in this work are rathor briof, it contains somo interesting information on soveral rigas and especially on tho rhythmically free introduction to. riga performance, tho dlapli, later ealled alap(ana). Another work the dating of which is uncertain, is the Saigitamakaranda,"* composed by a certain Narada, I am convincod tht this author ia not the samo Sco A. Dastéz0v, Introd. to tho Samgitaratnakara of Sirigndova, 1V, od. by 8, Suoamanya Siozal, Madras 1063, p. V. (Ca, 12501990, of. V. Racuavan, Some names in early snigita Literature, in BSNA 6 (10657), p. 20, or ea. 1164-1263, ic. after Poramardi and before Jaya, cf. 'V. Raouavan, Nyttaratnvali of Joyasondpati, Madras 1905, Introd. p. 79. ‘Tho Safgitasamayasira of Sahgltskars Sit Parsvadeva, od. by 7. Gayarart Sterat, Trivandrum 1925, V. RAuAVAY is proparing a new eritical edition of the complete tox, based on som more mas. ‘ Safgitamakaranda of Nireda, od. with introd. and appendices, by M. R. ‘Tetano, GOS 16, Baroda 1020.“ E. to Nijonhuis ‘aa tho ancient Narada to whom both Sirigadeva®? and the author of the Sehgitamakaranda™ refer in connestion with tho forgotten géndldragréma, ‘The Sengitamakaranda may havo been written after tho Sungitaratnikars as Te feet chapter closely follows Sériigedova’s opinions, especially with respect to the treatment of the notes, which aro associated with particular deitios (devatd), metres (chandas), and sentiments (rasa) Tho author of the SM adds to this system of associations the family names (gotra), tho constellations (nak. otra), tho astrologial houses (rd), their presiding deities (rafyadhidevata) and tho form of the ereatures (yonikathanam). Besides, the SM presents @ now system of riga classification, which anticipates the later North Indian eyatom ‘fmalo rigas, femalo régints and infant pura rdgas. The SM speaks about malo {palliga),fomale (tr) and nouter (napurisaka)rigas. ‘The SM has two main sections and cight chapters. Section I on music (ewigita) is subdivided in: ch. 1 origin of ndda and svaras;sasocintion of suaras with non-musical phenomena; grimas, mirchands, ote., ch. 2 summarizes ‘Various terms, such ns edd drli,varna, alarakira, et., ch. 3 classifies the rigas. Gh 4 deals with tho musical instruments. Section IT on dance (nytya) has also four chapters, including « chapter on !las. ‘Tn 1259/4 Jayascnipati, the commander of the elephant forces under the ‘Andhra king Kskatiya Ganapati of Warangel (1198-1263), wrote a large ‘eeatise on dance, named NrttaratnBvali. Of the 8 chapters the first four deal ‘vith the traditional (mdrga) theory of dance, as exposed in the Natyadistra, Jn these chapters the author bases himself primarily on Abhinevagupta’s commentary on the latter work. His quotations, which are often metrical Jeonsts of Abhinavagupta’s verses, may help us to roconstruct the corrupt text of the Abhinavabhérati From chapters 5, 6 and 7 of the Nrttaratnévall, ‘Which deseribe the rogional (det) ance forms, wo guin an insightinto thecontom.- porary Andhra style of danco, Ch. 6, 117 mentions the 40 regionsl variotis of The fecale danco (dest Idsydiigds). ‘The first section of ch. 7 contains some valuable information on the study of dance, such as times suitable for begin- hing lessons, method of practising or taking lessons, students suitable for Jeatning the ar, the dance dress, certain hand poses used in the exercises, the importance of the expression (bbdea) of feeling, tho need for the eye and the mind to follow the movements of the hand, This chapter also provides informa tion on the musical accompaniment. Ch. 8 deals with tho general presentation ‘of a dance performance. 1 SartSR. 1, « NarSM. 1, 58. ss NarSI. 3, 5378. Nytaratnavall of Jaya SonSpati ert. ed. with introd. and notes, by V. Ra- onavat, MGOS 107, Madras 1068. i gee V. Raotiawax, Nrttaratnivall, Introd. p. 67; of, also noto 42, ‘Musicological Literature 15 Semointreting referenen™ to Mataigu's Brhaddatt prove that th Iter ork originally contained a chaptor on dance (oyttaprakarana), whi loa fayasenipati docs not quote from the famous Saiigitaratndkara, but his silence could bo explained by the fact that the families of the patrons of both ‘theso authors, the Kakatiyas and the Yadavas, wero enemies.** Some parallel pastages in the works of Parévadeva and Jayeseadpati aa well az the latter's ‘more detailed discussion of the topics may support Reghavan's views with respect to Parévadova’s priority to Jayasenapati.* oe _ At the ond of oh 6 Jigasntpat! mention” another treatise writen by himself, that is to say, « work on music, named Gitaratnaval, of which n !manocrpta havo ben covered fer. fosvall of whieh no in tho fourteenth century anothor Andhra king i nother Andhra king, Simhabhipala of tho Recherls dymanty of Nayuda kings of Racha, wrote & commentary (Su. iikara) on the Sapgitaratndkara. Though it is not aa important as tho com. mentary that was written century lator by Kalingthe, it provides some valuablo information on older works. Tt mentions a commentary on the named Prayogastabake, of which thus far no manuscripts have bean Soon after SimhabhOpala, Agokamalla may havo written a work on music and danee, of which only the danco chapter (nriyidhyaya)" has been handed down. This isolated chapter, howover, contains an elaborate description is 1600 vor of th lain tof dancing. “nin ‘8 Jain scholar of philosophy, Sudhikalaéa, wrote a treatise on musi ee ee Abridgement of thin work, the Sigtopaiqtatrodhare," written in 1350, ie was aailabio in menuerpt and was published fifteen years ago, The Senn primar, chen ai ies nd rps elo ange . searas, gramas, miirchands, drutis, ténas and ragas; 4. vidya; 6 and 6, The wera whole ay be roprenttive fr tho WaternTodnn me tradition. The section on rigas is only a brief summary, but itis interesting, because it contains the first pictorial descriptions of tho nigas anticipating the later raga dhydnas, However, itis a long way from Sudhikalaéa’s peoudo-icono- sraphie diydnas tothe later idylio romantic dhydnas, describing the emotional content of the rdgas. Ono can hardly soy that the former descriptions of riga Aoities, resembling the gods of tho Jain pantheon, wore continued in latter ‘descriptions, which show a preferonce for erotic situations and only incidentally JON. 6, 6,67. Seo V. Raouavax, Npttaratabvall, Introd, p. 78 ™ Raowavan, Nrttaratnivall, i. : " ‘1 JANR. 6, 106, He Entra. ¥9. % Buphabhaptla on SUrS6R. 1, 4, 16—10, AL od. Z, 104, p. 1 * 4; 1510, AL oI, 1948, p19. ‘A@okamalls, Nayadhyaye, cd by P. Suan; GOS 14, Bode 168, pat Sudhilale, Satgtopanintsiroddhire, of. by U. P. Seax, GOS 193,16 E. to Nijenhuis refer to personifications of gods (to Krgna in rdga hindola, to Vasonta in rdga ‘vasania, to Vignu in raga saraviga, to Siva in riga bhairava). It is interesting to rote that some early specimins of marginal painting ina Kalpasitra manu- ‘script from the Jayasimhasdriji collection at Indore, illustrating particular ragas, correspond to the dhydnas of the Safgitopanigatsiroddhara.”* ‘Under Malik Shah (or Sarak), son of Bahadur Malik, sultan of Kada (near Allahabad) and vassal of king Tbrahim of Jaunpur (ca. 1409-1414), who re-established Islam in Bengal, the theory of Indian music was not neglected. Tn 1498 this sultan organized a musicological congress, invited scholars from all over the country and asked them to write an eneyclopaedie work on music. ‘This work, named Saigitagiromani,"* is a compilation of material borrowed from other treatises montioned in the introductory chapter, vorscs 23~27. Originally the work must have contained a chapter on dance, which is lost, ‘Tho extant text covers most of the material ofthe fourteen chapters: 1. introd. drutis; 2, svaras; 3. grimas; 4. mérchands; 6. tanas; 0. varuas; alamkiras; 7. gitas; 8, and 9. régas; 10. télas; 11. prabandha; 12. prakirna; 13. widye. Ch. 14 (on nztya), the second part of ch. 8 and ch. 9 are still to be found. It is pity that these sections aro not available, since they might throw some now light on rigas and dance forncs of the period following tho time of the Sargita- ratndkara, especially since the Saigitasiromani is not a mere reproduction of that work, but often quotes from less common sources, such as the Gitdlamkita, from which it has borrowed the peouliar grama theory. “About 25 years later, under tho Yadava king Immadi Devariya, who held rule over Vijayanagara (South India) from 1446-1465, Kallinatha, son of ‘Laksmidhara, wrote his famous commentary on the Sarigitaratnakara, named Klinidhi.” This is not only the best commentary on a famous work, but it, adds to its lcid explanation of the original work also some interesting obsorva- tions regarding contemporary musle, especially when commenting upon the rigas of ch. 2 of the Saigitaratnakara. Moreover, itis o mino of information on lost works of the older authors, such as Kohala’s Satigitameru.”™ ‘At about tho same time king Kumbha (Kumbhakarna), who ruled in Chittorgarh (in Mewar) from 14331408, may have written his magnum opus con music and dance, the Saigitardja. This large work comprising 16000 dlokas is divided into five chapters (ratnakoéas) on: 1. pafhya (recitation); 2. gita (vocal music); 3. vddya; 4. nrlya and 6. rasa. Exch chapter has four sections (uliésas), subdivided into four subsections (parikganas). The first volume of the critical edition, published so far by Premlata Sarma,” covers the first two 7 Seo. M. NawAn, Masterpieces of tho Kalpasutra Paintings, Ahmedabad 1 p.1-1; U.P. Sma (ed), Sadgitopanigat-stroddhira, Baroda 1961, Introd. p. XXV. 1 M.D, Pawr and 1mm resent WRITER are proparing an edition of this work ‘based on mas. from Caloutta, Banaras, Bikaner and Jodhpur. 7 Bea note 58. % For further information on the anciont musical authors s0o note 26. » Safgitardja by Mahbring Kumbhi I, od. by Presttark SanuX, Banaras 1003. ‘Musicological Literature " 1. plfhyaratnabote tulaea 1 deals with tho authors religious and philotophieal becground; hin dota and identity presnta iat of wathorten sskoptl by the eto, defends ‘tho art of music and dance against the eritiiam of Sanu and others. ‘lana 2 dala with al eapecta of rostation in connection with words (pada), sentoncen (vaya); summarizes the knowledge (sania) of muse in a at of Sofinitions of masial tarms and their general explanation (pariBAaga). “ullaa 3 tronta the various types of motre in Sanskrit, expecially in conneetion with masieal eomponitions (prabandha). ‘uea 4 deal with the alanis in pootice and dramaticn, 2. gtaratnaota sla 1 (earalina): pars doa with sound (wide), micro intervals (fri), ntorea (war), besa Soles (grime), eon sol fotrehens) soe of note faa) par. 2 Goals with the overlapping of interes (enerceadharana) and tho over- Tcpping of modes (ataadhara) a with meres nd sil mentation (ltr, Far deals withthe medes (jl), dete charctesenton (lakqana) ad rosie Exemples (prastra), which aro religious songs (gla), in most casa sng devoted to Brahm (Orlmakeptia). inally, this sotion dont with tho division of ong and short aylabes inn eng txt ped) ortho ortor repetition of parte of sng. Milas 2 (rele) pars dete wich tho traditional gramarigas and Use vatotios and subvarites, “itering in their spe section, ntmmodthaxae™ and ethers. fats 2 date with rage varieties need ogaapee For de with ns va seed ie Par, 4 dele with thetsocalled Erigdiga leat of ope, ite 9 (prostrate): pars 1 dons with tho singer (odgpeyatirs). Far 2 dala with voles prodsetion (eo). Far 3 dents withthe 1 carton of bro (oamate). Far. 4 deals withthe vious types of melode phase (tha), the varioton of Siepi(Suytmically fro intodction to 8 raga), and withthe vocal and Instra- tment ensmbles ora and Futope)- aoa wh the 14 teonat par. 1 deals with tho I traditional ang type (uth gt): madraka oto Far 2 dal withthe sdde clas of comportionss Far 3 ddl with the ditrama css of tompostions. Par 4 dala with the protina cls of compositions ‘Though Kumbha’s work has almost the samo structure as the Saigitaratni- kara, its treatment of the subjects is moro lucid and exhaustive than Siriga- dova's work. Its languago is not only clear, but sometimes oven elegant. Part of tho material, for instance mérchand and (dna, is conveniently arranged in charts and diagrams. Fora detniton of thd ano KuSR. 2 2,170 ‘suthor illustrates these old songs with music ozamples which he has prob- ably composed himself, Seo Pursark Sxansct, Saigitardje, Introd. p. 140.18 2B. to Nijonhuis ‘Kumbha shows a great respect and roverenco for Bharata, He was influenced commentary on the Natyadistra, but apparently did not know Nanyadova's Bharatabhisya. Of Kumbha’s numerous roforences to Matafiga the reference to this author in the context of the rdgadhyinas™* is ‘particularly interesting, as it proves that Mataiga’s Brhaddest originally ‘contained such pictorial descriptions, which are not availablo in the extant toxt of that work.” Tt might also prove that tho dhydnas in Sudhikalasa’s Saigitopanisat-siroddhara, which are identical with Kumbha’s dhyiinas, are not the oldest Indian pictorial raga descriptions. Besides his Saigitardja, Kumbhé also wrote a commentary on tho Gita- govinda of Jayadeva, named Rasikapriy "During the frst half of the sixteenth century Subhadlkara may hve written ‘hia Safigitadimodara,** a treatise on music and dance which becamo very popular in Bengal, Most probably the author himself was a Bengali Tho date of composition of the work can be placed before 1580, the year in which Sukladhvajo, tho brother and minister of Malladeva (king of Kichbihar from 1555-81) died, since the Sadarpakandarpa, written by Bhavinanda Thakur ‘at tho command of Sukladhaje, contains a reference to the Saigitadimodara.** Subhafkara’s work hes five chapters, dealing with: 1. emotional expression {Ohiva, anubhdva and vibhava); 2. the principal male character (ndyaka), tho principal female charactor (ndyika), her friends (sak); sound (ndda), vocal ‘musi (gia); 3. intervals (evara), musical ornaments (gamaka), numbers (gaa), secondary scales (mrchand), groups of syllables (varga); series of notes (léna), basic scales (grdma), melodic patterns (rdga), rhythmic cycles (la); 4. mier intervals (éruti); attendants of the principal characters (eaciva); the arts (tala); ‘musical instruments (wddya); idiophones (ghana); units of timo (mara) postures of dancing (arigakéra); dance movements (nylya); dramatic art (ndtya); dramatic styles (ort); dialects; staging; types of drama (rapaka and upariipaka); divisions of « drama (sandhi); 6. defects of singing (gayanadosa); ports of a song (sthdyi, safcdri, dhari, kapdlini); pauses in tho musio (Jaya); sentiments experienced by tho audienco (rasa). ‘Subhadkara’s clear exposition of the structure of the dhruvaka composition"™ of the édlagasidaprabandha class contributes to our knowledge of the history of the dhrupad. His reference to a text named Bharatasamhits in connection KuSR. 2, 2, 2, 02. ' Of the lost dhyana section of the Brhaddest only four lines on p. 14 ing somo of the well-known iconographio elements, aro handed down." i Jayadevo, Gltegovinds, with tho commentaries Rasikapriya of Kumbhi and ‘Rasemanjart of Soskaramiéra, ed. by MR. Texano and V. L, Pawsiean, Bombay oumerat= ‘ Gogitadamodsrah of Subbakara, od. by G. Sisral and G. Moxuora. pavineSCRORS Iie Gata 1000; V. Raghtvan is preparing © new col ition ofthis work. ‘Ct. SubASD. Introd. P- 16. Of. SUBBED. oh. 2, undor gta, p. 19, ‘Musicological Literature 19 with tho compositions of the satkirsasiidaprabandha class" is interesting, but Tdoub: whether the Nétyasistra is meant here, becauso these types of com- position are not mentioned in the latter work and may only have developed. at a later age. Of particular interest aro Subhaikara’s pictorial descriptions (dhyana) of the ‘ragas in chapter 3.** Somo of them" are also found in Damodara’s Saiigitadar- ‘pana, which was probably written at a later date." Tho dhydnas of Damodara, ‘often quoted on régamdla miniatures, aro well known, but Subhoiikara’s <@ayénas, which also appear on miniatures," remained for a long time unnoticed by the art scholars, In its own time the Sarigitadamodara. was a well-known work. The fact that it was translated into Persian accounta for ite fame." Subkabkara wrote a soparate treatise on dance, named Hastamuktavali, especially devoted to the hand movements of the dancer. A commentary on this work, named Hastamuktavalisirasamuddhrtika, was written in 1075 by Ghanatyima for Ananta, tho grandson of the Nepalese king Jaga{iyotirmal ‘Tho Descriptivo Catalogue of the Asiatic Society at Calcutta't mentions anothe: work of Subhaitkara, tho Samginasigara, containing sections on vocal ‘and instrumental music as well as on dancing. ‘A work that is almost entirely dovoted to pictorial descriptions (dyna) of ‘the rigas — only « brief survey in 62 élokas of the traditional theory of evaras, gramas, mirchands, giyana, gamakas and ganas is given at the beginning — is ‘the Catvirimsacchatariganiripana,” written by a certain Nirada, who may Gf. Subs8D. p. 20. SbhSD. p. 3641. 2, 102; vasanla: DimSD. 2, 98; dedaga: DamSD. 2, 78; pashamaitjat: DamSD. 2, 80; velalt: DimSD. 2, 74; gujjort: DamSD. 9, 117; ramakirs: DimSD. 2, 16; latita: Dam. 2, 8 8 Soo p. 20, note 160. % Compare Tlustrated Orlya Polmleat ms. od. os Rigacitra by IC. K. Parwane, Cuttack 1060; Johnson Albura 35, India Office Library, London; cf. article by tho yaeseyr warner: ‘Tho Sanskrit Dhyinas of Johnson Album 36 and the Rage Descriptions of Subhatkara's Sungltadimodara, in JRAS 1071, p. 82—68; ANAND Katona, An early ragemala sores, in AO 4 (1061), p. 368373, doscribing a min. ‘ma, in Bharat Kala Bhavan, Banaras, no. 0070/1086. * R. Sintox, Zur Chronologie der indieshon Muskitorotu, in: ZIE 2 (1929), p. 162, roforring to AR 3, p. 05. Raited by Mareawan Neoa of Gauhati Univ. in App. to TMAM 23-30 (1952-1060); 8 now edition by V. Racuavax is in preparation; cf. RAGMAYAN, Later saigita literature, in BSNA 18 (1961), p. 5. ‘Mp. in Notional Archives (Nepal Darbar Library), also if, Nz00, A furthor note on the date of Subhnilcaraia p. 182. FL. . Siornt, Descriptive Catalogue of Sanskrit Mas. in the Collection of tho Asati Society of Bongal XIV, Caleutta 1965, p. 38, no. 41, na. no, 4862. ‘7 Baited by M. 8. SuermaNKan, Arya Bhusan Press, Borabay 1014, smandu, Nepal; ef. ‘MAM 80 (1960),20 E. te Nijeahuia have live in the sixteenth or seventeenth century. According to Prajfininan- da™ there are four Naradas, who were experts in music: 1. the author of the Niradiya Sikad (I 0. A. D.)#* 2. tho author of tho Paticamasirasamhita (1440 A. D.)#* 3. the author of tho Saigitamakaranda (14% or 16% c.)*" and 4, the author of the Raganirapana (16% or 178 ¢.), who is apparently the ‘writer of the Catvariméacchatariganiripana..* ‘Some riga-diyidnas of the CRN are also found in Damodara’s Safgitadar. pena. Though the dating of both works is still uncertain, Tam inclined to think that Damodara quotes Narada and that the lattr is senior to the former, sinoo the general character of Nérada’s dhyinas,which are nearer to the older Jeonographie riga descriptions, would assign the CRN to an older period. "A landmark in the history of Indian music is the Svaramelakalinidhi (1650) written by the South Indian musicologist Ramimitya,"* at the request of Veikidri, the brother of the influential minister of king Sadisive of Vijayana- ‘gara, Ramardje, in order to “reconeilo the eonilicting views of the theory of music”. This phraso, which became a slogan among the later Indian musicolo- fists, means that the author realized that the musio of his time had changed, but felt obliged to pay respect to older authorities like Sarigadeva, This may have led Ramimitya to reproduce tho ancient éruii theory and apply the ancient seara names to the tones of the contomporary lute temperament. Brahaspati* sharply criticizes this attitude of the South Indian theoreticians, ‘because, in his view, they did not want to admit forcign influence and presented the contemporary lute temperament, which might have developed under Arabic influence, in an Tndian disguise. “The Svaramelakalinidhi has five chapters, the contents of which might be Aeseribed as follow: Chapter 1 (wpodghata) is the preface to the work. Tt provides inform bout tho author's patron snd contains the table of contents Chapter 2. Where the older treatises always start with a discussion on nada, sara, druti, gréma, jati, gramardgas, bhagas, ote., the SM no longer deals with these ancient. concepts. Rimimétya only mentions the ancient drut in connection with the seven basic notes (Judd suaras)!* and reduces the number 8, Prasiixtiwawpa, History of Indian Musio, Caloutta 1003, p. 114. % Sea note 7. ‘ie Mas. in Collection of Sahitya Parigad, Caleutta and in Collection of Asiatic Society of Bengal, Caleutta. Sco noto 62. a Edited by D. K. Jor, Bombay 1914. M41 NarORN. p. 7: frag, ef. DimSD. 2, 96; gaudt, of DamSD. 2, 60; p. 8: vardfi, ef. DamSD. 2, 56; p. 9: dhandért, ef. DimSD. 2, 104. "et Edited with introd. end tranal. in English, by M.S. RAmasvio Aryan, Annamalai Univ., Cidambaram 1032. + K, C. Baaitaarart, Muslim influences on Veikatamakhi and his school, in BSNA 13 (1060), p. 6~25. RamSM. 2, 22-24 and 27-20, ‘Musicological Literature 2 of the ancient alterations (vilyta svaras), stating that of the twelve theoretic alterations mentioned by Sérigadeva in his Saigitaratnikara, only soven ar ‘used in musical practice.” In chapter 3, after a brief referonce to the ancient Vedic literature, whic associates the parts of a vind with the gods, and some quotations from ancion literary works concerning the effecta of vind music, Rimimétya describes th various types of lute (vind) uscd in his days as well as their tuning. He distin guishes two main types, namoly instruments with fixed frets, tho so-calle sarvariga-mela-vinds, i.e. Iutes which permit playing in all the rdgas, ant instruments with movable frete, named ekardga-mela-vinds, i.e. lutes ou whic only one rdga could be played at a time, while for every new raga the frets ha to be moved. Besides these two main types, ho mentions three varicties of lutes difforing in the tuning of their main strings: 1. the éuddhamela-vind (Sa, Pa, sa ma), 2, the madhyamela-vind (Pa, 80, pa, oa’) and 3, the acyulardjamela ‘vind (Sa, Pa, sa, pa). The moat interesting scetion of this chapter, however, i Rimimitya’s description of the method of placing the frcte,¢ which i technically speaking a Pythagorean temperament, Ramimatya’s temperamen bases itsef on the anciont Indian principle of consonance (sampuddi) of tho per fect fourth and fifth (sa-ma; sa-pa). Applying this principle, which ho call svayambhi, to all the other notes, he determines the placo ofall the frets on th lute. This, inevitably, leads to the so-called Pythagorean temporarment, whic ‘was, a8 a matter of fact, used in contemporary Persian and Arabian music. Chapter 4. Of almost equal importaneo is Ramimitya’s discussion of tht melas. Ramimitya is the first outhor in the history of Indian music who instead of reproducing the old modal system, which liste rdgas under paren! rigas and the latter under parent modes (jai), presenta — being a compose hhimeelf— a more practical system of twenty basic scales (in fact only nineteen Docause two, sararigandfa and kedaragaula, aro identical).8! which could easly bo applied to the contemporary ied. Rimimétya rearranged the existing das according to their tonal structure and listed them under his twenty basic scales (mela). With the introduction of a scalar classification system the ancien modal system definitely fell into disfavour. After Rimimitya the South Indian theoreticians developed « more elaborate aystem of soventy-tivo basic scales, while North Indian musicologista, after a poriod of experimenting with over smaller numbers of basic scales, finally accopted a system of ten basic scale (thaja) devised by V. N. Bhatkhande.* In chapter 6 RimAmitye arranges tho rgas into threo classes: 1. superior {uttama) rigas, i.e, pure, unmixed rdgas, suitable for singing (gta), composing . 2, 3242, ‘his a tho tuning of tho Hindustat bn (dro wind) ™ ing of the modern Karnitak: vind. Compare RimSM. 2, 462.22 BE, te Nijonhuis (probanda), rhythmically froo introduction (alépa) and phrasing (¢haya); 2. ‘middling (madhyama) ragas, i.e. ragas suitablo for singing fragmenta of com- positions (prabandha-thanda); 3. inforior (adhama) régas, i.c. popular régas, ‘hich “dazale the masses” (pimarabhrémakis) and are unsuitable for alapa, {haya and prabandha. Tn chapter 5 Rimimitya mentions somo of the traditional characto (latyana) ofthe individual rigas, such aa initial note (graka), dominant (asda) and final note (nyésa), tho number of notes (6, 6 or 7), as well as the time of performance. “At the end of tho work'"* Ramamatya says that ho dovs not troat th eubjosta {ala and prabandha, because these had already beon exhaustively discussed by Séarigndeva. Should this mean that Sirfigadova's rules regarding these oubjects sworo stil valid in Ramimbtya’s days ? ‘Tho first musicologist who applied Ramamatya’s system of ninoteon basic scales (mela) to North Indian musi, is Pundarikavitthala, According to Jani! ‘the composor Purandaradisa (1481) had already tried to fuse the North and South Indian music. Pundarikavitthala was bora in the South Indian village Satanurva near the hill Sivagaiiga, but migrated to the North. He wrote his Sadragacandrodaya"in the yoars 1500-1570, when he worked for king Burhan Khan in Anandavalli (near Nasik) in the distriot Khandesh."* Tho aystem of nincteon melas expounded ia the Sadragacandrodaya closely rosombles Rami ritya’s system: eloren melas aro identical in both systems, namely: mukhar, ilavagauda, éri, Suddhandla, dedéksi, karydlogauta, kedara(gaula), abhiri (= R's dhari), uddhavariff, uddhardmakrt and nddardmakri. The other melas are different in notes, or, in notes as well as in names; a fow of them havo only ono different note, namely: P's hijeja and R's hejuji; P's fogi and R's vasan- tabhairavt; P's sdrariga and R's sdrasigandja. The mela hindola is ontircly different in both eystoms. ‘The Ragamadjari, which was written when Pundarikevitghala was in tho service of the two brother princes Manasimpha and Midhavasimhe (who ruled in ‘Jaipur as foudatories of the omperor Akbar), shows a further dovelopment towards Hindustint musio, the music of North India, although tho aystom of ‘twenty melas of this work ia almost tho somo as that of the author's first work. In both works es well a in a third treatiso, named RagamAlé,"™ written in 1676, ‘Pandacileavitthala uses for his éuddha ecale the notes of tho South Indian mela mubhdri. Tn latter work, however, ho also explains tho typical North Indian system of malo (puruga), female (str) and infant (pulra) ragas. RanSM. 6, 07 1M Soo Resekaumual, A Work on Indian Music by Srtkantha, ed. by A. N. Sant, Baroda 10905, Introd. p. 73. ‘tt Baited by G. Vasnataica, Bornbay 1912, 118 For the dating of Pungarikavitjhala’s works seo P. K. Gopz, Chronology of ‘tho worke of Pungartkavitfial, in JREAM 6 (1936), p. 1195 8 (1991), p. 126. ‘ur Edited by D. K. Jost, Poona 1918. se Bdited by N. G, Rixixwarsan and G. G. Barve, Bombay 1914. ‘Musicological Literature 23 Together with Ramamatya’s tuning of the éuddhamela-vind, which corre- sponds to the tuning of the modern Hindustint bin (rudravind), Pundarika. vitthala had adopted Rimimitya’s system of twelve (Pythagorean) somitones. ‘However, in his description of the melas he uses more than twelve notes. In his ‘Rigamilé he dovises s eystom of eighteen micro.intervala,"* the application of which is, however, restrictod to the middlo octave (madhya saplaka). Tn his Ragamilé and his Rigamafjeri, Pupdarikavitthala applies this aystem of eighteen micro-intervals in his description of the melas. According to Bhat- Khapide'# Pundarikavitthala might have read Somandtha’s Ragavibodha, which devises a similar system of seventeen micro-intorvals, but, since the latter ‘work was not written before 1009, itis more likely that Somandtha imitated Pundartkavitthala, who wrote his works ca. thirty years eatlior. Besides the above-mentioned works Pundasikavitthala may also have writen the following treaties or hapten, of whibh manusstipta aro avaible in the Tanjore Sarasvati Mahal Library: Nartananirpaya, Saigitav} a kara and Vit{haliya, ‘7 a Although the South Indian system of classifying ragaa according to their scaea (na) was introduced nto tho North, tha Hoth Tien ta continved their own so-called niga-rigint aystem, based on purely aesthetio principles, and composed a number of works entirely devoted to the pictorial aspects of the rdgas, such as the Ragamala written in 1570 by Keemakarpa,"* a son of Mahoén Pathaka, at the request of king Jatava.1® ‘An interesting work, which stands midway between the South and the North Indian systems of riiga classification, is Scikantha’s Rasakaumudi.!** The author may originally hare come from tho South,}** but worked under Jam Sotruéalya, king of Nevanagara near Dvaraké (in Gujarat). In hia work, which hho may have written ea. 1676," he docs not only deal with musio (ch. 14) and dance (ch, 6), but also treats topies from goneral aesthetics: rasa (ch. 6 and 7), épigara-varna, i.e, love stimulating decoration of women (ch. 8), rluvarnana, .e. the decoration of the dancer according to the scasons (ch. 9}, and finally (ch. 10) deals with the behaviour of king (rdjanttivarpana). Tho main impor- tance of the work, however, lies in its treatment ofthe régas. Though Srikantha 2 S00 V. N. Burnin ys, A comparativo study of some of the loding music syeteme of tho 168, 10%, 17 and 18% coturon, Bemibey 104. 82-62.° ‘See Buren, Comparative Study, p. 82. Soo BuxriataxpE, Comp. Study, p62. Also named Rpomendra or Mosekarna. 1 Ma, of this ragamalatoxt in London; ef, J. Bonuiva, Catalogue of Sanskrit Manuscripts in the Library ofthe India Ofc, 1, London 1860, no. 1616b; other sin Oxford Calan and Nadia, Tho txt wil bo pbs in 008; B. ‘DesAns, Foreword to Rasakaunsuat by Srikanth, ed. by A. Jax, Suxowoana bby Srikanth, od. by A.. Jaxt, GOS 183, Baited by A. N. Jaon, GOS 148, Baroda 1963. Seo Resnkaumod, Introd. p. 7. Seo Rasakaurud, Introd, p. 9.m E. to Nijenhuis thas, like Pundarikavitthala, adopted tho South Indian mela system, ho docs ‘not neglect the pictorial aspeot of tho rigas, but gives the dhyana of every raga. He also mentions tho seasons associated with the rigas as well as their appro- priato times of porformance. It is interesting to note that, in his classification ‘of thirty-soven important réigas in ch. 2, Srikantha has reduced the number of ‘melag to eleven (in fact only ten, becauso his melas no. 8, mathdra, and no. 11, ‘siraziga, aro identical, since there is no difference between kaidike mi and tridrati ni), His temperament is o copy of Ramimétya’s svayambha tempera mont. ‘Tho Andhra author Somanitha also adopted Ramimitya’s vil tompora- ‘mont and mela aystom. In his Ragavibodha,!* written in 1609, howover, he reproduces for the most part Pundarikavitthala’s interpretation of Ramami- ‘ya's theories. Like P., Somanitha has accepted RamAmitya’s vind tempora- rent with its twelve Pythagorean semitones, but uses in his description of basic scales (mela) a more refined system of micro-intorvals. Somanithe’s seventeen micro-intervals are almost identical with Pundarikavitthala’s ‘ightoon micro.intervals. Only one out of theso eighteen, namely the ekagatika ‘ma, has no equivalent in Somanstha’s system. As the system of eighteen miero-intervals is already expounded in Pundarikavitthala’s Régamala, wl ‘was dofinitely written in 1876, Somandtha must have borrowed his micro- interval aystem from that author. ‘The first chapter of Somanatha’s Ragavibodha closely resembles chapter I of Pundarikavitghala’s Ragamailjari. It summarizes the ancient torminology in the same order. In chaptor 3 Somanitha mentions cleven Poreian modes, probably in imitation of Pungarikavitthala’s enumeration of fifteon Persian modes at the ond of his Ragamaiijari.4* Sovon out of Somanstha’s lovon mos for tho Persian mdgimd! aro also found in the latter work, namoly Ha, huseni, musali, eikhareja, hijeja, puska (— mugaka) and saraparda. ‘Howover, the general plan of tho Ragavibodha boars also closo resemblance to Rimimitya's Svaramolakalinidhi, Aftor a brief disoussion on tho ancient terminology (ch. 1) Somanitha immediately starts, inch. 2, a discussion on tho temporament of the éuddha. and madhyamela vind, which correaponds to ch. 3 of the Svaramolakalinidhi. Chapter $of the Ragavibodha, corresponding to chapter 4 of the Svaramela- kkalinidhi, deals with the melas. But, contrary to the other followers of Rami- rmiitya, Somanitha did not reduco the numbor of melas, but added a fow, 80 that the total number of his melas becomes twenty-three." Out of theso, thirteen ore identical with Rimémitya's melas and threo (Juddhavarifi, Gi Somanitho, Ragavibodha, od. by P. G. Ganrunz, Poona 1880; odited with introd. and transiation in English, by BL 8. Rawasvant Aryan, Madras 1933; od. by 8. Sommamaanyva Sern!, ALS 48, Madras 1946 co Tho Ragas of Somanatho, by tho present writer, Loidon 1976, Introd. ‘Tho author's own comm. on SomRV. 8, 57; ofp. 90 of ALS edition. oft’ ation, Poona 1818, p. 19. 481 Boe ALS odition of the RAgnvibodh 1 Ps 244, 245, Tablo of melas. ‘Musicological Literature 25 érirdga and karpétogaufa) are slightly different from their equivalents in his aystem.1#* But threo (loft, hammira and sdratiga) correspond to melas of the same name, which Pundarikavitthala desoribes in his Ragamaiijari," whilo Somanitha’s kalyéna has ite equivalent only in Srikantha’s system." Soma. nitha’s bhairava and vasanta mela are not found in any of the works of his predecessors and his maliri mela is not identical with the one mentioned by Scikantha. In chapter 4, corresponding to chapter 6 of tho Svaramolakalanidhi, Soma- nitha describes tho individual characteristics (laéyana) ofthe rgas. Chaptar 6, tho last chapter of the Rgavibodha, isthe most valuable part of tho book. Like Stikantha, Somanitha gives the pictorial descriptions (dhyina) of tho rdgas and mentions their appropriate times of performance. But in ‘Somanatha’ opinion » mere abstract, aesthetic picture (devamaya riipa, lit. “divine form") of the rigas would not suffice. So tho author decided to present thei sound form (nddaina rapa) as wel, A a renult, ho has prozided us with the most interesting musie examples ofthe history of Indian music In contra. distinction to the musio example illustrating the jal and rdgas ia the older ‘treatises, Somanitha’s music examples givo us an insight into contomporary rmusio practice, since their notation is not one of bare tone ayllables, but a notation with symbols indicating the various musical ormaments to be played on the luto (vind). Although Somanitha’s system of notation was not generally accepted and did not lead to uniformity in gamaka notation, his explanation and his application ofthe various types of ornaments forthe vind (widanabhedas) aro elucidating. His music examples resemble the unmotered aldépanas of ‘odor practico and provide us with valuable material for a comparative study of soventeenth century and modern Indian rigas.** In South India Ramimatya’s vind temporament and mela ayatom was furthor developed by Somanitha, but also by Govinda Diksita and his sons Venkata. ‘makhin and YajGanirdyana Dikgita. Govinda Dikgita, who sorved as a minster under two kings of Tanjore, Acyuta and Raghunitha, wrote in 1614 a treatiso on musie and dance, named Saigitasudht, which ho attributed to king Raghu nitha, The work may originally havo had soven chapters (1. svara; 2. riga; 3. prakirna; 4. prabandha; 5. tila; 6. vddya; 7. narlana), but all availablo ‘manuscripts only contaia the first four chapters.™* From Vehkatamakhin' 1 Tho roedor may consult Rimimbtye's Svaramelakaldnidhi, ed. and tran by M. 8. Tekuanviat Atvan,Totro, Table of mulay flowing p. XLV. ‘oo Jot edition p 1. Compare Rasahaumud, od. by A.W, Jax, Introd. p. 24,26; ch 2 102 2 Tho reador who ia invroted in a iaoranl ond comparative study of thse gas might conault Tho Rigas of Somantho, bythe present writer. #8 Tho extant chaptars of tia work have Deon published by B.S. Suxpanast ryan nd Sosa, Bera in MAR 1 (a — 4 GOD} it eon van published in vm an and corzet 7 Agua replat cections by V. RAQuavan, a VenKe. 1,17,6 E. to Nijonhuis ‘wo know that in those daye, besides the common duddha and madhyamela vigit described by Ramauiitya, there was a vind with a higher tuning, ic. a fourth higher than the madhyamela vind and comparable to the madhyamagruli tuning of the modern Karni{ak vind. It was called the Raghundtha-mola-vi ‘Though the king himself was a good musician, a vind player ax well as a com- ‘poser, ## we may guess that Govinda Dikgita devised the new tuning and called the instrument after his king. ‘According to Ramanathan" Ramamatya's vinds had only nine long frets, ‘which could be used in playing on all four main strings, and five shorter ones to bo used only while playing on the fourth melody string (sarani). Ramanathan, apparently only refers to Veiikatamakhin’s description of the ekardga-fuddha- inela.sind,* without thinking of the aXlilariga-Juddhamela-vind, which, ‘according to Vetikatamakhin,! had besides its long six standard frote five additional long and eight additional short frets for the twelve chromatic notes in the upper octave (Kéra saplaka) plus the highest note alitérasa). Ramanathan suggests that Govinda Diksita might havo invented the modern twenty-four frets of equal length fixed with wax. But a lute with twenty-four frete, though not of equal length, existed already in those days. Veikatamakhin describes such a lute, the akhila-madhyamela.vind, which had twelve long and eleven or tovelve short frets for the twenty.four chromatic notes in the middle and higher cctaves.!## Somaniths mentions this now type of vind with twenty-four frets (or twenty-five frets including the meru) already in his Ragavibodha in 1609, ‘hich is anyhow five years before Govinda Diksita’s Saiigitasudhs (1614). Tn 1620, at tho request of the Tanjore king Vijaya Raghava Nayaka, Govinda Dikgita’s son Vehkatamakhin, also named Veikatesvara Dikgita, wroto his rrellknown, but disputable work, the Caturdandiprakasiks. Its title reminds us of the four older types of composition, tho so-called catur-dandé: dlapa (chythmically free rdga improvisation), fhaya (characteristic phraso of a raga), ita (short vocal composition in one riga) and prabandha (largo composition ‘ith several subdivisions in one or more régas and alae). Originally the work may have contained ten chapters (1. vind; 2. drui; 3. svara; 4. mela; 5. niga 6. dlapa; 7. haya; 8. gita; 9. prabandha; 10. tla). The Inst chapter as well as ptt of ch. 9 are lost. The present edition’ is based on the incomplete Telugu manuscript owned by Ambi Diksitar, a descendant of the famous composer ‘Muttusvimi Diksitar. Vetikatamakchin’s system of ninctoon melas (ch. 4) closely resembles Rami mitya’s » ‘elas are almost identical 1 Compare Raauavan, Later Saiglta Literaturo, in BSNA 17 (1960), p. 18. uw §, RasuurarmaN, Roghundthe mola vind, in IMAM 36 (1964), p. 147. 3 VeikOP. 1, 31-88. 1 VaR: 1 39-43- 34 VohkOP. 1, 94-98. 34 Tho Caturdangiprakidikh of Votkafamakdhin, ed. by S. Sopnasmayya Sieral and T. L. Vewkapania Atvan, Madras 1934. ‘Musicological Literature eo with Ramimatya’s melas. The mela bhairavé of tho former corresponds to the ‘mela hindola of the latter, and similarly, the former's damkardbharana to the latter's kedardgaula and atraigandta, Only Veikatamakhin's melas bhipila, pantwardls, sipharava and kalyZpi aro not fourd in Ramimttya's system. ‘Votikatamakhin is also credited with the invention of a system of rdga classifi- cation according to soventy-two melas, expounded in the supplement (anu- bandha) to the Caturdandiprakisiké, but in this reapect his authorship is doubtful. Despite its doubtful origin, it is this system which the famous classical Karni{ak composer Muttusvami Diksitar (1775—1835) used in his compositions. A somewhat different system with slight changes in the nomen- clature and a more consistent application of the so-called kalapayédi prefixes! is described in the late eighteenth contury trostioo Saigrahacidamani by Govinda.'4* This second aystem was used by Tyégarija (1767-1847) and all later Karnitak composers, and became the standard mela system of modern South Indian musio. While most of the musicologist trid to keep pace with the rapidly changing anusical styles in the North as well as in the South, some of them continued writing treatises on music and dance in the old style. One may wonder why old-fashioned works like the Saigitadarpana, written ea. 1625 by Dimodara, son of Lakemidhara Bhatta, could gain such a popularity. The Saigitadarpana is handed down in soveral versions. In Sanskrit there is a parallel work, named Safgitaséroddhira by ono Hari Bhatfa, which is published as the Saiigitadar- papa of Catura Damodara.t*" In Hindi there iso paraphrase by Harivallabha.'* A prose paraphrase of the Hindi toxt probably datos from a later time. Most probably tho Saiigitadarpana of Dimodara was not so much appreciated 1 a musicological work — its archaic rdga laksenas based on Sarfigadov 44 Seo V. RaouAvan, Veitkatamnakhin and tho 72 melas, in JMAM.12(1041),p. 61-00. -Tetters of the Sanskrit alphabet indicating the mela number in the reverse “Tho Somgrahactgimeni of Govinda and the Bahataramelakarta of Vetkata- avi od. by. by 8. Sumnasatayya Skernl, with « eit introd. in Koglsh by T. R. ‘Suinivhsa AvvaNaan, Madras 1998. Tho SaAgitadarpane of Catura Dimodara, od. by K. Vasupnva Siszal, SMS 4, Tanjore 1962; ef. Racuavan, in BSNA 11, p. 21. ‘wifes. in Berlin, London, Banaras, Caloutia ond Bikaner. The me. in the British Mus., Add. 26, 640, was written by a copys named Siraign. 1" Seo A. A. Bax, Bijdrage tot do konnis der VoorIndigcho muziok, Thesis, Utrecht 1980, Introd. p. 1-3. Bosidos thi thosi, which containg a tranalitoation ‘and an English translation of che. and 2, tho Sanat text of Dimodara's Saat Garpana was published by 8. BL. Tasons, Caloutia 1681 (only the first two che); cha, 1 to 6, 22 in 6M 1 (1886) and 2 (1800); complota and critical edition, based on four mas. of India Office Library, London, ono ma. in Paria and the Hind! me. in Borlin, by R. Siow, es “Quelion zur indichen Mosik,” in ZDMG 66 (1002), p. 129168 and 262202; second edition of Tagoro's edition of tho ft two cha. with Gujaratt comm. by R. L. Taxkan, Bombay 1900; eomploto edition with modern Hindl comm. by V. N. Buaypa, Sabglt Haryalaya, Hathras 1960.Sofigitaratnskare could hardly servo as a sourco of information on contemporary music —, but gained popularity duo to its pictorial descriptions (dhyinas), ‘which were profusely quoted on rigamla miniature paintings all over India. However, even in this respect, the Sugitadarpana is not original, sineo it dorrows a number ofits dayinas from Subharikara’s Safigitadmodara.%* "A compilation from older a8 well as moro recont works, named Abhinava- Dharatasirasndigraha, was written ca. 1660 by Mummadi Cikkabhapala, alias Cikkappagauda or Sappegauda, a ruler of Madhugiri (part of Mysore State, in ‘Tunakur district)" Tho book quotes largo sections from the following works: Nityasistra of Bharata, Dattilam, Sabgitasudhtkara of Haripala, Brhaddesi of Mataiga, Bharatarnave of Nandikesvara, Svaramolakalinidhi of Ramima- tya, Sabgitaratnikara of Sarigadeva and Seigitopanisatsiroddhara. of Su- dhikslega, The value of this compilation lies mainly in its correct citations, ‘which may help us to restore some of the older texts, ‘A work which provides valuable information on the North Indian tempera- mont and ra classification in the seventeenth century, is the Safgitaparija- ta, written by Ahobala in tho latter part of that contury. Though the author's name points towards a South Indian origin, the book mainly deals with North Indian music. It is apparently not handed down in its complete form. Soon after its composition it became a well-known work. As early as 1724 it was translated into Persian by Pandit Dinanath, son of Basudeo (se. Vasu dova), Tt seems to have formed part of the emperor Mohammed Shal ‘brary. Most of the modern Sanskrit editions only contain the frst chapter on ‘igas.** According to Simon'** the odition by Gondalekhar also contains chapter 2. Fortunately, the rdga chaptor presents all the interesting material ‘which can give us an insight into contemporary music practice. Ahobale still reproduces the ancient theory of twenty-two microtones.'** Mentioning their Compare SubhSD. Caleutta edition, p. 36—41; ef. also p. 17 of this contri- bation. ‘Sco Abhinavabharatasirasangraha of Cikkabhipila, ed. by R. SArvANAni- ‘vga, Mysore 1960, Introd. p. XX1, XXX and XXXIL "HAhabele, Sadgttapdrijte 1, 1407, ed. by K, Veoiaravaotéa and $, P, Guosa, Calcutta 1879; the samo portion of this work was edited again by J. Vip- visioana, Caleutta 1884; 1, 1-112 published in SM 1 (1886), no. 12; 1, 1497 publ in Arunodaya 1 (1801), no. 10; the completo text was odited by R. 8. Gopua- Exxuan, 1897; od. with Hind! comm. by Kaziwp, Hathras 1040, 1041, 1972; od. ‘with Hind! comm, by 8, Kovipa, Hathras 1956; ed. with Bongalt transl, and notes by S. Mitna, Caloutte 1959. 10" Buiwsuaxpe, Comparative Study, p. 31: Raowavax, Later Satgita Litera- ‘tro, in BENA 17 (1960), p. 22; Ahobala, Sabgitaparijite, od. by $. P. Gmoga, Cal- ‘suite 1878, Profeco, ‘M Baitions 1879, 1884, 1886, 1801, 1940, 1960, 1969. Mt H, Smiox, Zur Chronologio det indigchen Muiklitaratar, in ZIT 2 (1923), P.I64. ‘4 Compare Ahobsla, Safigitaparijte, of. by 8. P. Guoga, 1879, p. 07, tablo of drut ‘Musicological Literature 29 now names, ho states that all theso érutis could be used as notes (svaras) in the various rdgas.'"* But, in conformity with the actual practice, he only mentions ‘wolvo svaras in his description of tho individual ragas. In order to determine ‘the exact position on tho string of each of theso twelve notes, he mentions the ratios representing the divisions ofthe string. Ahobala tabulated 11 340 rdgas under six mela categoris (1. containing only duddha notes; 2. with one alteration; 3. with two alterations; ote.) with threo subdivisions (pentatonic, hexatonic, and heptatonic)."#* But ho describes only 122 ragas in detail, mentioning their tonal structure, the number of their notes, their time of performanco and their characteristic melodie phrase. In his description of the rdgas he does not use particular names for the scales, but indicates, if nocessary, tho alterations (vikrta svaras) flat (Lomal) and sharp (Gora or tivratara) to be wsod in particular rdgas. Ahobala’s unaltered (éuddha) notes, however, no longor correspond with the notes of tho Karpatak mukhari ‘mela, but with thoso of the modern Hindustani kif that. Shortly after Ahobala, Stinivisa may havo written his small treatise, the Ragatattvavibodha™ in imitation of the Saigitaparijéta. Its section on rdgas is a literal quotation from that, work. In tho samo way, the royal author Hrdayanirayana,'® who ruled at Garr or Gatadurga (Jubbalporo) about 1667, may have modelled his Hrdayapra- isa on the riga chapter of the Saigitapsrijéta. Following Ahobala’s system of classifying the régas according to the number of their alterations (vikyta svaras), ho establishes six classes of melas with two subdivisions in the caso of the melas containing ono or tivo vikrlas and three subdivisions in tho caso of the melas with threo and four vikrlas, arriving at a total number of twelve melas. Practically tho samo system of twelvo melas is found in the Ragatarafigin,** writton at about the samo time by a Maithila author, named Loc ‘Tho melas of this small treatise on rdgas have the names of prominent rigas. ‘They resemble the older melas of Srikantha as well as the modern thdjas of Bhitkhagde. Locana’s melas: bhairavi, gauri, karndla, keddra, imana, siraiiga, smegha and mukhari almost correspond with Srikantha’s melas: éririga, mila- vagauda, karpdlagauda, kedéra, kalyana, sdraviga, malhdra and vasanta, respoc- ‘ivoly.1 Locana’s melag: bhairact, lot, gaur, karndja, kedara, imana, dhandért 1 Buxremayps, Comparative Study, p. 32; ANSP. 1, 38-30. ss For more dotaied information soe Indian Musio by tho present write, p. 28; Buxrxxawpe, Comp. Study, p. 28, 35. "W ARSP., edition 1870, p. 4041, tablo of melo Rigatattvavibodha by Srinivasa, ed. by V.8. Dzsat, GOS 120, Baroda 1956. 1M Geo V. RAguAvAN, Lator Sadgita Literatur, in BSNA 18 (1961), p. 1. 0 Edited by B.8. SuEmuaxEan, Poona 1 Looana, dgotarafigin, od. by D. KC. Jost, Poona 1018. Raonavan, Later Sofgite Lit, in BSNA 17, p. 2 + Resakaumudi, Introd. p. 24, 2,30 B, to Nijonhuis and mukhiri are identical with Bhitkhando's thijas: kéf, Bhairavi, bhairava, Khanj,bildval, kalyin, prvi and asivari ‘King Hydayangrayana may havo writton his Hydayakautuka'# in imitation of Locana’s work.%** Ho uses Locana’s melas for his ra classification, but adds a now scale, named after himself: hrdayardma. In substitution for the term ‘dla, he introduces the torm samathdna, deriving from samsthiti, “the position” of the notes on the vind.” Bhivabhatta, a prolife writer, who frat worked at the court of Shahjchan, produced, after his migration to the Bikaner court, a considerable number of ‘works on music and dance at the request of king Andpa Simha, who from 1674 to 1709 reigned over Bikaner. Of all his works only three have been published to far, namely the Aniipasnigitaviliss, the Anfipasafgitaratnakers and tho Anipasaigitaikusa..* ‘The Aniipasaigitavitisa provides us with information on the author and his patron, It is a work in soven chapters (1. svara; 2. raga; 3. prakirva; 4. pra- bandha; 5. vidya 6. tila; 7. nrlya) and mainly a cotapilation from the works of others, such as Ahobala’s SaigitapZrijita, Pundarikavitthala’s Ragnmadjariand Sadragacandrodaya, Dimodara’s Saigitadarpana, Hydayandrayana’s Hydaya- prokiéa, Srinivisa’s Rigatattvavibodha, Raja Mina Simha’s Hindi treatise Rigekutuhila, oto. ‘Tho Antipasaiigitaratnakara is a work in nine chapters (I. svara; 2. rdga; 3. prakiraa; 4. pratandha; 5. vidya; 6. tdla; 7. nrlya; 8. ndfaka; 9. rasa). Tt reproduces large sootions from the Safigitaratndkara and also quotes from the above-mentioned works of other authors. Its rdga chapter consisting of 3000 ‘graxthas (one grantha = thirty-two syllables) contains compositions in Hindi ‘and Braj Bhagé illustrating the rigas, Somo of theso compositions are laudatory songs in praise of Akbar. ‘Tho Anipasaigitaikusa is a work in six chapters (1. soara; 2. rdga; 3. prakirya; 4. prabandha; 5. vddya; 0. tala)" Besides these works tho Bikaner catalogue'™* mentions the following works by Bhavabhatta: Muralipraktéa, a treatio on the flute. Gamakamafjri, a treatiso on musical ornamentation, Gamakamafjarijike, a work, with comm.,.on musical ornamentation. 2% Compare Indian Muse by tho presont writer, p. 6268. +0 Rated by B.& Suxtmatean, Poone 1018. + Raomavas, Later Sabgita Litoratare, in BENA 16, p 1 ps hvoree + Published in ono volume by D. XC. Jo6t and B. 8, Suxraamnat, Poons 1021 + Tho present writer has not sen tate threo published works of Bhivabhaa, but has takon these data from Raomavan, Later Sodgita Literature, in BSNA 18, P.M. Ke Gans, “Bhévabhatfa” in Souvenir of 13% ATO, p. 167173. 1G. Remar Risa and KB, K. Sansed, Catalogue of tho Andp Sanskrit Library, IIT, Bikaner 1947, p. 253-266, ‘Musicological Literature a Nastoddistaprabodhake dhraupadatika, on dhrupad singing. Soigitavinods, on music and dance. Bhévamafijari, on dramatio art (ndfya) Kutupidhytya, on fwapa (2), ic. the orchestra, Andipardgasigara (ca. 3000 granthas), on rdgas. Aniipasafgitavartamana, on music and dance (chapters on raga, widya, nrtya). ‘The Andparagamila is a collection of works on music, including one by Bhiva. bhatta. In South India, Tanjore had in the seventeenth century bevome a centre of ‘music and learning. IGing Shihajt, who ruled in ‘Tanjoro from 1684 to 1711, ‘was a scholar, post and also a great composor. Hei credited with ca. a thousand musical compositions in Telugu, Blardthi and Hindi. Under his supervision demonstration material was collected for the definition of a hundred ragas, which is handed down in ten ragalaksana mas. Tn tho samo way ho had educa. tional standard compositions collected of tho four traditional types (caturday viz, dlpa, (haya, gila and prabandha, comparablo to the modern Kargitak educational compositions gilam and varnam. The soventeenth century com- positions havo como down to us in twenty mss. Tho Tanjoro Sarasvati Mahal Library has undertaken the publication of this valuable material."* Whilo most of tho seventeenth century musicologists were interested in ‘contemporary practico and devoted entire works to the description of ragas, ‘some continued writing on tho ancient Indian torminology of music. So did Basava, king of tho Kannada country (16041714), when he compiled his ‘eaoyelopnedia Sivatattvarstatkara.:"¢ Instead of writing on contemporary ‘music, he reproduced in Lallola 6, chs. 7-9 an archaic musical terminology, referring to ancient authors such as Dattila, Kohala, Bharata, Sarigadeva, eto. ‘Those soctions may have some valuo for the restauration of the older texts. ‘From Orissa (tho ancient Utkal) with its famous tomples in Konarak, Puri and Bhuvaneévar — witnesses of a great cultural tradition — only « limited number of Sanskrit works on music and dance, written in the sixteenth and seventeenth century, have como down to us. The Natyamanorama," a work which deals with older as well as contemporary music, was written in 1702 by ‘tho Odissi author Raghunith Rath, as an abridgement of an earlier book by ‘himself, named Safgitérnavacandrik. Tt has fivo chapters: 1. érutis, evaras, 5, cto. 2. ragas, prabandhas; 3. prabandhas, contd.; télas; 4, smallor com- ™ "Tho fiat isouo of this sories Raga Alapanas and Thiyams in Dovanagort and ‘Toni Seripia, od. by XK. VasuDava Sisrnl, Tanjoro 1968, containe alapance and Mayas of 9 rapas. According to P. P. 8. Sksra, Descriptive Catalogue of Sanskrlt Mas. in Tanjoro SME, XVI, Srtrahgam 1033, p. 7308, ms. 10816 Ragalakganam is ‘dontical with tho toxt Rigalalganam od. by D. K. Joét, Poona 1014. For details ‘on tho ten rdgalakyana and twonty Jakaya mss, ooo K. VasDEvA Sisral, Music ‘at the time of king Sahajt of Tanjoro, in JMANE 17 (1846), p. 90-90, ‘8 Eadited by 8. N. Sksrat, Mysore 1004, 44 Badited Bhuvanesvar 1950.32 B. te Nijenhuis positions; merits and defects of singing; ornamentation, its merits and defects; 5. widya, nit. ‘According to Pattanaik' tho Sanskrit treatises on Odissi music classify the rigas according to the raga-rigixé system, which is of North Indian origin, Tt seems that the two different styles of music that had developed since the four- teenth century, tho Hindustani and Karnétak style, met in Orissa. ‘A work which largely contributes to our knowledge of the history of Odissi {is the Suigitandrayana,"” attributed to king Gajapati Nardyana of Parlakhimedi (ca. 1718-1767), but probably written by his gurw and court composer Purusottama Misra.' Tho Safgitanirdyana deals with music and dance in four chapters: 1. nada, érutt, sara, prima, riga, gita and tala; 2. vidya; 3. nrlya; 4. prabandha. Musical compositions of Purugottama Mlifra are quoted as illustration material in the prabandha chapter. Besides the usual references to works of the anciont authorities, such as Kohala, Matatige, Sarigadova, the ‘work provides useful information on musical treatises written in Orissa: the Safgita Kaumudi of king Sanesena;¥" the Kalaikuranibandha,™* which is Oriya version of Dimodara’s Saiigitadarpans written by Kalaikura; the Gitaprakiéa by Krenadasa Badajana Mahapat ‘Another work attributed to king Narayana, but probably also written by the court poct-composer Purugottame Mira, is the Alatkaracandrika, a treatise ‘on musical ornamentation." ‘Parugottama’s son Nariyana, who was also a court poot and a composer, wrote a treatiso on music, named Saiigitasarani,"® which mentions the types of musical poems composed by his father and by himself. It says that Naré- yana's father wrote only éuddha-prabandhas, i.e. large poems with musical Jntermezzi in various rigas, whereas tho son also wroto eitra-prabandhas, i. poems with a concluding song in one raga. “Another eighteenth eentury Sanskrit work on the music of Orissa is the Saigitamuktavali,"* written by Haricandana of Kanika, son of king Gopinatha ‘Bhabija. Its a small treatise dealing with music and dance in four sections. The first three sections respectively deal with 1. ndda, éruti; 2 rdgas; 9. tdlas. The last section (4) has three subsections: 1. ila; 2, vddya; 3. mrtya, 108. Parraxatm, Oris Music, in TMAM 29 (1958), p86, 1 Published by Orisa Safgit Najak Academy, Bhuvenetvar 1966 ‘0 Soq Racnaven, Later Sugita Literature, in BSNA 16, p. 8;, Bhagavata-mola-nbjaka, in JISOA 1937, p. 167—110. Reghevan, V,, Kalidteahrdayam (Musie and dance in Kalidisa’s works, in Tamil), in JAM 24 (1063), p- 197—150. aghevaa, Vo Late sein Marsa i BSNA 17 (1960), p. 1-24; 18 (1961), P- Raghavan, V., Music in the Adbhuta Riméyana, in MAM 10 (1945), p. 06-72. Raghavan, V uri in ancient erate, {in IMAM Conferonce Souvenir 1950, p. Ragheven, V., Mosie in tho Brhaddbarma Purina in JMAM 0 (1038); p, 3280, Razhavan, Vz Muno in the Lingepurdn, in SHAM 19 (1948), p; 203 205. ee ecole iteraey history of Indian music, in JRLAM 23 (1852), p. pare ogi van, V., Brosont postion of Vedio chanting, in BITC 1067, p 48-09. Hegtavan, V. Somaveda and music, in IMAM 35 (1062), p. 127-13. Reshere® Yi ‘Some eorsections and emondations to the text of the Abhinavs- ‘relia ALB 18 (1964), 34, p, 100-200. aiuto eect nents oe ALE 2680, P27 Ragin, V, Some nares in carly saga literature, in BSNA 6 (1960), p. 19-285 © 1087), p. 23-30. Raghavan, ¥_ Vetivatamalihin and tho 72 mela, in IMAM 12 (194), p. OT Seepevan, Vi, The wftinyn JOR 7 (1033, p- 3852 and 9112 Beene ian, Be Raghunitha mals vind in JAM 85 (1960), p- 143-1 SE, Bhavetette, in Souvenir of tho 13% AIOG p. 167173, SEnicvaidern teh tineofng ago Tanre HSE 140, . 90-06. mad We dar Ohronologe dor iniachen Musklteratur,in IK 2(1823) p- 163106, iron, R, Maghe, Stupliavedh 2, 0, in 2DMG 67 (100) p. 820-523 Simo: Die Notationan dev Somandthe, in SKBAW phios-philol o hist 1608p. 44740. Sime A ?pis Notatonon dar vedischen Liederbucher, in WZKEM 27 (1913), P- ai iA0 Simon FR. Daa Pugpoattra, ited with introd. and German transl, in ADBICBW ‘hiles-phil. Bl 29 (1800), p. 481-780. Bini By Gunn i ncn Mam ZDMG 66 (108, 19-18 Whim. D., Prasiaihyesttra, edited with trans, and note, in: JAOS 1870 (rope. Delhi 1973). 4. 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Authors Abhinavagupta 8, 10, 14, 18 ‘Ahobala 28, 29, 90, 35 ‘Appa Tulasi 36 ‘Afgokamalla, 15 Bosava 31 Bharata 6, 9, 18, 28, 91 Bhatlhando 23, 20, 30, 36, 90, 37 Bhavabhajta 30 ikkabbopala, fummagi 28 Damodara 19, 20, 27, 30, 32 Dimodaragupta "8 Dattila(m) 6, 7, 8, 16, 28, 31 Devendra 34 Dinanath 26 Ghanadyame 19 Ghanadyamedisa 35, Govinda 27, 34 Govinda Diigite 25, 20 Hari Bhofta 27 Haricandana 32, 35 Hariniriyana 35 ariplla 11, 28 Horivallabho 27 ‘Hydayandriyana 20, 30, 98 ‘Tagadekamalla 11 Jayadova 11 ‘Tayasondpati 14,16 Koalankura 32 Kalidien 9 Koallinitha 15, 16 Kohala 6, 16, 31, 32 028 Kumbhi 16, 17, 18 Locana 29, 30 ‘Mahspatra, Krgnadiea Badajana 32, 34 Mahondravarinan 9 ‘Malile Shah 16 Mammata. 35 ‘Mana Simha of Gwalior 30 ‘Matafge 8, 16, 18, 28, 32 Nandikedvara 11, 12, 28 Ninyadova 8, 10, 18 Narada 13, 14, 19, 20, 35 Nardyana, Gajapati 32 Nirhyene con of Parole Mie Phskvadeva. 13, 16 ‘Pundartkavityala 22, 28, 24, 25, 30, 33 Purugottama Milra 32 Raghunstha 25, 26 Raghunitha Rath(a) 31 ‘Rimimitya 20-26, 37 Sabbspati 6 Sonazena 32, 35 Stndilye 6 araditenaya 12 Saragadova 12, 13, 14, 20, 21, 22, 27, 28, 31, 32 Shahojt 31,39, 37 Simhabhipala’ 16 Somansthe 23-26 Somefvara 11 Srtkantho 23, 24, 26, 20 Seinivisa 20, 30 Subhankara 18, 18, 28, 36 Sudhilealada 16, 18, 28 ‘Tagore, 8. M. 35 ‘Thakur, Bhavananda 18 ‘Puleje 23, 24, 37 Vataya 6 Vonlkatamakhin 25, 20, 27, 3, 34, 37 ‘Yojani 90 Dikgita 2550 Indox 2, Works Abhilagitarthacintimant = Manasolltsa ‘Abhinavabbaratosirasagrala by Mfum- magi Cikkabhipila 28 Abhinavabhdrati by Abhinavagupta 10, 14,18 ‘Abhinavardigamanj 38 by Bhitkhande AUhinavatalamad jar! by Appa Tulast 26 Abhinayadarpana by Nendikedvara, 11 Alailciracandrika by Puruyottama Miéra 32 Andparigamila by Bhavabhatja. 31 ‘Andparigasigara by Bhavabhatte 31 Andpasabgitdithusa by Bhivabhatta 30 “Andpesafgitaratndkara by Bhiva- Dbhatta 30 ‘Anipasongitavartamina by Bhava hata 31 Andpasangitavilisa by Bhivabhatia 30 Arjuna Bharata 8 ‘Aumepatam 8 Bharatabhisya by Ninyadova 6, 10, 18 Bharatimava by Nandikeévara. 11, 28 Bharatasomphiti 18 Bhivamadijrl by Bhavabhatja 31 Bhivaprakisa by Siraditanaya 12 Brhaddest by Matanga 7, 8, 16, 18, 28 Caturdandiprakidika by Vetiatama- Khin 25, 26, 27, 38, 34, 37 Catviriméacchatardganiripana by ‘Nirada 19, 20 Dattila-Kohallya 8, 28 Dattilam by Dattila 7, 8 Dhiranalakgana by Sabhipati 4, 5 Gomakamasjert by Bhavabhatte 20 Gamakamasjrigika by Bhivabhatta 20 ‘gana(s) 3, 4 Gitagovinda by Jayadova 11, 12, 18 Gitélamleira by Bharata 9 Gitaprakiéa by Kyypadi¢a Badajana Mahipatra $2, 35 Gitaratnavalt by Jéyasentpati 15 Gramageyagina 3 Hostamuktavall by Subhankara 19 ‘Hastomuktivalistrasamuddhrtik by Ghanséyime 19 ‘Hiydayakautuke by Hydayandsiyana 30, 36 ‘Hydayaprokiéa by Hydeyandxdyana 29, 20, 36 Kalanidhi by Kallinatha 16 Kalatkuranibandhe by Kalanicura 32 Kalpasttra. 10 Kohallya Abhinaya Sistra 8 Postal Maliki by Bhatkhando Kaugimiyamilai Inseriptions 9 Kouftantmate by Dimodaragupta 8 Kutupidhyiya by Bhivabhaya. 31 Mahabharata 9 Minasollisa by Somesvare 11 Muraliprakiéa by Bhivabhayfa 30 Narodiya Siksa 9, 20 Nartananimaya by Pungasikavityhala BY Nastoddiptaprabodhakea by Bhivabho}- yo al ijyamanorama by Raghundtha Rath(a) 31 ne ‘ityadantraby Bharata, 8,7, 8, 10,14, a, 10,28 3,30 Nrttaratndval by Tayosonspats 14, 16 Nrtyudhyaye by Adokaralle 16 PaScamasirasamhita by Nirada 20, 35 Pascatantra 9 pratidakhyas 4, 6 Prayogastabaks, commentary on Dat- ‘lam 16 Purinas 9 Purvireik 3, 4 Pugpasitea 4 [Rigo Alpanas and Thiyame 31 Ragacandrika by Appa Tulaat 30 Ragekalpadruma by Appo Tulast 30 Ragolutuhile by Mina Simha. 20 Ragalakganam 31 Ragamals by 1pmokama 23, Rigamila by Pungartkavitthala 22, 23, 4 Rigamailjart by Pupdartkavityhala 22, 23, 24, 25, 30 Ragasigara’S Index st Ragatarangint by Locana Kavi 20, 20 Rogatatevavibodha by Sriniviaa 20,90, Ragevibodla by Somandthe 23, 24,25 Ramayana ‘Rasakauinodlt by Srlkanthe 29,24,25,29 Resikapriya by Kumbha 18 Raveda 3 Sudarpakandarpa by Bhavinands Ths. cur 1B. Sadrigacandrodaya by Pungarikavit- hala 22,30 ‘Simaveda 3 Samgdnaaigara by Subbeticera 19 surpgita . 600 undor safgita ... Samgitacudimani by Jagadekamalla 11 Saigitadimodara by Subbaikara 18, 19, 28, 36 Safgitadarpape by Dimodara 10, 20, 21, 28, 30, 32 Sadgitakaumud! by Sanasona 32, 35. Saigitamalaranda by Narada 13, 14, 20 Sahgitamultavall by Devendra 34 Safgitamultavali by Haricandana 32, 35 a Saigitandriyana by Purugottama Miéra 2 Safgitaphrijata by Ahobala 28, 29, 20, 35 Safgitaraja by Kumbhi 16, 17, 18 ‘Samgttara by Sarigedova 12— 17, 21, 27, 28, 33, 24, 36 Sfigitaratoamtla by Mammata 35 Sagitarmavacandriki by Raghunsthe Rath(o) 31, 32 5 Samgitasamayasira by Pirévedeva 12 Saniitasira by Harindrdyane 36 Sangitasirannyta by Tulaja 38,34, 37 Saagitosarani by Nartyana 32 Saagitestresadgraba. by: Ghanadyame- ‘dian 35 Safgitasirasnigraha by 8.3. Togore 35 Sangitasiroddhara by Hari Bhatta 27 Saagitestea by Bhatkhango 30 Sangitaiatrasahiqope, = Sangrahact- iment Sahgitadiromant 9,16 Satgitenudha by Govinda Diksita. 25, 26 Saiigtasudhthora by Appa Tulaal 36 Sangitasudhthara by Haripila. 11, 28 Sangitavinoda by Bhavabhayya 31 gitevrtiaratnikara. by Pandactka- vitghala 23 Sabgltopaniqat(siroddhara) by Sudha. esaga 16, 16, 16, 28 Sangrahactdamani by Govinda 27, 24 Sorarvatibrdaydlampica = ‘Bharatabhiaya agi 4,6 Sivatattvaratoakare by Basava 3t mallakgyasaagita by Bhatichango 38 Sadhikara by Stmhabhipile 16 satras 4,5 Svaramelakalinidhi by Ramamatya 20-25, 28, 37 Uitarieikek 4 Vayupurine 9 Vixghaliya by Pungarikavitthala 23, 38