1. Comparative Study Of Some Of The Leading Music Systems 16-18 Centuries Bhatkande V.N
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4990010025461
A Comparative Study Of Some Of The Leading Music Systems
Bhatkhande V.N
sanskrit
135
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A COMPARATIVE STUDY OF SOME OF THE LEADING MUSIC SYSTEMS OF THE 15TH, 16TH, 17TH & 18TH CENTURIES.
V. N. Bhatkhande, B A, LL B
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35 सं० सार कलिका
36 सं० रागतत्त्वविवोध
37 हृदयन्तरागविचार
38 सं० रामकौतुक
39 सं० उपनिषत्सार
40 संगीत दर्पण
41 सं० आनन्दजीवन
42 सं० दर्पण-हिंदी
43 रागमाला
44 संकीर्णरागाध्याय
45 रत्नाकर टीका (कष्टीनाथे)
The following Sanskrit works will be available in the Government Oriental Library, Mysore.
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1 अभिनयदर्पण
2 अभिनयमुकुट
3 अभिनवभरतसार
4 आदि भरत
5 संगीत दर्पण
6 भरतसार
7 संगीत चूडामणि
8 संगीत मकरंद
9 अभिनयप्रकरण
10 रत्नाकरव्याख्या
11 संगीत लक्षण
12 संगीतमयसार
13 संगीतलक्षणदीपिका
14 स्वरप्रस्तार
15 स्वरमेलकलानिधि
The following Music granthas will be found in the Palace Library at Trivandrum.
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1 अंगहारलक्षण
2 नाट्यप्रंध
3 नाट्यवेदविवृत्ति
4 नृत्यरत्नाकर
5 बालराममृत
6 नाट्यवेद
7 भावप्रकाश
8 रसार्णवसुधाकर
9 संगीत चिंतामणि
10 ,, चूडामणि
11 संगीत सुधा
12 ,, सुधाकर
13 सप्तस्वरलक्षण
14 स्वरतालादिलक्षण
The following will be found in the Central Library at Baroda :
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1 संगीत रत्नावली
2 संगीत रसकौतुकी
3 स्वरमेलकलानिधे
4 संगीत मकरंद
I am informed there are some more lately acquired by the Baroda Government.
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The following are the treatises available in the Library of His Highness the Maharaja of Kashi.
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1 संगीत रत्नाकर
2 संगीत रघुनंदन
3 सं० रत्नाकर स्वराध्याय
4 संगीत सारावली
5 संगीत पारिजात
6 रागसारावली
7 रत्नाकर टीका सि० मू०
8 उकदे गुषा- (पर्शान)
9 नघमाते ंआंसकी (पर्शान)
10 नाददीपक
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संगीतशास्त्रमवेस्तममाधारलगोचारम् ।
वर्णादौ रागमेलादिहृदयंगमेयेन कथमते ॥
आकारे हृदयोमेलाद्वादशेशोभयोगिनः ।
मेल-स्वरमूर्छः स्वाद्रागयुग्जनश्रेष्ठिमान् ॥
स्वर प्रकरणम् ॥
षड्जादि पड्जरपमेऽपि गान्धारो मध्यमस्तथा ।
पञ्चमो घैवतश्चैव निषाद इति स्मृत ते ॥
ऋषुभिगोत्रनियादश्र प्रथितः ऋषुतां ऋग्वै ।
चतुः श्रुतिमयुक्ता पूर्बतत्समपाः स्मृताः ।
स्वालभृतिस्थिता शुद्धा स्पुरण्या विकृताः स्वराः॥
श्रुतिमध्यादि तुय्यन्ताः स्वराः येऽपि गान्धर्वार्तिन् ।
तांव्रस्तीनतरस्तीक्ष्णतमा भवति हि कमात् ॥
स्वेपत्सुधृतितद्भ्यां तु कोमल-परिकीतितःः ।
निरतं?पतससस्तु भारतील्याम कथ्यते ॥
सप्तस्वपि श्रुतीनां तु निवेशः श्रुतिनिर्णये ।
मुख्येप्यपि निवेशोऽपि तदन्यां प्राप्यते न तु ॥
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SADRAGA - CHANDRODAYA
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Page 65
RAGMALA
This is another treatise by Pundarika Vithala
It deals with the Northern system of Music proper
Here too the author builds up his Raga system on the Southern Shuddha scale
सा ति (ि म प ध ति.
We know that was also the shuddha scale of the Sadraga-Chandrodaya
The names of the vikrta swaras here are not those of the Chandrodaya
The ragas again are divided into three classes, namely 'purusha' ragas, 'stree' ragas, and 'putra' ragas
This is supposed to be the genuine northern style of Raga classification
After mentioning the three seats of sound 'mandra' madhya and 'tara', Pundarik says -
यंरेशोःपुदरस्थान स्वाद्रतायके तदच्ययपन ।
मन्द्रादेश्चततं स्थान व्यवहोनेडपि धीयते ॥
The sruti is distinguished from the swara in the usual way
हृति: श्रुतिस्थतो लमजातोऽतुरणनश्चननि: ।
मात्रादेश: श्रौचिवचं स्वतो रजयति स्वर ॥
It is worth noting that in the time of Pundarika, as also in that of Hrdaya, Ahobala, and Srinivasa, there was only one grama in use
The shadja-grama commencing with shadja was the shadja-grama
shadja-grama of Lochana was our modern Kafi that Pundarika's author accepts the old twenty-two srutis, and their distribution among the swaras.
द्विचतुर्भि: मातृस्थान शोषानाचाकरण कमार !
प्रमत्तपुत्रशोधनत: शुद्धन: श्राद्यमायात: ॥
रगादिच्च्युतिहाराय ताथ सस स्वरा र्थितता:।।
पचभि: धैवतमाथ निवादधैवतक्रमात् ।
तेन तु श्रुतिमध्यस्थनी-वरा मता: ॥
वेदाच्छुतिस्थतु रपादेश्या युत॒ तया ।
षड्दरतत च तिर्यग च द्वाविशय च धुनो कमार ॥
वड्जातीनां रपोते: श्रेणी प्रथमा मरतादिमि: ॥
The word "sthuti" in the last line has to be carefully noted
Pundarika means by it the original or shuddha place of the swara
He uses the word in contradistinction to the word "gati", by which he means the vikrti of the note
When a swara becomes vikrta, it leaves its original place or 'sthiti' and moves
Thus the word "gati" happily represents the idea of change
The shuddha scale being southern, the vikrtis of the swaras will necessarily be the higher "gati" of the
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RAGA MANJARI
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RASA-KAUMUDI
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Chart showing the nine thatas of Shrikantlha with their Swaras:-
थाट नाम
स्वर:
हिंदुस्तानी स्वर:
१ मालव गौड़
सा री ग म प ध नी
सा री ग म प ध नि सा
२ शुद्ध
सा, षतुधृतिं, साधारण, शुद्धम, शुद्धप, शुद्धध, कैशिकानि
सा री ग म प ध नि सा
३ शुद्ध नाट
सा, षतुधृति, पटम, शुद्धम, शुद्धप, त्रिश्रुतिनि, पटसा
सा ग ग म प नि नि सा
४ कर्पाट गौड़
सा, शुद्धम, पटम, शुद्धम, शुद्धप, शुद्धध, कैशिकानि
सा री ग म प ध नि सा
५ केदार
सा, शुद्धम, पटम, शुद्धम, शुद्धप, शुद्धधनि, पतसा
सा री ग म प ध नि सा
६ मेलार
सा, शुद्धम, पटम, शुद्धम, शुद्धप, त्रिश्रुतिनि पतसा
सा रीं ग म प नि नि सा
७ देशाक्षी
सा, त्रिश्रुतिग, पटम, शुद्धम, शुद्धप, शुद्धधनि, पतसा
सा ग ग म प ध नि सा
८ कल्याण
सा, शुद्धम, साधारणग, पटप, शुद्धप, शुद्धधनि, पतसा
सा री ग म प ध नि सां
९ मारू
सा, शुद्धग
सा रीं म प नि नि सां
वि-श्रुत्-ड-प-डज-गांधारौं
तथा मध्यमपंचमौ
पत-पौंच समौ (समौ ?)
यत्न
निपाद: कैशिकौ पुन:
मेल
जन्य जनक राग व्यवस्था
१ मालव गौड़
१ मालव गौड़ २ सौराष्ट् ३ गुर्जरी ४ मध्धारी ५ बहुली ६ पाडी ७ गौड़पंचम ८ भैरब ९ कर्पाट बंगाल (१०) ललित (११) गौड़ी
This is the शैव धाट
of Hindustani Music.
२ शुद्ध
१ यं २ मालवश्री ३ घनार्थ ४ मैरव ५ देवगांधा
This is the Nor-thern Kaphi Thata.
३ शुद्ध नाट
१ शुद्ध नाट
४ कर्पाट गौड़
१ कर्णाट गौड़
This Thata will correspond with the Nor-thern Khamaj.
५ केदार
१ बिलावल २ नटनारायण ३ शंकराभरण
This is the Hindustani Bilawal Thata.
६ मेलार
१ गौड़ मेलार २ कामोद
७ देशाक्षी
१ देशाक्षी
८ कल्याण
१ कामोद २ हमीर
९ मारू
१ सारंग
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The Works of Bhava Bhatta Pandit
We shall now proceed to consider the three works of Pandit Bhavabhatta, namely Anupa Sangita Vilasa, Anupa Ratnakara, and Anupankusha. Bhavabhatta was in the service of the Rathod Rajput King Anupa Singh, the son of Karan Singh of Bikaner. Anupa Singh was a contemporary of the Emperor Aurangzeb Bhavabhatta's father, Janardan Bhatta was in the service of the Emperor Shah Jehan, the great Mogul-Emperor of Delhi. It is quite possible that during the reign of Aurangzeb, who was not over fond of music, the Court musicians of Shah Jehan, got scattered and Janardan Bhatta or his son Bhavabhatta took service at Bikaner. Bhavabhatta in his Anupa Vilasa, mentions his family and residence as follows -
तताजलेशुये पूतवा नमस्तेऽस्य द्विजोष्ठनाम् । महुश्रुमानमात्रय प्रसथावित: स्वदासिने ॥ तत: परं च ता राजा नामगोत्रकुलानि च । गुण विमृष्य तत्रैव गृहे यावत् सविस्तरम् ॥ कुलाग्रणीन्समूज कुलमातृदिदेशजम् । प्रवृद्धवलिताग्र: प्रीत्या तानसदृक: ॥ पिता जनार्दन: साक्षाज्जनार्दन ह्वापर: । मातु: स्वप्रभा नाम मातृपुंज स्पपूर्ज्जे ॥ विकारो मानसो मातु: पदवी महामतिः । मृता: पूज्ये स्मृता: कोचे श्रीमदमरवकोचंक ॥ सेनेंद्रमवमद्रेनि "गीतिं" च धाराममद्रव । तैरेंद्रियं यु संगीतम् सगीना हृदन उच्यते ॥ पनरामेन चानुद्रुतपतग्वनीति द्रवितम् । ध्रीमन्माधिहरौपुपतिरपेद्धेतमतुलना ॥ भीममातृदृशाजामुपदच रायपरे तत: । श्रीमावमदसंगीतगयात्रयप्रुप्रकर्द्धी ॥ एवं नाभेद जाते श्रीमदनुपविमो यम् ।
It would thus appear that the poet was born in Dhavalpur in the Abhur district, (Malwa). He was a Brahmin by caste and his getra was Knshnatra. His mother's name was Swapnabhara and his father's name was Janardan Bhatta Janardan Bhatta was given by the Emperor Shah Jehan, the title of Sangeeta Raj. According to research scholars, Anupa Singh ruled in Bikaner from 1674 A D to 1709 A.D. Bhavabhatta's own title was "Anushtupa-Chakravarati-Sangeeta-Raj." The whole material of the Swaracadhyaya of Anupa Vilas has been borrowed from the Sangeeta Ratnakara of Sharng Deva The culter does not give us the impression that he clearly followed the theories of
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RAGA-VIBODHA
Pandit Somnath
Sanskrit
1610 A.D.
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