1. Twenty two Musical Srutis Of The Hindus Sourindro Mohun Tagore

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The

twenty-two

musical

srutis

of

the

Hindus

Sourindro

Mohun

Tagore

PROPERTY

OF

University

of

Michigan

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1817

ARTES

SCIENTIA

VERITAS

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MUSIC

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338

.T.14

1886a

OPB

THE TWENTY-TWO MUSICAL

SRUTIS OF THE HINDUS

Sourindro Mohun Tagore

UNIVERSITY MICROFILMS, INC.

Ann Arbor

London

142

UNIV. OF

MICH.

LIBRARY

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PROPERTY

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University

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Libraries

1817

ARTES

SCIENTIA

VERITAS

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THE

TWENTY-TWO MUSICAL SRUTIS

OF THE

HINDUS:

BY

RAJĀH SIR SOURINDRO MOHUN TĀGORE

BAHADOOR, Mus. Doc.,

Knight of the United Kingdom of Great-Britain and

Ireland ; Companion of the Order of the Indian

Empire ; Grand Cross, Grand Officer, Com-

mander, or Knight of divers Orders of

Chivalry; Officer of Public Ins-

truction, France :

Nawab Shāhzādā of the Persian Empire,

Sangitā-Nāyaka ; &c., &c.

Calcutta:

Printed by I. C. Bose & Co., Stanhope Press,

249, How-Bazar Street, and Published by the Bengal

Academy of Music, Pathuriaghata Rajbati.

[All rights reserved. ]

Music

ML

338

.T14

1886a

100-361494

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ML338

T22

Case

TO

His Excellency the Right Hon'ble

THE EARL OF DUFFERIN,

K. P., G. C. B., G. C. M. G., G. M. S. I.,

&c.,

&c.,

&c.,

Viceroy and Governor-General of India,

THIS PAMPHLET

IS

to

OST RESPECTFULLY DEDICATED

BY

HIS EXCELLENCY'S

MOST OBLIGED AND HUMBLE SERVANT,

S. M. TAGORE.

68402

'05

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THE

TWENTY-TWO MUSICAL SRUTIS

OF THE

HINDUS.

The classical authorities on Hindu Music thus describe the phenomena of sound :—

When the animal soul wants to speak out, it impresses the mind into its service, and the mind acts on the fire that has its seat in the abdomen. Thus moved, the fire mixes itself with the vital air that pervades the ligament known as Brahma Granthi which lies below the navel. The

2 The Twenty-two Musical Srutis

vital air gets inflated in consequence of contact with the fire,

and gradually rises up, causing,

in the navel, the Ati Sukshma Náda ( or the very minute sound,) in the chest, the Sukshma

(or the minute,) in the throat, the Pushta (or the developed,)

in the head, the Apushta (the suppressed,) and in the mouth,

the Kitrima ( or the artificial sound). The theory described

as above is best illustrated by the meaning of the term Náda

which is composed of the two consonants Na and da, the for-

mer signifying the vital air, and

the latter, the fire.

of the Hindus.

3

The following description of

the production of sound is taken

from Nathan's well-known work

"Musurgia Vocalis"—"An Essay

on the History and Theory of

Music, and of the qualities, capa-

bilities and management of the

human voice:"—

"Sound is produced by the

reverberation of air. When any

elastic body is caused to vibrate,

it acts upon the circumambient

fluid of air, and creates in it

pulses, waves, or undulations,

which again acting or striking

upon the tympanum or drum of

the ear, communicates with our

4 The Twenty-two Musical Srutis

senses and gives to us the idea called sound. "The varieties of tones in human voices," continues Na-than, "arise partly from the dimensions of the trachea or wind-pipe, which, like the flute, the longer and narrower it is, the more acute is the sound it gives, but principally from the head of the larynx or knot of the throat, called pomum adami, the tone of the voice being more or less grave as the rima or clef therein is more or less open. Hence, ac-cording to the different qualities of musical sounds, we have a thin tone,—a full tone,—a harsh

of the Hindus.

5

tone,—a rough tone,—a round

tone,—a rich tone,—a liquid

tone,—a mellow tone, &c."

Again :—

"The office of respiration, or

breathing, comprehends two pro-

cesses, namely inspiration, by

which the common air of the

atmosphere is drawn inwards so

as to inflate the lungs; and expi-

ration, by which it is discharged

so as to collapse the air-cells,

and thereby diminish the capa-

city of the lungs in proportion

as it was increased by the former

function. And although these

processes are continually going

on with great rapidity in the

6 The Twenty-two Musical Srutis

living system, it is still in our

power to repress or protract

either of them at pleasure to a

considerable extent, and thereby

to render them subservient to

the rules of music. The trachea,

or wind-pipe, with its several

appendages, is of vast import-

ance in the management of the

voice, which is considerably

governed by its contraction and

elongation ; but more particular-

ly by that of the larynx, a carti-

laginous body, which may be

considered the commencement of

the trachea and its common

reservoir of air. It is composed

of five annular cartilages placed

of the Hindus.

7

above one another, and united

by elastic ligaments, or fibres,

by which it is dilated and con-

tracted, so as to be capable of

producing all the various tones

of voice. It is distinctly seen

rising in the production of acute

tones, and descending in low ones.

For the purpose, therefore, of

effecting the greatest possible

elevation of this organ, we

almost involuntarily throw back

the head in great efforts of sing-

ing.

"The larynx,' observes Ren-

nie, 'is lined internally with a

very sensible, vascular and mu-

cous membrane ; which is a

8 The Twenty-two Musical Srutis

continuation of the membrane of the mouth. It is of great importance to keep this in view, as it is owing to its becoming irritated or inflamed and throwing out a quantity of tough phlegm, that hoarseness arises, and other disorders of the voice.'

"At the top of the larynx, we have two semi-circular membranes forming a small oblong aperture, the opening of the wind-pipe, which can be dilated or contracted at pleasure and by its vibratory motions, the tones of the voice are modified; this is termed in anatomy the glottis."

To resume the description

according to the Sanskrit authorities. The sound produced in the

chest is termed Mandra, that in

the throat is called Madhya, and

that in the head, is styled Tára.

On this subject Nathan has the

following :—

"The qualities of the human

voice are commonly distinguished

under three heads, according to

the natural organs which appear

most particularly concerned in

its modulation and tones :—1st,

where the sound appears to issue

almost entirely from the lungs,

it is distinguished as a chest

voice, called by the Italians, voce

di petto ; also, voce naturale, the natural voice : 2ndly, where the throat appears the organ connected with the production of sound, it is called a throat voice, termed in Italian, falsetto : 3rdly, where the process of breathing seems more than usually connected with the nostrils, and the sound is accordingly modulated by their influence, it is termed a head voice, in Italian, voce di testa."

Each of the kind of sound defined as Mandra, Madhya, and Tára, is divided into twenty-two parts, each of which comes under the designation of Sruti, so

of the Hindus.

11

called because it is perceptible

to the organ of hearing.

The classical authorities are

divided in their views on the

subject of Srutis. According to

some, Srutis are of two kinds—

viz, Svaragata, or those which

are inherent in the seven prin-

cipal notes, and Antara, or

those which intervene such

notes. Those that support the

seven principal notes come

under the designation of Svar-

gata, and those that represent

the intervals between the seven

principal notes are classed as

Antara. According to others,

Srutis are of three classes in

accordance with the three different seats of sound. Some others,

again, affirm that Srutis are twenty-two in number, and designate them as follow :—

(1) Tívrā ; (2) Kumudvatí ; (3) Mandá ; (4) Chhandovatí ; (5) Dayávatí ; (6) Ranjaní ; (7) Ratiká ; (8) Raudrí ; (9) Krodhá ; (10) Bajriká ;

(11) Prasāriní ; (12) Prítí ; (13) Márjaní ; (14) Kshití ; (15) Raktá ; (16) Sandípaní ; (17) A'lāpiní ; (18) Madantí ;

(19) Rohiní ; (20) Ramyā ; (21) Ugrā ; and (22) Kshobhiní.

Those who fix the number of Srutis at sixty-six, (at the rate of twenty-two to each of the

of the Hindus.

13

three seats of sound,) name them

as under :-

I.—For the Seven Notes in the

Mandrá octave.

(1) Mandrá ; (2) Atimandrá ;

(3) Ghorá ; (4) Atighorá ; (5)

Mandalá ; (6) Saumyá ; (7) Suma-

ná ; (8) Pushkará ; (9) S'ankhí-

ní ; (10) Nílá ; (11) Utpalá ; (12)

Anunásiká ; (13) Ghoshavatí ;

(14) Nílanádá ; (15) A´vartaní ;

(16) Ranadá ; (17) Ekagam-

bhírá ; (18) Dirghatará ; (19)

Nádiní ; (20) Mandrajá ; (21)

Suprasanná ; and (22) Ninadá.

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14 The Twenty-two Musical Srutis

II.—For the Seven Notes in the Madhya octave.

(1) Nádántá; (2) Nishkalá;

(3) Gurhá; (4) Sakalá; (5) Madhurá; (6) Galí; (7) Ekákshará; (8) Bhriñgajáti; (9) Rasagíti; (10) Suranjiká; (11) Púrná; (12) Alankáriní; (13) Bánśiká; (14) Bainiká; (15) Tristhána; (16) Susvará; (17) Saumyá; (18) Bháshángí; (19) Várttiká; (20) Sampúrná; (21) Prasanná; and (22) Sarvabyápiniká.

III.—For the Seven Notes in the Tára octave.

(1) Iśvarí; (2) Kaumárí;

(3) Savarálí; (4) Bhogavírryá;

(5) Manoramā; (6) Susnigdhā;

(7) Divyāñgá; (8) Sulalitā; (9)

Vidrumā; (10) Mahārká; (11)

Sañginī; (12) Ráká; (13) Lajjá;

(14) Kálí; (15) Suskmatisuksh-

má; (16) Pushtá; (17) Supush-

tiká; (18) Vispashtá; (19) Ro-

karí; (20) Karálí; (21) Vispho-

tántá; and (22) Mediní.

We do not agree with those

who, as we have shown above,

fix the number of the Srutis at

sixty-six. As the fact of there

being three places in the human

body (from which proceed the

sounds representing the three oc-

taves) does not make the number

16 The Twenty-two Musical Srutis

of the principal notes twenty-one

instead of seven, it does not

stand to reason that the Srutis

which form the intervals of the

octaves would have to be multi-

plied by three to represent the

three octaves. In fact the Sru-

tis have lower or higher values

according as they represent the

intervals of the lower or higher

octaves, precisely as the notes

in the octaves have, according to

the positions of the octaves.*

• Perhaps, the object which the authori-

ties had in assigning a name to each inter-

val in the three octaves is to afford one

facilities to trace the position of a particular

Sruti by the bare mention of its designation.

Digitized by Google

of the Hindus.

17

It would, perhaps, be more reasonable to accept the theory of those who declare the number of Śrutis to be countless ;

for there is an authoritative text to the effect that " even Brahmā found himself unable to enumerate the Śrutis intervening the musical notes." We, however, are decidedly of opinion that the number of Śrutis is twenty-two, and proceed to delineate them accordingly.

For the purpose of causing an idea of the nature of the Śruti to be formed, the scholars of old have said this much only :-

Above the chest lies the tubular

B

Digitized by Google

vessel called Sushumná-nárí,*

round which are arranged in a

crooked way twenty-two very

minute arteries. The vital air,

referred to in the preceding

pages, comes into contact with

these, in the course of its motion

upwards, and produces each of

the twenty-two Srutis. These

Srutis rise in value—each higher

than the preceding one. Think-

ing it hard to impress upon one

the idea of the Sruti by means

of the voice, the classical scho-

lars have laid down the following

• One of the three canals, which, accord-

ing to the anatomy of the Schools of Indian

philosophy and medicine, are the chief

passages of breath and air.

of the Hindus.

19

directions with the object of illus-

trating their views on the sub-

ject :-

Mount a Vinā (a stringed

instrument ) with twenty-two

strings. Tune the first string so

low that if it is tuned lower the

sound would be perfectly inaudi-

ble. Tune the second, a little

higher than the first, but so as

not to admit of the production

of any perceptible sound between

the first and the second; and so

on, as regards the other strings.

The sound produced by each of

the strings thus tuned will re-

present a Sruti, and the consec-

utive sounds will represent the

20 The Twenty-two Musical Srutis

sounds emanating from the twenty-two Srātis.

We, however, have hit upon another method to ascertain the nature and the position of the Srutis. The method is as follows :-

Take a Setār or a Vīṇā; measure the distance between the Sharja (C) of the Madhya (middle) octave and the Sharja of the next higher octave, i. e., the C of the Tāra octave. Divide the space between these two C's by putting a dot or a line in the middle. Put a dot or line on either extremity. Place the note F over the dot or line in the middle, the note C on

the other extremity of the first-half portion of the divided space,

and the note higher C on that of the second-half portion. Sub-divide the first-half portion into

nine equal and the second-half into thirteen equal parts,and put a dot or line to mark off each sub-division.

Including the dots or lines already put in (which respectively represent C and F), and excluding the one which represents

the higher C, there will be in all twenty-two dots or lines. Now, each of these dots or lines will

represent a Sruti and the total number of Srutis will necessarily be twenty-two; the names of

22 The Twenty-two Musical Srutis

which have already been given in consecutive order. Of these twenty-two Srutis are born the seven principal notes,–Sharja (C); Rishabha (D); Gándhára (E); Madhyama (F); Panchama (G); Dhaivata (A); and Nisháda (B).

The place indicated by the position of the first Sruti (Tivrā) represents Sharja (C).

The place indicated by the position of the fifth Sruti (Dayā-vati) represents Rishabha (D).

The place indicated by the position of the eighth Sruti (Raudri) represents Gándhára (E).

of the Hindus.

21

The Srutis with reference to their position

in the Octave.

Names of the Seven Notes.

Names of the Twenty-two

Srutis.

C—Shadja (Tonic)

Tívrā 1.

D—Rishabha (Super

Tonic)

Kumudvatí 2.

Mandá 3.

Chhandovatí 4.

Dayávatí 5.

Ranjaní 6.

E—Gándhára (Medi-

ant)

Ratiká 7.

Raudrí 8.

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The place indicated by the position of the tenth Sruti (Baj-riká) represents Madhyama (F).

The place indicated by the position of the fourteenth Sruti (Kshiti) represents Panchama (G).

The place indicated by the position of the eighteenth Sruti (Madanti) represents Dhaivata (A).

The place indicated by the position of the twenty-first Sruti (Ugrá) represents Nisháda (B).

The annexed Table explains the position of the Srutis with reference to the Diapason.

Great difference of opinion

exists as to the relation of the

Srutis to the notes. Some think

that they being both perceivable

by the ear are one and the same

in nature. But this opinion does

not appear to be a sound one,

for the Sruti is the foundation or

supporter of the note, and conse-

quently the supported cannot

be the same as the supporter.

Others hold that the note is

reflected on the Sruti just as the

human face is reflected on the

looking-glass. This view, too,

does not seem to be above refu-

tation, for, unlike that of the

note with reference to the Sruti,

the perception of the reflected

object is of an illusive nature. It is the conclusion of another class of thinkers that the Sruti is the cause of the note, in the same sense that a lump of clay is the cause of an earthen-pot. But this kind of reasoning is faulty too, inasmuch as the clay may be distinguished in the presence of the earthen-pot, whereas the Sruti cannot be perceived in the presence of the note. Some other thinkers make out that the Sruti is transformed into a note in the manner in which milk is transformed into curd. There seems to be some force in this simile.

26 The Twenty-two Musical Srutis

From the Table given, it would appear that there are four Srutis respectively in Sharja (C), Ma-dhyáma (F), and Panchama (G); three, in Rishabha (D) and Dhai-vata (A) respectively; and two in Gándhára (E) and Nisháda (B) respectively. According to modern use, in conformity with which the Table has been drawn up, there are three Srutis between Sharja and Rishabha. Hence, if Rishabha is lowered by one Sruti, it is called *Sámánya

*It would, perhaps, be necessary to explain the Sanskrit adjuncts by which the notes raised or lowered in value are distinguished. Ko-mala means Flat; Tivra=sharp; Sámánya =slightly; Madhya=medium; Áti=very. Thus: Sámánya Komala Rishabha would

of the Hindus.

27

Komala; if it is lowered by two Srutis, it is called Madhya Ko-

mala; and if by three, it is called Ati Komala Rishabha.

There are two Srutis between Rishabha and Gándhára. Hence

Gándhára is called Madhya Komala if it is lowered by one

Sruti; and Ati Komala, if it is lowered by two.

There is only one Sruti between Gándhára and Madhyama.

But, according to usage, the latter is never lowered. It is raised,

i. e., it is made sharp.

mean Rishabha rendered slightly flat. Ati Komala Rishabha,—Rishabha rendered very flat; Madhya Komala Rishabha—Rishabha rendered neither slightly flat nor very flat.

Digitized by Google

The number of Srutis between

Madhyama and Panchama is

three. Hence, if Madhyama is

raised by one Sruti, it becomes

Sámánya Tívra; if it is raised

by two Srutis, it becomes Ma-

dhya Tívra, and, if by three, it

becomes Ati Tíra.

According to the Theory of

Hindu Music, Panchama cannot

be rendered either flat or sharp.

But that makes no difference as

to the pitch of the note sought to

be produced; for Madhyama

sharp amounts to the same thing

as Panchama flat. There are

three Srutis between Panchama

and Dhaivata. If the latter is

lowered by one Sruti, it becomes

Sámánya Komala, if it is lower-

ed by two Srutis, it becomes

Madhya Komala, and if by

three, it becomes Áti Komala.

Two Srutis lie between Dhai-

vata and Nisháda. Hence, if the

latter is lowered by one Sruti,

it becomes Madhya Komala,

and if by two Srutis, it becomes

Áti Komala.

The tonic (Sharja) C, accord-

ing to Indian Music, admits of

no change in its value. Its

position is a fixed one.

Now, comes the question as to

the values of the Srutis. As

would appear from the Table

30 The Twenty-two Musical Srutis

given, the nine intervals between C and F are equal to one another,

C and F are equal to one another, and the thirteen between F and

C (Higher) are also equal to one another. But the intervals in the

latter group are not the same as those in the former, but are

rather closer to one other ; for there are nine intervals in the

first-half of the division, and thirteen in the second-half of it.

Hence the value of the Sruti immediately succeeding the note F

is comparatively higher than that of the one immediately preceding

the same note. The intervals in the two groups are almost equal

to one another, so far as each

of the Hindus. 31

group is concerned—we say al-most, because the notes arranged according to the intervals laid down do not, in some cases, form very accurate representations of the Diapason. But the difference is so minute as to defy detection by the ordinary ear.

To represent, as correctly as possible,the sound of the twenty-two Srutis, we have devised a musical instrument called Sruti-Vīṇā, which is a Setār arranged with frets representing each interval of the middle octave, and mounted with strings. This instrument might give the curious some idea of the arrange-

32 The Twenty-two Musical Srutis

ment of the Srutis in the Diapa-

son, and of the variety of sounds

an Indian octave is credited with

producing.

We have also had constructed

to our order tuning forks forming

a series of twenty-three (inclu-

ding the Tonic of the next

higher octave), which, it is hoped,

will give the uninitiated some

idea of the Sruti which seems to

be as much puzzle to lovers and

cultivators of European Music as

it is a peculiar characteristic of

our own.

The Srutis are, as it were, the

life and soul of Hindu Music. It

is they that form the foundation

of the natural and the chromatic intervals and the fountain-head of the various Rāgas and Rāginis which owe their origin to the different permutations of the intervals. Attempts at harmonising Hindu Music should be made with an eye to the positions of these minute intervals. This subject has been dealt with in detail in the work,* "The Musical Scales of the Hindus," to which the attention of the interested reader is humbly invited.

• By the Author.

34 The Twenty-two Musical Srutis

CONCLUDING REMARKS.

The "Sruti" is known among the modern musicians of India by the name of "Sorut." But I doubt whether all of them understand what is meant by that term. In the course of the general change which followed the transfer of Hindusthan from the hands of the Hindus to those of the Mahomedans, the S'ástras of the Hindus, including that of Music, sank into oblivion. The Mahomedan rulers encouraged the practice of Hindu Music and converted it into an instrument of sensual enjoyment. They did not at all care for the essential principles of Music which, to them, appeared uninviting and inaccessible. The consequence was that the musical S'ástras well nigh fell into disuse. One or two Sanskrit

works on Musio were translated, for the

first time into Persian, by Amir Khusroo

during the reign of the Pathan king

Gias-uddin Balban, who ascended the

throne in 1256 after Christ. Mirza

Khan of Persia wrote also in Persian

a musical treatise which goes by the

name of "Toftel Hind." The book does

not show when or in whose reign it was

got up. A few other Persian translations

of Sanskrit works on Music are noticed,

but in none of them has the subject of

Sruti been clearly dealt with, in its theo-

retical or practical aspect. The Mahome-

dan musicians, when questioned on this

subject, are generally able to say this

much only that there is such a thing as

Sorut, the nature of which, they add, it

is difficult to determine. A few musical

works have lately been translated into

Hindi under the patronage of some of

36 The Twenty-two Musical Srutis

the Hindu Chiefs of the present day, but these works, too, do not give any authoritative exposition of the subject. I have known of the existence of a few Guzerati works on Hindu Music in the Presidency of Bombay, but as, unfortunately, I have not had the opportunity of making myself acquainted with their contents, I am not in a position to say whether or how they have treated the question of the Sruti. From the conversation I have had with a few of the musicians of Guzerat, it did not appear to me olear that they could throw any light on the subject. The Southern portion of India did not suffer so much from the influences of tho Mahomedan conquests as the Northern one, and, for this reason, several Sanskrit works on Music are still extant in the Southern Presidency. The Tamil works written on the basis of the S'astras ienl

of the Hindus.

37

with Srutis in a comparatively comprehen-

sive manner, but it is doubtful whether

the subject has been successfully treated

in its practical view. The principles of

melody, measure and of the Drama, as

followed up to this day in the Southern

Presidency, are exactly the same as

those laid down in the classical authori-

ties. From the work which is being

published by Lieutenant C. R. Day,

of the Madras Army, on the subject

of Hindu Music as described in the Sans-

krit works, extant in the Southern Presi-

dency, it would appear how very different

now is the Music of India to what it was

before. I have had the pleasure of cul-

tivating the acquaintance of several musi-

cians of note hailing from the South,

and can well testify to the excellence of

the manner in which they have practically

explained the principles of the Rāgas in

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38 The Twenty-two Musical Srutis

accordance with the dicta of the S'ástras.

The Music of Bengal and the North-West

has partaken largely of the Mahomedan

element. About 50 years ago, a Bengali

gentleman of the name of Babu Radha

Mohun Sen of Calcutta wrote in Bengali

a treatise on Music which appears to have

had the "Toftel Hind" for its model. This

is believed to be the first work on Music

written in the Bengali language. The

work does not speak of Srutis according

to the views of the S'ástras. The author

simply says that the Srutis are the wives

of the notes; and he illustrates the

metaphor by remarking that, like the

wives gifted with the bashfulness natural

to their sex, the Srutis seek protection

in the persons of their husbands. This, no

doubt, is poetical sentiment, which throws

little light on the views of the musi-

cul S'ástras. About seventeen years ago,

my revered teacher the late Professor

Kshettra Mohun Gosvami succinctly stated

the principles of the Sruti as enunciated

in the ancient works, in the course of

his musical work designated "Sangīta-

Sāra." The opinions expressed on the

subject by eminent Europeans versed in

Hindu Music such as Sir William Jones,

Capt. Willard, and others (notably among

whom is Paterson who has written a

lengthy dissertation on the topic), will be

found collected in my publication called

"Hindu Music from various Authors."

It is known to all musicians of Europe

that the practice of dividing the notes

into minute intervals is not confined to the

Music of India. That the ancient Greeks

had it will appear clear from the follow-

ing passage under the heading of "Enhar-

monic Scale" in Nathan's work "Musurgia

Vocalis" :-

40 The Twenty-two Musical Srutis

"Enharmonic, extremely musical, so called from its superior excellence. Aristoxenus ascribes the invention of this genus to Olympus. The diastema* of the Enharmonic, according to Euclid, are two dieses and the ditonus. Bros- sard says, it is a species of Music, the modulation whereof proceeds by intervals less than quarter-tones. This genus was in great use among the Greeks, especially in their dramatic performances; but in what its excellences consisted we have never been able to find out. It was allowed by all to be so difficult that few could ever practise it ; one of the Euhar- monic scales in the time of Aristoxenus, consisted of quarter-tones and major thirds : they had originally another kind of enharmonic, which was considered much easier of execution, but is now lost."

• Diastema, an interval, or space.

of the Hindus.

41

Dr. Burney says :-“From several pas-

sages in ancient authors who have written

upon Music, it appears that there were two

kinds of enharmonic melodies in use

among the Greeks ; in the most ancient

of which we do not find that the Diesis

or quarter-tone ever had admission.

This I shall distinguish, in the course of

the following essay, by the title of Old

Enharmonic. The other, in which the

semi-tone was divided, and which seems

to have been a refiuement upon this, I

shall call New Enharmonic.”

The practice still obtains among the

Arabs, as would appear from the follow-

ing remarks taken from Nathan :-

“ Aristotle speaks of enharmonic melo-

dies being formerly preferred to all others

for their ease and simplicity. The enhar-

monic was in its decline in the time

of Aristoxenus and the chromatic daily

42 The Twenty-two Musical Srutis

increasing in public favor. Dr. Burney.

tells us, that Dr. Russell procured him

from Aleppo the Arabian scale of Music,

the octave of which consisted of twenty-

four quarter-tones, all of which had their

particular denominations."

In his work entitled "An Introduction

to the Study of National Music," Carl

Engel reproduces a song of the natives of

Nukahiva, (the principal Island of the

Marquesas Archipelago) which illustrates

the use of the quarter-tones, and remarks

that it is also discernable in the vocal

performances of some other barbarous

nations. The New Zealanders, or Maories

are reported "to be gifted with a remark-

ably fine ear for distinguishing quarter-

tones." "Mr. Davies," adds Carl Engel,

"has written a small essay, the purport

of which is to prove that the succession of

intervals employed by the Maories bears

of the Hindus.

43

a close resemblance to the enharmonic genus of the ancient Greeks, which consisted of a succession of a quarter-tone, another quarter-tone and a major third."

The preceding pages represent a brief resumé of the views of classical authorities, such as Bharata, Nárada, Sárangdeva, &c., on the subject of the Srutis, and are written on the bàsis of those authorities. As would appear from the context, attempts have been made to illustrate the subject, firstly, with the help of a setár in which the frets have been arranged with reference to the positions of the Srutis in a Diapason, and secondly, with the help of a set of tuning forks representing the intervals of the Diapason. For the idea of the latter I am indebted to Mr. A. J. Ellis, the eminent authority on Mathematical Music, at whose instance the Goverument of India has done me the

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44 The Twenty-two Musical Srutis

honor of asking whether I could undertake to carry out the suggestion. The immediate object of the publication of this hurried and necessarily imperfect pamphlet will be found in the correspondence published in the Appendix. If by the construction of the tuning forks, supplemented by this brochure, I am found, even to the slightest extent, to have succeeded in carrying out the orders of the Government of India and in giving the visitors of the "Indo-Colonial Exhibition," and the European public generally, an idea of the nature and uses of the Sruti, my labors in this connection will have been amply recompensed. In conclusion, I think it but just to state, that my eldest son, Kumar Pramod Kumar Tagore, has considerably lessened my labors by him-self undertaking to transcribe the Srutis on the tuning forks. My acknowledge-

L. ȧ C.

of the Hindus.

45

ments are also due to Mr. S. Harraden of

this city, for the favor he has done me by

obtaining for me such a large number of

tuning forks.

Calcutta,

March 1886.

S. M. TAGORE.

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APPENDIX.

No 3573 Ex.

1225

From

C. S. BAYLEY, Esq., c. s.,

Under-Secretary to the Government of India.

To

Rajah Sir SOURINDRO MOHUN TAGORE,

Kt., c. I. E.

Calcutta, the 29th December 1885.

Revenue and Agri-cultural Department.

(Exhibition).

Sir,

I am desired to forward for your information the enclosed papers on the subject of the preparation of a set of tuning forks representing the division of the Indian octave for the forthcoming Colonial and Indian Exhibion.

Copy of letter, dated 10th November 1885, from Mr. Ellis to the Royal Commissioners for the Colonial and Indian Exhibition. Extract paragraphs 3, 4 and 5 of letter dated 23rd November 1885 from Mr. Ellis.

2. The Government of India is itself unable to provide this exhibit, but aware of the interest

taken by you in the subject of Indian Music and

of your intention to send a selection of native

musical instruments to the Exhibition, has directed

me to forward the communications received from

Mr. Ellis and to enquire whether you would wish

to carry out his suggestion.

I have the honor to be

Sir,

Your most obdt. Servant,

(Sd.) CHAS. S. BAYLEY,

Under-Secretary to the Government of India.

25, ARGYLE ROAD,

KENSINGTON, LONDON, W.

23rd November, 1885.

To

E. C. BUCK, Esq.,

Secretary to the Government of India,

Revenue and Agricultural Department.

Sir,

3. THE music of India is very remarkable

and its musical Scale has never been satisfactorily

solved. It consists of a division of the octave

48

APPENDIX.

into 22 Srutis, presumed to be unequal, but no representation of these Srutis by fixed tones has ever been made.

4. My suggestion is that 23 tuning forks be procured and exhibited, giving the 22 notes of the Scale and the octave of the lowest note and hence the 22 Srutis' intervals. On such forks being exhibited, I undertake gratuitously to determine the exact pitch of each, as I am the only person, I believe, in England who possesses the necessary means.

5. The proper person to determine whether such forks are correctly tuned and to superintend their construction is Rajah Comm. Sourindro Mohun Tagore, Musical Doctor, Companion of the Order of the Indian Empire, Founder and President of the Bengal Academy of Music, Author of "The Musical Scales of the Hindus," Pathuriaghatta Rajbati, Calcutta. My suggestion is therefore that you should request him to procure such a set of forks for exhibition. He is fully aware of their value and importance to Indian music, and that they alone (to use his own words addressed to me on 22nd September, 1885) "are

calculated to bring the vexed question to a definite head.

Respectfully yours,

(Sd.) A. J. ELLIS.

(True Extract.)

(Sd.) G. A. ANDREWS,

Registrar, Revenue and Agricultural Department.

Copy of a letter from Alexander J. Ellis, Esq.,

F. R. S., F. S. A. Member of the Music Committee of the Inventions, Exhibitions, &c., &c., to

Sir Philip Cunliffe-Owen, K. C. M. G., dated,

London, 10th November, 1885.

Dear Sir,

Assuming that it is intended to illustrate fully

the remarkable Music of India at the Indian and

Colonial Exhibition 1886, I beg respectfully to

suggest through you to the Royal Commission,

that any exhibit will be incomplete, unless means

are taken to determine the complex Indian division of the octave into Srutis, presumed to be unequal, and that the only certain means of doing so

50

APPENDIX.

is to cause 22 forks to be tuned to the Indian

middle Saptaka or septime, the intermediate tones

and the octave of the lowest note.

Also I would suggest that the only person in

India fit to superintend such a set of forks

and pronounce that they are correct, is

Rajah Sourindro Mohun Tagore, Musical Doctor,

Companion of the Order of the Indian Empire,

Founder and President of the Bengal Academy of

Music, Calcutta, Author of the "Musical Scales

of the Hindus," 1884. I therefore respectfully

suggest that the Rajah be requested to furnish

such a set of forks for the Exhibition.

If such forks arrive in England, I will grati-

tously examine them, and furnish the number of

vibrations of each fork, as I am perhaps the only

man in England who possesses the necessary instru-

ments. By this means the Indian Musical Scale

which has long been a vexed question will be

known accurately for the very first time.

I, therefore, finally suggest that this is an oppor-

tunity not to be neglected.

Be kind enough to bring this letter to the notice

of the Royal Commission.

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APPENDIX.

51

Forwarded to the Secretary to the Government

of India, Revenue and Agricultural Department,

for his consideration. Mr. Ellis has also been re-

commended to apply to India direct on the subject

of his letters.

(Sd.) J. R. ROYLE.

Printed by J. C. Bose & Co., Stunhope Press, 249,

Bow-Bazar Street, Culcutta.

Music

ML

338

.T14

1886a

Tagore,

SourindroMohun

The

twenty-two

musi-

cal

srutis

of

the

Hindus.

DATE

DUE

JUN

5

'68

JUL

2

'68

OCT

11

'68

OCT

31

'68

NOV

6

1970

MAY

05

1997

SEP

2

1975

APR

22

RECD

MAR

21

1974

JAN

21

1976

MAY

25

1976

MAR

14

1977

NOV

08

1988

DEC

03

1988

NOV

3

GAYLORD

PRINTED

IN

U.S.A.

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