The raga-s of which notations appear in this book conform to the Benares Musical Tradition. They have been noted as played on the North Indian Vina by the late Shivendranath Basu of Benares and with his kind help and advice. They often differ slightly from those noted by Bhatkhande and other modern compilers who belong to other schools (gharana-s).

About the Book

The first part of the book traces the history of Indian music and the continuity of its theory and practices for more than two thousand years. It is based on many years' research into the vast ancient Sanskrit literature of music. These valuable technical treatises, which lie in the form of scarcely catalogued manuscripts throughout the public and private libraries of India, had hitherto remained unemplored. Part two transcribes and studies in detail 50 typical Raga-s. Each is preceded by a Sanskrit poem in translation which depicts the atmosphere; then follows an analysis of the scale, covering its intervals and expression, a study of the theme with its characteristic motives and finally a typical development.

The present work is based on the author's two-volume Northern Indian Music Published in London (but not America) some ten years but, but long out of print and much sought after by students. It was described by Colin Mason in the Manchester Guardian as "of immense value to any practical musician" and "an invaluable addition to the very scanty literature of fascinating and neglected subject". This new version contains a number of additional Raga-s; the earlier text has been extensively revised and many music examples redrawn for greater clarity and accuracy. Some abridgement has taken place, but only of material which appeared originally for the benefit of Indian readers unfamiliar with Western staff notation, those able to read Sanskrit, and specialists in Sanskrit literature.

The book provides modern composers outside India with source of new inspiration and enables practicing musicians to play and study some of the endlessly variegated modes for which Indian music is unique.

About the Author

Alain Danielou is Director of the International Institute for Comparative Music Studies and Documentation, Berlin, and adviser for Oriental Music to the International Music Council (UNESCO). Born in Paris, he pursued scientific and artistic studies before specializing in musicology. He traveled extensively in North Aftrica, the Middle East, China and Japan and then settled in India, where he studied Indian Music and philosophy, Hindi and Sanskrit, and made a unique collection (over 800) of Sanskrit manuscripts on music. In 1949 he was appointed Research Professor of Music at Benares Hindu University and in 1954 became Director of the Adyar Library and Research Center in Madras. In 1959 he returned to Europe, joining the Ecole Francaise d' Extreme Orient in Paris, and subsequently became Director of Studies of the Centre d'Etudes de Musique Orientale of Paris. He has written extensively in both French and English on Oriental Music and on many aspects on Indian history and culture, and has also published two novels. He is the general editor of the three UNESCO collections of records: "Anthology of the Orient" (Barenreiter Musicaphon), "Musical Sources" (Philips, Holland) and "Musical Altas" (EMI, Italy).

FOREWORD

X

PART I
INDIAN MUSICAL THEORY


CHAPTER I	THE HISTORY OF INDIAN MUSIC	1
	The four schools (mata-s)	4
	The Sanskrit writers on music	6
	First period (Puranic-Vedic-Epic)	7
	The second (Buddhist) period	14
	The third (Medieval) period	15
	The fourth (Modern) period	17
	The chief writers of the fourth (Modern) period	18
CHAPTER II	BASES OF MELODIC STRUCTURES	2I
	The nature of sound	21
	The Tonic or drone	22
	The tonic or drone	23
	The three main octaves (saptaka-s)	24
	The seven notes (svara-s)	24
	The intercalary notes	26
	The intervals (shruti-s)	27
	The measurement of the shruti-s	29
	The notation of the shruti-s	31
	The expression of the shruti-s	38
	A suggested interpretation of the families of intervals (shruti-jati-s)	44
	Flats and sharps	49
	The scale	50
	The three basic scales (grama-s)	52
	Modal scales (murch hana-s)	54
	Class (jati)	55
	Mode-types (thata-s)	56
	Group	60
	Graha, amsha, nyasa	60
	The predominant note or sonant (vad)	61
	The consonant (samvadi)	62
	The assonant (anuvadi)	63
	The dissonant (vivadi)	63
CHAPTER III	RHYTHM	65
	Tempo (laya)	65
	Rhythm (tala)	66
	The main rhythms (tala-s)	67
	Syncopation	74
CHAPTER IV	MELODIC DEVELOPMENT	75
	Melodic movement (varna)	75
	Melodic Figures (tana-s)	76
	Ascent and descent (aroha, avaroha)	77
	Ornaments (Alamkara)	77
	Grace (gamaka)	80
	The four phase in the development of a raga	86
	Style of music	86
	Styles of singing or playing	88
CHAPTER V	THE RAGA-S	91
	The number of raga-s	92
	Moods, colour and notes	92
	The description of raga-s in verse and pictures.	93
	Tuning of the instruments	94
	Theme (rupa) and outline	95
	Time of play	95

PART II
NOTATION AND ANALYSIS OF THE RAGA-S


CHAPTER I	EARLY MORNING RAGA-S	99
	1. Lalita (at dawn)	101
	2. Vibhasa (at sunrise)	105
	3. Bhairava group (after sunrise)	109
	Yogiya	110
	Yogiya I	111
	Yogiya II	112
	Prabhat	113
	Shiva Bhairava	116
	Ananda Bhairava	119
	Bangala Bhairava	122
	Bhairava	122
	Ramakali	128
	Gunakali	131
	4. Todi., group I (first quarter of the day)	135
	Gurjari	136
	Mukhari	139
	Lachari Todi	142
	Todi	145
	Vilasakhani Todi	145
	5. Todi, group II (Yavanapuri) (first quarter of the day)	151
	Gandhari	152
	Deshi	155
	Pathamanjari	158
	Yavanapuri	164
	Asavari	164
CHAPTER II	LATE MORNING RAGA-S	167
	6. Bhairavi group (second quarter of the day)	169
	Rewa i	170
	Dhani	173
	Shat	176
	Bhairavi	179
	Bhupala	182
	Samanta	185
	7. Bilaval group (second quarter of the day)	189
	Bilaval	190
	Lach'ha Bilaval	193
	Kakubha Bilaval	196
	Alhaiya Bilaval	199
CHAPTER III	NOON AND AFTERNOON RAGA-S	203
	8. Saranga group (noon)	205
	Saranga	206
	Madhyamadi Saranga	209
	Brindabani Saranga	212
	Gauda Saranga	215
	9. Shri group (last quarter of the day)	219
	Dhanashri	220
	Malavashri	223
	Shri	226
	Bhimapalashri	229
	Multani	232
	10. Nata (in the afternoon)	235
CHAPTER IV	EVENING RAGA-S	239
	11. Pilu (at the end of the day)	240
	12.   Puravi group	243
	Marava	244
	Puravi	247
	Rat Puriya	250
	13. Dipaka (after sunset)	253
CHAPTER V	RAGA-S OF THE EARLY NIGHT	257
	14. Kalyana group (night, first watch)	259
	Yaman-Kalyana	260
	Tilaka Kamoda	263
	Gopi Kambhoji	266
	Yaman	269
	Kamoda	272
	Chhayanata	274
	Kedara	277
	Bhupali	280
	15. Khammaja group (night, first quarter)	283
	Durga	284
	Hambir	287
	Khammaja	290
CHAPTER VI	RAGA-S OF THE DEEP OF NIGHT	293
	15. Kanada group (second qurter of the night)	295
	Suha	296
	Sindhura	298
	Sahana	301
	Kafi	304
	Sinddha Kafi	307
	Kanada	310
	Bageshri	314
	Jayajavanti	317
	Bahar	320
CHAPTER VII	RAGA-S OF MIDNIGHT AND LATE	323
	17. Malakosha (at night)	324
	18. Bihaga	327
	19. Paraj group (after midnight)	331
	Paraj	332
	Sohini	334
	20. Shankara (at the end of the night)	337
	21. Kalingada (before dawn)	340
CHAPTER VIII	SEASONAL RAGA-S	343
	22. Spring raga-s	345
	Hindola	346
	Vasanta	349
	Panchama	352
	23. Raga-s of the rainy season	355
	Miyan Mallar	356
	Desha Mallar	359
	Gauda Mallar	362
	Surat Mallar	365
	Shuddha Mallar	368
	Megha Mallar	371
BIBLIOGRAPHY		375
DISCOGRAPHY		397

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