Indian Music An Introduction

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Indian Music is a product of not just an arrangement of sounds but of Indian History itself. This book is an authoritative treatise on the whole range of what constitutes Indian music, be it classical or folk type. The author traces not just the history behind the evolution of particular styles of music but also explains what each style is all about. He also mentions the corresponding or equivalent terminology employed in Western music. The essential ingredients of the execution of any typical piece of Indian music are clearly spelt out. The author dwells at length on the composition of various ragas. There is also an explanation of the notation system at the end of the book as well as English translations of some compositions.

Dhurjati Prasad Mukerji was one of the few scholars who remoulded the milieu of Lucknow University, which was set up in the 1920s. Thanks to the residency of D. P. Mukerji, the university underwent an intellectual transformation during the 1930s to the 1950s. He was an inspiration to his colleagues and the community of students at large. His erudition was astounding-he was equally at home in history, sociology, economics, moral philosophy, art, physical sciences, architecture and last but not the least, music.

A Note

This booklet was written primarily at the request of an English friend of mine who wisely thought that the present was the time for mutual understanding between East and West and generously felt that I could do my little bit towards its consummation by writing on Indian music and culture. But my ignorance of the principle of Western music prevailed over friendly confidence, and the first draft lay neglected in my box. But the enterprising Bombay firm, Kutub would not, however, let it remain there. In that process of disinterment what was originally intended as an introduction to Indian music mainly for non-Indian readers has become an essay on the connection between music and the people.

A complete acknowledgment would occupy pages. I can only mention Dr. Feldman and his wife, some of whose valuable suggestions I have incorporated.

Principal S. N. R atanjankar of the Marris college of music, Lucknow, has very kindly checked up the Mss., and added the two songs in notation in illustration of the classical structure and movement, as also the Lakshan piece of Bhatkande, all given at the end. The notes on the notation and the ragas and the English translations of these compositions are also his. So my gratitude to him is deep. But for his unfailing assistance this Introduction would have been incomplete. Tagore's song has been rendered into Bhatkande-notation by Mr. Digindra Roy. The Shantiniketan I cannot but thank profusely for permitting the use of noe of the loveliest compositions of Tagore. My sincere thanks are also due to Dr.Malini Bhalchandra Sukthankar for permission to include Bhatkande's Lakshana Geeta. The system of ragao-classification adopted here is that of Pandit V. N. Bhatkande.

I am also obliged to my European friends who made me sense, if not understand, the gratness of European music. The reader will do well to read(1) H. L. roy's problems of Hindustani Music (2) B. Swarup's Theory of Indian Music(3) K. D. Banerji's Gita sutra Sar with the translators explanations and notes and (4) O. C. Ganguly's Ragas and Raginis. Pandit Bhatkande's books are mostly written in Marahatti and Hindi, and it is worth learning these two Indian languages just to read him. R. L. roy's treatise, Raga Nirvaya, is probably the best book of its kind in Bengali. Sambamurti's Grammar of South Indian Music in four parts is a reliable introduction to the Karnatic style. After mastering these modern Indian authorities the reader may proceed to the classics in Sanskrit, Persian and Hindustani. But then this booklet is not meant for advanced students. I have not dealt with the intricacies of the rhythm (tal) in this booklet for the same reason.

By the way, I am not ashamed of the sociological stamp in my treatment of music.