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The Odyssey of Indian Music
from June 2021
By Dr. TLN Swamy
Music is energy
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That reverberates in the shrine Of this mystical celestial design
Music is serene
That transcends thy sense Into the infinite cosmic expanse
Music is elation
That bestows eternal ecstasy To thy life’s mundane odyssey
Music is joy
That makes thy soul dance Enchanted in a blissful trance
Music is divine
That instils unflinching devotion Into thy agnostic conscience in abnegation
As per the Indian mythology, music has always been an integral entity in the grand scheme of things right from the creation of cosmos itself. The “Omkara Pranava Nadam'' is deemed to be the primeval sound emanated at the very moment of cosmic creation, as depicted in the Aitareya Brahmana of Rigveda. Since then, the Pranava Nadam is believed to be reverberating throughout the cosmos at an imperceptible frequency.
The whole universe is kept integrated under the spell of that mother frequency originated from the Adiparashakti. The Trio of Shristi Sthithi Laya kara who are the manifestations of that Shakthi seem to have revelled to the tune of that Nadam. As the Layakara Adiyogi Shiva performed the cosmic dance with rhythmic fluttering of his Dhamarukam the first instrument of rhythm, the Sthithikara Vishnu supported it by trumpeting his Conch the first instrument of music while the Srustikartha Brahma joined the act by chanting his Vedas, thus becoming the first voice of music.
MOTHER OF MUSIC
Goddess Saraswathi, the Mother of Music and knowledge blessed mankind with the knowledge of music. She patronized Veena the very first complete musical instrument and also promulgated music through her son Narada amongst all the worlds in existence. Gana Gandharvas carried forward the music further and brought it down from the heavens to the earth. Thus, Indian mythology had placed a great emphasis on Music and laid the seeds for its origin and proliferation. Indian music also holds the distinction of introducing the rhythmic instruments like the Dhamaruka of Shiva, stringed instruments like the Veena of Saraswathi, wind instruments like the Venu of Sri Krishna and many more such variety of musical instruments from time to time.
Damaru or Dhamarukam is a small two-headed drum which is also the instrument of the deity Lord Shiva and considered holy in Hinduism.
ANCIENT INDIAN MUSIC TEXTS
Vedas also were chanted to a set rhythm. Samaveda in particular mentions the methods for singing Vedic hymns and is considered to be the source or headwaters of the river of Indian music. Many Vedic era texts including the Puranas made mentions of music and dance with accompanying musical instruments. The most notable of them all are the Bharatamuni’s “Natya Shastra”, a treatise on the performance arts and Narada’s “Sangeetha Makaranda”. But the most important musicological text on Indian music is “Sangeetha Rathnakara” in Sanskrit written by Sarangadeva.
A Bronze statue of Goddess Saraswathi playing Veena.
Sarangadeva
Written in the late 12th century, Sangeetha Rathnakara details the origin of music, the Swaras, Shrutis, Ragas and Talas contributing to the Indian system of notation which is perhaps the oldest and the most elaborate in the whole world. Sarangadeva born in a brahmin family of Kashmir in the era of Islamic invasion in the north west frontier of Indian subcontinent, migrated southwards into the somewhat safer Deccan region to settle near Ellora caves in the court of a Yadava king and pursued his music ideas to develop the most important treatise on Indian music.
Despite his primary work at the court being to look after financial accounts Sarangadeva excelled in pursuing his music to the extent of developing the Bible of Indian music.
JAYADEVA
Around the same period of time was born another pioneer of Indian music in the form of Jayadeva who is known for his epic poem “Gita Govinda” and the “Ashtapadis”. These found an important place in the rendering of Indian classical music as well as the Odissi music of the East Indian region from where this lyrical genius had emerged. Gita Govinda set to traditional Odissi ragas is still sung every night during the last ritual at Jagannath temple of Puri, a tradition that has continued unbroken since the time of Jayadeva who used to sing himself in the temple. In fact, the impact of his hymns was such that some of them have found their way into the “Guru Granth Sahib” the primary scripture of Sikhism owing to the profound effect of his works on its founder Guru Nanak when he visited Puri.
FORKING OF MUSIC
The continued Muslim conquests in India around this point of time and their rule starting with the Ghaznis in the 11th century, the Ghoris in the 12th century, the Khiljis in the 13th century, the Tughlaqs in the 14th century, the Lodhis in the 15th century and finally the Mughals from 16th century onwards casted an immense influence on the form and philosophy of ancient Indian music evolving it into distinct genres of Hindustani and Carnatic music. As the southern part of India had limited influence of the Muslim rule during these centuries, Carnatic music flourished under the patronage of Hindu rulers particularly the Vijayanagara kings.
THE PERSIAN TOUCH
The Indian music in the north however continued to acquire distinct features from the music traditions of the Muslim courts and their practices evolving into Hindustani music. Particularly from the Persian touch provided by Amir Khusrau of the Delhi Sultanate around the 13-14th century. He was a Musician and composer in Persian and Braj Bhasha. He tried to systematize Hindustani music with certain genres of music like Khyal and Tarana and was credited with introducing ragas like Yaman Kalyan. New instruments like Sitar also got introduced during his time.
VANGUARDS OF THE MUSICAL VOYAGE
During the 16th century, Indian music continued to evolve in the traditions established by the Pioneers such as Purandara Dasa with regards to the Carnatic genre and Mian Tansen when it comes to Hindustani music. Carnatic music had been carried forward by the great saints such as Annamacharya, Tyagaraja and many other dedicated great Musicians.
At the same time, Hindustani music furthered by the likes of Meerabai and many other Musical gharanas. How did a wealthy merchant Srinivasa Nayaka become the father of Carnatic music Purandara Dasa, how did Ramtanu Pandey the son of a temple priest turned into the magical Hindustani musician - Mian Tansen and what are the contributions made by other vanguards of the Indian musical voyage? Let us rein our curiosity till the next issue where we pick up from here...Until then, perhaps treat yourself to a song?
