Basic concepts and terms of music

MUSIC INDIA: Dr. Manorama Sharma; APH Publishing Corporation, 5, Ansari Road, Daryaganj, New Delhi-110002. Rs. 1,000.

THOUGH SPRINGING from the same Vedic source, Indian classical music has bifurcated into Hindustani and Carnatic systems. Over the years, through several treatises, voluminous technical terms have grown and many of them today are beyond the understanding of the common music lover. Some of them have only academic significance since they have lost relevance to the gradual evolution of musical practice. But basic terms still hold the field.

The book under review seeks to define briefly the basic concepts like ragas, talas, classification according to the mela system, musical instruments, and the contribution of eminent artistes. One chapter is devoted to dance under the title ``The language of expression''. The book is divided into eight chapters - ``Concepts and terms'', ``Melodies-ragas'', ``Forms and styles'' ``Gems of Indian music'', ``Instruments'', ``Rhythm- tala'', ``The language of expression'' and ``Literature''.

Not much can be discerned from the definitions because they are elementary. For instance, ``Ati mandra'' and ``Ati tara'' are mentioned as ``just low notes lower than the Mandra saptaka'' and the latter ``very light notes higher than the Tar saptaka.'' Similar approach is adopted to explain many of the musical terms. In the ragas section, a list of the ragas is mentioned referring to the Mela, Janya and Bhashanga. Here the reference is to a large extent, Hindustani ragas and those of the Carnatic system is still elementary. For example, under Sriranjani, the note says ``23rd janya ragas originated from Karaharapriya melakarta of Carnatic music.'' At least in the case of some Hindustani ragas there is some educative material. In the forms and styles, reference is made to ancient practices like ``Akshipta'', ``Alapti'' and the like, mentioned in old treatises like Sangeetha Ratnakara, Sangeeta Sarambita Chaturdandi Prakasika, Natya Sastra and other less known works on music. The chapter ``Literature'' deals with this subject.

In the long list of musicians of repute, many familiar names of North Indian music find a place with good bio-data. But as regards Carnatic musicians only five names are mentioned - Balamuralikrishna, Lalgudi Jayaraman, Palghat Mani Iyer, U. Srinivas, M. S. Subbulakshmi and Yesudas.

Obviously the author is not quite familiar with the great heritage of Carnatic music fostered by many giant musicians in the last century. The Music Trinity and Swati Tirunal are among the Vaggeyakaras referred to. The book is primarily Hindustani music oriented.

SVK

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