Bharatiya Sangit Shastra Me Marg Aur Deshi Ka Vibhajan - Book Summary

Here's a comprehensive summary in English of the provided Jain text, "भारतीय संगीतशास्त्र में मार्ग और देशी का विभाजन" by Premlata Sharma:

The text discusses the fundamental division of Indian music into Marga (मार्ग) and Deshi (देशी), highlighting its significance in Indian musicology.

1. Introduction and Etymology:

The division between Marga and Deshi is an initial gateway for anyone studying Indian musicology.
However, the author notes that this division is often disregarded in contemporary musical study, considered an obsolete relic. This neglect extends to practical music as well.
The author argues that this distinction is fundamentally important and understanding it is crucial for a genuine grasp of Indian music as a spiritual practice, otherwise, claims of its spiritual significance become mere rhetoric.
Etymology:
- Marga (मार्ग) is derived from the root "mrg" (मृग्), meaning "to search" or "to explore" (mrg mriganey). This exploration is implicitly of something vast or profound, not something trivial.
- Deshi (देशी) is derived from the root "dish" (दिश्), meaning "to give" or "to throw out" (dish atisarjane). This implies an act of outward expression or dissemination, inherently linked to pleasing the public. If "Deshi" is connected to "Desh" (देश - country/region), it implies a localized or regional meaning.

2. Historical Context and Key Texts:

While Bharata Muni's Natya Shastra is considered the earliest comprehensive treatise on Indian music, it does not explicitly present the Marga-Deshi division. However, the seeds of this concept can be subtly found within it.
The first clear mention of this division is found in Matanga's Brihaddeshi (बृहद्दशी), believed to have been composed between 100-600 CE. The very title signifies the importance of "Deshi." The author infers that by this time, the Marga-Deshi division was well-established, with a particular focus on defining Deshi. Despite the incomplete and fragmented nature of surviving manuscripts, early references in Brihaddeshi are indicative.
This division maintained its fundamental importance in major musicological texts until around the 15th century CE. After this period, its significance declined, with only passing mentions or complete omission in later works.

3. Categorization of Texts based on Marga-Deshi Division:

The author categorizes subsequent musicological texts based on how they address the Marga-Deshi division:

Category 1: Texts with Clear Mention and Complete Elaboration:
- These texts clearly divide Gita (song), Vadya (instrumental music), and Nritya (dance) into Marga and Deshi.
- Song (Gita): Divided into Gramaraga (ग्रामराग - Marga) and Deshiraga (देशीराग - Deshi), and Prabandha (प्रबन्ध) into Shuddha Gitaka (शुद्धगीतक - Marga) and Deshi Prabandha (देशीप्रबन्ध - Deshi).
- Instrumental Music (Vadya): No explicit Marga-Deshi division is noted for instruments themselves. This is attributed to instruments traditionally being seen as accompaniments to vocals. The classification of Ragas applies implicitly to stringed (Tatasthayi) and wind (Sushira) instruments. For percussion (Ghana and Avannaddha), a Marga-Tala and Deshi-Tala division exists. Only specific types of drums like Marghapatah and Deshipatah are mentioned.
- Dance (Nritya): Divided into Marga Nritya and Deshi Nritya.
- Key Texts in this Category:
  - Nanyadeva's Bharat Bhashya (12th century CE): Early parts are published. It describes some ragas (called languages of Marga) that are considered Deshi in other texts, but doesn't fully elaborate on Deshi ragas or talas. It does detail Deshi Prabandhas and includes a dance section.
  - Shaangadeva's Sangeet Ratnakara (13th century CE): This text comprehensively divides Marga and Deshi across all sections (Raga, Tala, Prabandha, and Nritya).
  - Panditmandali's Sangeet Shiromani (15th century CE): Unpublished and fragmented manuscripts.
  - Rana Kumbhakarna (Kumbha)'s Sangeetraj (15th century CE): More extensive than Sangeet Ratnakara, with a clearer Marga-Deshi division across all aspects.
Category 2: Texts with Incomplete Elaboration:
- These texts touch upon the division but don't fully elaborate on all aspects.
- Key Texts in this Category:
  - Shrikantha's Rasakaumudi (16th century CE): Clear division only in the Tala section.
  - Raghunath Bhupa's Sangeetsudha (17th century CE): Traditional descriptions of Gramaragas and Deshiragas in the Raga section. The introduction to the Tala section mentions Marga-Deshi, but the chapter is not available.
Category 3: Texts with Only Name Mention:
- These texts simply mention the terms Marga and Deshi without detailed explanation.
- Key Texts in this Category: Vachakacharya Sudhakalash's Sangeetopanishatsaroddhar (14th century), Ramamatya's Swaramelakalanidhi (16th century), Damodara Pandit's Sangeet Darpan (17th century), Tuljadhip's Sangeetsaramruta (17th century), Ahoal's Sangeet Parijat (17th century), Somnath's Ragavibodha (17th century).
Category 4: Texts without Any Mention:
- These texts do not mention the Marga-Deshi division at all.
- Key Texts in this Category: Pundarika Vitthal's Sadagachandrodaya (16th century) and his other works, Shubhankar's Sangeet Damodar (16th century), Srinivasa's Ragatatvavibodha (17th century).

4. Basis of the Marga-Deshi Division:

The author synthesizes three key quotes (from Brihaddeshi, Sangeet Ratnakara, and Bharat Bhashya) to establish two primary bases for this division:

1. Purpose-Based (Prayojanagat):
- Deshi's purpose is Janaranjan (जनरंजन) – pleasing the public.
- Marga's purpose is Abhyudaya (अभ्युदय) – spiritual upliftment or welfare. (The author clarifies that "Abhyudaya" here should be understood as spiritual advancement, not worldly progress).
2. Characteristic-Based (Swaroopagat):
- Marga is pure, regulated, and systematic.
- Deshi is relatively impure, mixed, or unregulated.

5. Discussion on Objectivity vs. Subjectivity:

The author delves into the philosophical aspect of how the "object" (the art form) and the "subject" (the creator/performer and the audience) interact:

All phenomena have two aspects: objective (vastugat), independent of the user/receiver, and purpose-based (prayojanagat), relative to the user/receiver.
While objective qualities exist (like poison being lethal), their manifestation is influenced by the receiver's perception or the creator's intent.
In fine arts, the subjective experience of the audience (based on their upbringing, education, emotional state) significantly shapes the perception of the art.
Similarly, the creator's intention (for wealth, fame, desire fulfillment versus spiritual liberation) plays a crucial role. Art created for worldly purposes tends to lead towards "Preya" (प्रेय - pleasant/enjoyable), while art aimed at spiritual realization, requiring detachment from "Preya" and attachment to "Nihsreyas" (निःश्रेयस् - liberation/ultimate good), can manifest the profound objective qualities of the art for spiritual benefit.

6. Marga and Deshi as Manifestations of Purity/Impurity:

The division is seen as originating from purpose, then reflecting characteristics. Deshi's purpose is public entertainment, while Marga's is spiritual liberation.
Origin: Bharat Bhashya suggests that Deshi originated from the pure form of Marga.
Evolutionary Perspective: The author contrasts the modern evolutionary view (low to high) with the Indian philosophical view where impurity arises from the "distortion" of purity. Thus, considering Deshi as an impure form of Marga is consistent with the latter.
Descending vs. Ascending Paths: The "descending path" view suggests pure forms giving rise to impure ones (like Sanskrit to Prakrit, Marga to Deshi). The "ascending path" view suggests purification from impure to pure. The author finds the "descending" view more fitting, as all deviations ultimately originate from an ultimate pure state.

7. Further Elaborations and Connections:

Gandharva and Gana: Natya Shastra mentions "Gandharva" as being highly pleasing to the gods and having "adrishta-phala" (unseen results), primarily benefiting the performer. "Gana" (mere singing) benefits the listener. This distinction aligns with Marga (performer-centric, spiritual) and Deshi (listener-centric, entertainment).
Shuddha Gitaka and Dhruva Gana: Abhinavagupta explains that Shuddha Gitakas (considered Marga) are adrishta-phala-prada (unseen fruit-giving), while Dhruva Ganas (basis for Deshi Prabandhas) are drishta-phala-prada (seen fruit-giving).
Raga Classification: Kallinath's commentary on Sangeet Ratnakara describes Deshi's characteristic as "kamachara pravartitattva" (acting on free will), contrasting with the strict rules of Marga ragas.
Dance:
- Natya (नाट्य) is considered supreme, followed by Nritya (नृत्य), and then Nritta (नृत्त).
- Natya is associated with Marga, emphasizing Rasa (aesthetic emotion) and involving all four types of Abhinaya (acting: Angika, Vachika, Sattvika, Aharya). The exploration of Rasa is linked to Marga.
- Nritya is associated with Deshi, emphasizing Bhava (emotional expression) conveyed through Angika Abhinaya, with Rasa being secondary.
- Nritta is seen as Deshi due to its sole focus on gatra-vikshepa (body movements) dictated by Tala (rhythm) and Laya (tempo), lacking any Abhinaya. This is compared to tribal dances.
- The author acknowledges that the Marga-Deshi distinction in dance might appear different, not directly related to rules, divine vs. human origin, or purpose. However, she suggests that the "otherworldliness" of Rasa makes the exploration of it in Nritya the basis for its "Marga" quality, while the absence of this, leading to mere worldly entertainment in Nritta, makes it "Deshi."

8. The Search for "Nada":

The author connects the "search" in Marga to the exploration of the origin and dissolution of Nada (sound).
Yajnavalkya Smriti and its commentary highlight the importance of Samagana (Sama chanting) and other Gitakas (like Aparantaka, Ullopyaka) in achieving Parabrahma (Supreme Brahman).
The crucial aspect is understanding the utaya (origin) and laya (dissolution) of Nada. This lies in Brahma (Brahman).
Crucial Distinction: If Sama or Gitaka is sung without understanding the origin and dissolution of Nada, one might become a follower of Rudra, not attain the supreme state.
Yoga and Nada: The text emphasizes that for supreme attainment, Yoga (concentration) is essential alongside singing. Merely pleasing deities is not enough. This unseen fruit of pleasing deities also requires corresponding inner disposition.
Modern Acoustics vs. Indian Philosophy:
- Modern acoustics has limitations: human hearing range, the need for a medium (solid, liquid, gas), and an explanation for the dissolution of sound.
- Indian philosophy posits Akasha or Vyoma (ether/space) as the ultimate medium, subtler than solid, liquid, or gas. All sounds are stored in this subtle space. The search for this Vyoma is the basis of Marga music (Nada Yoga).
Anahata Nada: The author clarifies that Marga music is not necessarily based on Anahata Nada (unstruck sound) as some believe. Rather, Marga is music that, at the sensory level, uses Aahata Nada (struck sound) as a support to achieve Nihsreyas. If it were solely based on Anahata Nada, it would remain purely in the realm of Yoga Shastra.

9. Conclusion and Future Research:

Unchanging Nature of Marga: Gramaragas, Marga-talas, and Shuddha Gitakas are numerically and qualitatively consistent across texts, unlike the more numerous and variable Deshi forms. The underlying philosophical and spiritual principles for this immutability need further research.
Decline of Marga: The neglect of Marga in the medieval period might be attributed to both its transcendental purpose (difficult to grasp) and its strict rules. Deshi, being more accessible and practical (Lakshya-pradhana - goal-oriented in practice), dominated. Marga is Lakshana-pradhana (characteristic-oriented, universal, and timeless).
Modern Classical Music: Whether modern classical music is Marga or Deshi depends on its purpose. If it adheres to strict principles and aims for spiritual elevation, it can be considered Marga. However, variations based on Gharanas (schools) or regional traditions dilute its Marga quality. The spiritual aspect relies heavily on the performer's mental state.
Lack of Guidance in Musicology: Unlike other spiritual disciplines with detailed guides for progress, obstacles, and remedies, musicology currently lacks this for spiritual development through music. Music is perhaps too readily labeled as spiritually beneficial without a clear framework, assuming inherent yogic or devotional practices. The lives of saintly musicians suggest that music's spiritual potential is realized when combined with practices like Nada Yoga or devotion.

In essence, the text provides a scholarly analysis of the Marga-Deshi dichotomy in Indian music, tracing its origins, historical evolution, theoretical underpinnings, and enduring philosophical relevance, particularly in understanding music's role in spiritual pursuit.