Fundamental Of Ancient Indian Music And Dance

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Book Overview:

"Fundamentals of Ancient Indian Music and Dance" by Sureshchandra Banerji, published by L. D. Institute of Indology, Ahmedabad, is a monograph aiming to provide a succinct overview of ancient Indian music and dance for the general reader. It draws heavily from Sanskrit treatises, particularly highlighting Śārngadeva's Samgita-ratnākara. The book aims to make accessible the core concepts of these ancient arts, often presented in complex Sanskrit texts.

Key Themes and Content:

The book is structured into several chapters and appendices, covering various aspects of Indian music and dance.

Introduction:

• Utility of Music and Dance: The introduction emphasizes the universal recognition of music and dance for personal development, evoking finer feelings, and providing joy. It notes their influence on animals and their role in pacifying and soothing humans.
• Spiritual and Emotional Aspects: The text highlights the spiritual significance of music, linking it to Vedic hymns (Sāmaveda), devotional practices, and the attainment of spiritual goals. It also discusses the emotional impact of music, particularly its ability to evoke rasa (sentiment), even in melancholic themes.
• Historical and Cultural Significance: The introduction stresses the importance of understanding ancient Indian music to comprehend its current forms (Northern and Southern Indian music). It acknowledges the composite nature of Indian music, influenced by various cultures and possibly non-Aryan elements.
• Preservation of Heritage: A strong emphasis is placed on preserving the true character of Indian music, which is described as spiritual and deeply connected to nature. The author warns against the dilution of these core values by foreign influences and superficial engagement with music.
• Meaning of Samgita: Samgita is defined as encompassing vocal music (gita), instrumental music (vadya), and dance (nrtta).

Chapter I: Vocal Music

• Gita (Song): Defined as a delightful group of svaras (notes), gita is classified as gandharva (traditional, divine) and gana (composed). It's also divided into marga (classical) and desi (regional).
• Nibaddha and Anibaddha: Songs are categorized as nibaddha (set, with structure) and anibaddha (unset, free). Nibaddha songs have components like dhātu (udgrāha, melapaka, dhruva, ābhoga).
• Merits and Defects of Gita: The text lists ten merits (e.g., clear pronunciation, full gamaka, sweetness) and ten defects (e.g., opposed to śruti, sung at improper time, vulgar).
• Nada, Śruti, Svara: The origin of sound (nada) is explained through the interplay of breath and fire. Śruti are the subtle divisions of sound (22 in number), which give rise to svaras (notes).
• Svara Classification: Svaras are categorized based on their prominence (vādi, samvādi, vivādi, anuvādi), pitch (mandra, madhya, tāra), and position within a raga (āmsa, graha, nyāsa).
• Varna and Alamkara: Varna refers to the manner of singing (ascending, descending, etc.), while alamkara are embellishments that enhance the charm of svaras.
• Raga, Bhāṣā, Vibhāṣā, Antarbhāṣā: Raga is a melodic mode that delights the mind. It's classified into grāma-rāga and desi-rāga. Bhāṣā, Vibhāṣā, and Antarbhāṣā are considered minor rāgas.
• Vāggeyakāra, Singers, and Defects: The text describes the qualities of a composer (vāggeyakāra) and singers, including their merits and various defects to be avoided.

Chapter II: Instrumental Music

• Instrument Classification: Instruments are divided into four classes: Tata (stringed), Sușira (wind, with holes), Avanaddha (percussion, covered with leather), and Ghana (solid, struck).
• Types of Instruments: Various specific instruments within each class are mentioned, including different types of viņā (lutes), flutes, drums, and cymbals.
• Merits and Defects: The book discusses the merits and defects of instrumental music itself, as well as those of instrumentalists.
• Dhātu: This refers to the notes produced by specific strokes on instruments.
• Structure and Materials: The text details the construction and materials used for various instruments, such as bamboo for flutes and wood for drums.
• Player Characteristics: The qualities of players for instruments like the mardala (drum) and viņā are described.
• Pāta, Pañcasañca, Vādyaprabandha: Pāta refers to instrumental sound syllables. Pañcasañca relates to body movements of the player. Vādyaprabandha are compositions for instruments.

Chapter III: Tala

• Meaning of Tala: Tala is defined as the measurement of time in music and dance, based on units like laghu (short), guru (long), and pluta (prolated).
• Classification of Tala: Tala is divided into marga (classical) and desi (regional). Marga tala has soundless (kala) and sounded (pāta) actions.
• Laya and Yati: Laya refers to the pause or tempo ( druta, madhya, vilambita), while yati describes the mode of application of laya (e.g., sama, srotogata, gopuccha).

Chapter IV: Dance

• Nṛtta, Nṛtya, and Nṛtta: The text distinguishes between Nṛtya (expressive dance, based on emotion) and Nṛtta (pure dance, based on rhythm and tempo). Nartana is the overarching term.
• Tandava and Lasya: Nṛtta is divided into Tandava (vigorous, masculine) and Lasya (graceful, feminine).
• Nṛttakaraṇa, Cāri, and Sthāna: Nṛttakaraṇa are graceful movements of limbs. Cāri refers to the coordinated movements of feet, shanks, thighs, and hips. Sthāna are static postures. Both mārga (classical) and desi (regional) forms are discussed.
• Angahāra, Recaka, Vartana, Calaka: These terms denote different combinations of movements, gestures, and arm actions in dance.
• Nyāya, Mandala, Rekha: Nyāya relates to movements simulating combat. Mandala are combinations of cāris. Rekha refers to attractive body positions.
• Qualifications of a Dancer and Teacher: The book outlines the physical and artistic qualities required for a dancer and their teacher, as well as the ideal audience and assembly president (sabhāpati).
• Hand Poses (Hasta Mudras): Detailed descriptions of various single-hand (patāka, arāla, padmakośa) and combined-hand (kapota, svastika, makara) poses are provided, distinguishing those used in abhinaya (acting) and nṛtta (dance).

Appendices:

• Appendix A: Indian and Western Music: This section contrasts the fundamental differences between Indian music (melody-based, spiritual) and Western music (harmony-based, emotional expression).
• Appendix B: Influence of Indian Music Abroad: This appendix traces the historical diffusion of Indian music and musical instruments to countries in Asia and potentially beyond, highlighting similarities and influences.
• Appendix C: Influence of Tantra on Music: This section explores the connections between Tantric philosophy (cakras, nādis) and the conceptualization of sound and musical elements in Indian music.
• Appendix D: Non-Aryan Elements in Indian Music: The text discusses how various non-Aryan and foreign elements, often indicated by the names of rāgas, have been assimilated into Indian musical traditions.
• Appendix E: (i) Pañcamasāra-samhitā of Nārada & (ii) Pañcamasamhitā: This appendix presents and discusses two manuscripts of a work attributed to Nārada, focusing on the Rāganirṇaya (classification of rāgas) and Tala (rhythm). It analyzes the contents, authorship, and dating of these texts, noting divergences and suggesting a possible Bengali origin for the work.

Glossary and Bibliography:

• The book includes a detailed glossary of technical terms used in Sanskrit musicology and dance, with explanations.
• A select bibliography is provided, listing both Sanskrit texts and significant English, Bengali, Hindi, and Marathi works on Indian music and dance, along with relevant journal articles.

Overall Significance:

"Fundamentals of Ancient Indian Music and Dance" serves as a foundational text for those seeking to understand the theoretical and historical underpinnings of these classical Indian performing arts. It emphasizes the deep cultural, spiritual, and aesthetic dimensions of this rich heritage.