Sangit Samaysar Ke Sandarbh Me Gayak Gan Dosh Vivechan

This article, "Sangit Samaysar ke Sandarbh me Gayak Gan Dosh Vivechan" (Discussion of the Virtues and Vices of Singers in the Context of Sangit Samaysar) by Vachaspati Moudgalya, delves into the assessment of singers based on the principles outlined in the Sangit Samaysar, a significant work on music by the Digambara Jain Acharya Parshvadev from the 13th century.

The article begins by highlighting the rarity and importance of Sangit Samaysar as a singular authentic source for understanding the criteria for evaluating singers, especially since the influential Brihaddeshi by Matangmuni is only partially available and omits this specific discussion. The author emphasizes that Sangit Samaysar not only incorporates earlier scholarly opinions but also presents its own distinct perspectives, showcasing the author's deep scholarship and clarity.

The article then explores the competitive nature of musicians, attributing it to inherent human tendencies and desires like wealth, envy, and the pursuit of fame. This competition, it explains, often leads to musical debates or contests. The text elaborates on the structure of such contests, defining the roles of the Vadi (proponent), Prativadi (opponent), Sabhaapati (chairman), and Sabhya (members of the assembly). The ideal chairman is described as someone possessing royal qualities, wisdom, impartiality, knowledge of music, and the ability to dispense justice. The members of the assembly include the queen, courtesans, ministers, scholars, and connoisseurs, each with specific expected attributes. The article stresses the importance of holding contests only among peers, considering equality in wealth, knowledge, age, and tradition.

A significant portion of the article is dedicated to analyzing the qualities and faults of singers as described in Sangit Samaysar. The primary virtue discussed is "Shariir" (embodied sound), which refers to the innate ability to produce melodious and accurate notes in different ragas without prior practice, avoiding dissonances. This "Shariir" can be further refined into "Sushariir" (beautiful embodied sound) when it possesses qualities like sweetness, mellowness, depth, and resonance, achieved through divine grace or devotion. Conversely, "Kushariir" (poor embodied sound) is characterized by harshness, lack of resonance, and inability to perform in various octaves, making the singer undesirable.

Acharya Parshvadev's classification of "Shariir" is presented, with four types: Kadala (sharp in all registers), Madhura (sweet in lower and middle registers), Peshala (rag-revealing in the upper register), and Bahubhangi (a combination of the above). The "Bahubhangi" type is further categorized into four sub-types.

The article then lists twenty-four virtues expected of a singer according to the traditional lineage followed by Acharya Parshvadev, including: clear sound, knowledge of ragas and their constituents, mastery of Prabandha (a form of musical composition), understanding of different Alapti (melodic elaborations), effortless rendition of Gamakas (ornamentations), vocal control, knowledge of Tala (rhythm), attentiveness, stamina, familiarity with pure and shadowed ragas, understanding of Kaku (vocal inflections), proficiency in various Sthays (melodic phrases), freedom from faults, continuous practice, proper application of rhythm, pleasant vocal quality, retention of melody, understanding of Sood (a type of Prabandha), ability to convey different moods, knowledge of regional variations, purity of sound, mastery over rhythm and meter, and belonging to a reputable lineage.

The article contrasts Acharya Parshvadev's views with those of earlier authorities like Bharata Muni and Sharangdeva, noting where Parshvadev agrees, diverges, or introduces new classifications. For instance, while listing virtues, the article explains terms like Graha (beginning of a song), Moksha (ending), Raga, Ragaanga, Bhashaanga, and the structure of Prabandha.

Subsequently, the article details the twenty-five common faults of singers as per the Sangitaratnakara tradition, such as grating sounds, harsh voice, fearfulness, haste, trembling voice, distorted facial expressions, incorrect pitch, crow-like voice, rhythmic deviations, strained posture, puffed cheeks, contorted throat, uncontrolled movements, and nasalization. Acharya Parshvadev, however, omits seven of these faults and introduces a new one, "Ushtriki" (sitting like a camel while singing), while also reinterpreting some others.

The article further categorizes singers into three main types based on their singing ability: Shikshakar (teacher), Anukar (imitator), Rasik (one who is immersed in the essence of the song), Ranjak (one who pleases the audience), and Bhavak (one who conveys emotion). These are further subdivided based on their proficiency across different octaves and their ability to sing pure or shadowed ragas, resulting in a nine-tier classification from "Uttamotam" (best of the best) to "Adhamadham" (worst of the worst).

The article notes a particular emphasis on the inherent superiority of female singers in musical expression, attributing it to their natural grace, sweetness, and agility, while male singers often achieve such qualities through rigorous practice. It also highlights that the contribution of literature to music by providing words and meaning is crucial for all forms of singing.

Finally, the article concludes by emphasizing that the chairman of a musical contest must accurately assess these qualities and faults to declare a winner. It also provides guidelines for conducting musical tests, including the use of specific ragas, Alapti, and Sthays for male and female singers. The article serves as a valuable resource for understanding the nuanced criteria for evaluating singers within the Jain musical tradition, particularly as expounded in Sangit Samaysar.