As an appropriate aside to our recent article on the History of Sangeeta, is a Post on a particular work of Literature said by some to pre-date the work of the great Bharata Muni himself.
The Dattilam of Dattila is an oft-cited but little known work on Ancient Indian Music that, even more than the music theory it covers, is critical for what it actually represents.
In his seal for brevity, Dattila becomes so laconic in his descriptions that they often read like obscure mathematical formulae. Fortunately, Bharata and also later authors have given details enabling us to interpret Dattila meaningfully. [1, 143]
Not much is known about the eponymous author of the Dattilam. Though the composer ends with a standard colophon announcing his name, he does not provide the traditional background and lineage one is used to encountering in such works. Like Bharata before (or after) him, he is more concerned with the content.
One of the reasons for the ambiguous speculation regarding Dattila’s contemporaneity with Bharata is because Bharata muni himself refers to the text Dattilam. At the same time, one of the one hundred sons list by him includes a Dattila. Was this a namesake of the original or the original himself? All this leads to the conclusion that it is best to avoid assertion where nothing is concrete.
Nevertheless, we know Dattila and his text are indeed authentic and influential as none other than the great Acharya Abhinavagupta refers to him and even quotes from the Dattilam. [1, 49]
The author sets out to describe not only what gandharva is but its purpose as well. He tells us of 18 jatis (proto-melodies) and 7 gitikas (structured song forms) and the importance of pada (words) and taala (beat pattern).
We see many of these common elements in Natya Sastra as well indicating the common tradition from which both Dattila and Bharata were working from.
The work begins with the traditional invocation to deity. It too ultimately is constructed upon the foundation of the Saama Veda.
Consisting of 244 slokas, Dattilam is divided into a preamble, two sections, and twelve chapters, with topics ranging from technical aspects of tala and varna to methodology suggested by others. It is a terse and aphoristic treatise, that reads as a manual for experts, rather than an introduction to students. As the translator of the current edition himself notes, it not only requires the use of later texts (such as Natya Sastra or Sangeeta Ratnakara) but also begs a commentary. So concise is the text that a number of scholars have suggested that it is only part of a greater work. Irrespective…
The Dattilam is a very suitable starting point for research into the theory of ancient Indian music, as it is a concise compendium of almost all the musical terms. [3, 5]
The manuscriptology behind the Dattilam is an interesting story in and of itself. Found in a collection sponsored by Travancore’s Royal Family, it was discovered by the curator, Pandit K. Sambasiva Sastri. The manuscript he came upon was attached to a copy of the Sangeetasamayasaara. It is said to have been written in Sanskrit with Malayalam script.
The first translation into English was by a Dutch scholar named Nijenhuis. A subsequent one also conducted by a Dutchman, with the present one completed by Mukund Lath. All of them are in effective agreement however that…
Dattilam assumes a series of purvacaryas, preceding masters, and specifically names three: Narada, Kohala and Visakhila. [1, xii]
This is an important point as it establishes the existence of a tradition prior to even Bharata muni (who himself refers to previous musical masters). Dattila, does not refer to Bharata, leading to the conclusion that they were both from the same time period, or Dattila was likely senior. While Natya Sastra is presently dated to 400-100 BCE, the Dattilam is at least as older if not older.
Further evidence adduced to this point is that the text is seen as rather independent of Bharata. Nevertheless…
gandharva stands for ‘music’—all music. But the gaandharva Dattila speaks of was a specific body of music, a sacred form. It was conceived as akin to a musical yajna, and like a yajna, it could result in transcendental merit (adrsta) leading to svarga. [1, xiii]
As such, whether it is Bharata or Dattila, it is clear that the sacred is not only the origin of music, but very much immanent in the Indic musical tradition.
Another point of interest is Dattila’s reference to various regions and musical aspects attached to regions. He makes frequent mention of jatis called udeecyava (meaning from the north), and also refers to andhri (Andhra), takka raga (from NW Punjab), maalavi (from Malava/Malwa), kambhoji (from ancient Kambhoja), gaudi (from Gauda/Bengal), and gandhara jatis, in verses 70-79. [1, 117]
Other concepts beyond jati discussed include varna. “Varna was the general term used to indicate musical or melodic movement over notes.” [1, 125] Varnas are inextricably linked to padas (words) in a gita (song). In contrast, a jati is of pure note structure, laying the foundation for later ragas. Tala (a term meaning beat or beat pattern) is also discussed. It is a time measure based on beats ensuring the note (svara) was saamya (in equilibrium).
Dattilam is a fine example of a saastric text and is of living value to us in that respect. It has striking affinities of approach and spirit with many other saastras, such [a]s those of Paanini on grammar, Pingala on the science of metrics and Tandu on the dance-form taandava. [1, xiv]
I. [Pranamya paramesaanam] Brahmaadhaamscha gurumstatha |
Gaandharva-saastra-sankshepah saarathoyam mayochyathe || sl. 1
[After having made my obeisance to the Supreme Lord] and to all the gurus, the first of whom is Brahmaa, I shall now enunciate in its essence the saastra concerning gaandharva in a concise form. [1, 1]
II. Gandharvam naaradaadibhyah pratthamaadhau svayambhuvaa |
Next, micro-intervals(sruthi), notes (svara), the two-tone systems (graama), scales (moorchanaa) consisting of series of notes (taana), the registers (sthaana), styles (vrtti), pure instrumental music (sushka), and the two ways of overlapping
modes (jaati) and ways of ornamentation (varna) connected with various graces (alamkaara). This is a mere description of the things relating to the notes…[3,2]
V. This exposition is no more than a pointer towards the system of the earlier acaryas. The knowing expert (sudhee) should look up their views and reach his own conclusions if he still has any doubts. sl. 244
Iti Dattilam samaaptam
Dattila (thus) composed a saastra known by the name Dattilam [1, 47]
In the preliminary article in our Series on Classical Indic Music, we re-asserted the native canon of Saastriya Sangeeta and its historical Pan-India nature. The next installment will discuss the history of Sangeeta itself, and how the various regional notes compose the classical national scale.
First off, why a survey of Indian music chronology at all?The antiquity of Ancient Indian Music may be difficult to calculate, but it is foolish to contest. As previously established, the indigenous classical canon of India is a matter of great discussion, but its integral unity cannot be denied. Ironically, the greatest revisionists of Indian Music history and even Indian history itself, accuse others of historical revisionism. Everything from the sitar to the tabla to classical music itself has been projected as being introduced by outsiders—eager to establish their own primacy and dominance. That foreign accounts can be given greater credence than native ones is the greatest sleight-of-hand of present times. All this makes a study of the History of Sangeeta all the more relevant to our times.
“The ancient history of Indian Music is funda-mentally the history of her people, civilization and culture. The continuity of Indian civilization and culture, from the most ancient time uptil now, has one of its sources in the geographical configuration of the country. Many historians are of the opinion that as Hinduism was a common faith and the Hindu kings were in power, there was a religious and cultural unity and affinity among the Indian people as a whole.” [4,1]
As such, to properly understand ourselves and where we are going, we must first properly understand who we were and where we came from. Music History is crucially important to this.
Second, what is a history of music?“A history of music is, therefore, a systematic and chronological records of musical thoughts and materials that evolved in different ages in a gradual process. It requires collection, arrange-ment and preservation of the facts and findings relating to music in a systematic order. ” [4, 9]
Rather than mere recitation and regurgitation of what has been taught by self-appointed “eminent experts”, it necessitates an investigation of the facts as available to us. This means not only questioning existing factoids, but questioning existing paradigms as well.
Third, what is the nature of a history of music? “A history of Indian music is a saga of musical thoughts of the Indian people, as written in their subconcious mind. It has its birth, growth and progress in Indian society, and has religious and spiritual out-look. A history of Indian music is a wide subject, the range of which is extended from remote antiquity upto the present time.” [4, 9]
Thus, a proper history of Indian music must be a history of music rooted in Indian society and values and especially Indic Civilization. This then leads to the matter of valid sources of history.
Historical materials can be gathered from the following in order of descending importance:
Various texts and treatises of music compiled from various authors across the ages
Archeological evidence. These include rock and architectural inscriptions, copper-plate proclamations and tablets from various kings and aristocrats, coins and paintings.
Private diaries of the local musicians and local folklores, including anecdotal evidence.
Foreign accounts as well as the history of music from other nations
The native accounts must be given highest priority.Foreign accounts, which lack the insider understanding of a culture or civilization, can only be used to fill gaps or facilitate in the verification of facts.
Most of the historians both of the East and the West admit that many of the civilized nations of the world are indebted to India for their materials of civilization, art and culture. India does not lack in authentic materials for constructing a history of music of her own, for putting before the admiring gaze of the world, her glorious heritage in the field of art education and culture. [4, vii]
This then leads us to the imperative of challenging the false notion of indigenous Indian music being only ritual temple chants. Since apparently anything favourable to ancient India is considered jingoistic these days, let us turn then to the foreign-sponsored’s favourite sources: foreign: “From the writings of the Greek historians we come to know that in the Royal courts of Champaa, Raajgriha, Koshala, Vaishaali, Kau-shamvi, Paataliputra, Kalinga (in Southern Orissaa), classical dances and music were fully encouraged… even the ladies of the Royal household allowed to culture dance and music. In the 2nd century B.C.” [4, 99]
Indeed, as far back as Paanini (presently dated to 500 BCE) and Patanjali (3rd Century BCE), we find descriptions of the practice of music and use of various musical instruments. In the Mahabhasya, there are a multitude of musical instruments listed including the mridanga, veena, and dundubhi. From the Buddhist canon we find Avadanas, Jatakas, and Pithakas reffering to music, musical instruments, and mudras. Hymns such as the thera, theri and sthavir were sung by Bhikkus. 107 poems and 1279 gathas make up the theras.
Further, we know from our own sources that music was highly encouraged, particularly within certain conventions, to virtually all classes. “In the 2nd century B.C., Vaastyaayana has mentioned about 64 kinds of art including dance music, and has said that they were freely cultured even by the married and unmarried girls“. [4,99] Whatever the traditional rules between castes, it appears that within castes—particularly the most orthodox—there were fewer taboos regarding performance of sangeeta and natya. This also provides further illumination into the nature of the conservatism of Hindus in the medieval period.
But a proper history is more than just a mere chronology or chronicle. It provides a systematic understanding and analysis of the nature and origin of events and realities. To properly do so, one must study the theoretical foundations.
The materials for history of Indian music of the ancient period can be collected from the Vedas and specially from the Saamaveda, the womb of music, the Shikshaas and the Praatishaakhyas, the Naatyasaastra and its commentaries, the classical Sanskrit dramas and literature, the Buddhist literature and the Jaatakas, the Brihaddeshi and the Sangitasamayasaara, the Silappadikaram and the Tevaram and other ancient Tamil literature, as well as from the rock-cut instructions and sculp-tures, chiselled on the railings, facades and walls of different Buddhist, Hindu and Jain Stupas, Vihaaras and temples. [4, 4]
Traditionally, Indian music has been divided not only into marga and desi but also vaidika and laukika. The Sama Veda in particular is considered the root of all music.
The Vedas are considered by the orthodox to be apaurusheya, that is, without human origin. Therefore, dating a specific period according to the conventional Western timeline becomes difficult. This is because they are considered the very embodiment of the Divine itself, hence all the rules and rituals related to paaraayanam (chanting).
“In the Ka[u]shitaki-braahmana (29.5), it has been stated that the arts of dancing, singing and playing the musical instruments formed and important part of certain Vedic rites“. [4, 90]
Nada-brahma is considered the origin of the Universe and Paraa-Barahman emanating from the vibrations themselves. There is a famous quote in Matanga Muni’s Brihaddesi on precisely this point. Along with the Shruthi (Veda) is the notion of shruti (harmony/micro-tones.
“The microtones (shrutis) are the minute percep-tible (“shravanayogya”) tones or musical sound-units that constitute the structures of seven tones like shadja, rishabha, gaandhaara, madhyama, pan-chama, dhaivata and nishaada (corresponding Vedic tones, chaturtha, mandra, atisvaarya, krusta, pra-thama, dvitiya, trituya).” [4,15]
Saamagaana is considered the earliest systematic method of singing in india. It had three base tones (anudaatta, svarita, and udaatta). According to Professor Sambamoorthy, “The Rigveda was recited to the three notes, udaatta, anudaatta and svarita, corresponding to ri, ni and sa of frequencies.” [4, 19] These partial and middle tones are considered the nucleus of the Classical Indic Scale (thaata, mela/melakarta).
Interestingly while the Sapta svara of Sa Ri Ga Ma Pa Da Ni which is dated to Bharata Muni (6th-3rd centuries BCE, if not much earlier), the solfa system of Europe dates only to the 10th century CE, credited to Guido d’Areezzo. [4, 20]
Saama Veda is considered the foundational source of all music. It is divided into the purvaarchika and uttaraarchika. Songs of common people were known as graamageya, songs of the forest people known as aranyageya, and those of the mystics, rahasyageya.
“The saamagaana or singing process of the saamans was divided into six or seven categories, and they were (1) humkaara, i.e., the priest will utter ‘hum’ (yes) at the beginning of the singing: (2) prastora i.e., which the Prastotris (prastotri—priest) used to sing at the beginning of the saamagaana: (3) udgitha, i.e., which the Udgaatris used to repeat to the tune of the saamagaana; (4) pratihaara, i.e., the Pratihaatris used to sing the part of the song after the third stanza of the saamagana; (5) upadrava, i.e., which the Udgaatris used to sing at the end of the third stanza; (6) nidhaana, i..e., that used to be sun by the sacrificial priests at the end of the saamans; and (7) pranava, i.e., omkaara. The saama-gaana sued to be sung in this way before the blazing fire on the sacrificial alt[a]rs, invoking the presiding deities.” [4, 93]
However, all this remains in the realm of the sacred. What of the material world and the inclination to sing and celebrate the world and worldly things? This is where the Divine descends into the semi-divine and celestial.
Sometimes attached as an upaveda, Gandharva Veda is often simply known as Gandharva. Such is its connection with those semi-divine beings. Per the tradition it is reputed that the microtones were devised by Brahma or Brahmabharata, the first promulgator of the gandharva type of music, and afterwards it was made perfect by Naarada and finally Bharata muni. [4, 16]
Considered to have been collected from the Sama Veda, Gandharva Veda since took on a character of its own. In line with the pleasure-seeking ways of the Gandharvas it is named after, it adapted to the tastes and needs of more material humans. It created pleasure and enjoyable auditory sensations and good vibrations for all. It is the original systemised form of the systemised form of music we have today.
Nevertheless, it is considered the origin for the laukika (material world) music that has definite historical records dating back to 600 BCE, if not long before. Interestingly, the Ramayana makes reference to the tradition of wandering bards skilled in the science of gandharva, when it mentions Lava and Kusha singing of their parents travails. This ultimately brings us to saastra.
Although there are works and personalities considered anterior to this magnum opus and its composer, the Natya Sastra is considered the foundational text of Saastriya Sangeeta, and takes us from the realm of Sacred History to Pure History.
Bharata Muni propounds the existence of 22 microtones with associated jatis. The seven svaras (notes) each cover a set of these shrutis. For example tivraa, kumudvati, manda, and chandovati shrutis are all attached to the preliminary svara Sa. This division of shrutis is accepted by the Carnatic System to this day.
This then leads to the 10 essentials, or dasa-lakshanas, for qualities in determining the genuine nature of ragas. These are initials (graha), sonant (amsha), higher (taara), lower (mandra), concluding (nyaasa), medial (apanyaasa), rare (alptva), abundance (vahutva), hexatonic (shaadava), and pentatonic (audava). Through these qualities, raagas can be examined and their real forms ascertained. All of these date back to Bharata Muni, though he himself says he is indebted to Brahma. All of these are also better discussed in detail in a future article. For our purposes, however, the saastric understanding of raaga is important.
A raaga is the product of permutation and com-bination of tones which creates sweet and sooth-ing impressions (samskaara) in the mind. This definition we get from Matanga’s Brihaddeshi [4, 33]
The 72 melakartha ragas have been listed in the introductory article of this series. What is interesting here for our purposes is when the gandharva or marga type of music began formalising the various ragas. The Ramayana (parsimoniously dated to 400 BCE) contains 7 jaati-raagas in its gaana. “Jaatis are the causal or basic raagas, from which evolved all kinds of raagas, maarga and desi“. [4,35] In the Mahabharata and Harivamsa we find 6 graamaraagas.We see these extend into the Naatya Saastra, where 18 jaatiraagas are mentioned.
Incidentally graamaraagas are found in Naarada’s Sikshaa as well as in Pallava dynasty rock inscriptions, attributed to King Mahendravarman, at Kudumiaamaalai in Tamil Nadu. [4, 36] Interestingly, we see that 2 of the 18 jati-raagas are named after regions (Andhri and Gaandhara-panchami). As such, we see not only a continuity, but a Pan-India pervasiveness, literally from Kashmir to Kanyakumari. By the time of Sarngadeva, a Kashmiri residing South of the Vindhyas at the Maharashtrian court, we find a total of 264 raagas evolving from the original melodic structures.
This of course leads to another modern concocted controversy over the origin of the melakartha system (or thaat of the North). Ever eager to find a foreign origin to all things Indian (even Indians!), Europeans and their current sepoys-at-arms have attributed a Persian background to the thaat on account of the name and the first emphatic definition of mela coming from Pandit Somanatha in the 1600s. But this is a risible notion, as Swami Vidyaranya, known for his native orthodoxy and revivalism, had formulated 15 melas by the 1300s itself. Somanatha asserted that 960 melas could be evolved, though eventually 72 were settled upon by Venkatamakhi.
The history of Classical Indic Musical Instruments could be an article, or series of articles, in and of itself (incidentally, we already started one here). Nevertheless, no discussion of the History of Music is complete without mention of the vaadya or atodya of Sangeeta.
Basic stringed instruments are found in Lothal dating at least to 2000 BCE and are described in great detail not only by Natya Saastra, but reverential commentators on it, such as the Andhra Nayaka, Jaya Senapatiin his Nrtta Ratnavali. [8, 437]
Generally classed as sushira (winds), thantri/thatha (strings), avanadha (percussion), ghana (metal), here are the most traditional of traditional vaadyas in the Indian vaadyabrnda (orchestra).
Veena—Arguably the most ancient and most Indian of all Ancient Indian instruments, the veena is the vaadya of legends. Said to have evolved from the dhanuryantram (a bow instrument), it has since multiplied into varied forms and types. The shata-tantri is a 100 stringed veena, and the vaana veena is one with grass. These are known in the Kalpasutras with the former fittingly called kaatyaayani-veena. The sitar is itself a chitra-veena, tweaked for Turkic tastes.
Dundubhi—A very ancient and imposing atodya, the Dundubhi is associated with war drums of old and often foretells of a coming cataclysm. Often shaped from the hollow trunk of a tree and covered with leather skin, it has a deep and resonant sound that captivates audiences and armies alike, as it can be heard from great distances. The bhumi-dundubhi form is thought to be the oldest of percussion instruments.
Mridangam—The most pervasive of the classical percussion vaadyas is the mridangam. Still used today in carnatic, it is part of the standard repertoire of classical conclaves and katcheris. A related instrument is of course the Damaru, but this is better discussed elsewhere. Interestingly, there is an old folk story about how the tabla is merely a mridangam cut in half.
Tabla—Believe it or not, the tabla is not as young as we’ve been told. Whatever cute little ‘syncretic’ stories have been concocted by communist ‘mythologists’, the tabla is not a recently rendered percussion instrument. It very likely doesn’t even date to the medieval period. “These drums are known as pushkara. The two drums of identical-size, that have been depicted in the temple-halls of Muktesvara and Baadaami are the forebears of the modern tabal and baayaan, which are erroneously taken to be the two halves of the mridanga (or paakhawaaj), introduced…by Amir Khusrau“.[4, 106] While final confirmation of the modern tabla originating in the ancient pushkara drums found in these sculptures and bas-reliefs of Late Antiquity, one can quite obviously see that seeing foreign influence in all things Indian is more than a little suspect.
Tambura—Erroneously called “tanpura”, Tambura has a lineage of great antiquity and is associated with the Rishi Tamburu. It is used by Sages such as Narada, to keep sruthi. In modern times, the violin has taken its place, but the time may be approaching to restore the prominence of Tamburu’s namesake.
Venu—The bamboo flute, also known as vamsee or now bansuri (in Hindustani), rose to everlasting fame through that eternal romantic of Vrindavan. The murali may be forever associated with Lord Krishna, but its use is even more ancient.
However, we know them better today, not in India, but among those Indic people properly called Romani (commonly known as Gypsy). This instrument has taken a distinctly romantic flavour in the flamenco music of Spain. But of course, as wikipedia will currently tell you…place of origin is…”unknown”…
Known as the Nagaswaram in the South and the Shehnai in the North, Nadasvaram is the original and is a pan-Indian pipe-reed instrument that can stop even the bagpipe in its tracks.
There are numerous other instruments that could be discussed. Nevertheless, for historical purposes, these serve for now.
But along with understanding the foundations and instruments is gaining a grasp of the common Indic terminology.
Shruti—(literally sound, generally Vedas, but in music specifically, microtones).
Svara—Notes or tonal sounds. Sa Ri Ga Ma Pa Da Ni
Sthaana—Registers in music
Jati—Pronounced jaathee. Organised tones. Depending on context, proto-melodies. A tune type or species. [5, 19]
Raga—Pronounced raaga, it is defined as “‘ranjayata it raaga.’ i.e., that, which produces pleasing and soothing impressions in the mind, is a raaga.” [4, 98] It is the basic melody of music and made up of various permutations and combinations of tones. There are 72 melakarta ragas.
Murcchana—elaboration of the seed-form of a raga. This is made possible when 7 tones of a raga manifest themselves via ascent (arohana) and descent (avarohana). It possess a unit of aesthetic sentiment. Bharata states there were 14 murcchanas.
Tana—Pronounced thaana. Similar to murcchana. The difference is that tana only has arohana [5, 69]
Varna—Manifesting of a song. There are 4 kinds: aarohi, avarohi, sthaayi and sanchari. They typically consist of pallavi, anupallavi, charanam, muktayisvara and chittasvara. [1, 57] The term is also used to refer to the syllables of a svara.
Kaaku—variation of vocal sounds. These are used to express the Nava Rasa.
Tala—Pronounced thaala, it means beat. While traditionally these reached as high as 108 different types, in Carnatic there are now 35 (i.e. dhruvaa, mantha, rupaka, jhampa, triputa, adda, ekataala) and are made up of different maatras (finger positions).
Laya—Rhythm or tempo. These are generally divided into 3: vilambita (slow), madhya (medium) and druta (rapid). [4, 73]
Vaadyabrnda—Orchestra. Also known as kutapa, the vaadyabrnda is distinctly mentioned in Saastra. The Indian orchestra is certainly nothing new, only has a different set of instruments.
Sangeetha-shaala—Music hall for singing and dancing. Found since at least the court of Pushyamitra Sunga.
Prekshagriha—Threatre auditorium for dramatic performances, musical and otherwise. The first Sunga ruler had a separate premises for these as well.
Personalities in the History of Music are myriad and manifold. Indeed, many are bracketed in the category of ‘mythological’. Being concerned with serious history, we will merely make reference to those sacred historical figures as legendary, and begin with Bharata, Kohala, and Dattila as the first confirmed historical figures with associated texts.
Nandikeshvara is known by many names and must be mentioned as he is the originator of one of the three original sampradayas of Sangeeta. The texts Nandikeshvara-samhita, Bharataarnava, Abhinaya-darpana, Kaishikaavritti are credited to him, but do all of them refer to the same person? It is indeed very possible that there were many so-called historical (and human!) Nandis who were responsible for the texts associated with this figure, and yet, they have not been confirmed or even fully theorised. As such, Nandikeshvara along with Lord Brahma will have to be placed, rather than in the purely historical, in the realm of the sacred instead, but with textual attributions intact, much like the son of Brahma himself.
Much like Nandeeshvara, many are reluctant to consider conflating the mythical Narada muni with the texts associated with him: Naaradi Sikshasaastra, Sangita-makaranda, Raaga-nirupana, and the Gandharva-rahasyam (on dance, drama, and music). Is he the great Sage of our stories, forever singing the glories of Lord Vishnu, or were there many ‘historical’ Naradas? When in doubt, it is better to preserve the chronology assigned in the tradition, and merely assert what has been confirmed by historical evidence. It is also important to catalogue his contributions as he is the second of the great sampradaya founders.
The third and most historical of the three founders of the original schools of Sangeeta, Sage Bharata is a storied name in not only music, but literature, dance, drama, poetry, and indeed, aestheticsitself. Though he mentioned only 8 of the Nava Rasas, the theory of 9 sentiment itself is said to commence with him.
“Muni Bharata brought a renaissance in the domain of dance, drama and music, and scientifically devised laws and priciples of twenty-two mircortones (shrutis) or subtle tones on the basis of five mircrotones (jaati-shrutis), as promulgated by Naarada of the Siksha.” [4, 118]
Most important of all, this sagacious sage propounded his theory of Sangeeta for the purpose of Natya. There are a number of musicologists considered to have been either immediate contemporaries or successors to Bharat. These include Kohala (wrote Sangitameru), Durgashakti, Yaashtika (Sarvaagama-samhita), Shaardula , Svaati (considered the inventor of the pushakara drum), Vaayu, and Vishvavasu. One name associated with the significantly later King Vikramaditya of Ujjain is Matrgupta (appointed to rule Kashmir in the name of his Avanti overlord). Nevertheless, the most immediately relevant name is one who is often thought to perhaps even precede Bharata.
The eponymous work Dattilam is the legacy of this sage. He is said to have continued in the tradition of Bharata, and discusses sangeeta in the context of natya. He lists 18 jatiraagas, various murcchanas and 66 thaanas. Not much is known about him, but he is considered to be a contemporary of Bharata Muni.
The contemporary paradigm parsimoniously dates this great musicologist to the 5th or 7th centuries CE; however, to traditional Hindus, he is no mere Matanga, but Matanga Muni. Considered an ancient Sage, his background dates back, in all likelihood, to not too much after the Natya Sastra himself. He makes references to the most ancient commentators, including Bharata Muni, Kohala, and Dattila. Where he stands out, however, is in his treatment of the desi ragas and styles of music (hence the name of his work Brihaddesi, discussed below).
Though he is clear on the central nature of Marga, Matanga nevertheless discusses the different regional and national styles of music. For those wondering whether the orthodox ever admit to foreign influence, it is here that contemporary yet conservative commentators of India note that while the classical marga style of saastriya sangeeta remains indigenous, different national styles such as those of the Sakas found their way into myriad quilt of desi regional music and folk music. 
It is a long gap between Matanga Muni and Maharaja Bhoja, but given the antiquity of Indian history, a single article Chronology is better focused on the reified names of history, rather than those who are still being confirmed. Though Fa Hien records the splendour of Indian music during the Gupta Period (no doubt due in no small part to the great veena playing Emperor Samudra), musicologists and evidence of direct contribution will better help mark the historical record.
Maharaja Bhoja Paramara
King Bhoj of Dhar is one such contributor. The storied lord of Dhaarangagari was arguably the most talented and scholarly of Royal Commentators on the Arts, including music, and is considered a true polymath. Though better associated with literature and architecture, his contributions to sangeeta cannot be gainsayed. Sringara-Prakasa is a work of his containing precepts of dramaturgy. Though only some of his 84 books are known to have survived, he was considered an authority on music by Maharana Kumbha.
Undoubtedly one of the towering polymaths of Indian history, the great Kashmiri Acharya Abhinavagupta widely commentated on everything from Tantra to the Arts. His commentary on the Natya Sastra, is known as Abhinava Bharati. This Bharatabhasyam elaborates the various issues pertaining to drama, dance, and music. He not only cites Bharata Muni, but also Kohala, considered an ancient authority in naatyaadhikaara and geyaadhikaara. His 1000th Birth anniversary took place this past year.
He is credited with the Sangita-ratnamaalaa, and is dated to the 11th century. Also hailing rom Kashmir, he categorised raagas per the janya-janaka (genus-species) method. He lists a number of principal ragas suh as karnata and maalava. [4, 158]
In a long list of names, stands this prominent Jain musicologist who wrote Sangeeta-samayasaara. Thought to date back to between the 9th and 11th centuries, Parshvadeva gives us a full description of various kinds of prabandhas. These were further elaborated upon by Sarngadeva. Nevertheless, the prabandha-gitis took inspiration from the ancient form of dhruvapada and eventually is known today in Hindustani as the dhrupad. The dhrupad is a shortened name for the saalaga-suda dhruva-prabandha, given patronage by Raja Man Tanwar. [4, 56] In Maharashtra, we find abhangas as the prized musical form instead.
Better known as King Nanyadeva, he is one of many royal comentators on music. A descendant of the Kannada Rashtrakuta dynasty, his kingdom was situated in land straddling Bihar and modern Nepal. Nanyadeva is notable for his commentary on Bharata’s Natya Sastra, called Sarasvati-hridayaalankaara. Other influences include Naarada, Yashtika, Kaasyapa and Matanga. He discussed various raagagitis and jati-ragas
Author of the Abhilasha-Chintamani, the Chalukya Emperor Someshvara more closely associated with the alternate name of the same work: Manasollasa. This veritable encyclopadia deals with many topics ranging from Classical Cuisineto Music. He is considered one of the prominent Royal authorities on Natya and Sangeeta.
Subject to a great war between Odias and Bengalis, as on the rasagolla front, Jayadeva the musical and literary personality appears almost certainly to go in favour of Odisha as well. His ashtapadis were heavily popularised at the court of the Odia King Prataparudra Deva Gajapathi. Jayadeva’s great Gita-Govinda had an impact as far as western India, with none other than Maharana Kumbha later commentating on it.
One undeniable Bengali, however, is Chaitanya Mahaprabhu of the 16th century. His impact extended beyond the Gaudiya Vaishnavism, a guru-sishya parampara that extends to that founder of the Hare Krishna movement, Srila Prabhupada (whose translation of the Gita remains the most widely read today). Nevertheless, it was the founder of his own parampara, who would have the greatest impact on the folk music of Eastern India. The Bhakti songs of Bengal very much bears the stamp of Sri Chaitanya to this day.
Known as ‘Nissanka’ (one who is doubtless), Sarngadeva was born in Varshagana gotra to Soddala Deva. His grandfather was Bhaskara, a Kashmiri Pandit who settled in Maharashtra.
He is regarded as an outstanding Sanskrit scholar and wrote the Vedanta work called Adhyatma Viveka. But he is best known for his Sangeeta Ratnakara (13 th century), which he wrote while residing at the Seuna Court at Devagiri. This soon became the classical standard in the medieval period, influencing both Hindustani and Carnatic.
Maharashtra musician Gopala Nayaka of Devagiri was eventually to Delhi some time in the late 13th century. [9,27] This is said to have laid the actual foundation for what is known as the Hindustani School today.
Considered by many to be a foundational influence on Carnatic music, the Vijayanagara Samrajya Sthapanacharya made an incalculable contribution to the revival of Saastriya Sangeeta at a time when Saastriya Samskruthi was under threat. His Sangeeta-Saram of the 1300s mentions 50 janya ragas originating from 15 melakartha ragas. The head of the Sringeri Peetham, he oversaw a commission of scholars to revive traditional sangeeta that was under threat from destruction by invaders.
A musicologist from the Vijayanagara Court, he wrote an authoritative commentary on Sarngadeva’s influential work.
One of the most beloved classical musicians of Andhra, Annamacharya (1408-1503 CE) remains one of the critical bridges between the ancient Saastriya Sangeeta of old and the birth of the Carnatic Tradition.
Though his story and advocacy for upanayana for women and lower caste temple entry is what he had been remembered for throughout history by the masses, it was only recently that his keerthanas were rediscovered and set to music by Carnatic stalwart, Nedunuri Krishnamurthy.
The sheer volume of Annamacharya’s contribution remains virtually inmatched. Though less than half of his estimated 32,000 padams have been found, compositions such as this one below, reverberate throughout the Telugu states to this day.
Karnataka Sangeeta Pitamaha Purandara Dasa is a name known to all South Indians, and is one that should soon be known to all Indians. He re-established the native canon of authentic Classical Indic Music at a time when it was subject to many external influences and even outright corruptions.
Born Srinivasa Nayaka in 1484 at Pandaripur (Karnataka), he became the disciple of Sri Vyasa Teertha in 1525. He composed thousands of songs and codified the Carnatic Music Tradition. He passed away in 1564.
If ever there were proof that a fierce warrior, gifted general, and dignified king could be talented musician and musicologist as well, it is Maharana Kumbhakaran Singh of illustrious Mewar. Dreaded by his opponents, beloved by his subjects, and honoured by his scholars, one of Mevaad’s most ferocious veeras was also the author of the Sangeeta-raja and Sangeeta-krama-deepika.
He is also credited with re-setting the tune to Jayadeva’s Geeta-Govinda. Though Jayadeva was considered singularly skilled poet, the ragas he set his poems to were re-adjusted in what is widely considered to be a Rajasthani improvement on the Odia original. In any event, the skilled deputee of Eklingji held Jayadeva in high esteem, and thus, is credited with a commentary on the Gita-Govinda.
Narayana Teertha Yatindra is the author of Sri Krishna Leela Tarangini. Living in the 16th century, he was another stalwart of Andhra, hailing from its Krishna district.
Krishna Leela Tarangini is considered a standard of Sanskrit opera. It is composes in 12 cantos with its various songs preceded by slokas and short prose passages. KLT is ranked with Geeta Govinda as work of Sringara. Its theme is the story of Krishna and Rukmini. [6, 83]
Celebrated across divides and boundaries, Tansen is often considered to be the real founder of the Hindustani tradition. Born to Makarand Pandey at Gwalior, he learnt music from Swami Haridas. Rajput royals such as Rani Mrignayani (also of Gwalior) and Raja Sanmukhan Singh of Ajmer, were classmates. He later went to the Agra Court in the 1600s and wrote the Sangeeta Sara and Rajmala.
Tansen is said to have standardised 300 ragas in Hindustani. Miyan ki Todi is one of the ragas attributed to him. He had 5 children including a daughter named Sarasvati, who was a veena player. His sons played the rhabab—a string instrument modified by the great musician himself. 
“Ramamatya, Somanatha and Venkatamakhi consti-tude a group by themselves. They are respectively the authors of the following standard works in Sanskrit on Karnatic music: Svaramelakalanidhi, Raga Vibodha, and Chaturdandi Prakasika” [6, 85]
Ramayamatya is the earliest, dating back to the 1500s. At the request of Emperor of Vijayanagara, he wrote the svaramela kalanidhi and enumerated 20 melas and their janya ragas. He rejects Sarngadeva’s theory of 12 vikrta svaras in favour of 7.
Somanatha was another traditional scholar from Andhra desa. His Raga vibodha picks up from where Ramamatya left off. In contrast, he elected to posit a scheme of 960 melas with 15 vikrta svaras.
Finally, the most impactful of the 3 was Venkatamakhi. The second son of Govinda Dixitar, he studied under his brother Yajna Narayana. He later came under the tutelage of Tanapapacharya, a famous musician from Northern India. With the patronage of Vijaya Raghava Nayaka, Venkatamakhin wrote the Chaturdandi Prakasika in 1660. This Comprehensive work covers the gamut of the usual traditional concepts, but is credited most for standardising the 72 melakarta ragas used in Carnatic music today. [6, 86]
Mewar’s musical contribution to India includes the female as well as the male. The storied Princess Meerabai gave up all for her love of Lord Krishna. She is remembered today not only for her skill with the tambura and khartal, but for her voice as well. This songstress of Sri Krishna is known for devotional ballads such as these.
Lochana Kavi is another notable scholar. Hailing from Mithila (in Bihar), he is best known for his Raga Tarangini, which deals with Indian music in a time of great change. He mentions 12 janaka melas and uses 12 svaras to describe his ragas. A fitting homage to the historical Rajatarangini is the musical Ragatarangini. It is considered a useful study on the music of Northern Indian during a time of foreign ascendancy.
A celebrated composer of Telugu padas, Kshetreyya was born in Muvvapuri graamam, near Chandragiri (Chittoor district). He was a tremendous singer, scholar, and litterateur. Dedicated to Lord Gopala, he worth 4000 padas in honour of his ishta devata. He travelled throughout peninsular India, and made his greatest impacts at the court of Madurai and Thanjavur.
The most famous of the Carnatic Trinity, Thyagaraja was born as Kakarla, Thyagabrahmam in a Telugu Brahmin family that migrated to Thiruvaiyaru from Prakasamdistrict in 1767. He received his early music lessons from his guru Sonti, Venkata Ramanayya.
Thyagayya composed close to 24,000 kirthanas in his life time but only 700 kirthanas survived the vagaries of time. He also wrote two musical plays in Telugu “Prahlada bhakthi Vijayam” and “Nauka Charitram”. His Pancharatna (five gems) Krithis are considered finest gems of Carnatic music.
Every year in the month of January and February a music festival, Thyagaraja Aradhana, is held in Thiruvaiyaru to celebrate and honour his musical genius. On Pushya Bahula Panchami thousands sing his Pancharatnas together. Now it’s a worldwide event, Thyagaraja aradhana is conducted world wide by the patrons and practitioners of Carnatic music and attended by thousands of music lovers and devotees.
The language of Thyagaraja compositions is simple but yet beautiful, and the choice of words in the compositions add to the melody of raga and the rhythm of tala to create the ecstasy of bhava and rasa.
Syama Sastri hailed from the Vadamar community connected to Tamil Nadu, but originally hailing from Andhra. He was born in Thiruvarur to Visvanatha Iyer, in 1762. He was a friend of Thyagaraja and guru to the third of the Carnatic Trinity, who will be discussed subsequently.
Syama Sastri’s achievements in classical music include around 300 total compositions, 9 kritis to Meenakshi Devi, and humbling a number of court musicians in sangeeta contests. His works are known for their intricate taalas. Above all, he refused royal patronage and never deigned to engage in nara-stuti, saving his musical talents to sing the praises of the Divine. He was a great sangeeta and spiritual power, the like of which rarely walks in this modern world. His most famous composition is considered to be Devi Brova Samayam Idhe.
The most famous student of the second of the Carnatic Trinity is the only true blue Tamilian among 2 Telugus. Nevertheless, he set a tradition that would continue on to make his home state the greatest patron of Saastriya Sangeeta in this era. This legacy continues on to the present day in the great Carnatic sabhas of Chennai.
Rajas Shahaji & Tuloji
The Maratha rulers of Madurai would continue the outstanding legacy of its previous Nayak rulers, and become tremendous patrons of Sangeeta themselves.
Tuloji (1765-1787) wrote the treatise Sangeeta Saramritam in 1770. He too was a great supporter of Saastriya Sangeeta.
Raja Swati Thirunal
The ruler of the Kerala kingdom of Travancore between 1829 and 1847, he is considered one of the great Royal composers of Saastriya Sangeeta (in both Carnatic & Hindustani schools). He was a poet, scholar and linguist, with songs credited to him in the Sanskrit, Malayalam, Marathi, Hindustani, Tamil, and Telugu languages. Considered a genius and generous patron of music, his court was adorned with musicians such as Paramesvara Bhagavatar, Govinda Marar and Vadivel. He is highly respected for his technical beauty (svarakshara) and composed more than 300 kirthanas, padas, varna, thillanas, and raga mallikas under the ankitam Padmanabha. [6, 71]
There are, of course, many, many more personalities who could be discussed. But the ones above have had the most noted impact on Saastriya Sangeeta across the spectrum.
Let us now commence with a more detailed survey of the Important Texts of the Classical Indic tradition.
Natya Sastra, 400 BCE (or earlier) [2,8]
The Naatya Saastra has already been discussed in detail in this previous article. Nevertheless, for those short on time and long on interest, here is a brief description of its impact on music. “Saaradatanaya (1175-1250 A.D.), the author of the Bhaavaprakaashan, informs us that the original editon of the Naatyasaastra consisted 12,000 shlokas and afterwards it was reduced to 6,000.” [4, 123] It 37 chapters make up one of the most systematic treatments on the arts. The 22nd chapter is considered the most important to music. There are at least 9 commentaries on it, with Abhinavagupta’s considered the most incisive. [6, 76]
Dattilam, 400 BCE (or earlier)
Brihaddesi, 400 CE (or earlier)
Quoted in numerous texts from the ancient period down through the 17th century, Brihaddesi is considered an exquisite exegesis on how classical Indic music balances between marga and desi. It demonstrates how the native tradition preserves its indigenous character, while allowing the tunes of various Indic desas and the folk music of the non-Indic to contribute to the Civilizational body. “The source of musical structure and composition, both of Hindustani and Carnatic, has to be traced back to the Br[i]haddesi“.  It is here that we first see clear distinctions between Jatis, Murchanas, and Raga.
Perhaps the best known quote from the Brihaddesi is the one on nada:
There is no geeta (song, music) wiithout naada, there are no svaras (musical notes) without naada, there is no nrtta (dance) without naada, hence the world is of the essence of naada. [5, 7]
Silappadikaram ~2nd Century BCE-5th Century CE
Arguably the most famous work of Sangam Literature, Silappadikaram is a Tamizhepic that is also authoritative on poetry, music , and drama. It allong with the Tivaakaram and Paripadal is used to divine the divine music of that era in the Tamil regions. The Silappadikaram in particular describes 22 alaku (shrutis, much like the earlier Bharata Muni). There are also descriptions of various musical instruments such as the yazh and the kudamulabu.
Natyalochana, 800-1000 CE
Composed by an uncredited author, it is a text on drama and music that is wide in scope. Ragas are divided into shuddha (pure), saalanka (impure) and sankeerna (mixed). A total of 44 ragas are listed, with only 8 pure ragas.
Manasollasa of Somesvara III (Karnataka), 1131 CE
Abhinava Bharati (Kashmir), 1000CE
Composed by Saaradaatanaya, it is another work of Natya and Rasalankaara (aesthetics). Interestingly, he makes provision for acoustic enhancement through prescription of various shapes of theatres. For example, a circular theatre is ideal for a mishra dance (where marga and desi are mixed), and a triangular theatre is ideal for marga. [4, 164]
Gita Govinda, 1100 CE
Songs of Geetha Govinda are called prabandha-gitis. This is because they are characterised by saahithya, raaga, thaala, dhaatu, anga, murcchana, rasa, and bhaava. Gitinaatya as a genre in the present era is traced to this work due to its widespread influence. Written in the ashtapadi form (8 stanzas), popularised by the author itself, Gita Govinda celebrates the Rasa-leela of Krishna with Radha and the Gopikas.
Considered a classic work of Sringara Mahakavya, it contains 24 songs in 12 sanskrit sargas. Ramashtapadi of Ramakavi and Sivashtapadi of Chandrasekharendra Sarasvati are said to have taken after it. [6, 78]
Sangeeta Samayasaara of Parsvadeva (Karnataka) 1100 CE
Better known for his Nrtta Ratnavali (above), Jaya Senapati’s Geeta Ratnavali was a great text on music lost to us during the pillage of Warangal by Delhi Turks. While his treatise on dance leaves us to wonder what musical wonders were lost to us, the commander of the Kakatiya King’s elephant corps deserves mention for his contributions to music (glimpses of which can be found in his surviving work).
Bharatabhaasya of Naanyadeva
Sangeeta-Sudhakara ofJagadekamalla, ~1300 CE
Another work by a Chalukya sovereign, the Sangeeta-Sudhakara was written by the son of Someshvara III (of Manasollasa fame). Prince Jagadekamalla is therefore another key royal musicologist and patron of music.
Sangeeta-Saram by Swami Vidyaranya, 1300 CE
Saaroddhara of Sudhaakalasa (Gujarat), 1350 CE
Dasar Padams (Karnataka), 1400 CE
Sangeetaraja & Sangeet-krama-dipaka by Maharana Kumbha (Rajasthan), 1400 CE
Sangeeta Kaumudi (Odisha)
Svaramela-kalandhi by Rama Amatya, 1500 CE
Raaga Vibodam of Somanatha, 1500 CE
Sangeetha Sudha of Govinda Dixitar, 1600 CE
Chaturdandi Prakaasikai of Venkatamakhin, 1600 CE
Sangitadarpana of Daamodara
Sangitataranga of Radhamohan Sen
Krishna-leela-tarangini (Andhra), 1600 CE
Ragatarangini of Lochanakavi (Bihar), 1620 CE
Kshetragna Padams (Andhra), 1600 CE
Sangita Parijata, 1650 CE
Written by Pandit Ahobala, it is a popular treatise on North Indian music. Ahobala is reputed to be the first writer to refer to the svaras by the lengths of veena wires. The kaphi raaga of Hindustani is attributed to him. His work was subsequently translated from Sanskrit into Persian in 1724.
Sangeetha Saaraamrutham by Tuloji Maharaj (Maharashtra/Tamil Nadu), 1700 CE
A comparatively recent but valuable work for students sand scholars of Carnatic music, its author is unknown. It appears to date after Venkatamakhin and has an expanded system of 4,624 melakartas. This is divided into 136 chakras, with each chakra containing 34 melas.
This concludes the discussion of traditional texts on music. While any complete list is putatively longer (and any elaboration on the treatises even more so), these should suffice to provide an historical foundation for textual sangeeta.
We end as we began, with a discussion of not only the History of Classical Indic Music, but the pervasiveness of its influence. In fact, no discussion of Indian music is complete without mention of the expansive travels and tragic story of those wandering minstrels of global fame: the Romani. Though pejoratively called Gypsy or Gitanos, their musical influence is undeniable, not only via their own stories which they tell, but in the obvious impact they had on music wherever they went.
Nevertheless, the history of Indian Music and its spread predates these nomads of Northwestern India.
Specially the music of greece was indebted to indian music, which was introduced to Greece by Pythaagoras and the Pythaagoreans. It is said that Pythaagoras visited India and returned to Greece, carrying with him the cultural, religious, and philosophical ideas of India. [4, 110]
Furthermore, the Emperor of North India, Harshavardhana Shiladitya was a renowned supporter of classical music and dance. “In 581 A.D., a band of musicians was sent from India to China at the invitation of the Chinese Emperor, and it is said that music missions weres sent to distant lands like Samarkanda, Bukhaara, Japan, Corea, Kaamboja (Cambodia) and other Middle and East Asian countries.” [4, 111-112]
Another trend of late is to create false cultural distinctions within India. Contrary to progressively-regressive revisionistas, time assignation for ragas exist in Carnatic. Of course, one does not expect them to have read the works of Karnataka Sangeeta Vidwans like A.S. Panchapakesa Iyer, but here is what he had to say:
“27. Time for Singing Ragas
In a day consisting of 24 hours, we have morning, afternoon, evening and night….
There are some ragas meant for waking people up from deep slumber. The ragas Bhupalam, Bowli and Revagupti are fit for being sun during this period….
In the afternoon, that is from 10 a.m. to 4 p.m., people will be busy engaged in their work…Begada, Danyasi, Madhyamavathi, Manirangu, Bhairavi are the ragas suitable for this time…
In the evening, that is from 4 p.m. to 8 p.m. when people return home after work, they would like to be happy in the company of their wives and children. Ragas like Sankarabharanam, Kalyani, Kambhiji, Bhairavi, Thodi, Kharaharapriya and Pantuvarali are suitable for this time.
During the night around 8 p.m. after taking food, one prepares to go to sleep. Ragas like Nilambari, Ananda Bhairavi and Edukula Kambhoji are suitable for this period” [ 1, 62-63]
Other names and concepts will become more relevant, particularly when discussing the distinctions between Carnatic and Hindustani, which incidentally had many intentional recent origins rather than historically organic ones. Hindustani, much like a particular persianised register of Hindustani (the language), is very much a product of politically driven motivation. Even the sitar (originating in the ancient chitra veena) and the tabla (clearly visible in ancient sculpture as the pushkara) have not been left untouched by colonial and neo-colonial revisionism. That is the importance of studying classical texts with the emic lens, rather than the etic. 
But perhaps it is best to conclude, not in our own words, but in those of the experts.
“In conclusion, it can be said that ancient period is the most important, nay, the golden age in the history of Indian music. The cultural history of this period is glorious and eventful, and the age has undoubtedly a charm, beauty and value of its own for the historians as well as for the students of the history of music. The most remarkable aspect of this period is this that most of the valuable and essential materials of music evolved during this period…So the ancient period of history of Indian music must be given special attention and be studied with proper care.” [4, 190]
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Iyer, A.S. Panchapakesa. Karnataka Sangeeta Sastra: Theory of Carnatic Music. Chennai: Ganamrutha Prachuram.2008
Lavezolli, Peter. The Dawn of Indian Music in the West. New York: Continuum.2006
Prajnanananda, Swami. A History of Indian Music. Volume 1. Calcutta: Ramakrishna Vedanta Math. 1997
Sharma, Prem Lata, asst. by Anil Bihari Beohar. Brihaddesi of Sri Matanga Muni. Delhi: IGNCA. 1992
Sambamurthy, P. Syama Sastri and other Famous Figures of South Indian Music. Chennai: The Indian Music Publishing House. 1999
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