After articles on Natya Sastra and Dattilam, we continue our coverage of the august works of Indic musicology with our next article.
At a time when Saastriya Sangeeta & Bharatiya Sanskriti are being stereotyped as elitist, we bring you a text by a respected learned ascetic who hailed from chandala (i.e. dalit) background. Matanga Muni may be best known for being the preceptor of celebrated Ram Bhakt, Shabari, but he was also a brilliant mind in Sangeeta Sastra. His Brhaddesi is all the more poignant today than it was in his own time.
Author
Venerable Matanga Muni has a life story that is very relevant to our era. Born in a time immediately preceding the Ramayana, he was a “chandala” (meaning so-called ‘untouchable’ community) yet attained a very auspicious status by virtue of his tapas. He was blessed by Parvati devi to become her father in her incarnation as Matangini. This form of Shakti is simultaneously beguiling and enlightening, as she teaches her saadhakas to understand the reasons for suchi by engaging in muchi. In doing so, they transcend the duality of puritanism vs libertinism.
On a side note, it is at Matanga Muni’s ashram that Shabari meets Sri Rama, who incidentally, commits muchi by eating the fruits tasted by his beloved devotee. He who was the Maryada Purushottam could temporarily put aside considerations about personal fastidiousness when seeing the genuine love of his bhaktas.
In any event, Matangini is also associated with Sarasvati, and the various types of speech, making the musical Matanga Muni a poetically proper pitr. The great ascetic composed the work Brhaddesi with copious reference to Purvacharyas such as Bharata muni.
“There was no Hindusthani or Carnatic music as such during Matanga’s time and his book is a reference work for both the systems. It was more than a thousand years later that the division occurred.” [3]
Incidentally, for those who like to classify all four southern states under ‘Dravida’ due to ‘Jana Gana Mana’, ancient Matanga Muni in listing his varieties of Desailaa clearly distinguishes the two. In fact, for our regional champions, he lists the following regions of Bharatavarsha:
- Laataila (for Laata, i.e. Southern Gujarat)
- Karnaataila (for Karnaata)
- Gaudaila (for Gauda)
- Aandhraila (for Andhra)
- Dravidaila (for Dravida, i.e. ancient Tamizh Nadu and Kerala).
[2, xvi]
The antiquity of the prabandha form is seen here as well. Matanga Muni has an entire chapter dedicated to it.
Regarding the topic of Purvacharyas. Bharata Muni is prominently mentioned.
He extols him effusely, as follows:
‘Bhm stands for light and hamsa (Atman) delights in it. Hence He is known as Bharata. The knowledge of Bharata is born of Him. The splendid Bhaaratee is born of that
knowledge.” [ii. 76]
Dattila, Visakhila, Kohala, Tamburu also cited. Yaastika, Kasyapa, Shaardhoola, and Durgashakti are quoted as well.
In any event, the Brhaddesi of Sri Matanga Muni is an highly technical work on musicology, and merits deeper investigation.
Composition
“Brhaddesi and more so its Puranic author Matanga Muni have been well known in Sangeetasastra for more than one millennium. The text has been profusely quoted in texts of Sangeetasaastra upto the 17th century. [1, xi]
A celebrated work on Musicology, Matanga Muni’s magnum opus survived the ravages of time, and was found in two palm leaf manuscripts in Malayali script. These were obtained from the Raja of North Travancore, and are fragmentary. Considered the most important work on Sangeeta Sastra between the Natya Sastra of Bharata & Abhinava Bharati of Abhinavagupta, the Brhaddesi is a gem of text not only for the background of the author, but also for its emphasis on the desi form of Music.
In the present era, many efforts have been made to show that the spiritual music of marga stifled desi and janapada music. But nothing can be further from the truth. In fact, all three were complementary. Marga presented the spiritual core, desi represented structured (nibandha) but innovative form for free-spirited artists, and janapada was the lovely, earthy, unstructured (anibandha) music of common man’s minstrel. [2] Alaapana (melodic elaboration) was the key differentiator between marga and desi. Today, the differentiation is as follows:
Sangeeta is historically classified according to four types. These are Marga, Suddha, Desiya and Salaka.
1.Marga Sangeeta—The Four Vedas, along with the Sapta Svaras, are called Marga and are considered to have come from Deva Loka.
2.Suddha Sangeeta—Singing withing the established framework of arohana (ascending notes) and avarahona (descending) according to the traditional manner.
3. Desiya Sangeeta—Regional (desa-pradesa) types of music according to the various provinces of India
4. Salaka Sangeeta—Singing without any traditional structure or guide, per one’s own inclination. [4,7]
It should be noted that in Matanga’s own time there was a distinction between marga and the marga course of desi. Therefore, what was described as marga centered around the four Vedas. Desi course of Marga would align with Carnatic (which is highly spiritual), what what is now described as simply desi would align with jaanapaadam as well as less religious forms of music (vinodham). The venerable vanaprasthin defines desi as follows:
“In various regions (dhvani or manifest sound) spontaneously becomes pleasant to living beings and starting with them (it is also pleasant ) to the people and kings. This dhvani that arises from region to region is called desi (born in or proceeding from various desas or regions).” [1, 3]
He goes on to note that from dhvani arises bindu, from bindu arises naadha, from naadha arises maatras, from which are born varnas (letters and syllables), from which are born maatrkaas (vowel and consonant), and the totality of all these is the light of the world (prakaasa). It’s clear from the outset in chapter 1 itself, that Matanga’s instruction aligns with and even echoes Bharata’s famous phrase (which he quotes verbatim later). The author of the Brhaddesi provides legendary quotations as well:
Na naadena vina nruttham-thasmaath naadaathmakam jagath
Naada roopaha smrutho brahmaa naadaroopo janaardanaha
Nadaroopa Para Sakthihi-naadaroopo Mahesvaraha
Without Nadam, there is no Sruthi, Geetham or Nartthana. Brahma, Vishnu, Siva, Sarasvati, Lakshmi, Parvathi and all the creations in the world are engaged in Nadam. [4]
This is also relevant as shakti upaasakas in Tantra teach that prakaasa bindu (Shiva) unites with vimarsa bindu (Shakti) resulting in Bindu, creating Naada. So the spiritual synergy between Matanga and his musicology, his daughter Matangini Devi, her consort (Shiva in Chandaala form) explain the energy of not only dhvani, but also Saastriya Sangeeta. Incidentally, Muthuswami Dixitar is one of The Carnatic Trinity, and well-known Shakti worshipper, as is known by experts of his compositions.
In any event, Sri Matanga goes on to describe the nature of svaras (musical notes). He notes that sookshma nada dwells in the cave, atisookshma in the heart, the distinct naadha resides in the throat, the indistinct one in the taalu (lit. palate, but here cerebrum) and the artificial one in the region of the mouth. [1, 9] There are other interesting characteristics to this text as well.
“Also, stylistically, it moves away from the prescriptive nature of the Natyasaastra, even the Dattilam and adopts instead a Bhaasya or dialogue form.” [1, x]
There is a delightful dialogue between the two Munis, Narada and Matanga that is considered by many to be the first delineation of raga. In response to the query about raga, Matanga responds thus:
“That which colours or delights the mind of the good through a specific svara (interval) and varna (melodic movement) or through a type of dhvani (sound) is known by the wise as raaga.
Or- That which is a special dhvani, is bedecked with svara and varna and is colourful or delightful to the minds of the people, is said to be raaga.” [2, 77]
“‘Raaga’ is born from the act of colouring or delighting; this has been said to be the etymology. Thus is spoken of the etymology of the word raaga.
‘Raaga’ is (a word that is) roodha (having a conventional meaning) like asvakarna or is yaugika like ‘mandapa’ (that which conveys the meaning that embodies a
combination of its components), or it should be known as yogaroodha (that which gives meaning according to combination and convention) like the pankaja (lotus).” [2, 79]
In matters melodic, Matanga muni lists 7 geetis: suddha, bhinnaka, gaudika, ragageeti, saadhaarani, bhaashageeti and vibhaasha. [2, 79]
“The coksa (suddha) geeti is spoken of as being complete (poorna) with mandra (low), amandra (not low, medium), taara (high) straight, attractive, equal svaras and
srutis.” [2, 81]
“Bhinna geeti is said to be with sooksma (short in time), mobile, curved, ullaasita (made to shine upwards), prasaarita (spread out), attractive, high and low (svaras).” [2, 81]
“The svaras of gaudi are beautiful and are attractive with ohaati. Ohaati is said to consist of a combination of the sound ‘ha’and ‘o’…Gaudi geeti is said to subsist without rest in the three registers.” [2, 83]
“Raagageeti is said to be with attractive gamakas, with variegated low (prasanna) (svaras) pertaining to the chest-region, eve, colourful or delightful arrangements
of svaras.“[2, 83]
Saadhaarani-“(This geeti) should be made with straight, attractive, somewhat minute and large, properly audible, slightly, fast, similarly soft, attractive, smooth (or
soft) and minute prayogas (melodic phrases?) that are well combined…with minute kaakus. Thus saadhaarani should be known to be the abode of all geetis“. [2, 83-85]
“This bhaasha geeti is described by the experts in geeti as consisting of prayogas (melodic phrases?) that are rendered by the body (voice), are smooth, colourful with kaakus, well composed, shaken, soft, brilliant, combined with maalavikaaku, attractive, and graceful. It is performed in the manner that delights the people.” [2, 85]
“Vibhaasa geeti should be composed with gamakas that are attractive, numerous, brilliant, shaken, pertaining to the chest region, even, high and very high, smooth, in which madhyama shines forth in between, that are delighful to the ear and are attractive. This process of composition should be spontaneous and should take the course that delights the people.” [2, 85]
Demonstrating the antiquity of ragas, Matanga muni lists them out: there are 5 shuddha ragas, 5 bhinna ragas, 3 gauda ragas, 8 raga geeti ragas, 7 saadhaarana, 16 bhaasha geeti ragas, and 12 vibhasha. He lists the names as follows [2, 87]:
- Shuddha—saadava, panchama, kashikamadhyama, chokshasaadhaarita, and chokshakaishika.
- Bhinna—bhinnasadja, thaana, bhinnakaishikakamadhyama, bhinnapanchama, bhinnakaishika.
- Gauda—gaudapanchama, gaudakaishika, gaudakaishikamadhyama
- Raagageeti—takkaraga, sauveera, maalavapanchama, saadava, bottaraga, hindolaka, takkakaishika, and maalavakaishika.
- Saadhaarana—narta, shaka, kakubha, harmaanapanchama, roopasaadhaarita, gaandhaarapanchama, sadjakaisika.
Significantly, the putative precursors to many of Venkatamakhins Melakartha ragas can be detected here, i.e. Hindolam. In addition, at 56 ragas, it’s only 16 shy of the 72.
In this antediluvian text, one finds such sophistication that specific rasas are aligned with specific geetis. Svara-aalaapa (tonal elaboration) is inherited and in use even today (i.e. carnatic alapana). [2, 101]
Songs (gaana) that are five fold have these characteristics pertaining to raaga:
pravesa—entry, aaksepa—sudden change in emotion, niskraama—exit, praasaadika—pacifying, and aatara—filler of gaps. [2, 129]
Sangati is a notable concept mentioned by Matanga muni. It means for things, in this case notes/svaras, to be in concert or in consonance. Specifically, there is a complementarity between the two. “Sangati means ‘reaching out to each other’, i.e. to and fro movement between the two svaras concerned.” [2, 45]
Traditional regions of India are given a nod not just among ragas (i.e. Andhri), but even Bhaashas (i.e. Gurjari, Saurashtri, Saindhavi, #Karnata), etc. Curiously, Satavahani is also mentioned, giving some mild insight into the time period. Other peoples, such as the Nagas are mentioned [2,169] and even semi-mythical ones such as the Kinnaras [2,165]. Others include, bangali, kalingi, pulinda.
In the section on prabandha, there is mention of the nature and characteristics of the Karnata language (i.e. Kannada) itself. [2, 215] The ashta-rasa of Bharata muni are also listed. [1, 49] He proceeds with the text by stating the following:
“From the vaakya (sentence) (arises) the mahaavaakya (lit. big or great sentence) and in succession (arise) the Vedas with their angas (ancillary disciplines); all those are manifested from dhvani. From there (Vedas) is the origin of Gaandharva (music).” ch.1, sl.11
“Svaras are born of Saamaveda, graama is born of svaras, and these (graamas) are known to be two characterised by (the names) sadja and madhyama.” [1, 51]
“The objective is thus – the systemisation of svara, sruti, moorchana, taana, jaati (and) raaga is indeed the objective” [1, 51]
According to Matanga muni, two graamas are made up of svara, sruti. [1, 51]
“Now the moorchanaas that befit the occasion or context are being spoken of. But what is the etymology of the word moorchanaa and what is its laksana (definition)? It is being answered. The etymology of ‘moorchanaa’ is thus ‘ (the root) moorch stands for moha (loss of consciousness, stupefaction, infaturaion) and samucchraaya (increase, growth).
That through which raaga (colour, delightfulness) grows or increases, is called moorchanaa” [1, 53]
Moorchanas come in four types (poorna (heptatonic, with 7 svaras), saadava (with 6, i.e. hexatonic), auduvita (pentatonic), and saadhaaranaa (with ordinary svaras of 2). [1, 55]
“The group of svaras that is arranged in the ascending and descending order is spoken of as moorchanaa, whereas taana is with the ascending order, this is the distinction.” [1, 69]
He elaborates by noting that thaanas find utility when used to juxtapose jati and raga of two graamas. [1, 77]
He states there are three registers (sthaanas). [1, 75]
“After this (now) are demonstrated the varnas (patters of melodic movement) that are verily four only; viz. sthaayin (steady), sancaarin (circulatory), aarohin (ascending) and avarohin (descending).” ch.1, sl. 118/ [1, 85]
Penultimately, there is a superb section on alankaras. He even provides the etymology for it, saying “that which makes something sufficient or adequate” [1, 89] is alamkaara. Hence, just as alankaara adds beauty to a woman, so too does alankaara make a varna complete. He states that these alankaaras are ornaments for varnas and become delightful to performer and listener alike. As for alankaaras, 33 are given. [1, 89] They are as follows:
1. prasannaadi (having prasanna/lower svaras in the beginning), 2. prasannaaanta (having lower svaras in the end), 3. prasannaadyanta (having the lower svaras in the beginning and end), 4. prasannamadhya (having the lower svaras in the middle, 5, sama (equal), 6. bindu (the dot or anusvaara/nasal sound), 7. nivrttapravrtta (one who setting forth has been withheld), 8. venu (bamboo flute), 9. kampita (the shaken one), 10. juharita (that with a cavity or hole), 11. recita (the emptying one), 12. prenkholita (the swinging one), 13. taaramandraprasanna (having high and low svaras) 14. mandrataaraprasanna (having low, high and low svaas), 15. prastaara (permutation), 16. prasaada (clarity or grace), 17. udvaahita (lifting up), 18. upalolaka (constantly moving or restless), 19. krama (specific sequence), 20. niskoojita (the cooed one), 21. hraadamaana (thundering one), 22. ranjita (the coloured one), 23. aavartaka (rotating one), 24. parivartaka (turning one), 25. udghattita (rubbed), 26. aaksiptaka (thrown down), 27. sampradaana (bestowing), 28. hasita (laughter), 29. hunkaara (the hum sound), 30. sandhipracchaadana (covering the joint), 31. vidhuta (shaken off), 32. udgita (sung or celebrated), and 33. gaatravarna (body colour). [1, 90-91]
He says there is an infinity of srutis and an infinity of dhvanis in the belly of space (i.e. gagana). [1, 17]
Geeta doshaah
Finally, the learned Musicologist concludes with another important aspect:
“The blemishes of Geeta
One should avoid (the song) that is defective by the standard of the people (loka), defective by saastraic (critical) standard, repetitive, defective in metre and vulgar or indecent, embodying deviation from proper order, devoid of meaning, having dubious text and meaning, indulging in violation of (kalaas) and split“. [2, 241]
The manuscript (as extant) then abruptly ends with the colophon mentioning that Matanga muni will describe instruments next.
In summary:
“Brhaddesi is the first extant text to describe raaga, to introduce sarigama notation, to usher in a fresh approach towards sruti, svara, graama, moorchana, etc, and to establish the concept of desi and its counterpart maarga.” [1]
Selections
I. Naanaavidheshu desheshu janthunaam sukhadhe bhavet |
Thathah prabhrthi lokaanaam narendraanaam yadrchhayaa || ch.1., sl.1
deshe deshe pravrtthosau dhvanirdesheethi sajnithah |
In various regions (dhvani or manifest sound) spontaneously becomes pleasant to living beings and starting with them (it is also pleasant) to the people and kings. This dhvani that arises from region to region is called desi (born in or proceeding from various desas or regions). [1,1]
§
II. Abalaa-baala-gopaalau khithipaalainir-jecchayaa |
Geeyathe yaanuraagena svadeshe deshiruchyathe || ch.1,sl. 14
“that which is sung by women, children, cowherds and kings out of their own will with love (and pleasure) in their own (respective) regions is called desi (music)” [1, 5]
§
III. “Nibaddhaschaanibaddhascha maargoyam dvividho mathah |
aalaapaadinibaddho yah sa cha maargah prakeerthithah || ch.1, sl.15
This marga (course) (of desi) is known to be twofold viz. that which is nibaddha (structured, lit. bound) and that which is anibaddha (litl. unbound, relatively less structured). That which is structured through aalaapa (Melodic elaboration) etc. is called maarga (lit. path), but the one devoid of aalaapa etc., is called desi)” [1, 5]
§
IV. “naadhoyam nadhatherdhaathoh sa cha panchavidhoh bhaveth |
sookshmaschaivaathisookshmascha vyakthovyakthascha krtrimah || ch.1, sl.21
“This (word) naada is (derived) from the dhaatu (root) nadati (to make inarticulate sound) and it is fivefold viz. sooksma (subtle) , atisooksma (very subtle), vyakta (distinct), avyakta (indistinct) and krtrima (artificial).” [1, 9]
§
V. “Idhaaneem sampravakshyaami svaraanaam cha vinischayam |
thathraadhau svarashabdasya vyuthpattiriha kathyathe || ch.1, sl.54
“From the root raajr, meaning brilliance, to which is prefixed the word sva (the word ‘svara’ is derived); because (the meaning is) that which shines by itself, hence it is known as svara” [1,29]
§
VI. Padmapatraprabhah shadja rsabhah shukavarnakah |
kanakaabhasthu gaandhaaro madhyamah kundhasannibhah ||ch.1, sl.73
Sadja is of the colours of the lotus-petal, rsabha is of the colour of parrot, gaandhaara is goldenhued, madhyama is (white) like kunda (jasminum multi-florum). [1, 47]
§
VII. Panchamasthu bhaveth krshnaah peethavarnasthu dhaivathah |
nishaadhah sarvavarnoyam vijneyaah svaravarnakaah || ch.1, sl.74
“Pancama is krsna (black), dhaivata is yellow-coloured, this nisaada is multi-coloured, (thus) should be known the colours of svaras.” [1, 49]
§
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References:
- Sharma, Prem Lata. Brhaddesi of Sri Matanga Muni. Vol. I. New Delhi: IGNCA. 1992
- Sharma, Prem Lata. Brhaddesi of Sri Matanga Muni. Vol. II. New Delhi: IGNCA. 1994
- ‘Treatise on Music’. The Hindu. https://www.thehindu.com/thehindu/br/2002/08/20/stories/2002082000060302.htm
- Iyer, A.S. Panchapakesa. Karnataka Sangeeta Sastra: Theory of Carnatic Music. Chennai: Ganamrutha Prachuram.2008
- https://archive.org/stream/Rishi/KnowaboutSagesbyGopalakrishnaRamaiyer_djvu.txt
- https://www.speakingtree.in/blog/rishi-matanga
