The Grammar of South Indian Music (Karnatic Music)

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About the Book In these days of revival of general interest in South Indian music, the fundamental principles of Karnatic music are more and more widely studied and discussed.

The modern mind is not satisfied with the traditional method of exposition of the intricacies of music. A more rational and scientific approach to the subject is increasingly in demand. The author of this book has been confronted with this problem for many years. and has made a systematic and scientific study of one of the most important aspects of Indian Music, namely the origin and interpretation of the twenty-two suits. He has made a thorough study of the subject by using a long monometer and standard tuning forks. He has tried objectively to understand the subtleties of South-Indian Ragas, the Raga Bhavas and Gamakas. He published a series of articles in "The Hindu" in 1928 and the matter was then widely discussed.

The conclusions arrived at as. result of a critical study and observation extending over a period of twelve years; have been embodied in this book-The grammar of South Indian (Karnatic) Music.

The thesis thus attempted by the author is of deep interest though radical, being quite contrary to the traditional interpretation of the old texts on music. which are not always unanimous? Anyway, such a disturbing. pro- position must set all thinking artists to a great deal of activity and before long, I hope its truth will be established beyond doubt.

Preface My reason in bringing out this book is that I have been harping on the subject of Srutis or microtones since the year long, and lecturing to interested audiences in Madras, Calcutta, Bombay and Allahabad. I feel the paramount necessity for the correct perception of microtones by all artists, vocalists and instrumentalists alike, for their clear exposition of the Raga Bhava. I place this book before all learners to popularize the idea of suits so that these mathematical conceptions may help them and lead, as in my case to a better exhibition of the art itself. The book will certainly be of use to students of music, who have gained sufficient understanding to be able to decipher any melodic music by the twelve rough pitches in the octave or Shay, It may also interest the general reader, who may perhaps find in this book, a statement of the evolution of our music from simpler melodic pieces to the present art-stage.

The present thesis purposely does not refer to the more ancient theoretical works on music in Sanskrit. It is based entirely on my musical experience with a little knowledge of modern Physics, and of musical comparisons and unisons suggested by a musical ear. I have also added two Chapters of general musical interest.

Book's Contents and Sample Pages