How prehistoric societies were transformed by the sound of music

Amidst lively debates within and beyond India these perspectives on our shared legacy make interesting reading:

  • Vainika Savithri Rajan who believed that Tyagaraja, like other great men, was always meditating, but his medium of expression was nādam, “sound”.
  • In the introduction to his unfinished yet voluminous magnum opus Karunamirtha Sagaram, titled “The Dignity and Origin of music”, Abraham Pandither entices readers to embark on a virtual journey through time and space; a discovery of nature that for him would have gone hand in hand with musical evolution if not advanced civilization itself.
  • A summary of findings by archaeologists titled “How prehistoric societies were transformed by the sound of music”.

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Reviews – Raga Dhana: An Alpha-Numerical Directory of Ragas

ragadhana_2ndedby Ludwig Pesch

“An easy to use reference book for concert, music class and and home” [about the first edition] – Indian Express, Chennai, 29 August 1986

“A neat compilation … ragas mainly used on concert platforms … highly useful as a reference book for listeners in concerts and to students for use in the classroom. …” [about the first edition] – The Hindu, Chennai, 23 December 1986

Students of music, as well as music lovers in general, will find this a very useful reference book. Neatly printed and attractively produced.” – Sruti Magazine, The Indian Classical Music and Dance Magazine, Chennai, January 1994

Unique Directory of Ragas … For 15 years he [Ludwig Pesch] studied with the late Ramachandra Sastri (1906-1992) … Pesch not only became a performing artiste on the Karnatic flute but had access to his mentor’s research material. He received many scholarships and put them to good use for enlarging the horizon of Karnatic music by research, documentation and publications …
His [is an] ingenious and logically consistent scheme for identifying ragas by an alpha-numerical method … almost encyclopedic in its scope … contains 500 north and south Indian ragas … the Hindustani svaras and their Western equivalents have been given and the scales shown in staff notation … The glossary, with all terms and names cross-referred, is an illuminating compilation … which every lover of music should welcome with gratitude.” – T.S. Parthasarathy, Journal of the Music Academy Madras, Vol. LXV, 1994

No library of books on Indian music would be complete without Ludwig Pesch’s Raga Dhana (published by Natana Kairali) and Illustrated Companion to South Indian Music (Oxford University Press). They are among the most widely consulted books on Indian music in English. Pesch’s writing is highly regarded for its accurate scholarship. At the same time he takes pains to write in a style that does not intimidate the lay reader.” – S.R. Ramakrishna, themusicmagazine.com, Bangalore, July 2003

Ragadhana is indeed a phenomenal work both in terms of its author and his unique treatment of the priceless dhana (‘wealth’) of ragas that highlights his ingenuity. His scientific and systematic listing of the janaka (‘generic’) ragas and the innumerable janya (‘generated’) ragas reveals the author’s inventive genius. […] It is my proud pleasure to commend this book to those music lovers around the world who evince more than a superficial interest in lndian Music.” – Music critic Prof. George S. Paul (Thrissur), Preface to the 2nd. rev. ed. Ragadhana

Preface to Ragadhana

Prof. George S. Paul (Thrissur) in Ragadhana (1993 ed.) | Find a library copy on Worldcat.org >>

Needless to mention that the stress of each raga is on a particular emotion – its mood seizes the listener’s mind and holds it enchanted throughout.

The psychic appeal of lndian music is an intrinsic quality since like all other branches of knowledge of lndian origin, music has also been a form of meditation.

Over the centuries, there have been attempts to classify these myriad scales, to reduce to law and order the indigenous airs that appeared on people’s lips. But a comprehensive method evolved only through Venkatamakhi’s treatise Chaturdandi Prakasika (17th century), considered to be the bedrock of South lndian music even today.

The 72 melakarta ragas described in it represent all the possible combinations of notes which a refined ear can appreciate and easily distinguish. The pivotal role of madhyama (‘f’) in dividing the into purva melas (i.e scales using suddha madhyama or ‘f-natural’) and uttara melas (i.e. scales using prati madhyama or ‘f-sharp’) has been explained by Venkatamakhi himself:

Even as a drop of butter-milk converts the entire milk in a vessel into curd, the substitution of prati madhyama in the place of suddha madhyama in the uttara melas does effect such a radical change and gives rise to an entirely new set of mela ragas.

That the scheme embraces all the modes used in ancient as well as modern systems of music prevalent in different parts of the world, speaks for the universality of the scheme.

Ragadhana is indeed a phenomenal work both in terms of its author and his unique treatment of the priceless dhana (‘wealth’) of ragas that highlights his ingenuity.

His scientific and systematic listing of the janaka (‘generic’) ragas and the innumerable janya (‘generated’) ragas reveals the author’s inventive genius. Perhaps, it surpasses the dexterously coined katapayadi sutra (‘formula’) applicable to only melakarta (or janaka) ragas in that the scheme provides easy access to a treasure of information about the janya ragas as well. The method developed is logically consistent and, if pursued with a little bit of effort, serves the purpose of a ready reckoner of lndian ragas.

The section ‘Pans in Tamil Music’ beckons especially to critics like me who have been vociferously underscoring the need for analysing music on the basis of ethnomusicology, a branch that is yet to form part of the lndian music curriculum. lt reminds us to what immense extent refined classical music has drawn from folk music which is being looked down upon by many so-called classical musicians today.

Similarity of melas to modes in the European tradition and the variegated scales of Western music is sure to entice those who practice these branches both in lndia and abroad.

It was a pleasant surprise for me personally (when I interviewed Mr. Ludwig Pesch for All lndia Radio, Thrissur in 1990) to hear from a European musician of his calibre, conditioned to the notes of equal temperament of the West from early childhood, that he was attracted by the profound philosphical dimensions of Carnatic music.

Nowadays when commercialism has made deep inroads into the realm of music, I wonder how many lndian practicioners of music have realized this truth. This observation epitomises the author’s involvement in this particular stream of lndian music; and echoes the rigorous discipline he underwent in Kalakshetra (Madras) under the flute-virtuoso H. Ramachandra Shastry.

It is my proud pleasure to commend this book to those music lovers around the world who evince more than a superficial interest in lndian Music.

Find a library copy on Worldcat.org >>

Gamaka determines the character of each raga in vocal and instrumental music

By N S Ramachandran (University of Madras, 1938) | Compositions >>

Gamaka has been defined by Sarngadeva and others as the ornamentation of a note by shaking it. But evidence from their works can be cited to show that the idea of gamaka is more extensive than the connotation of this definition; it has been used to convey the idea of beautifying a note not only by the shake but by any other means which seem to be efficient or adequate. For instance by the adjustment and control of the volume of a single note it can be made to assume different shades of colour, and these effects can be, and have been legitimately classed under the category of gamakas. […]

This complexity in the nature of gamakas, as used in vocal and instrumental music, has been noticed and exhaustively treated in Sanskrit treatises on music. They offer an abundance of material on this subject as well as on others. […]

Sreevidhya Chandramouli
Srīgananātha (Gītam) – Malahari rāga – Rūpaka tāla
contributed by Sreevidhya Chandramouli >>
Lyrics, notation and translations >>
Practice Rupaka tala here >>

Though the employment of gamaka in music is plain enough it is a long time before we come across the term gamaka in Sangita literature. Bharata does not use the word gamaka in his Natya Sastra. […]

Among authors who came after Bharata, Narada in his Sangita Makaranda and Matanga in his Brhaddesi mention gamakas though they do not enumerate any list of them or seek to define them. Along with the idea of gamaka, the expression ‘gamaka’ was perhaps being slowly evolved. Narada in dealing with alankaras says that he will describe 19 gamakas but their definitions are missing in the existing recension of his treatise. Matanga freely uses the term gamakas in the definition of ragas and gitis. As in so many other respects, he is the writer who gives the most important information on this subject between the time of Bharata and Sarngadeva. […]

The gamaka has come to occupy a vital place in our system of music. It is not simply a device to make melodic music tolerable, and it is not its function merely to beautify music. It determines the character of each raga1, and it is essential to note that the same variety of gamaka appears with different intensity in different ragas. The function of the same gamaka in different ragas varies subtly and establishes all the fine distinctions between kindred melodies by an insistence, which is delicate but withal emphatic, on the individuality of their constituent notes. The gamaka makes possible the employment of all the niceties in variation of the pitch of the notes used and is therefore of fundamental importance to our music. If the personality of any raga is to be understood it cannot be without appraising the values of the gamakas which constitute it.

Source: Ragas of Carnatic music by N S Ramachandran, University of Madras, 1938, CHAPTER V. Gamakas and the Embellishment of Song, pp. 112-158
URL: https://archive.org/details/RagasOfCarnaticMusicByNSRamachandran
Date Visited: 18 March 2022

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  1. The most concise definition of a raga may be that by Joep Bor: a tonal framework for composition and improvisation. []

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Muthulakshmi Reddy – A Trailblazer in Surgery and Women’s Rights: Biography of a “reformer from the inside” by VR Devika

Muthulakshmi Reddy – A Trailblazer in Surgery and Women’s Rights is the story of a pioneer path-creator for women. She was the first girl student in Maharaja’s School for Boys in Pudukkottai, the first Indian woman surgeon from Madras Medical College, the first Indian member of the Women’s Indian Association, the first woman member of legislature of Madras Presidency, the first woman deputy speaker and the first alderwoman.

In this book the author describes the indomitable spirit of a woman who campaigned to get rid of the practice of wet nurses, fought for girls’ education and widow remarriage, equal property rights for women, education reform, and rural healthcare for women. She took up the case of getting the practice of dedicating young girls as Devadasis abolished.

“Muthulakshmi Reddy was a reformer from the inside, as it were like Dr Ambedkar was. Which is different from being like a corrector from the outside.” – Gopalkrishna Gandhi

(Pioneers of Modern India series, www.niyogibooksindia.com, INR 299) 

Excerpts (pp. 13-14, & 17-18 and Ch. “The Devadasi Question”, pp. 119-143)

Muthulakshmi was privileged as the daughter of this educated and liberal Brahmin man who gave her the much-desired access to formal learning. However, Muthulakshmi faced discrimination on account of being the daughter of Chandrammal, who belonged to the Melakkara community. The women of the community were trained in music and dance, and were permitted to perform in temple processions and rituals, and for the public on social occasions. Marriage in the conventional sense was barred for them according to religious rules, but they could be chosen by an upper caste [*] male patron of means as a companion outside his own legal marriage. The children born in such relationships were not formally acknowledged by the fathers. Most members of the Melakkara community carried the name of the village or town they hailed from as identity, like Tirugokarnam Kanakambujam or Tiruvalaputtur Kalyani. […]

Muthulakshmi endured unkind remarks from boys who would stand at road corners as she walked to the Nellumandi Baliah School with a writing slate in hand.
‘Here is a daughter of a Thevaradiyar (a corruption of the word ‘devdasi, used in the Melakkara community for women dedicated to God in a ritual marriage but were partners to the male members with no strings attached) going to school, they would shout. To avoid the boys, she chose to walk through smaller lanes and by-lanes.

‘Any art or culture worth preserving will certainly hold its own against all times and against all conditions. Our attempt should be to free it from its ugly associations and the incrustations of ages which now keeps it dim and repulsive to many so that the divine art may be learned by all … then only India’s art, the rich legacy of ages, will shine brighter and will command respect and admiration of the world.’ [Endnote 1.: Muthulakshmi Reddy, “Anti Nautch Movement”, Madras Mail, 17 December 1932]

Muthulakshmi was concerned that the word ‘Devadasi’ was considered as an abusive term in Tamil. She wanted to release women born to Devadasis from the curse, and give them a future free of such an association. If dance and music were so integral to the system that so oppressed a woman, they must be halted too, so that new art could emerge.

Some clarifications on caste-related issues by reputed scholars

Understanding “caste” in the context of Indian democracy: The “Poona Pact of 1932”
“Mahatma Gandhi and BR Ambedkar differed over how to address caste inequities through the electoral system. Their exchanges led to the Poona Pact of 1932, which shaped the reservation system in India’s electoral politics. […]
Two prominent figures who have significantly contributed to this discourse are Mahatma Gandhi, Father of the Nation, and Bhimrao Ramji Ambedkar, Father of the Constitution. The two stalwarts of Indian politics, while revered equally by the public, had contrasting views on the caste system. Their subsequent debates have shaped the course of Indian society and politics. While Gandhi denounced untouchability, he did not condemn the varna system, a social hierarchy based on occupation, for most of his life. He believed in reforming the caste system through the abolition of untouchability and by giving equal status to each occupation. On the other hand, BR Ambedkar, a Dalit himself, argued that the caste system disorganised and ‘demoralised Hindu society, reducing it to a collection of castes’. […] 
And yet, despite their differences, they developed an understanding to work for the betterment of the marginalised.” – Rishabh Sharma in “How Ambedkar and Gandhi’s contrasting views paved way for caste reservation” (India Today, 6 October 2023)
URL: https://www.indiatoday.in/history-of-it/story/ambedkar-gandhi-caste-system-poona-pact-1932-reservation-2445208-2023-10-06

~ ~ ~

“That upper caste groups should declare themselves to be OBCs [Other Backward Castes] and want to avail of the reservation policy is a pandering to caste politics of course, as also are caste vote-banks. It is partially a reflection of the insecurity that the neo-liberal market economy has created among the middle-class. Opportunities are limited, jobs are scarce and so far ‘development’ remains a slogan. There’s a lot that is being done to keep caste going in spite of saying that we are trying to erode caste. We are, of course, dodging the real issue. It’s true that there has been a great deal of exploitation of Dalit groups and OBC’s in past history; making amends or even just claiming that we are a democracy based on social justice demands far more than just reservations. The solution lies in changing the quality of life of half the Indian population by giving them their right to food, water, education, health care, employment, and social justice. This, no government so far has been willing to do, because it means a radical change in governance and its priorities.” – Romila Thapar  (Emeritus Professor of History, Jawaharlal Nehru University) interviewed by Nikhil Pandhi (Caravan Magazine, 7 October 2015)
URL: https://caravanmagazine.in/vantage/discipline-notion-particular-government-interview-romila-thapar 

~ ~ ~

Casteism is the investment in keeping the hierarchy as it is in order to maintain your own ranking, advantage, privilege, or to elevate yourself above others or keep others beneath you …. For this reason, many people—including those we might see as good and kind people—could be casteist, meaning invested in keeping the hierarchy as it is or content to do nothing to change it, but not racist in the classical sense, not active and openly hateful of this or that group.” – Book review by Dilip Mandal for Caste: The Origins of Our Discontents (The Print, 23 August 2020)
URL: https://theprint.in/opinion/oprah-winfrey-wilkerson-caste-100-us-ceos-indians-wont-talk-about-it/487143/

~ ~ ~

“The theoretical debate on caste among social scientists has receded into the background in recent years. [However] caste is in no sense disappearing: indeed, the present wave of neo-liberal policies in India, with privatisation of enterprises and education, has strengthened the importance of caste ties, as selection to posts and educational institutions is less based on merit through examinations, and increasingly on social contact as also on corruption. There is a tendency to assume that caste is as old as Indian civilization itself, but this assumption does not fit our historical knowledge. To be precise, however, we must distinguish between social stratification in general and caste as a specific form. […]
From the early modern period till today, then, caste has been an intrinsic feature of Indian society. It has been common to refer to this as the ‘caste system’. But it is debatable whether the term ‘system’ is appropriate here, unless we simply take for granted that any society is a ‘social system’. First, and this is quite clear when we look at the history of distinct castes, the ‘system’ and the place various groups occupy within it have been constantly changing. Second, no hierarchical order of castes has ever been universally accepted […] but what is certain is that there is no consensus on a single hierarchical order.” – Harald Tambs-Lyche (Professor Emeritus, Université de Picardie, Amiens) in “Caste: History and the Present” (Academia Letters, Article 1311, 2021), pp. 1-2
URL: https://www.academia.edu/49963457

~ ~ ~

“There is a need for intercultural education. We all need to work together to bridge these divides not only between religions and castes but also regions. It is not correct to think that one part is better than the other. Some of the limitations of India as a whole are due to our common heritage, say the one that has restricted women from having a flourishing life for themselves.” – Prof. V. Santhakumar (Azim Premji University) in “On the so called North-South Divide in India” (personal blog post in Economics in Action, 13 April 2024)
URL: https://vsanthakumar.wordpress.com/2024/04/13/on-the-so-called-north-south-divide-in-india/

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