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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.