INDIAN MUSICOLOGY REVISITED: MADHYAMA GRAMA: 22 SRUTIS
What is ‘MADHYAMA GRAMA’ ?
(Please read this ‘Blog’ in conjunction with ‘Presentation Slides’ given at the following link, where the animated diagrams would enable better comprehension): https://docs.google.com/open?id=0B6Qw6H3PDIHNbWhVQmU2Y210OU0
What is ‘MADHYAMA GRAMA’ ?
(Please read this ‘Blog’ in conjunction with ‘Presentation Slides’ given at the following link, where the animated diagrams would enable better comprehension): https://docs.google.com/open?id=0B6Qw6H3PDIHNbWhVQmU2Y210OU0
A brief preamble pertaining to the ancient
doctrines of Indian musicology is necessary to enable the viewers to appreciate
the concept of ‘Madhyama-grama’.
Among
the oldest sacred Scriptures of the Hindus, Holy Sama Veda occupies a unique
place because its verses are chanted by using seven different tones of an
octave. These seven sacred tones of Holy Sama Veda were archetypal for the Indian
Music, under the terminology ‘Sadja-grama’.
‘Madhyama-grama’ was another grouping of seven Notes derived
from Sadja-grama. From these two ‘gramas’, vertical development of music took
place in the form of 14 (fourteen) ‘Murchanas’
which were somewhat similar to the modal music of ancient Greece. These gramas
and murchanas were the fountainhead for the evolution of contemporary Indian
classical music.
In my earlier blog on ‘Sadja-grama’, the viewers
have been acquainted with the Sadja-grama format that was traditionally defined
as: Sadja (Tonic) - 0.00 srutis, Rishabha (the ‘second’) - 3.00 srutis (approximately
163 cents), Gandhara (the ‘third’) - 5.00 srutis (approximately 273
cents), Madhyama (the ‘fourth’) - 9.00 srutis (approximately 491 cents),,
Panchama (the ‘Perfect Fifth’) -
13.00 srutis (approximately
709 cents), Dhaivata (the
‘sixth’) - 16.00 srutis (approximately 873 cents),, Nishada (the
‘seventh’) - 18.00 srutis (approximately 982 cents), and Sadja Upper (the ‘octave’) - 22.00 srutis (1200
cents). (Note: ‘sruti’ was an
ancient Indian yardstick for measuring the spectral contents within an octave,
similar to the term ‘cent’ as used
in contemporary context. One ancient
Indian ‘sruti’ corresponds to approximately 54.5 cents). Please see my
‘Blog’ and ‘Presentation Slides’ on Sadja grama: http://sadjagrama-nambirajan.blogspot.com (Blog).
https://docs.google.com/open?id=0B6Qw6H3PDIHNM1kwRi1TWVlIUEk (Presentation).
As per Bharat Muni (the earliest known
Indian scribe who lived in 200 B.C.), when the ‘Panchama’ Note (i.e. the
‘Perfect Fifth’) that ocupied a
bunch of four sruti-units within the Sadja grama format, was reduced by
‘one-sruti’ unit, ‘Madhyama-grama’ would get evolved.
Long-held Indian ‘traditions’ interpreted
Bharata Muni’s statement to attribute the following definition for Madhyama
grama: Sadja (Tonic) - 0.00 srutis, Rishabha- 3.00 srutis, Gandhara- 5.00
srutis, Madhyama- 9.00 srutis, Panchama-
12.00 srutis (approximately 655 cents), Dhaivata- 16.00 srutis, Nishada- 18.00 srutis and Sadja
(Upper) - 22.00 srutis.
Observing the two gramas in the ambience of
this traditional interpretation, the
viewer tends to think that the difference between the two gramas is rather
‘trivial’ as the ‘difference’ is confined only to a single variable, namely,
the ‘Perfect Fifth’; i.e. ‘Panchama’ in the Madhyama-grama is seated at a
position 12.00 srutis (approximately 655 cents) above the Tonic as
opposed to the fact that ‘Panchama’ in the Sadja-grama is seated at 13.00
srutis (approximately 709 cents) above the Tonic. There appears to be no
other major distinguishing features that separate the two gramas!
Dr. Mukund Lath who wrote a commentary on
‘Dattilam’ is a highly regarded musicologist of contemporary Indian music. He is
the only person who seems to have suspected that ‘all is not well’ with this
understanding of Sadja-grama and Madhyama-grama schemes, as interpreted by our traditional
musicologists. His remarks are very significant: “…. The two gramas in ancient texts have been carefully separated
and the importance of the distinction in ancient practice can in no way be
belittled. Tanas, murchanas, even the jatis and the jati-born ragas were all
classified on the basis of gramas. Indeed the entire range of musical
conception, it seems, was classified into two distinct compartments on the
basis of the two gramas. This obviously leads us to the conclusion that there
was some core of difference between the gramas which was probably basic and
central to ancient music. This core, however, eludes
us”.
These comments emanating from a celebrity of
Dr. Mukund Lath’s eminence and stature did have a profound effect in my
thought-process. I had re-examined the whole process of evolution of
Madhyama-grama from Sadja-grama. There were two glaring aberrations: firstly,
the distinction between the gramas rested only on a single variable and
therefore, reduced to a state of ‘triviality’, as pointed out earlier.
Secondly, ‘Panchama’ swara (i.e. the ‘Perfect Fifth’) which stands tall only
next to ‘Sadja’ within the octave, got de-sanctified due to its demotion from
its authorised position of ’13.00 srutis (approximately 709 cents) above
tonic’ to a lower position of only ‘12.00 srutis (approximately 655 cents)
above the tonic’. This appears to be somewhat unnatural as all cultures of
music (even our contemporary systems of music) have always accorded a
sanctified status for ‘Panchama’ (the ‘Perfect Fifth’), i.e. at the position of
702 cents above the tonic in the 1200 cents per contemporary norm (i.e. 12.87 srutis
above the Tonic, as per the 223 srutis octave norm of ancient Indian music)!
However, this direction to reduce the sruti of
‘Panchama’ by one measure had come from no less a person than Bharata Muni, who
is held in the highest esteem by one and all. But then, have we erred somewhere
in understanding him? Is there an alternative option for complying with the
directions of Bharata Muni, without upsetting the sanctity accorded for the
‘Panchama’ swara-sthaana by the Holy Sama Veda?
I deliberated over this issue for quite some
time; I attempted to innovate an alternative method, after some detailed experimentation.
In Sadja-grama, the spread of ‘Panchama’ swara is confined between 9.00 srutis
and 13.00 srutis. This spread is reduced (by one sruti unit) to lie between 9.00 and 12.00 srutis, as per the ‘traditional’
interpretation of Madhyama grama. Please note that this traditional method
reduces the spread of ‘Panchama’ from the upper spectral end.
In my revised method, I proposed to effect
this reduction from the LOWER spectral end of ‘Panchama’. Consequently, the
‘spread’ was limited between 10.00 and 13.00 srutis. As I attempted to comply
with the mandate of Bharata Muni with this alternative interpretation, I
discovered the unfolding of a new
phenomenon that had
remained ‘dormant’ from our view, all these days! This reduction had caused a complete
‘change’ in respect of the ‘seats’ of other swaras. I observed that the seat of
Madhyama Note moved from position ‘9.00’ (approximately 491 cents) to ‘10.00’
srutis (approximately 546 cents) with respect to the tonic. Similarly, Gandhara
moved from position ‘5.00’ (approximately 273 cents) to ‘6.00’ (approximately
327 cents); Rishabha moved from ‘3.00’ (approximately 164 cents) to ‘4.00’ (approximately 218 cents); Nishada
moved from ‘18.00’ (approximately 982 cents) to ‘19.00’ (approximately 1036 cents) and Dhaivata moved from ‘16.00’ (approximately
873 cents) to ‘17.00’(approximately
927 cents) . However, ‘Panchama’ continued
to remain at 13.00 srutis (approximately 709 cents)!
I have narrated this whole phenomenon in my Book (The Mystic Citadel of 22
Srutis Music) as the ‘Cascade
effect’.
If we now examine this new formulation of
Madhyama-grama, it may be noted that the two aberrations narrated earlier, are
no longer there. ‘Panchama’ swara remains undisturbed in its position of
sanctity (as bestowed by Holy Sama Veda) at 13.00 srutis. All the other swaras
have assumed “sharper” profiles; i.e. ‘one-sruti’ (approximately 54.5 cents)
higher than the Sadja-grama profile!
This led to a ‘paradigm-shift’ in my own thought process! I observed that
these were the “rounded-off”
values of five more members
of the family of 22 simple fractions (formulated mathematically from the Numbers
lying between ‘1’ and ‘12’). These are: Panchama- 13.00 srutis (rounded off
value of 12.87 pertaining to fraction 3/2); Madhyama- 10.00 srutis (rounded off
value of 10.11 pertaining to fraction 11/8); Gandhara- 6.00 srutis (rounded off
value of 5.79 pertaining to fraction 6/5); Rishabha- 4.00 srutis (rounded off
value of 3.74 pertaining to fraction 9/8); Nishada- (-) 19.00 srutis (rounded
off value of 18.66 pertaining to fraction 9/5); Dhaivata- 17.00 srutis (rounded
off value of 17.11 pertaining to fraction 12/7).
A critical re-orientation in our thought
process would help to view this re-interpreted profile of Madhyama-grama as the
format of a ‘major’ scale whereas the profile of Sadja-grama may be re-discovered
as the format for a minor scale! It may please be observed that whereas
Sadja-grama revealed six of the 22 simple fractions, Madhyama-grama reveals
five more members of the family of 22 simple fractions.
In my view this
is the true form of Madhyama-grama which couldn’t be unravelled by our medieval
musicologists due to the non-availability of a sound mathematical infra
structure.
I
apprehended that there must be some ‘master hand’ at work while designing the mathematical models for
music during the pre-historic days. I, therefore, decided to extend my research
work to the domain of ‘Murchanas’. Please see my ‘Blog’ and ‘Presentation
Slides’ pertaining to the ‘murchanas’:
https://docs.google.com/open?id=0B6Qw6H3PDIHNdEp1Q1cwOHA3dzg (Presentation)
For more details, contact me on Teles: 91 20 26729256, 9890266845, 98501 21834. E-mail: snnambirajan@rediffmail.com. Please visit my Web-site: http://www.22sruti.com/ I would also recommend that the viewers, for the sake of better comprehension, should peruse my Book: “The Mystic Citadel of 22 Srutis Music” (available at my postal address: Srinivasan Nambirajan, A-7/ 103, Florida Estate, Keshav Nagar, Mundhwa, Pune-411036).
For more details, contact me on Teles: 91 20 26729256, 9890266845, 98501 21834. E-mail: snnambirajan@rediffmail.com. Please visit my Web-site: http://www.22sruti.com/ I would also recommend that the viewers, for the sake of better comprehension, should peruse my Book: “The Mystic Citadel of 22 Srutis Music” (available at my postal address: Srinivasan Nambirajan, A-7/ 103, Florida Estate, Keshav Nagar, Mundhwa, Pune-411036).