61 - A dissertation on Music

Sūta said:

1-3. Understand the genealogy of the sons of Manu in detail. Puşhadhra injured the cow of his preceptor at night. At the close of it, h: incurred the curse of the noble-souled Chyavana and became a Sūdra. 

The descendants of Karūşha were (Kärūshas) Kşhatriyas who could not be suppressed in battle (who were haughty due to their capacity for warfare). 

The successors of Nábhága were a thousand groups of Kşhatriyas who were valorous. 

Bhalandana the son of Dişhta was a great scholar. 

4. Bhalandana's son named Pråmshu was very powerful. Praṁśhu had an only son who became equal to a Prajapati. 

5. He was taken to heaven by Samvarta along with friends and kinsmen. In this connection a great dispute arose between Samvarta and Bruhaspati. 

6-7. On seeing the magnificence of Yajña, Bruhaspati became angry with him. During the Yajña, performed by Saṁvarta, he became extremely furious for the destruction of all the worlds. But he was pacified by the gods: Marutta the emperor obtained Narisyanta as his heir. 

8. Narisyanta's successor was king Dama who held the sceptre (rod of chastisement). His son Råșhtravardhana was a well-known king. 

9. Sudhruti was his son and Nara was born of Sudhruti. Kevala was his son. Bandhumān was the son of Kevala. 

10-11. The son of Bandhumān was the righteous-souled king Vegavān. Budha was the son of Vegavān and Truņabindu was the son of Budha. He became a king at the beginning of third Tretäyuga. Idavidă was his daughter who became the mother of Viśhravas. 

12. Vishala, the son who was born to him became a king extreinely virtuous, liberal in gifts and well renowned for heroism and great power. The city of Viśhälā (Vaiśhäli) was built by him. 

13. The son of Viśhåla was Hemachandra, a king of great strength. The successor of Hemachandra became famous by the name Suchandra. 

14. Suchandra's son was a renowned king named Dhūmråśhva. The learned Sruñjaya was born as the son of Dhūmråśhva. 

15. The glorious Sahadeva of great exploits was the son of Sruñjaya. Kruśhāśhva, the son of Sahadeva, was extremely righteous. 

16. The son of Kruśhāśhva, viz. Somadatta was excessively brilliant and valorous. The son of the saintly king Somadatta was Janamejaya. 

17-20. Janamejaya's son named Pramati was well-renowned. On account of potentiality of Truņabindu all the Vaishalaka kings with Viśhälä as their capital were long-lived, noble-souled, heroic and very virtuous. Sharyati begot twins. The son was well-renowned by the name of Anarta. His daughter was Sukanyå who became the wife of Chyavana. Anarta's heir named Reva was very powerful. His realm was called Anarta and the capital city was Kuśhasthali (later Dvärakā). 

Raivata was the son of Reva. Another name of his was Kakudmin. He was virtuous. 

21-22. He was the eldest of a hundred brothers. After obtaining the kingdom and the capital Kuśhasthali, he went near Brahma accompanied by his daughter. In the presence of Brahma, he listened to Gandharva Music for a short while (A Muhurta i.e. 48 minutes) as reckoned by the lord of the Devas, but many Yugas according to human calculation. He returned to his city still a young man. The city then was inhabited by the Yadavas. 

23. It had been renamed Dväravati. It was protected by the Bhojas, Vrushņis and Andhakas, the chief of whom was Vasudeva. 

24. On hearing the story with all facts, Revata (Raivata) the suppressor of foes gave his daughter of good holy rites named Revati to Baladeva in marriage. Thereafter, he went to the peak of Meru and became engaged in penance. 

25. Rama, the noble one, sported with Revati.

On hearing that story the sages asked him subsequently. 

The sages asked:

26-28. How was it that old age did not affect Revati or Kakudmin, O highly intelligent one, even after the lapse of a long time viz. many Yugas? 

We are desirous of listening to this. Tell us Gandharva (the science of Music) too. 

Sūta said:

To a person who goes to the world of Brahma there is neither old age nor hunger nor thirst not even the fear from death. No ailments afflict him. Since I have been asked about Gandharva (the science of Music). O great and excellent sages of good holy rites, I shall explain it accurately in details. 

29. The Svara-mandala¹ (the whole group in regard to notes) consists of seven notes (Svaras), three Grāmas² (Basic scales), twentyone Mürcchanās³ and forty-nine Tånas. ⁴

1. The word mandala suggests the ascent and descent of seven notes (known as svara-saptaka) (see V. 30) 

2. Grāma: Gráma means the group of seven notes. In the Purāņas three Grāmas are mentioned. They are, the Sadjagrāma, the Madhyamagrama and the Gundharagrama. These three were thc basic scales. The Sä-scale, the Ma-scale and the Ga-scale had the notes Sa, Ma and Ga as the starting notes respectively. The Sa-scale would have notes, Sa, Ri, Ga, Ma, Pa, Dha, Ni; the Ma-scale would have the notes Ma, Pa, Dha, Ni, Sa, Ri, Ga and the Ga-scale would have the notes Ga, Ma, Pa, Dha, Ni, Sã, Ri. Out of these three basic scales, the Ga-scale fell into disuse afterwards. The ancient scholar Dattila states that it is not found in this world. The later scholars say that it went into heaven. The reason of its disappearance is given as it had extremely high and low notes. But from its description given by the later authors like Särangadeva, it seems that it was not perfect in the aspect of consonance, which was vitally essential for the melodic music of India. Bharata in his Natja-shästra describes the Sa-scale and the Ma-scale on the basis of the consonance of thc fourth (Sa-Ma Samvada) and the consonance of the fifth (Sa-Pa Samvāda). In the Sa-scale the consonance of the fifth was more prominent (Sa-Pa, Ri-Dha and Ga-Ni) while that of the fourth in the Ma-Scale (Sa-Ma, and Ri-Pa). The number of śrutis (the microtones) in the Saptaka fixed by Bharata is 22. The Shruti-intervals were distributed in the notes as follows:

Sa scale ₄Sa ₃R ₂Ga 4Ma ₄Pa ₃Dha ₂Ni=22

Ma-scale ₄Ma ₃Pa ₄Dha ₂Ni ₄Sa ₃Ri ₂Ga=22 

The Sa-Ma consonance has the interval of 9 shrutis and the Sa-Pa consonance that of 13 śhrutis. 

3. Mūrcchana: 

The Mürcchana was the gradual ascent and descent of the seven notes of the basic scale. The word is derived from the root-Mürcch-meaning to increase or to pervade. As the Mürcchanas started from each note of the scale, there were seven Mürcchanás of each scale. Thus the Mürcchanas of the thrce Grāmas numbered twentyone. 

E.g. The Sa-scale Mürcchanas would be:

(1) Så Ri Ga Ma Pa Dha Ni ....

(2) Ni Sa Ri Ga Ma Pa Dha...

(3) Dha Ni Sa Ri Ga Ma Pa ... etc. 

The Saman-scale was descending having the notes Ma Ga Rị så Dha Ni Pa as per the Náradiya-shiksha (1.5. 1 and 2). Due to the influence of the Såman-scale, there was the descending order followed in the case of starting notes of thc Mürcchanās. The Murcchanas served as the basis of different types of songs. They also brought in, the notes of the low (Mandra) and high (Tara) registers (Sthanas). 

If the first Mutcchanā of the 1Ma-scale is rendered taking Ma as the Şhadja and the remaining notes accordingly, then it would be indicated as -- 

₄Sa ₃R ₄Ga ₁Ma ₂Pa ₃Dha ₂Ni=22 Shrutis 

This gives the Gandhara of 4 śhrutis called Antara Ga. Its consonant note would be Ni of 4 śhrutis called Kakali Ni. These two were called the Sadhárana notes. Their use was restricted. Their employment was allowed when the songs had the two shruti Ga and the two śhruti Ni notes in small measure. The Mürcchanås with these two Sadharana notes were called as Sridharanikruta Mürcchanas. 

4. Tana is like Mrūcchana in which one or two specific notes arc dropped. When one specific Svara (note) is dropped, it is called Şhadana Tana (one consisting of six notes) and when two specific notes are dropped, it is called Auduva Täna (onc consisting of five notes). According to Puraņas, there were twenty Tänas of Madhyamagrama, fourteen of Şhadjagrama and fifteen of Gandhāragrāma. Thus the number of Tanas of the three gramas is given as forty-nine. 

According to Bharata (Natyashastra (Baroda edition Vol. P. 27), when the single notc. Sa, Ri Pa or Ni is dropped from the Mürcchanås of the Şhadjagrama, there would take place twentyeight Shådava Tänas (7x4=28). Similarly, when the note Sa Ri or Ga is dropped from the Mürcchanās of the Madhyamagrama, twenty-one Şhadava Tänas would be effected (7X3=21). By dropping Sa, Pa, Ga, Ni or Ri, Dha from the Mürcchanås of the Sa-scale twenty-one Auduva Tanas would be effected (7x3=21). When Ri, Dha or Ga, Ni arc dropped from the Mürcchands of the Ma-Scale, there would take place fourteen Auduva Tänas (7X2=14). Thus the total number of the Tanas of two gråmas is eighty-four according to Bharata. These are given as Suddha Tänas by later Achāryas. 

30. [The names of the notes:] Şhadja (Sa), Rushabha (Ri), Gandhāra (Ga), Madhyama (Ma), Panchama (Pa), Dhaivata (Dha) and also Nişhada (Ni) should be (carefully) known (as the notes). 

31-32. (and part of 33): [The Text is corrupt and obscure. As emended from ViP. and other Puriņas, it gives the names of Mürchhanās of the Ma-scale as follow:] 

The Mūrcchanās of the Ma-scale are known as Sauvira, Madhyama-grāmå, Hariņåsyå (Hariņashcha in Bd. P. is wrong), Kalopabalopeta (also known as 'Kalopanata'), Shuddha-madhyama, Sharngi and Pavani (nagnim cha paushā vai in the text is not correct) and Hrutyaka Drușhtvå käm' in the text), in order.

33-34a. Now understand the Mūrcchanás of Sa-Scale (Şhadja-gråma): (1) Uttara-mandra, (2) Rajani and also as (3) Uttarayata (for Unnarayată of Bd. P.), (4) Madhya-Şhadja (but Vā. P. Shuddha Shadja) and also the other one is (5) Abhirudgată (for Abhi-mudgană in the Bd. P.*) 

*Note-The Puråņa does not mention the remaining two viz. Matsarikruta and Ashvakranta. 

34b. Know the Mürcchanås of the Ga-scale (Gandhāragrāma) ** viz. Shyāma as are described. 

**Strangely enough, this Text and Vå. P. are silent about other Mürcchanās of this scale. The NP. II. 50.356.36a records them as follows:

Nadi, visála Sumukhi, Chitra, Chitravati, Mukha and Balà. Leaving Ga-scale with mention of one Mürcchanå, the text now enumerates Tänas. 

The omissions in the Bd.P. are made good by reference to Vā. P. 

The Puranic concept of a Täna is different from that of the present day one. 

35-37. (The names of the Tänas are as follows :) 

(1) Agnişhtomika, (2) Vājapeyika, [Vå. P. adds (3) Paundraka, (4) Aśhvamedhika), (5) Rajasuyaka (conjectural emendation for 'yava-rātastīyastu' in the text). The sixth is "Suvarņaka,' the Seventh is 'Gosava', the eighth is Mahavrushţika, the ninth is *Brahimadāna,' the next (10) is Prājāpatya, (11) Nagayakşhā śhraya, (12) Gottara, (13) Padakranta (Vå. P. 'Haya-Kränta'), (14) Mrugakranta, (15) the charming Vişhņukrānta, (16) the most desirable (varenya) Sūryakanta (Vå. P. reading for the obscure Suryakanta-dharenya in Bd. P. is accepted), (17) the well-known Mattakokila (Matta-kokila) of Vä. P. is accepted for Santakokila in the text). 

38a.***: Obscure and untraced in Và P. and elsewhere. 

***The line is as follows:

tenavanityapavashapishåchåtivanahyapi.

38b. (The names of Tānas continued :)

(18) Såvitra, (19) Ardha-såvitra (20) Sarvatobhadra (After 38-b. here-of Vå. P. adds the following Tanas: Suvarna, Sutandra, Vişhņu, Vaișhnuvara, Sägara and Vijaya which is charming to all]. 

39. (21) The charming Adhatrya, (22) Gandharvanupata (23) Alambușheșhța, (24) Vişhņu (25) Vaiņavara. 

40a. (26) Sågaravijaya' which is charming to all beings (Vä. P. gives Sågara' and Vijaya'). 

40b. (27) Hatosrușhța and (28) know the likable 'Skandha'* 

*For 40b here of, Va. P reads: Hamsa, Jyeșhtha and Tumburupriya. 

41. (Repeats mostly the above verse 39 and adds) Alambușheșhța and also (29) Nárada-priya. 

42a. As recounted by Bhimasena (30) Någarapriya (dear to citizens), (nāgarāņām patha priyaḥ in Vå. P. It is more clear than the obscure 'nagaratānayapriyaḥ' in the text). 

42b. **(The Tana) called (31) Vikalopanita-vinată Śhrīḥ (32) Bhargavapriya. 

**For this Vā. P. adds: Abhiramya, Shukra, Punya, Punyåraka. There are twenty (Tanas) in Ma-scale and fourteen in Sa-scale. 

43a*** The fourteen; similarly, they desire here fifteen (according to) Nárada.

***For this Vå. P. states: They desire similarly fifteen belonging to Ga-gråma. 

43b. (Obscure but from Vă. P. it appears that the pre siding deities of the Mūrochanas are now enumerated. The Bd. P. text may tentatively be interpreted on the basis of Vā. P. as follows) 

(Mūrchanå Gandhári) along with Sauvira is hence sung by god Brahmā. 

44a. And also of the Uttaradi-Svara, god Brahma is the presiding deity here. [devatástrayaḥ' of the Bd. P. is probably "devatātra cha', as in Vå. P.] 

44b. Hariņāsya is originated in the region of Hari. 

45a. The Mürcchanā Hariņāsyā has the Moon-god as the presiding deity (but Indra as per Vå. P.) 

45b. The Mūrcchana Karopanitavitatā is sung by Maruts in the svara-mandala (group of notes). 

46a. That is Kalopanita and hence its presiding Deity is Māruta emended as: Mārutaśhchātra daivatam, as in Vå. P.). 

46b. Shuddha-madhyama (emended as per Vå. P. for Suddhamatmana) mūrcchana is originated in Manu (Maru) dešha 

(After 46 b Vă. P. adds :) 

Shuddha Madhyamā is the note here and the deity is Gandh arva. It moves along with the deer for the guidance of Siddhas. 

47a. Hence, on account of Mrugas (deer) it (the Mūrcchanå is called Märgi and the Lion is its deity. 

47b: Obscure:

(Tentative meaning: 'That is associated with hermitages and various human voices' (?)] 

48a. As the Mürcchana is associated with rajas (atmos phere/mist), it is called Rajani. 

48h. Obscuro (Is allied with Vå. P. :)

Uttaramandrā is known as having Şhadja as its deity.

49. Obscure (If allied with Vā. P.):

Hence Ullara-tála is known first as well extended.

Hence, it is Uttara-mandrā whose deity indeed is Dhruva.

 50. Obscure (emrended from Vā. P.) 

Because of its extension and being later (in the order) Uttarāyata having Dha (Dhaivata) as the starting point, is the Mūcchanā, the deity of which is the manes, the deities of Shraddha. 

5la. The great sages worship the Fire-god with the Shuddha Şhadja (Pure Sa-) note. Hence, one should know it as Suddha Sadjikā (Vā. P.: This Mürcchină starts from the Pañchama note). 

51b. is obscure, hence the reading in Vā. P. is followed. 

52a. In this manner employing these. Murcchanās in which he has got such Bhavana (particular faith). 

52b. The mūrcchanás belong to Yakshis (female Yakshas) are called Yakshikā mūrcchanás (Ya in the Ms seems to have been read as Pa, as in writing in Devanagari script Pa & ra look similar).

53a (Obscure but if allied with Vä. P.) 

The Mūrcchanás do not approach the songs affected by the poisonous sight of the serpents (Nägas). 

53b (Corrupt and obscure but with the help of Vå. P.)

And there are many Sadhāraņa mūrcchanās* (and also six 

only (?) are known thoroughly, (The reading Vadavātrividastathả in the text is obscure. Vå. P. gives Şhadevānuvidastatha). 

* Mürcchanås with Sadharana Svaras arc called so. The Sådhårana Svaras are:

(1) Antara Gandhára i.e. Modern Suddha Gandhara.

 (II) Kåkali Nişhåda= Mod. Tivra Nishåda.