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CARNATIC-MUSIC-Melodic-Instrumental-CBSE-2018-->View question

Evaluate the values of any one of the following Lakshana Granthas : (a) Brihaddeshi (b) Raga Vibodha (CARNATIC-MUSIC-Melodic-Instrumental-CBSE-2018)

Evaluate the values of any one of the following Lakshana Granthas :
(a) Brihaddeshi
(b) Raga Vibodha (CARNATIC-MUSIC-Melodic-Instrumental-CBSE-2018)


Asked On2019-04-04 05:51:38 by:naikaumprakash

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(a) The Brihaddeshi, written by the theorist Matanga about the 10th century CE, the grama-ragas are said to derive from the jatis. In some respects at least, the grama-ragas resemble not the jatis but their parent scales. The author of the Brihaddeshi claims to be the first to discuss the term raga in any detail. It is clear that raga was only one of several kinds of musical entities in this period and is described as having “varied and graceful ornaments, with emphasis on clear, even, and deep tones and having a charming elegance.” The ragas of this period seem to have been named after the different peoples living in the various parts of the country, suggesting that their origin might lie in folk music. Matanga appears to contrast the two terms marga and deshi. The term marga (literally “the path”) apparently refers to the ancient traditional musical material, whereas deshi (literally “the vulgar dialect spoken in the provinces”) designates the musical practice that was evolving in the provinces, which may have had a more secular basis. Although the title Brihaddeshi (“The Great Deshi”) suggests that the latter music might have been the focus of the treatise and that the grama-ragas were possibly out of date by the time it was written, the surviving portion of the text does not support such a theory.

(b) Raga-vibodha of Somanatha (1610 A.D) is an important text in many ways. It is also an interesting link between the Karnataka Sangita of the South and Hindustani Music of the North.
His use of the svara names as Tivra, Tivratara and Tivratama; and the term ‘Thaat’, as a synonym for “Mela,” will also show that he had come into contact with Northern music.  Somanatha Pandit, unlike the writers of his time, makes use of the Svara names Mrudu-Sa, Mrudu-Ma, and Mrudu-Pa to denote the sounds of the third Shruti of each of the notes Sa, Ma and Pa.

Answerd on:2019-05-09 Answerd By:amitoj-singh

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