ॐ वीरेश्वराय विद्महे
विवेकानन्दाय धीमहि । तन्नो वीर: प्रचोदयात् ।
Narendranath a great musician. He was as well an authentic
theoretician of music. This fact is proved by a treatise on music
entitled Sangita-Kalpataru, in Bengali, published by Shri
Chandicharan Basak in 1887. The book was mostly compiled by
Narendranath, and later completed by Shri Vaishnavcharan Basak. In
its elaborate Introduction various aspects of the science and art of
vocal and instrumental Indian music are discussed with masterly
knowledge and insight. The major part of the book named
Sangita-Sangraha contains devotional and inspirational songs
composed in various languages of India. In the appendix of the book
biographical information is provided about the composers of the
songs. Scholars are of the opinion that this learned Introduction
was written by Narendranath. Though at the time Narendranath himself
was struggling against poverty, he compiled this book solely to help
the poor publisher.
One day, hearing a friend singing like a professional, Naren said,
"Mere tune and keeping time are not all of music. It must express
an idea. Can anyone appreciate a song sung in a drawling manner?
The idea underlying the song must arouse the feeling of the
singer, the words should be articulated distinctly, and proper
attention be given to tune and timing. The song that does not
awaken a corresponding idea in the mind of the singer is not music
at all."
It was an evening in July 1898, at the Math, in Nilambar
Mukerjee's garden - house, Belur. Swamiji with all his disciples
had been meditating, and at the close of the meditation came out
and sat in one of the rooms. As it was raining hard and a cold
wind was blowing, he shut the door and began to sing to the
accompaniment of Tanpura. The singing being over, a long
conversation on music followed. Swami Shivananda asked him, "What
is Western music like?"
Swamiji: Oh, it is very good; there is in it a perfection of
harmony, which we have not attained. Only, to our untrained ears,
it does not sound well, hence we do not like it, and think that
the singers howl like jackals. I also had the same sort of
impression, but when I began to listen to the music with attention
and study it minutely, I came more and more to understand it, and
I was lost in admiration. Such is the case with every art. In
glancing at a highly finished painting we cannot under - stand
where its beauty lies. Moreover, unless the eye is, to a certain
extent, trained, one cannot appreciate the subtle touches and
blendings, the inner genius of a work of art. What real music we
have lies in Kirtana and Dhrupada; the rest has been spoiled by
being modulated according to the Islamic methods. Do you think
that singing the short and light airs of Tappa songs in a nasal
voice and flitting like lightning from one note to another by fits
and starts are the best things in the world of music? Not so.
Unless each note is given full play in every scale, all the
science of music is marred. In painting, by keeping in touch with
nature, you can make it as artistic as you like; there is no harm
in doing that, and the result will be nothing but good. Similarly,
in music, you can display any amount of skill by keeping to
science, and it will be pleasing to the ear. The Mohammedans took
up the different Ragas and Raginis after coming into India. But
they put such a stamp of their own colouring on the art of Tappa
songs that all the science in music was destroyed.
Q. Why, Maharaj (sir)? Who has not a liking for music in
Tappa?
Swamiji: The chirping of crickets sounds very good to some.
The Santals think their music also to be the best of all. You do
not seem to understand that when one note comes upon another in
such quick succession, it not only robs music of all grace, but,
on the other hand, creates discordance rather. Do not the
permutation and combination of the seven keynotes form one or
other of the different melodies of music, known as Ragas and
Raginis? Now, in Tappa, if one slurs over a whole melody (Raga)
and creates a new tune, and over and above that, if the voice is
raised to the highest pitch by tremulous modulation, say, how can
the Raga be kept intact? Again, the poetry of music is completely
destroyed if there be in it such profuse use of light and short
strains just for effect. To sing by keeping to the idea, meant to
be conveyed by a song, totally disappeared from our country when
Tappas came into vogue. Nowadays, it seems, the true art is
reviving a little with the improvement in theatres; but, on the
other hand, all regard for Ragas and Raginis is being more and
more flung to the winds.
Accordingly, to those who are past masters in the art of
singing Dhrupada, it is painful to hear Tappas. But in our music
the cadence, or a duly regulated rise and fall of voice or sound,
is very good. The French detected and appreciated this trait
first, and tried to adapt and introduce it in their music. After
their doing this, the whole of Europe has now thoroughly mastered
it.
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