Time theory (Kala pramanam) in Vivekananda’s Concepts of Indian Classical
Music
>From Media
The notion of a particular time prescribed for ragas (gāna kāla) plays
a greater role in Hindustani music than for exponents of its southern
counterpart where sārvakālika ragas prevail: ragas suited to any day or
night time. A few ragas nevertheless continue to be associated with the
moods indicated by song lyrics (notably in dance and drama, temple
processions and rituals). Think of invoking the power to bring and stop (!)
rain associated with a popular Carnatic raga (which is by no means limited
by the underlying associations).
As listening habits have changed in ways as profound as the manner
music is being taught and performed we may take a prominent voice into
account; one that few have associated with music over the past century:
Swami Vivekananda who felt that “the suitability of Raga with time or
season is not totally unfounded” while asserting that it “has nothing to do
with chronological changes [but] change in the atmosphere and natural
environment with time and season [that] ushers a change in one’s mood which
is suited to the melody of a particular Rag”.
Vivekananda came to inquire into other spheres of modern life – with an
open mind yet always critical as far as popular beliefs and trends are
concerned: “Most importantly, he demonstrated how South Asian ideas and
traditions could be given universal appeal but still retain their identity,
rather than simply being assimilated.” – Lalita Kaplish in “Vivekananda’s
journey: How a young Indian monk’s travels around the world inspired modern
yoga”
In Carnatic music it is experience that stands central in an art
closely linked to individual circumstances, tastes or regional conventions
rather than dogma: in the words of renowned musicologist S. Seetha, “ragas
assume different colours and shades of expression in their attempt to
satisfy the musical needs and tastes of the people”. (Tanjore as a Seat of
Music)
Noted musicologist V. Premalatha comes to the conclusion that as an
“extra-musical factor”, association of time with rāga “survives very
strongly in the North Indian system of music and has not affected the South
Indian Music“.
Vivekananda (born January 12, 1863, Calcutta [now Kolkata]—died July 4,
1902, near Calcutta) Hindu spiritual leader and reformer >>
Swami Vivekenanda’s illustrious life is like an open page, known to the
world. One of the little known aspects of his life is his contribution in
writing the musical Compilation “Sangeet Kalpataru“. He was just 24 years
old when he had worked on this Compilation. He was not initiated to
sainthood till then. He had collected 647 songs and written a long preface
on the grammar of Indian music and on various musical instruments. He was
known at that time as Narendranath Dutta. Many Vivekenanda research
scholars had discussed this aspect of his life earlier.
Narendranath Dutta (Swami Vivekananda) observes: The Ragas where all seven
notes are used are called Sampurna. Those which use only six notes are
called the Kharab. Those which use five notes are called the Orab. Let us
take the example of Bhairab. This Raga uses all the seven notes. We know
from our knowledge of mathematics that the seven notes can be arranged in
(7x6x5x4x3x2x1)=5040 combinations. There are different Tals as well. If
5040 combinations of notes are used in each combination of Tal then one
person cannot possibly play all possible combinations of one Raga in his
lifetime.
Ragas are considered the males and the Ragini’s the females. It is said
that there are six Ragas and thirty-six Raginis. This concept is also not
absolute, there are differences of opinion on this. Generally, the
following are considered the Ragas: Bhairab, Sree, Malkosh, Basant, Megh
and Nat Narayan. The scriptures had identified Ragas and Raginis to be
suitably played at a particular time of the day or in a particular season.
Ragas like Mallar sound very pleasing in the monsoon. In spring Bahar
Basant sound very pleasant.
There are different opinions though. Some say one gets used to listening to
a particular Raga in a particular season. That habit makes it suitable for
that time. It has nothing to do with chronological changes. We think that
the change in the atmosphere and natural environment with time and season
ushers a change in one’s mood which is suited to the melody of a particular
Raga. Hence the suitability of Raga with time or season is not totally
unfounded.
Modern songs do not create such ambience because of a number of reasons.
Firstly, the Ragas are not very correctly followed in the tune of modern
songs. Secondly, the lyrics of some modern songs do not tally with the mood
of the Ragas and Raginis in which the tune is made. For instance, Khambaj
is a Ragini of erotic mood. If the lyrics of a song based on Khambaj is
composed on pathos, it would result in a terrible mismatch. The song would
evoke neither pathos nor eroticism.
The following are the names of different Ragas and Raginis which are sung
or played at different hours of the day.
Morning – Bhairab, Lalita, Jogincha, Asha, Bibhas, Todi, Bhairabi, Alaiya,
Bangali, Belabati etc.
Midday – Sarang, Gour-Sarang etc.
Afternoon – Multani, Bhimru, Palasree, Baroan, Pilu etc.
Sunset and Twilight – Sree, Purabi, Gouri, Purba etc.
Early night or Evening – Iman Kalyan, Kedar, Hambir, Bagesree, Kanara etc.
Late night– Bahar, Basant, Behag etc.
Source:Swami Vivekananda’s Concepts Of Indian Classical Music translated by
Paras Dutta (Kolkata: Naya Udyog 2008); Bengali title: Sangeet Kalpataru,
pp. 14-15
BONUS MUSIC: https://youtu.be/0W46Q0sQ1XQ veenai kodiyudaya vendane
Sampoorna ramayaanam 1958 K Rajaram IRS 1524
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