THE CHOWKHAMBA SANSKRIT STUDIES Vol. XXXI UNIVERSAL HISTORY OF MUSIC COMPILED FROM DIVERS SOURCES TOGETHER WITH VARIOUS ORIGINAL NOTES ON HINDU MUSIC Br RAJA SIR SOURINDRO MOHUN TAGORE THE CHOWKHAMBA SANSKRIT SERIES OFFICE P. B. No. 8. Varanasi-1 ( India ) Phone : 3145Publisher : The Chowkhamba Sanskrit Series Office, Varanasi-1 Printer + Vidya Vilas Press, Varanasi~} Edition +: Second, 1963. Price 2: Rs. 20-00 © The Chowkhamba Sanskriv Series Office Gopal Mandir Lane, Varanasi-} (INDIA) 1963 PHONE : 3143 CHICK FP 2003PUBLISHER'S NOTE oe Must pervades all nature. It 1s co-eval with the creation. There is nothing in nature that arouses our attention or affects our feelings so quickly as a musical sound. But inspite of this universal appeal, there is a great deal of diversity in the musics of different countries of the world, Sri S. M. Tagore, ts a great exponent of musical theorles and has written various books on this subject. In the present work he has assembled an account of the music of vartous nations, civilized or unclvilized, on the face of the habitable Globe. Specimens of the songs of different nations have been given in this book not only because Music and Poetry are, according to Sanskrit lore, presided over by one and the same deity, Saraswati, and are therefore intimately connected with each other, but also because an acquaintance with the spirit of anation's songs facilitates the understanding of the spirit of its mustc and poetry which are, but the outward expression of the inne? workings of a nation’s heart. This is the only and by far the most comprehensive work on this so diverse yet untversal subject, and was being sold Sor exhorbitant prices as it was out of print. We have now published it by photo-offset process from its 1896 original Edition, and priced it very moderately. We earnestly hope that it will receive due patronage from all the lovers of music.To { | Ghe Bow’ ble Bir Alerander Qurkenjie, BEd &e. &e, &e, | Lieutenant-Governor of Gengat, | This Look is, with permission, -Most Respectfully Dedicated y By His Honor's most obedient servant, { S. M.TAGORE. DMD TPAD DAD SD PPD AAD AAD AD wmidPREFACE. —+— HE following pages furnish an account of the music of various nations, civilized or uncivilized, on tho faco of tho habitable globe. Tt must be acknowledged, however, that this treatiso does not pretend to be exhaustive, nor aro the doscriptions charactorised by a uniformity of aystom in the manipulation of the subject. Spocimons of tho pongs of difforent nations havo boon givon in this book, not only because Music and Pootry aro, according to Sanskrit lore, presided over by one and the samo deity, Sarasvati, and arg, therofore, intimately connect- ed with each other, but aiso because an acquaintance with tho spirit of a nation’s songs facilitates the understanding of tho spirit of its music and poctry which are but the outward exprossion of the inner workings of a nation’s heart. A few facts concerning Hindu music are givon a placo iu the Appendix. To onter into dotaile of the kind in tho body of the work would be going beyond ite genoral scope. My acknowledgments aro pre-ominently duo to the authors of tho sovoral valuable works from which I have gleaned the matorials for this compilation, They havo boon alluded to in some portion or other of the book. To'those whom I may have omitted to mention by name and to others, including editors of Encyclopmdias, Musical Dictionaries and Gazcttoors, and publishers of goneral history and geography tuko this opportunity of tendering my grateful thanks. S. M TAGORE. HARA KUMAR BHAVAN, Paruvaiagnara Rasnatt, Calcutta, dLst August, 1896. ieCONTENTS ——— INTRODUCTION NATIONAL MUSIC = THE SAVAGE NATIONS ... ASIA. China Siam Japan Corea Thibet Burmah India Hindu Period Mahomedan Period British Period North-Western Provinces Central India and Rajputana Central Provinces “4 Hyderabad Mysore and Coorg Bombay Madras The Punjab oy Nepal “ Bengal, Behar and Orissa... Ceylon Persia Arabia TurkestanAssyria Phoenicia Asia Minor ‘ Palestine AFRICA. North-Eastern Africa Egypt Abyssinia Nubia : Northern Africa Algerla “ Morocco . Tunis . Fezzan 7 Western Africa Upper Guinea Ashantee Dahomey Benin Lower Guinea Congo ae Central Africa an Sahara Soudan Bornou Southern Africa Kaffraria Hottentotia Zululand Eastern Africa Madagascar a Turkey in Asia vse 126 139 162 164 156 157 - 160 » 162 165 168 .. 169 ede dlGreece Ancient Period Modern Period Turkey Roumania Servia Austria Hungary Bohemia Daimatla Galicia Tyrol Styria Russia Poland Finland Lapland Scandinavia Norway Sweden Denmark Holland Belgium Germany Switzerland Italy Ancient Period Modern Perlod Sicily Sardinia Spain Portugal . EUROPE. om . 172: 183 294 we 227 o 230 14 240 we 241. we 248 sae 248Iv ‘UNIVERSAL BIB! GFE mee France + 248 England ws. 256 Scotland . 274 Ireland v 281 Iceland . 287 AMERICA. General Remarks 288 North America 291 Greenland a The Unitad States Alaska Dakota ritone ‘sw Mexico British America Canada on ” British Columbia ... 303 Vancouver Island ... Mexico Norfolk Sound Port des Francals Nootka Sound Lake Superior The West Indies Cuba Jamaica Central America South America Guiana Colombia Peru Chill Brazil ‘Bolivia oy TORY OF MUSIC. ix CONTENTS. Malaysia OCEANIA. Java Borneo ow Australasia Australia oo New Hebrides New Zealand New Caledonia . New Guinea on Polynesia oF Marquesas Islands Society Isjands Fiji Islands a Sandwich Islands ... Samoan or Navigator's Islands Tonga or Friendly Islands Deeen = + 323 325 327 329 333 340 345 347 349 . 361 A Few Facts Concerning Hindu Music. r The Three Gramas ‘The Six Ragas o The Eight Rasas .. 1 i The Seat of Music In the human body w The Origin of sound Murchchhana oe Suddha Tana “ Kuta Tana ts Music as a means to salvation v vi vil ix xiv xUNIVERSAL HISTORY OF MUSIC. INTRODUCTION. USIC pervades‘ ‘all nature. Itis co-evalwith the creation, There is nothing in nature that arouses our attention or affects our feelings so quickly us a sound. ~The murmuring of water, the sighs of the zephyrs, the whispers of the evening breeze, the roar of the storms, the chirpings of tho birds, the cries of the ammals, the hum of distant multitudes, and the concussion of sonorous bodies, excite in our minds feel- ings of pleasure, pain, or fear, and contain in them the germs of music. A musical sound is a noisa. no doubt, but every noise is not a musical sound. There isa marked difference between the two. Noise is a con- fused combination of ¢ounds resulting from the con- cussion of non-elastic bodies ; musical sound is a pure harmonious effect, produced froma simple clastic body, such as the tone of a bell. It flies further und is heard ata greater distance than .a noise. The musical in- struments played at a gathering may be heard at a distance of a mile, but the noise made by the people at the gathering, however overpowering it may be on the spot, is scarcely audible at a similar distance. Soundee UNIVERSAL HISTORY OF MUSIC. "96; (Sanskrit, Ndda) has been described as either inarticu- late (Dhanyftmaka), or articulate (Varnétmaka). In- strumental music is considered inarticulate, and vocal music articulate. By the curious structure of the vocal organs, man is capable of making 1 greater variety of tones than any other animal, and hay at his disposal the power of giving expression to every emotion, The human voice, in its tone and accont, is undoubtedly the purest and most sonorous of any which distinguishes the vocal animals. In those countries where man may be anid, likee plant, to grow and flourish, the voice expands, ripens, and attains to perfection; but in the Northern and colder regions, where thy mouth is more constantly kept closed, the voice in restricted and excapes with diffi- culty. Hence it is that the Afghan, Dutch and similar other languages are so guttural that in the delivery of some of their words, thespoakers seom an if they are choked; and hence it is that in India, Greece, Tialy and other Sonthern countries, the climmte of which in noted so much for its beauty and mildnoss, the vocal art haa risen to so much fame. Time plays an important part in music. and like music itself is’ born in nature." Tho vibrations of the pulsé or tho manuer of our walking furnishes correct notions of time, IP we liston to the sound of our own step, we fiud it equal and regulur; corresponding with what is called ordinary time in music, Probably the time in which we walk ix regulated by the action of the heart, and those who step alike have pulses benting in ‘The crowing cock covers all the tinsmensures of music, ie shalta unit, na ort), tro unite (long), and three or more unite a aucoeswion, thus: hut kw kn kw + y a 3 corresnoniling, reanactivaly, with the drdha, Hvawes, Duiyha, and Pluta myasuras of Hiudu musio. ee |