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Though the detailed exposition of Indian musical theory dates back to at least the third century during which Bharata composed his Natyasastra in which chapters twenty-eighth to thirty-sixth delt with music proper and contained a detailed exposition of technical musical terms like Svara, srti, Grama, Murcchana, Jati and etc., the first North Indian musician whom we can definitely locate 264. both in time and place is, according to H.A.Popley, Jayadeva who lived at the end of the twelfth century. But Indian music registered much progress during the interve- 260. Tilakamanjari,p.419(9). ning 261. ibid.p. 220 (21ff.) iha prasastavasada saktipivyakti vyatiriktah ko dapya - paro lipivinyasah| 262. See supra; also see infra. 263. ibid,p.134 (4) ubhayato venuka paravarana krtara ksesva samkirnaravara tadavarna- ko tkirnakarnataradi-lipisu pustakesu | 264. The Music of India,p.14. - "

547 period Z both in the north as well as in the south India. In the seventh century Narada in his Siksa propounded the theory = of Grama-ragas and in the eighth Matanga, the author of Brhaddesi, gave the first definition of Raga. Bhoja, a contemporary of Dhanapala, is credited with the authorship of Sangita-prakasa, a treatise on music. It should be strange if one of his pricipal court-poets and a renowned pasO pundit like Dhanapala could ever remain untouched by the influence. He, thus, gives ample references to various aspects of music. 'Sangitaka' consisted of singing to the accompaniment 265 of various musical instruments like Mrdanga etc.. The term is once more used in the sense of dance accompanied by 266. vocal and instrumental music. The professional singers (Gathaka-jana) sung to the accompaniment of flute, lute and tabor; the lute was played in the top scale while the tabor was played in the lower scale; and the Pancama and the Sadja notes enjoyed the primary and the secondary pro- 267. minence respectively in their singing. The minstrels (Vaitalika) sung in the top scale to the accompaniment of 265. PM (N), p. 34 (22. Y: -- deta bharjana mrdada stanita gambhirana svarena sangi- takamita prastavayan stutibhih-- 1 266. ibid., p.268(16): --- abhiseka mala jantarameva pravartayisyanti sangi - 1 Here the reference is to the dance performances by various princesses. 574742 267. (P.T.O.)

the notes of Turya 268 548 much in the same fashion probably as is done even today in the popular Gujarati folk-drama called Bhavai. The special mention of the process of repitition of the quarters or words of a stanza in the course 269 of singing, would testify to the prominence of the musical aspect as expressed in the effective use of the patterns of musical notes in their individual effect (alapa) as well as in quick succession (tana) and smooth transitional variations like minda and murcchana.Various styles of vocal music, such as Kakali-gita sung by Kinnaras, 270 the songs sung in the ancient scale of Gandhara-grama with 271 murcchanas, and the tragic strains of forest tribes who 272 utilized them to entice the deers for hunting them, are mentioned. Of these the Kakali-gita refers to a musical pattern in which the highest sharp of Ni note predominates Gandhara-grama corresponds to the Hanumatodi raga of the southern system, a typical minor raga with sharpened fourth 273 The term 'Murcchana'signified the instead of the fifth. grace notes in various modes adding to the malady-form of 268. Tilakamanjari, p.17(7ff.) turya rava samvardhitaistara taravilapinam vaitalikinam dhvanibhih-- 1 269. ibid.,p.232(10) varam varamavartita padamarya mimamuccai igayat ... | 270. ibid., p.169(1). - - sravanarandhramadhuragandhara 271. ibid,p.42 ( 11 ) tumburumukhane sravanarandhra madhuragandhara grama murcchana - sravanam = -5. - 1; 57 ( 1 ) kinnararabdhagandharagramagiti .... 1 272. ibid.,p.200 (5) pratidimbhamupadisyamana mrga moha kari karunagitabhih sabarapallibhih ... 273. The Music of India,p.37.

549 a raga. Along with the practice of music, the sharp theoratical discussions about the propriety or otherwise of various notes in particular types of songs' 274 also went hand in hand. Prevalence of a high standard of musical talent is evinced by the fact that at times even the harem maids possessed expertise sufficient to resolve knotty problems of the professional singers with reference to musical notes? 75 Instrumental music naturally kept pace with the vocal one. Here also the grama scale, especially the Pancamagrama-raga seems to have been popular with the lutanists ? 276 277 Kings themselves seem to be adequately grounded in music to enjoy playing the instruments like flute and lute in company of highly advanced proud professional masters. The technical terms of music, such as Grama, Raga, Tara, Murcchana, Gamaka, Gramatana, Gramaraga, Srti, Tana, Kala, -278 Samakala, Tala and Laya are also utilized by Dhanapala. Various types of musical instruments, viz., Mrdanga, Vallaki, 274. cf. Tilakamanjari, p. 41 (2) --- galitagarvagandharva sithilita gita gosthi svara vicara- Tilakamanjari,p.41(2) 1 275. cf. Tilakamanjari, p.372(8ff.) rajakulacaranasya kokile, vidhehi svavisayadupeyusah kinnara- svarasamdeha vicchedam ... 1 276. Tilakamanjari,p.70 (14)- kavacidabaddha mandali ke vaipascika prapancyamana lalitapancama gramaragam na 277. ibid.,p.70(5拢fo) - tatkalasevagatairgita sastraparijnana durarudha gardaigandhi rvikopadhyayah saha venuvina vadyasya vinodana dinama sesa manayat | | 278. cf. ibid., pp.188(2-10); 186(2); 391(2); 394(23); 394(2); 269(5); 269(13-14); 142(20).

550 Kahala, Jhallari, Muraja, Pataha, Tantri, Vina, Turya and Venu are also mentioned. 279 Peculiar interest attaches to a few details, such as, 280 the sweet notes aroused on striking a lute with a lotus, 281 reference to playing on the lute with the right hand; the special sympathetic strings tuned to the higher scale 868 registers and wearing of gem-studded plectrum on the index finger of the left hand and its use for touching the 282 285 frets; tuning of the strings of the lute; the flute- 284 -players sitting in front of the singers; and the reed 285 case for preserving the flutes. 286 As has been noted by Shri Projesh Banerji, we find from documentary evidence that the Sangita Sastra of India, inwhich are included dancing, acting, singing, etc., reached its height some time in the first or the second century, and remained so for nearly one thousand years. Dhanapala has depicted that the kings sometimes possessed so much knowledge of the dancing lore that it was 279. cf.Tilakamanjari, pp.34(21); 41(13); 76(8ff.); 199(21 & 23); 158(15); 186(3ff.); 236(23); 264(20); 360(16); 372 (17); 391(3); 395(1). 280. ibid, p.153 (15) nalina ladita tantrikalene bahalitah --- j 281. See infra. 282. ibid.,p.186(3拢f.) ... asama lya pasa kelitakanta ratna kolya vamapanipallava pradesinya sthanasthana sprstalaratantrigunam daksina karana vinam| 283. ibid,p.269 (3) vyadhiyanta vaigikairitastatah prahuta tantri pariksita- kala dhvanibhirniscalah kalah vallakisu, vittirna vividhamarjanani sajjanyakriyanta nanavaditrani bharataputraih the : 284. 1b 1d.,p.269 (7) agre gayaniya gana mupavisanyamsikah, 285. ibid: niculaka krsta prakrsta vegavah vamsikah | /286.Dance of India by Projesh Banerji,p.44.

551 but an entertainment for them to critically discuss the fine points concerning the excellences and shortcomings of the performances by the dancers presented before them 287 by the dance-masters well-read in Dramaturgy. The actors 288. assisted in dancing. There is a reference to Natyaveda, 289. Karanaprayoga, Ranga, Angahara and Natyakarman, all of which have technical significance in the science of dancing. Among the styles of dancing only two are mentioned,. viz., 290, Lasya and Tandava, both of which were counted among the arts to be mastered by princesses. The dancers and actresses of the royal court were specially honoured by presentation of a Patta, possibly a gold fillet, to them. The royal coronation ceremony, attainment of divine powers or successful completion of mystic penance by the king or the the prince, the marriage of a princesses, and popular festival connected with some deity, were some of the proper occasions on which music and dancing found a prominent 292 place. - 287. Tilakamanjari, p.18 ( 16 ) : kadacidave dina nikhilanat yavedo panisadbhirna rta kona ghyaya rupadarsitanam nartaki namaksunnena sarabhavartmana krtasuksma gunadosopanyasah pasyam llasyavidhim -- -- 288. ibid.,p.122 (11): kusilayai nartya ma namu 289. ibid.,p.18(15); 270(11-15). kamakote patta vandham| 290. ibid., p.268(20); 342(12); 363(11). / 2: uzaki... | 291. cf. ibid., p.372 (11ff.): 45134 structuf_2517241: L mandarika, gandharvapatirahanayoh h 292. cf. ibid., p.142(14ff.).. taifa Mutz mot at yamtra ca kvapi nagare nage va (P.T.O.)

. 552 Dramaturgy was one of the sciences cultivated by the 293 citizens of those times. Regular dramatic performances (preksavidhi) were held on the stage (rangabhumi) in the theatres ( natyasala ). The actors used to be patronhsed lu by the royalty, and there is a nogadoy reference to special private theatres on the topmost storeys of royal 294895 palaces, where the plays based on the historic tradition of the line of benevolent kings like Raghuvamsha of Kalidasa and others were staged by professional actors (Sailusa), to the accompaniment of the music of taboe, drum, lute, flute and songs, and the feudatories who came to pay homage to the emperor were invited to witness such performances. 295 It is interesting to nate that due probably to the restrictionsof on the entry of male outsiders into the royal harem, even the 296 There is male parts seem to be played by female actors. another interesting reference to mutual quarrels among the artists on various points concerning music. 293. Tilakamanjari,p.10(17ff.)--3-4121991242112 294. ibid.,p.270(20) 297 Equally nivasilo kaih - 1 manyitra prthivyamapi ye kecidupalabdhah prakrstasa apyupasamgrhitah | samasta nat ya tantra bharataputra ste 57 (15拢拢.) - unnata prasadasikhara candra sala ya racita rad da bhumih .1 - 295. cf. ibid., p.57 (12拢拢.)- bharatamunina svayamagatya sucitamanahata- dhvanmegha murajamanohara me kade sosa vista tumburu tad yamana vinarana gandhara grama - magrhita venuki kara ganopagiyamana vibudhasabha prasiddha murcchana muddhi lasa rambhabhiniya mana raghu pura sara vibhupala caritam - 296. cf. ibid.,P. 372 (7) varunike, varasa nikata nat yasala sailusa kula - samgitaka lahara 297. cf. ibid.,p.370 (18ff.) asamyagjnata dasarupakai svi sarvada dimi krta vidibhih vilasinibhih ;

553 interesting is a reference to the performances of social types of plays, technically called Vithi, which, however, were reduced to the heroic ones (Dima) at the hands of inapt acting of the courtezans due to their lack of sufficient knowledge of the science of dramaturgy.