Chap - IIshodhganga.inflibnet.ac.in/bitstream/10603/93402/8/08_chapter - ii.pdf · the phrases used...

CHAPTER II

RELATED LITERATURE

11

CHAPTER IICHAPTER IICHAPTER IICHAPTER IICHAPTER II

RELATED LITERATURERELATED LITERATURERELATED LITERATURERELATED LITERATURERELATED LITERATURE

All the medieval and modern ragas are evolved from the basic

scales - the melakartas or thaats. Venkatamakhi has devised 72

melakartas. Based on those melakarta ragas, numerous ragas were

evolved which enriched South Indian Music. In general, ragas are

divided into two: Janaka raga and Janya raga. Janaka ragas are also

known by the other names, such as Mela, kartharaga, Melakarta and

Sampurna raga. Janya raga means a raga that is born out of another

raga or derived from another raga. Each Janaka raga have a few Janya

ragas. The Janya raga generally takes the same swarasthanas as those

of the Janaka raga.

a .a .a .a .a . Janya raga classif icat ion with special reference toJanya raga classif icat ion with special reference toJanya raga classif icat ion with special reference toJanya raga classif icat ion with special reference toJanya raga classif icat ion with special reference to

MohanaMohanaMohanaMohanaMohana

The Janya ragas are considered to be innumerable. The probable

number of Janya ragas that could be generated from Janaka ragas is

approximately more than 34,000. But many of them are almost same,

12

considering the concept of srutibheda or grahabhedam. More over many

of them are non-identifiable or non-practical. They have only

theoritical existence as far as performing music is concerned. They

are also known as derivative ragas. Generally a Janya raga inbibes the

characteric phrases of its Janaka raga. In the case of some Janya ragas

the phrases used deviates from the original swara phrase combinations.

Janya ragas are classified into Varja, Vakra, Bhashanga, Upanga and

Janya sampurna.

Varja RagasVarja RagasVarja RagasVarja RagasVarja Ragas

The Janya ragas in which one, two or three notes are absent either

in the arohana, avarohana or both are called Varja ragas. The omitted

swaras are called Varja swaras. If one note is absent, it is called shadava

and if two notes are absent it is called Audava. If three notes are absent

they are called Swarantara ragas. In these three varieties Shadava and

Audava are common. They are of eight kinds.

1. Shadava - Sampurna

2. Audava - Sampurna

3. Sampurna - Shadava

4. Sampurna - Audava

5. Shadava - Shadava

13

6. Shadava - Audava

7. Audava - Audava

8. Audava - Shadava

Examples -

1. Shadava - Sampurna - Kamboji - Janya of 28 th mela

Harikamboji

Arohana - s r g p d s

s n d m g r s

2. Audava - Sampurna - Bi lahar i - Janya of 29 th mela

Sankarabharanam


s n d p m g r s

3. Sampurna - Shadava - Nilambari - Janya of 29 th mela

Sankarabharanam

Arohana - s r g m p d p n s

s n p m g r g s

4. Sampurna - Audava - Saramati - Janya of 20 th mela

Natabhairavi

Arohana - s r g m p d n s

s n d m g s

.

.

.

.

.

.

.

.

14

5. Shadava - Shadava - Malayamarutham - Janya of 16th mela

Chakravakam

Arohana - s r g p d n s

s n d p g r s

6. Shadava - Audava - Bahudar i - Janya of 28 th mela

Harikamboji

Arohana - s g m p d n s

s n p m g s

7. Audava - Shadava - Malahar i - Janya of 15 th mela

Mayamalavagaula

Arohana - s r m p d s

s d p m g r s

8. Audava - Audava - Mohanam - Janya of 28 th mela

Harikamboji


s d p g r s

A minimum number of notes are essential for a Janya raga. If

there are atleast five notes in a raga, taking together the arohana

avarohana of a raga, the raga will have a distinct swarupa. Ragas where

.

.

.

.

.

.

.

.

15

three notes are absent, both in arohana and avarohana are very rare.

Even then the raga Navarasakannada (Janya of 28 th mela) with arohana

avarohana as s g m p s - s n d m g r s taking swarantara

arohana and shadava avarohana is very popular.

Vakra ragasVakra ragasVakra ragasVakra ragasVakra ragas

Ragas in which the swaras do not occur in the regular order in the

arohana, avarohana or both are called Vakra ragas. The Vakra ragas

may be Sampurna, Shadava, Audava, Upanga or Bhashanga.

Upanga and Bhashanga ragasUpanga and Bhashanga ragasUpanga and Bhashanga ragasUpanga and Bhashanga ragasUpanga and Bhashanga ragas

Upanga ragas are taking only the notes of their parent ragas and

exhibiting the qualities of a single raga without the admixture of any

other raga. Example - Mohana, Malahari, Arabhi etc. Upanga ragas

may be varja or vakra.

The Janyaragas which are taking one, two or three extra notes in

addition to the notes taken from its parent scale producing magnificent

effect are called Bhashanga ragas. In such ragas the variety of notes

belonging to the parent scale are called "Svakiya Swaras' and the extra

notes are called "Foreign notes' or "Anya Swara'. These anyaswaras

usually occur in certain sancharas or phrases of the raga.

. .

16

Nishadantya, Dhaivatantya and Panchamatya ragasNishadantya, Dhaivatantya and Panchamatya ragasNishadantya, Dhaivatantya and Panchamatya ragasNishadantya, Dhaivatantya and Panchamatya ragasNishadantya, Dhaivatantya and Panchamatya ragas

There are a few ragas which do not go beyond the limits of

madhyasthayi and do not touch the tharastayi shadja as usual. Such

ragas are of three kinds - Nishadantya, Dhaivatantya and Panchamantya

ragas.

Janya Sampurna ragasJanya Sampurna ragasJanya Sampurna ragasJanya Sampurna ragasJanya Sampurna ragas

This is another type of janya ragas with sampurna arohana and

avarohana. But the peculiarity of this arohana - avarohana is that it

can be vakra or bhashanga in character. These types of ragas are called

Janya Sampurna ragas. These are the main classification of Janya

ragas.

Among these classifications the raga Mohana comes under the

Varja category. ie. two swaras omit from its melakarta raga. It is called

Audava. In this audava group Mohana is an audava - audava raga.

Mohana is derived from 28 th melakarta Harikamboji. The notes "ma'

and "ni' are omitted in the arohana and avarohana. Thus Mohana

became a regular audava audava raga.

b .b .b .b .b . Ragalakshana of MohanaRagalakshana of MohanaRagalakshana of MohanaRagalakshana of MohanaRagalakshana of Mohana


s d p g r s.

.

17

Besides shadja panchama the variety of notes are chatusruti "ri',

antara "ga' and chatusruti "da'. This is an upanga raga. There is no

anyaswara prayoga in this raga. It is a krama audava raga. All the

notes are swakiya swaras ie, the variety of the parental notes itself.

"Ri', "ga' and "dha' are the raga chayaswaras and "ga' and "pa' are

the nyasaswaras. The swarupa of the raga is brought out by jantaswara

prayogas like s s d d p p g g - d d p p g g r r and

datuswara prayogas like d g r g s r, d r s r s d p g. It is a

sarvaswara gamaka varika raktiraga. One of the major ragas gives

scope for elaborate °l°pana. It is one of the prominent ragas in which

all types of compositions are found. It can be sung at all times. This

raga figures in opera and dance dramas. It is very useful for signing

varnanas and descriptions. Being an auspicious raga, it is very suitable

for singing Mangalams. A tristayi raga is capable of evoking more

than one rasa. The notes of this raga are the first ones to be derived by

the shadja panchama bhava or cycle of fifths. Usually the compositions

in this raga commence on the notes "sa', "ga' and "pa'. This is a

sarvaswara murchanakaraka janyaraga.

c .c .c .c .c . Mohana as a murchanakaraka janya ragaMohana as a murchanakaraka janya ragaMohana as a murchanakaraka janya ragaMohana as a murchanakaraka janya ragaMohana as a murchanakaraka janya raga

In Indian music various scales are derived by the process of model

shift of tonic also known as Grahabhedam, Sruthibhedam and

. .

. . . . . . .. .

18

Grahaswarabhedam. In this process the tonic note or the adhara

shadjam is shifted from note to note (keeping the intervals of the

original scale constant) in order to obtain new scales. This process

can be applied easily in this raga Mohana as well as any other

murchanakaraka mela raga. Therefore Mohana is known as a

murchanakaraka janyaraga. In Mohana all its swaras (Ri, Ga, Pa,

Da) yield other ragas through this process. A small formula helps us

to remember the various ragas resulting from Mohana. The formula is

- Mohana - Madhya - Hindola - Suddho - Udayaravichandrika.

According to this Mohana's Rishabha taken as shadja we will get

another audava raga Madhyamavati. Gandhara of Mohana taking as

shadja will result in Hindolam. By taking panchama as shadja it results

in Suddhasaveri, Suddhadhanyasi or Udayaravichandrika is broughtout

by taking Dhaivata as shadja. In this process when we apply a varjaraga,

will yield the same. The chart based on the model shift of tonic is

given below:

19

1 2 3 4 5 6 7 8 9 10 11 12

Shad- Sud- Cha- Sadha Ant- Sud- Prai Panch Sud- Cha- Kais- Kak-jam dha tus Ga ara dha Ma. amam dh tus iki ali

Ri. Ri. Ga. Ma. Dha. Dha. Ni. Ni.

« « « « «

£ l l l

Rishabham Shad- Cha- Sad Panjam tus dha cha

Ri. Ma. mam

£ l l

Gandharam Shad- Sadha Sadjam Ga. dha

Ma.

£ l

Panchamam Shad Chajam tus

Ri

l

Dhaivatam Shadjam

1 2 3 4 5 6 7 8 9 10 11 12

Shad- Sud- Cha- Sadha Ant- Sud- Prai Panch Sud- Cha- Kais- Kak-jam dha tus Ga ara dha Ma. amam dh tus iki ali

Ri. Ri. Ga. Ma. Dha. Dha. Ni. Ni.

« « « « « Mohanam

l

Kaisiki MadhyanavatiNi.

l l

Sud- Kaisidha ki HindolamDha. Ni.

l l l

Sud- Pacnha Cha-dha mam tus SuddhasaveriMa. Dha.

l l l l

Sa Sud- Panch- Kai Udayaravi Chandrikadha dha amam sikiGa. Ma. Ni.

MOHANA - MADHYA - HINDOLA - SUDDHO - UDAYARAVICHANDRIKAMOHANA - MADHYA - HINDOLA - SUDDHO - UDAYARAVICHANDRIKAMOHANA - MADHYA - HINDOLA - SUDDHO - UDAYARAVICHANDRIKAMOHANA - MADHYA - HINDOLA - SUDDHO - UDAYARAVICHANDRIKAMOHANA - MADHYA - HINDOLA - SUDDHO - UDAYARAVICHANDRIKA

Chelladurai P.T. (Dr), The Splendur of South Indian Music, Vaigarai Publishers, Dindigul - 624 004, Tamilnadu, South India, Page No. 285, 2000.

20

d .d .d .d .d . Identity of Mohanam in Universal MusicIdentity of Mohanam in Universal MusicIdentity of Mohanam in Universal MusicIdentity of Mohanam in Universal MusicIdentity of Mohanam in Universal Music

The raga Mohana though scientifically defined as an audava

janyaraga has a status equivalent to - or more than that of janaka ragas.

It was widely used even before the modern classification of ragas which

came into existence. The references from Chilappathikaram proves

that Mohana was widely used during the period as early as the 2nd

century A.D.

The phrases of the raga was used right from the time of or even

before the present system of raga classification which came into

existence. Mohana or scale which have exact resemblance to it was

used all over the world from ancient times. It also shows resemblance

to the phrases used in folk tribal and other such primitive music. The

research work done by Dr. S.A.K. Durga brings out the universal appeal

of the raga Mohana. Her findings can be consolidated as:

Dr. S.A.K. Durga systematically compares the scale of Mohana with

respect to the notes of the keyboard. According to her, the pentatonic scale -

Mohana, of karnatic music could be defined as follows. She also presents an

analytical study of the nature of the scale. She also states the reason for the use

of Mohana in almost all the cultures of the world and defines it as a universal

scale. Her view points about Mohana is briefed below.

21

The consonant intervalic structure of the scale Mohana makes it use

frequently in various cultures of the world. In carnatic music great composers

have used the raga in various melodic patterns.

The musical compositions of the following forms geetham, varnam,

keerthanam, kriti, padam, javali, tillana, daru and even mangalam are composed

by eminent musicians including trinities.

Dr. Durga briefly presents the use of the raga in other cultures. She also

gives a minute analysis of the use of the phrases and notes while mohana scale

is played or sung as follows:

""The music of East Asia and South Asia profusely use the pentatonic

scale Mohana and other scales that derive from shifting the tonic on other four

notes, ri, ga, pa and da of this scale. The scales are presented as different

types of melodic patterns and ornamentation on the notes, which gives forth

the identity of every music culture. There would be no ""portamento'' or jaru

gamaka and oscillation of the note in medium tempo touching the anuswara or

kampita gamaka, which is found in the carnatic music compositions, set in the

Mohana scale. In other music cultures of Asia, the notes in the scale are

performed as plain notes and sometimes with vibrate, the ornamentation of

the notes are usually ""pdp, dsd, srs'' in the South East Asian Music cultures.

The range of this Mode or Raga is also limited to one octave or one octave

and three notes at the most unlike one finds the range of the mode or Raga

Mohana in low, middle and upper octaves. For example, this pentatonic scale

22

in China, Japan, Korex, Thailand, Malaysia and Indonesia where the scale is

used in classical music traditions can be analysed'' l.

Dr. Durga states that the basic scale of Chinese music is ""wu sheng''

which is exactly the scale Mohana of carnatic music. ì ""Wu sheng'' îas detailed

by Durga isìThe basic scale of China is the pentatonic scale ""Wu sheng''

which is the scale of Mohana. The Chinese tonal system is emerged as cyclic

system. The Chinese scale ""Wu Sheng'' merged from a cycle of tones is

generated by blowing across the tops of a set of bamboo tubes closed at one

end whose lengths were arranged in set mathematical proportions. The

acoustical basis for the method is the principle of overblown fifth. The Chinese

arrived at 12 Lu's or pitches. The first five notes of the 12 Lu's became the

basic pentatonic scale, which is called ""Wu Sheng''. This scale is equivalent

to the scale of Mohana. Interestingly, in ancient Tamil music system, the

Mohana scale, which is called as Mullaitheempani is emerged from the cyclic

system through the over blown fifth of the Bamboo flute.î

Japanese and Koreans also followed the same system of 12 Lu's in

resembling the scale of Mohana. Koreans also followed the same pattern 12

Lu's and the scale corresponding to Mohana is called ""Akshi - Jo''.

1. Durga S.A.K (Dr), The Journal of Madras Academy, Vol. LXXI, 2000.

23

The South East Asian countries Thailand, Indonasia and Malaysia used

the scale of Mohana profusely. The Thailand music has the influence of Indian

music because they have adopted the Ramayana the Indian myth.

Malaysian music is also influenced by the raga Mohana through the

adaptation of the myth of Ramayana.

In Indonesian music the scale similar to the scale of Mohana is slendaro

patet Nem.

Comparing the ideas of Dr. Durga of the use of the raga Mohana in various

cultures and influence of the development of this raga and the most premitive

instrument the Flute it could be concluded that all the theatre forms are

influenced by the myth and culture. The culture aspect connects the music of

the common man which is easily accessible pentatonic scale Mohana with the

theatre music. The folk theatre form reflects the cultural aspects.

An analysis of the pedagogy of western keyboard lessons reveal that, the

scale used for familiarising music students with pentatonic scale in the

beginning stages is Mohana. The ""melody book 2'' popularly used in western

music also reveal that the scale of Mohana was popularly used in keyboard

practice sessions. The pentatonic scale used for beginners has been illustrated

as shown below:

24

L H 5 4 3 2 1

The black keys in the diagram represents the notes of Mohana treating

F # as shadja. This means the raga is the most primitive one prior and post to

the introduction of the presently universally accepted piano keyboard.

The evolution of flute the most primitve natural instrument also

proves that the raga Mohana was popularly used by the shepherds. The

first flute had only two holes. The next one having three used for veda

swaras. The sophisticated pattern of flute used for performances prior

to those used now, had only five holes. This proves that pentatonic

scales mainly Mohana was popularly used. The raga can be played

fluently with ease in flute. This is because the fingers which have

spontaneous kinsthetic movement are only necessary or popularly used

while playing Mohana in the primitive as well as the sophisticated

present days' flute. Many folk songs also have an accent of this raga.

Lord Krishna is associated with this raga. References also state that

Krishna used this raga to mend cattle.

25

In Hindustani SystemIn Hindustani SystemIn Hindustani SystemIn Hindustani SystemIn Hindustani System

Mohana is corresponding to raga Bhoop or Bhoopali of Khamaj

Thaat in Hindustani system. But the raga Deshkar of Bilawal Thaat

and Jait kalyan of Kalyan Thaat also have the same aroha - avaroha as

that of Mohana. Both are audava - audava ragas and their scales as

follows.

Deshkar - S R G P D S S D P G R S

Jait kalyan - S R G P D S S D P G R S

This is same as that of Mohanam.

e .e .e .e .e . Mohana in different worksMohana in different worksMohana in different worksMohana in different worksMohana in different works

Mohana in ChilappathikaramMohana in ChilappathikaramMohana in ChilappathikaramMohana in ChilappathikaramMohana in Chilappathikaram

Dr. S . Ramanathan makes an ass imi lable analys is of

Adiyarkkunallar's commentary of the systematic presentation of ragas

and their structure depicted in Chilappathikaram. In Chilappathikaram

the ragas are presented with respect to a systematic dance from "kuravas'

in which seven shephered girls dance in a cirlce; the position of the

girls in the cirlce denote the seven notes. At the same time the circle is

devided into 12, each segment deciding each of the signs of the zodiac.

Thus the 12 segments denotes the seven major tones and five semitones.

Adiyarkkunallar describes the structure of ragas in Chilappathikaram

by describing the zodiac as "vattappaalai'. "Vattam' means circle (the

26

zodiac) and "paalai' means a musical scale of seven notes (kural - sa,

tuttam - ri, kaikkilai - ga, uzhoi - ma, ili - pa, vilari - da, taaram - ni).

From Vattappaalai consists the four major pans (ragas) are arised

paalaiyazh, kurinchiyazh, marutayazh and chevvayazhi. Of this

paalaiyazh is same as Harikamboji. Chilappathikaram paalai is a scale

having seven notes. But it also predicts of puns or ragas having five or

six notes. The raga Mohana is reffered to as Mullaippun in

Adiyarkkunallar's commentary on Chilappathikaram as narrated by

Dr. S. Ramanadhan. When the seven girls forming the circle begin to

perform the kuravai dance, the girl standing as kural addresses tuttam

standing next to her, ""Let us sing the praise of Maayavan in the sweet

mullaipun''. Tuttam initiates the dance and Vilari sings the kuravai

songs.

The singer sings the kural note low, ili in the middle register tuttan

high and vilari low. Then she sings for her friend tuttam standing as

her favourite note.

From the verse, we know that mullaippun has the notes kural

tuttam, ili, and vilari. That is a Tiram (five tone mode) is clear from a

verse in Ceckkizhaar's Tiruttondar puranam.

Dr. S. Ramanathan in his narration about Chilappathikaram

elaborating the structure of puns (ragas) specifically presents the

structure of Mohana on ""It says that mullaippun was first played on

the "kuzhal' flute and adding the raised taaram and uzhai to it,

kootippalai was played. So the notes omitted in Mullaippun are taaram

27

and uzhai. The remaining five notes are learned tuttam, kaikilai, ili

and vilari.

In terms of current nomenclature, the notes of mullaippun are

shadja, chatusruthi rishabha, antara gandhara, panchama and chatusruti

dhaivata. The corresponding raga is Mohana.

Incidently, the verse mentioned above also proves that the raga

which corresponds to kottippalai is sankarabharana. If kakali nishada

(raised taaram) and "uzhai' (suddha madhyama) are added to the notes

of Mohana, the raga becomes Sankarabharana. It may be noted that

the names of the puns mul la ippun, paala iyah, kur inchiyazh,

maruthayazh were named after the five fold divisions of the ancient

Tamil land viz.

mullai - forest region

paalai - desert

kurinchi - mountanious region

marutam - cultivated land

neytal - sea-shore l

The cowherd women belonged to the mullai region and were

dancing and singing in praise of Mayavan, the God of the mullai land,

but it is fitting that they sing the mullaippun pertaining to their land.

1. Ramanathan. S (Dr), Rtd Principal, Music in Cilappatikaram, Sree Satguru Sangeetha

vidyalayam, College of Music, Madurai, Page No. 37.

28

Here the influence of culture in the music of a society is evidently

confirmed and it also proves that music is evolved from work, culture

and that also before the sampurna ragas came into existence; the

pentatonic scales existed.

The raga Mohana in ancient culture ""The Chilappathikaram'' is

very much linked with the nomadic population consisting mainly of

shepherds who frequently used the most primitive musical instrument

- the Flute. Mohana is played in kuzhal or flute. This shows how much

Mohana is inherent in the music and culture of the period. The Tamil

hymn Thiruvachakam of Manickavachakar is in the raga Mohana.

Thiruvachakam is traditionally sung on culture related occassions.

Adiyarkunallar refers to Chilappathkaram and the position of raga

in the culture and into relation with the zodiac. His interpretations

could be clearly presented as in the tables 1, 2, 3, 4 & 5 given.

Table. 1 elaborates specifically the relation of the notes of Mohana

with the zodiac signs. And table 2 the petatonic scales obtained

according to model shift of tonic (sruthibhedam). Madhyamavati,

Hindolam, Sudhasaveri and Suddhadhanyasi and their relation of their

notes with the zodiac signs. The notes of mullaippun were also assigned

their respective position in the zodiac. Its five notes would have their

positions in the zodiac as indicated in the table given below.

29

Table. 1Table. 1Table. 1Table. 1Table. 1

SignSignSignSignSign NoteNoteNoteNoteNote SymbolSymbolSymbolSymbolSymbol

1. Libra kural sa

2. Scorpio - -

3. Sagittarius tuttam ri - 2

4. Capricornus - -

5. Aquarius kaikkilai ga - 2

6. Pisces - -

7. Aries - -

8. Taurus ili pa

9. Gemini -

10. Cancer vilari dha - 2

11. Leo - -

12. Virgo - -

Table. 2 elaborates the notes of the raga Madhyamavati obtained

by taking chatusruti rishabham as the keynote. It also reveals the

relation of notes of Madhyamavati with the zodiac signs.

Ramanathan. S (Dr), Rtd Principal, Music in Cilappatikaram, Sree Satguru Sangeetha


30



1. Sagittarius kural sa

2. Capricornus - -

3. Aquarius tuttam ri - 2

4. Pisces - -

5. Aries - -

6. Taurus uzhai ma - 1

7. Gemini - -

8. Cancer ili pa

9. Leo -

10. Virgo - -

11. Libra taaram ni - 1

12. Scorpio - -

Table. 3 elaborates the notes of the raga Hindolam obtained by

taking Gandhara of Mohana or rishabha of Madhyamavathi as the kural

(shadja ie the keynote). It also reveals the relation of notes of Hindolam

with zodiac signs.



31



1. Aquarius kural sa

2. Pisces - -

3. Aries - -

4. Taurus kaikkilai ga - 1

5. Gemini - -

6. Cancer uzhai ma - 1

7. Leo - -

8. Virgo - -

9. Libra vilari dha - 1

10. Scorpio - -

11. Sagittarius taaram ni - 1

12. Capricornus - -

Table. 4 elaborates the notes of the raga Suddhasaveri obtained

by taking panchama of Mohana or Gandhari of Hindola as the kural

(shadja or keynote).

It also reveals the relation of notes of Suddhasaveri with Zodiac

signs.



32



1. Taurus kural sa

2. Gemini - -

3. Cancer tuttam ri - 2

4. Leo - -

5. Virgo - -

6. Libra uzhai ma - 1

7. Scorpio - -

8. Sagittarius ili pa

9. Capricornus - -

10. Aquarius vilari da - 2

11. Pisces - -

12. Aries - -

Table. 5 elaborates the notes of the raga Suddhadhanyasi obtained

by taking Dhaivata of Mohana ie, vilari note in Cancer sing as kural or

shadja the keynote. The kural of the new pan falls in Cancer.



33



1. Cancer kural sa

2. Leo - -

3. Virgo - -

4. Libra kaikkilai ga - 1

5. Scorpio - -

6. Sagittarius uzhai ma - 1

7. Capricornus - -

8. Aquarius ili pa

9. Pisces - -

10. Aries - -

11. Taurus taaram ni - 1

12. Gemini - -

Music literature during the period of later half of the 17 th century

A.D. to the beginning of the 18 th century A.D. states that the raga

Mohana is a janya raga of kamboji mela and it is a shadava raga.



34

RagalakshanamuRagalakshanamuRagalakshanamuRagalakshanamuRagalakshanamu by Sahaji details are as follows:

""The rakti raga Mohana takes the mela of Kamboji. It lacks

nishada and Madhyama occurs rarely. This is how the swara movement

ascent and descent.

Examples - s d p d s r g r g m

g g r g r r

s d p d d s s s

in this manner the melody proceeds.''

Mohanakalyani has much resemblance to Mohanam due to the

alpa madhyama prayoga.

Sangeetha SaramrithaSangeetha SaramrithaSangeetha SaramrithaSangeetha SaramrithaSangeetha Saramritha of Thulaja refers Mohana as the janya of

the raga Kamboji. According to Thulaja Kamboji is a mela which has

many janya ragas and Mohana is a shadava raga. Nishada varjyaraga,

shadja grahadi raga. It is an evening raga and a melodious raga.

Occuring of alpamadhyama make this raga shadava. The arohana -

avarohana is as follows.

S R G M P D S S D P M G R S

Swaras tanas are panchasrut i r i shabha, Antara gandhara ,

Panchama, Panchasruti, Dhaivata, Suddha madhyama and Shadja.

The sloka is as follows:

35

""Æ˙…M…: EÚ…®§……‰V…“ ®…‰±……‰i……‰

®……‰Ω˛x……M™……‰ x…¥…ÃV…i…:

+∫™…±………‰ ®…v™…®…:

+…Æ˙…‰Ω˛…¥…Æ˙…‰Ω˛…™……‰:

∫¥…Æ˙M…i…‰Ø˚r˘…Æ˙h…®…¬**''

s d p d s r g r g m g g r

g r r s d p d d s ,

B¥…®…¬ |…EÚ…Æ‰˙h……±……… |…™……‰M…:

<i… ®……‰Ω˛x… Æ˙…M…:

The raga named Mohana is born from the Kamboji mela. It is

short of ni and so shadava and has sa as graha and nyasa. It may be

sung in the evening and it affords great delight. But sangeeta kalanidhi

Subbarao has a slightly contradictory view about Tulaja's account of

Mohana. It is a very negligible and he goes to the extend of considering

it as an act of careless rendering due to neglect of proper form of the

raga. Subbarao also states that the use of alpa madhyama and

alpanishada in the raga Mohana can be ruled out considering the

currently accepted structure of Mohana. And he states that this

interpretation may be with reference to the raga Mohanakalyani,

Subbarao points out that the references about the raga Mohana was

alien to the music literature prior to the 18 th century A.D. But

Dr. S. Ramanathan in his book Music in Chilappathikaram refers to

36

the mentions of the raga Mohana in Chilappathikaram is considered to

be more primitive.

According to Sangraha choodamaniSangraha choodamaniSangraha choodamaniSangraha choodamaniSangraha choodamani of Govindacharya the raga

Mohana derived from the mela Harikamboji. Taking shadja as nyasa,

amsa and graha, Madhyama and Nishada are omitted from ascent and

descent and thus became audava raga.

Swara prastara - s r g p d s d s r s

d s d p g r s r d s

According to sangeeta samgrahamusangeeta samgrahamusangeeta samgrahamusangeeta samgrahamusangeeta samgrahamu of Tiruvenkata kavi is same

as that of Sangraha choodamani.

According to Muddu venkatamakhi the author of RagalakshanaRagalakshanaRagalakshanaRagalakshanaRagalakshana -

first quarter of 18 th century A.D. the Mohana is a janya of 65th mela

kalyani as follows.

The raga Mohana is an audava raga and has shadja as graha. It

may be sung at all times. This work describes Mohana the janya a 65th

mela. It is a rakti raga.

Sangeetha sampradaya PradarsiniSangeetha sampradaya PradarsiniSangeetha sampradaya PradarsiniSangeetha sampradaya PradarsiniSangeetha sampradaya Pradarsini states that though madhyama

and nishada omitted, Mohana is treated as a bhashanga raga. Alpa

madhyama is coming as the foreign note.

avarohana - s r g p d s s d p g r s

. . .

.

. .

37

According to the famous work Sangeetha chandrika Sangeetha chandrika Sangeetha chandrika Sangeetha chandrika Sangeetha chandrika of Atoor

Krishnapisharodi, shadja as the graha swara and nyasa, R G P are am¿a

swaras, M and N are omitted. This is Mohana. It is an upanga raga.

arohana - S R G P D S

avarohana - S D P G R S

Sloka is as follows:

∫…O…Ω˛x™……∫…‰ Æ˙“ M… ……∆∂……‰

®… x…“ Ω˛“x……‰ ®……‰Ω˛x…: =……R¬ÛM…:** l

According to Mahabharatha Chudamani,Mahabharatha Chudamani,Mahabharatha Chudamani,Mahabharatha Chudamani,Mahabharatha Chudamani, Mohana is born in

Harikamboji mela. Mohana drops ni in ascent, and ma and ni in

descent . This book vers ion of Mohana di f fers f rom that of

Sangrahachudamani. It is closer to the various in Ragalakshanam of

Sahaji and Sangita Saramrita of Tulaja.

According to """"""""""Sangeeta swara prastara sagaramSangeeta swara prastara sagaramSangeeta swara prastara sagaramSangeeta swara prastara sagaramSangeeta swara prastara sagaram'''''''''' of Nadamuni

Panditar Telugu - 1906, Mohana is a janya 28 th mela Harikamboji.

arohana - S R G P D S

avarohana - S D P G R S

According to """""RagakosamRagakosamRagakosamRagakosamRagakosam''''' of R.R. Keshavamurthi canarese the

arohana - avarohana of Mohana is

S R G P D S S D P R G R S

.

.

.

.

..

Krishnapisharadi Attoor, Sangeetha Chandrika, Sulabha Books Publications, Trissur, 1995.

38

f .f .f .f .f . Views regarding the parent scale of MohanaViews regarding the parent scale of MohanaViews regarding the parent scale of MohanaViews regarding the parent scale of MohanaViews regarding the parent scale of Mohana

Opinions of performing artists and musicians were collected

through expert consensus. Since different opinions prevail about the

janakaraga of Mohana, these interviews are necessary in this

connection.

L. Janaki Ammal, Rtd. Prof. of Music Govt. College for Women

Thiruvananthapuram, is of opinion that Mohana is a raga which is oldest

than many other popular melas. Some melas may be derived by the

addition of Madhyama and Nishada to this scale of Mohana. She

concludes that the swaras of Mohana have the resemblance to the swaras

of Harikamboji.

Dr. K. Omanakkutty Amma, Rtd. Head of the Department of

Music, University of Kerala states that Mohana is the janya of 65th mela

Mechakalyani. As a renowned performer she gives more emphasis to

practical values rather than the theoritical aspects. In her view, the

rendering of Rishabha and Dhaivata in Mohana is the same as that of

Kalyani.

Sree B. Sasikumar, the carnatic violin maestro, Rtd. "A' grade

artist All India Radio, Thiruvananthapuram, hesitated to comment on

the controversy of the janaka raga of Mohana. He also opined that

insisting too much on such theoritical aspects do not help music in any

39

way at the performance level. As music is more linked with the

emotional aspects of man rather than the intellectual. The educational

theory also agrees with this opinion as now a days Emotional Quotient

(E.Q.) replaces Intelligence Quotient (I.Q) in the overall development

of the individual. He gives his argument as follows. The use of

rishabha, gandhara and dhaivata in Mohana is seen only in Kalyani ie,

the bhavatheevratha and gamakas of rishabha, gandhara and dhaivata

in Mohana has more resemblance to that in Kalyani when compared to

the Harikamboji, Sankarabharanam and Vachaspati. Kalyani and

Mohana could be identified even if they are sung without gamakas.

ie, the structure of the ragas are such that they could be identified by

simple rendering of the notes as per the grammar of the ragas. Both

are primitive ragas and much linked with culture. The primitive name

of Mohana was Reghupathi. The bhava of both these ragas could be

sensed irrespective of the gamaka used or even the tempo ie, the bhava

of the raga is equally dominant whether it is sung in vilambakalam or

drutakalam. Mohana is linked with nature and is used more in

naturalistic situations. The structure of Mohana is such that it could

be effectively used for learning exercises from basic to varnams.

Another salient feature of Mohana is its duel nature of classical as well

as folk accent. The structure of the swaras in Mohana can be

samabhagikam especially purvardha (S to G), (P to D) in nature ie, the

intervals between the two notes of the raga are equivalent. The

40

enchanting nature of Mohana may be equivalent due to this structure.

The notes of Mohana could be explained as representing the pancha

bhoothas and therefore they are optimum suitables for natural

situations. Taking into consideration the sruti theory from Sangeeta

Damodaran, we can say Shadja - vinchitra, Rishabham - Ghana

gandharam - Sarasa, Pacnhamam - Sarangaravi, Dhaivata - Amrutha.

As per sangeeta Ratnakara the names of these srutis are different. But

as the sruti theory is not relevant and feasible it can be overstopped.

Mohana is also very enchanting to be used in Vaadyagoshti

(Vrinda vaadyam). Mohana was originally considered as an important

raga in concerts. It existed even before the science of Melakarta

paddhati was framed or even more primitive. All these arguements

lead to the conclusion that Mohana has more resemblance to kalyani.

The other arguments might have arosed from the analysis of the

structure of the raga from the point of view of instrumentalists.

Especially wind instruments (sushiravadyas) for which Harikamboji

is easier to play. The fact that the science of the theory of music was

arranged or generated by instrumentalists who also support this opinion.

In olden days there existed the custom of all vocalists compulsorily

playing one or more musical instruments. Unfortunately these

instruments had limitations in producing gamakas which affected the

projection of bhavas.

41

When instruments like violin was introduced in carnatic music

the range of swaras and the range of bhava of ragas took a divergent

pace. Though love is the basic bhava of Mohana it suits for all

emotional outcomes especially pleasant ones.

The blunt notes of Mohana when played gives a hilly mood. The

use of gamakas in the present authentive way came into existence only

after the development of classical music. May be that the name Mohana

might have arisen from this special aesthetic nature of the raga.

Sree. S. Sai Babu hailed from a music family, Rtd. Music Teacher,

Govt. H.S.S., Pakalkuri, renowned violin performer, awardee of Kerala

Sangeeta Nataka Academy in 2004, a Research Scholar in Srutis, in

his research finding with IT aided analysis of the swaras of raga Mohana

states that the value of universal chatusruti Rishabham is 288 cents.

But the value chatusruti rishabha in Harikamboji is 6 vibrations lesser

than the universal chatusruti rishabha ie. 282 cents. In the same way

each notes in Harikamboji mela is having certain vibrations lesser than

that of the universal notes. Except Madhyama and Nishada the value

of other five swaras are as follows.

42

Vibrations of swaras Universally acceptedVibrations of swaras Universally acceptedVibrations of swaras Universally acceptedVibrations of swaras Universally acceptedVibrations of swaras Universally accepted

Lower Shadja 256 cents

Chatusruti Rishabha 288 cents

Antara Gandhara 320 cents

Panchama 384 cents

Chatusruti Dhaivata 432 cent\s

Vibration of swaras in HarikambojiVibration of swaras in HarikambojiVibration of swaras in HarikambojiVibration of swaras in HarikambojiVibration of swaras in Harikamboji

Differences

Lower Shadja 249 7

Chatusruti Rishabha 282 6

Antara Gandhara 315 5

Panchama 376 8

Dhaivata 424 8

In his view the rendering of S R G P D in Mohana is the same

as that of Harikamboji. Taking into consideration the vibrations of

the five swaras. Mohana can be said to be the janya of Harikamboji

mela.

43

Dr. B. Pushpa, Head of the Department of Music, University of

Kerala, is of opinion that considering the frequency value of the notes

in Mohana the parent scale is Harikamboji itself.

The primary objective intended is to analyse the controversy of

janaka raga of Mohana and to arrive at a conclusion about the same.

But the diversity of the opinions and the depth of the arguments put

forth by the experts make it impossible for the investigator to arrive at

a conclusion and state in a confirming manner the janaka raga of

Mohana. Generally it is felt that performing experts consulted have

similar opinion and theoritical experts have different opinion. The

investigator has consolidated the relevant arguments of the experts and

do not dare to predict or state which of the opinion is more relevant.

This is because the experts, musicologists and performing musicians

have their own reasons through their experience about the relevance

of their opinion.

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