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No. 28.]
KUDIMIYAMALAI INSCRIPTION ON MUSIC.
231
euch discrepancios existed, as can be seen from certain quotations from that author which bave come down to us. But on the whole the inscription agrees more with the Naradi-fiksha than with the S. R., which must be explained, I think, by the former work representing an earlier period of music. Further, the author of the S. R. consulted works on musio from various parts of the country (see below), before writing about the music of an older period than his own, and he made a selection of definitions-on what principle we do not know. The music in the inscription, on the other hand, must have been current at the time of its composition in the district in which the inscription is found. We have seen that this music is in much better agreement with the Näradi-fiksha than with the 8. R., which was influenced by musical treatises of different parts of the country (see the introductory Elokas and frequent references to the Southern Indian music in the 8. R.). Mr. Chinnuswami Mudaliar in his Oriental Musio says that the Southern Indian Music is founded on the teachings of Nárada, whereas that of Northern India rests on the basis of Hanumat's teachings. Mr. Madaliar gives no authority for his statement; perhaps it is a tradition. If so, the better agreement of the inscription with the Nāradi-fiksha, which we have noticed, would seem to lend colour to it, though a similar comparison with the treatise of Hanumat (which is no longer extant) is necessary before one can make a definite statement. Of course, this refers to olden times. The more modern Indian music from the 16th century onwards bas been greatly influenced by the music of the Arabs, in all parts of the country.
This treatise, according to the colophon, was composed by some king, who was the pupil of Rudrāchärya. It is impossible to say whether this Rudracharya be the same as Budrata mentioned by Matanga (vide 8. R., p. 82).
SECTION I. सिक्षम् ।' नमः (0) शिवाय) ।
मध्यमग्राम चतुषाहारस्वरागमाः 1 संनेपुंस गिनेगिस नेधुनेस मुनेस
मिरगिस कंगेनुसं सगिनेस नेमुंपसुं मिगनेस मुंनेस रमिगसे धुनेगिस
पिमपिसे गधुनेस मुंनेपुल १ नरंगे मिगरेग नेसरमि
सगिनेमुं मुंरगि [मुं]पैरंगें गिसरगि सनरगि रुंगेनगें पिगरेम नेपुरगि
गरेमिग पिनेरगि सेरमिम । 3 पुंस[मुं] गिसने नेसमेपुं मनिमपि धुन] मुं
निमनिय रेगम 'धुमन] मिधुन सधुन नेसमुं
सगिने नेधुने गिसमुंफे। Of course, this is to be understood to mean that the two authors have recorded the music of their rouprotiv provinces.
* The akaharaj and the vertical stroke after it are entered below the line. The heading me all written t be left-hand margin. y seems to be corrected from it.
• Originally 7 ww engraved in place of it.
नेपुंनेस
धुनेरयि।
मुंगेरंगें
संमुंने
गुंपैमुं
