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250
NM KANSARA
SAMBODHI
question arises as to why should there be so much difference between the two styles While the problem has been very elaborately explored by the celebrated late Pundit Omkarnath Thakur long back in his classical work Pranava Bhārati. Prof Dhanky notes that the problem has been rather discussed less, and mostly people have been satisfied with some presuppositions only But Dhanky has himself entered into the style and explored the problem on his own, and drawn his own impartial conclusions Thus he has noted that while there is in the Northern tradition a very systematic method of fixing up the proper places of the Śrtus, of strengthening the musical notes, of touching the lowest notes of the Mandra octave as also the highest ones of the Tära octave, of training up the vocal cords to bring out highly melodious musical piece, there is no such provision in the Southern one The number of the popular Rägas in the Southern tradition is comparatively greater than that in the Northern one, and the trainees in the former learn at least four or five compositions each and every melody, as a result of which their throat is rendered more dynamic in moving from one melody to another In the second article, 'Samgita-mām Raktı-no Vibhāva' (The concept of Emotionalism in Music') he notes that a musical note is after all a basic and fixed up unitary Śrti, which becomes a note when the Śrtz become a main point of rest But the nature of a Srtz is so subtle, like a point of a needle, that it is very difficult to clasp it on any fixed place Thus it is with great effort that one grasps the true Sadja note in the case of persons from persons or different musical instruments It is when the proper place has been grasped with precision that the emotional effects start getting manifested In the third article, 'Rāga Mālkosa-num Asli Abhidhān' ('The Original Nomenclature of the Räga Mālakosa'), Prof Dhanky has noticed that there is melody named 'Hindolam' which resembles the melody called Mälakosa' in the North Indian Musical tradition But then would arise another problem about the nomenclature of the already existing melody named 'Hindola' in this latter tradition in his search for the roots of this problem, Prof Dhanky has been drawn to trace the nature of the ancient Suddha Octave in what is currently known as the Bhairavi Thäta, which might prove a very useful discovery since it is at present very difficult to determine the nature of the ancient fundamental pure octave of Bharata or Sarngadhara, and it is unanimously accepted that it was like that of the current Kāfi Thäta And, it further follows that possibly the melody called Mālakosa' today may have been prevalent in the
