Book Title: Sangit Makarand
Author(s): Narad, Mangesh Ramkrishna Telang
Publisher: Central Library

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Page 18
________________ INTRODUOTION. But before doing so I must mention that three works on music are ascribed to Narada viz., 1 anet fut, 2 ETU and 3 arcu . Of these the first is available in print. On comparing it with the present work, I am of opinion that the authors of both these works are not identical. The Naradt Siksha appears to be an older work. For its language is archaic and it treats more of “ Sama-gana” (Vedic Music ) than later music. As regards the other two works I am unable to give any opinion as the manuscripts of these works are not available. Another work of this name Sangita Makaranda by Veda is mentioned in the list of works on music appended to this book. But as the name of the author is Veda and not Närada, it is likely that it might be different from the present work. The two systems of Music now in yogue in IndiaBefore entering into a critical examination of the present work, it is necessary here to state that at present there are two systems of Music in vogue in India. The one is called the Hindustani or Northern India system which prevails in Northern India, Bengal, Sindha, Gujaratha and Maharashtra. The other is called the Dakshinadi or Southern India system which prevails in the Madras Presidency including Tailangana, Karnataka and Malabar countries. At present we have no definite material to ascertain the time when these two systems grew differently from the original system of Bharata and other ancient musicians who founded the scientific system of Indian music. This bifurcation seems to have taken place long before S'ärngadeva, the author of Sangita Ratnakarce A. D. 1210-1247. Points of difference between the Northern and Southern India systems of Music-The points of difference in the two systems are many, such as the names of the Rågas and their scales, the Gamakas or blending of notes, the construction of the species of songs &c., but the chief difference seems to be that the Northern India Musicians divided the Raga's primarily into six principal Râgas and each principal Raga had five Bharyas (wives). Sangita Darpaņa, Sangita Ratnávali, &c., support this system. But the Southern India system does not divide the Ragas on the

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