Download Evolution of Tala CCC and more Lecture notes Classical Literature in PDF only on Docsity!
History of Indian Classical music
Evolution of the concept of Tala
Historical Perspective of Tala :
The concept of tala is quite fundamental to the understanding of Indian music. Bharat’s ‘Natyasastra’ is considered to be earliest available work on music of India describes ‘tala’ as one of the constituent element of music. He defines‘ Gandharva’ as ‘svaratala – padatmakam’ ( the organic unity of tone , rhythmic cycle and word.) For the very reason it is difficult to trace the origin of tala as far as the historical sources are concern. Since ancient musicologists like Bharata, Dattalia etc. take it for granted to be a part of and parcel of their musical heritage. Considering the tradition of ‘Sama gana’ – which is considered to be older than thatof the ‘Gandharva’ form of music and look for some traces of the origin of tala. The word ‘Gandharva’ is somewhat of a mythical origin – on one hand it is associated witha class of semi-divine beings who are supposed to be the professional musiciansof God, on the other hands it denotes the art of musical performance as originally practised by Narada who is supposed to have introduced it to the mortal world by celebrities like Bharata, Dattalia etc. though Bharat while describing origin of Natya, derives gita from ‘Sama veda’. It is stated to have been created by Brahma, with the determination that, it would would be the repository of the object with sciences, the originator of all fine arts, the indicator of the future pattern of human activity, the means for the the accomplishment of the objective of virtue and wealth, glory and fame, full of instruction and compilation. It was not meant to serve desire for pleasure one of four recognized human values, since its objective was restricted to dharma and artha (virtue and wealth). Form of music presented by Natyasastra, represented a tradition, that was oriented toconform to the higher values of life. There was another tradition of musical arts
whichcatered to the popular taste as entertainment and enjoyment- later was acknowledged as ‘desi-music’ by Matanga and Sarangadeva. In the field of literature also same parallelism of Sanaskrit and Prankit, former representing theelite culture and the later being a vehicle of people at large. Viewed in the perspective there is no wonder if no definite trace of the concept of tala is to be found in the tradition of ‘sama gana’ even though it was melodically sufficiently developed to employ seven tones and three scales. There can be two different approaches to look for the origin of tala. The concept of tala is a complex one, comprehending not only rhythm but also tempo and the measurement of musical time in a cyclic manner. The primary function of tala as spelled out by Bharat, Sarangdeva is to measure what may be called musical time and cyclic repeatation is one of the most distinguishing feature of the concept of tala. There is no wonder if no definite trace of concept of tala is to be found in the tradition of ‘sama gana’. In Vedic music , rhythm was observed in composition (sahitya) with the help of metres (Chanda). Tunes were added to the rks, and rks were constituted out of letters arranged in different metres. The rk stanzas with tune were ‘sama ganas’. While the metrical compositions of the samans provided the scope for rhythm no evidence of tala was there in the structure of singing of ‘sama ganas’- not the sources for the origin of tala. The perception of rhythm is much more spontaneous and natural to the human mind than that of the svara and even pada since the development of language must have taken quite a long time in the history of human civilization. The rhythmic movement of the limbs and the body came more easily and effortlessly as manifestation of joy and in the form of different emotions to the primitive man and
(i) the string instrument (kutis), (ii) the covered instrument (drums) (iii) the solid ringing instrument (iv) the wind instrument. Bharat has defined tala as- The instrument that has been called ‘ ghana’ in association with ‘kala’(unsounding action) , pata (sounding action) and laya (tempo) is to be known as having time for its measure in the use of tala. The exposition of tala can properly and fully be comprehended by understanding the related concept of ghana, pata, laya, and kala (time). Ghana – solid musical instrument used as a medium for the manifestation of tala. Bharat has classified the instruments into four groups and this classification is based on his concept of svara to one which is two fold (i) body based (sarirah) (ii) based on string instrument According to Bharat – Gandharva music caused by voice, lute (vina), and flute (Vamsa). Because three are capable to produce svara. Very function of tala is to measure time of a musical rendering, it has immense value to grasp the notion of time as understood by the ancient people. The other constituent factor of tala is given by kala, pata, and laya. First two represent action. Time is considered eternal by itself and therefore unlimited. Time is conceived in two aspects- (i) Eternal, (ii) transitory. Time is an eternal substance and basis of all experiment. Time is not measurable But what is measurable is the action or the event that takes place in it. This time is transitory and relative, it always has a point of reference or standard of measurement with reference to which it becomes perceptible. This time is
chronological, and consists in the notion of sequence, in which certain events are prior and other posterior. According to Abhinava Gupta, tala is the mean fashioned out of sasabda and nishabda kriya for measuring the extent of singing as it extended in time. The extension means the property of space, then tala is essentially means of determining and regulating the act of singing in time space. Abhinavagupta has referred only two aspects of tala: (i) Movement (Kriya) (ii) Divisive time measurement (Parichitti) There are other two, which are equally important: (iii) Pattern of time division (iv) Cyclic recurrence Since tala is the means of measuring the act of singing in time space, Sarangdeva Identifies tala with Kala(time), he says: Providing through action(kriya) measured by units such as laghu etc. the measurement of song(gita) time is tala. Though Sarangdeva is a close follower of Bharat, a critical scrutiny of definition of tala given by both of them points to some difference which cannot be said categorically but it provides lot of evidence of the development of the idea in the same direction. According to Bharat, tala was associated with the medium of its expression-‘ghana’ which shows his understanding was concrete. But Sarangadeva- tala is nothing but time which signifies an abstract concept based on the distinction that was made between the subject and the medium of expression. This development in conceptual term was forerunner to the change over from ‘ghana’ to the ‘avanaddha’ as a medium of expression of tala in the Indian music. According to Bharata, it is Ghana along with kala, pata, and laya provides the standard of measurement in time. Sarangadeva says that time is delimited by the action measured by laghu etc. there by setting the measurement of song dance etc.is
(ii) Citra two matras, (iii) Vartika four matras (iv) Daksina it is of eight matras, matra being equal to laghu. A nimesa is found to be equal to 0.24sec. So one laghu is equal to 1.20 seconds. Another book ‘Sangita Chudamani’ speaks about six Margas : (i) Dakshina (ii) Vartika (iii) Chitra (iv) Chitratara (v) Chitratama (vi) Ati chitratara With the kala consists of 8, 4, 2, 1,1/2 matra and Anudhruta. The addition of three margas of Bharata in different ways is a clear pointer to the development of ‘Desi’ tala which has the laghu as their unit of measurement in contrast to the ‘guru’ of Marga tala. The four margas provide a fourfold measure of tala throws flood light on very signicant concept of Marga which is very intimately related to the concept of the three fold tala in terms of (i) Ekakala (ii) Dvikala (iii) Catuskala forms of all the Marga talas associating with them- citra,vartika, and dakshina Margas respectively. Marga essentially implies a device of providing different standards of measuring the same tala structure. Ekakala form of caccatputa is SSI - Two gurus, one laghu and one pluta. A guru is equivalent to two laghus and a pluta is equivalent to three laghus, each of which is capable of being expanded to give rise to what is known as ‘Padabhanga’ (section). The Dvikala form comprises of eight gurus , each SS SS SS SS and Catuskala form comprises of four groups of four guru each – SSSS SSSS SSSS SSSS, thus expansion of the basic structure is achieved by introducing ‘nishsabda’ kala between ‘sasabda’ kala. Ekakala form has all sasabda kriyas.
The dvikala form begins with ‘nishsabda kriya’ and proceeds with ‘nishsabda’ and ‘sasabda’ kriya in each ‘padabhanga’. Catuskala form has one ‘sasabda’ and three ‘nishsabda’ kriya in each ‘padabhanga’. Kalas are named as follows : Name of the sasabda kala Abbreviation Name of the nishsabda kala Abbreviation Dhruva Dhru avapa a Samya Sa nishkrama ni Tala Ta Viksepa vi Sannnipata Sam Pravesa pra The third constituent factor of tala is laya (tempo). Tempo is caused by time space taken by the kalas .The time interval obtained between one sounding kalas and other is called ‘visranti’(rest) by Sarangadeva who defines laya as rest following the action. In other words ‘tempo’ is nothing but the interval of time betweena series of action (kriya). This concept is naturally to be contrasted with modern concept of ‘laya’ as speed or rate of action. The former consider the rest as the substance of laya while latter consider action as its substance. The two are related like both sides of a coin. But the consequence of this difference in emphasis is such that the way of ecpressing it today is just the opposite of what it was earlier. Now a days, the increase of ‘laya’ means increase of speed of action and consequently decreasing the rest which is very opposite of the earlier concept according to which increase of laya means the increase of the rest period and decrease the rate of action. What lends tala a distinct identity with reference to rhythm is what Dattalia calls ‘Parivarta’ and Sarangadeva calls ‘Parivartana’. Which he defines as the repeatation of a ‘Padabhanga’ (section) or the whole of a tala (Abritti). In this repeatation in cyclic order distinguishes tala from a simple rhythm. The ‘parivarta’ or ‘parivartana has come to us in the form of ‘abartana’ of modern practice. Also Sarangadeva has defined ‘Yati’, & ‘Graha’ as regulation affecting laya (tempo). A melody is conceived as divided into three parts- the beginning, middle, and the end. So yati or its three varities are: (i) Sama (ii) Srotogatha (iii) Gopuccha
(iv) Prakari (v) Ovenaka (vi) Robindraka (vii) Uttara Gitas are : (i) Chandaka (ii) Asrita (iii) Vardamana (iv) Panika (v) Gatha (vi) Sama. These are predominantly tala oriented melodic structure in which the Marga tala are variously employed, more than one tala is in use with reference to different ‘anga’. The ‘angas’ are integral part of ‘gitakas’. The first of these gitakas : Madrak , which is of three types – ‘Ekakala’, ‘Dvikala’,’Catuskala’; Each of which is twofold – (i) one having three vastus (compositional section), (ii) Having four vastus ‘Sirsaka’(anga) is performed with three vastus. A vastu of ‘ekakala madraka’ is made of eight ‘gurus’ and eight’laghus’. Marga talas means demonstration of tala unit such as laghu, guru, and pluto in relation to the sounding and silent action (kriya) that are used to indicate them as ‘avapa’ and others. ‘Prastara’ presents- a ‘catuakala’ madrata forms, are similarly conceived with variation or addition in the number of ‘vastus’ and ‘angas’ used. Bharata has used them in the prelude. Sarangadeva informs that they were sung in the praise of ‘Lord Shiva’ and were capable of leading to spiritual liberation. These were perhaps the only composition in which ‘Marga’ talas were employed. The ‘Dhruva’ song of Bharata which was outside ‘Gandharva’ were unsuitable for ‘Marga’ talas. The scant practical use of ‘Marga’ talas strongly suggests that evan in the time of Bharata, he tradition of ‘Non-Marga’ talas, later identified by Sarangdeva as ‘Desi tala’ were also in practice.
Desi tala – Before Sarangadeva we did not come across the term Desi-tala, probably it was coined by him in view of the fact that he has classified the musical art in two broad division- ‘Marga’ and ‘Desi’. Somesswara in his book ‘Manasollasa’ classifies talas into four types : (i) Tryasra (ii) Caturasra (iii) Misra (iv) Khanda The term tryasra and caturasra are also available in Bharata book, but here time measure is different. Caturasra is formed by two, four, or six gurus whereas the basic unit of Tryasrs is that of three gurus that is augamented by six. Misra variety is a combination of two and Samkirna tala consists of the combination of tryasra and caturasra type. Concept of ‘Khanda tala’ is of great importance. The word ‘Khanda’ means a part or a fraction. Structure of the desi talas says that they were constructed by way of ‘fractions’ of gurus which was accepted standard unit of Marga tala. For them standard unit is ‘laghu’ which also is fractioned into one-half, one-quarter and so on. So origin of desi talas is khanda tala. Desi talas are recognised by action measure (time) laghu as required by the exigency of melodic excellence and indicated by the beating of bronze cymbals. Sanragadeva by his presentation made it clear that the concept and the structure of Desi talas is quite different from that of Margo talas. (i) Standard unit of measurement in this talas is laghu. (ii) The standard unit can be varied according to the exigencies of melodic excellence (iii) Tala is to be manifested by beating of cymbals and not by nishsabda and sasabda kriyas. The use of laghu is indicative of ‘Druta’ and ‘Viramanta’. (i) Druta is half the measure of laghu, and (ii) ‘Anudhruta’ is half of ‘Druta. (iii) Viramanta has no independent measure of its own but denotes one-half of the measure to which it is attached. Thus laghu viramanta is equal to one and a half of laghu, guru viramanta will be same as pluto. It is not very popular. In
(viii) Since Marga talas formed a part of Gandharva, there purpose was allied with it and therefore used in ‘gitakas’ and while the Desi talas were used in ‘Prabandhas.’ From very restricted orientation of Malrga tala it becomes apparent that there must have been tradition of non marga talas being practised in the form of music from early times which slowly developed and gained recognition first by Somessvara as ‘Khanda tala’ then by sarangadeva as ‘Desi tala’ in more formalized form. Somessvara made an important stage in the development of ‘desitala’ as far as historical evidence is concerned by the following few observation: (i) He did not mention any distinction like marga and Desi. (ii) He did not use any such terminology as ‘Marga’ instead he spaks of ‘manas’(Standard measure) , though by this term he is referring to the same phenomenon. Thus he informs us about the dilution of the concept of margas and other term. (iii) He does not use any such terminology as Marga, Yati, Graha etc. (iv) He does not even mention the three layas(tempo) of the Margo talas. Though the memory of the Margo talas was inherited , they were no longer in actual use and other tradition of popular music. Up till 13th.century it was ‘Kamsa tala’ that was the means of manifesting tala. The use of ‘avanaddha’ for this purpose is evidently a later development and is probably related to the development of ‘bols’ alongside talas as far as the desi tala is concerned, it is definitely related to the development of ‘Prabandha’ .Many of the talas bears the ‘prabandha ‘name. It may be concluded that ‘Desi tala’ owe their development primarily to the ‘Prabandha’.
