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Book Review
Mathematical rationale of Indian music
T. K.VENKATASUBRAMANIAN
THE MYSTIC CITADEL OF 22 SRUTIS MUSIC: Sreeni Nambirajan; Copies can be had from author, A-7/103, Florida Estate, Keshav Nagar, Mundhwa, Pune-411036.
Rs. 450.
From a technical sense, music is a composition of tones. A tone is a steady sound following certain physical laws and pleasing in its effect on the sense of hearing. When a body of air is set in regular and very quick vibrations, it produces a tone.
The rate of vibration is known as frequency. The vibrations must be regular and they should be given enough time to make them audible. Tone is the blood and flesh of music. The frequency, the strength (degree of loudness or softness) and quality (timbre) of a tone are properties and are common to all systems of music.
In Greece, the microtones were devised in the classical period by Pythagoras, and the system was developed by Pythagorians. It is commendable that Nambirajan has employed contemporary mathematical tools for mapping the 22 Srutis.
The gamut of Indian music consists of 12 svaras. These svaras are approximately at an interval of a semi-tone 16/15 from their respective neighbouring svaras.
Rationale
The author has approached the subject of ancient music from an Indian perspective and has explored the Indian musicological literature in depth.
The entire exercise has emanated from the curiosity of how and why. Did the medieval musicologists fail to unlock the codes clamped on the “22 Sruti music” of the ancients?
In chapters I, II and IX, the author establishes the “Sadja-grama” format but is unable to locate mathematical models in vogue. Hence his quest for a scientific and mathematical rationale for our music. Chapter IV explains how only 22 simple fractions are mathematically feasible in an octave.
Chapters VI and VII bring out symmetry and consonance respectively. The author has done well in conceptualising a circular model by mapping the 22 Srutis (on the perimeter) and the seven-Svara spectrum (on the diameter axis).
Evolution
Nambirajan firmly believes that our ancient music could be revived on N-fractions only. The seven N-fractions associated with the “Sadja-grama” scheme are close to the seven Vedic srutis.
The medieval musicologists added the rationale of cascade effect to derive major notes from minor notes. The “murchana” manoeuvres later bestowed 11 additional simple fractions to the “Madhya-grama” scheme.
A variety of melodic sequences gradually evolved and became classified through the concept of “Jati Sadharanatva”. Venkatamakhin recast this as the “72 Melakarta” scheme while V. N. Bathkande consolidated the past melodic scale as “Thaats”.
This book is a valuable addition to music research on 22 Srutis and is essential reading for anyone who is interested in the theory of Indian music.
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