A Study of Oriental Music in European Notation by
A.M.Chinnaswāmi Mudaliyār
Aishwarya Shankar
Full Time Research Scholar
Queen Mary’s College
Chennai
Introduction
In general term, music of Eastern countries including India in terms of their location
relative to Europe is referred as ‘Oriental Music’. A.M.Chinnaswāmi Mudaliyār (AMC), a great
scholar and connoisseur of both Indian and Western music, took on himself the herculean task of
bringing out the Oriental music, for the benefit of Western musicians. The purpose of his
publication was to make Oriental music available in a transparent universal European staff
musical notation system to overcome linguistic and national differences. The tireless efforts of
A.M.Chinnaswāmi Mudaliyār explained and conveyed the universality of character of our
Karnāṭaka classical music melodies to the western scholars who were eager to understand our
music. In 19th Century, many foreign musicologists like Sir Clements Ernest, Fox Strangways
and many more showed keen interest in Indian music, for which AMC’s ‘Oriental Music in
European Notation’ paved as a bridge platform to understand and explore the intricacies of
Karnāṭaka music.
Publications
A.M.Chinnaswāmi Mudaliyār was firm that European staff notation was the suitable way
of representing and preserving Karnāṭaka music. In 1892, he began a colossal work, the monthly
periodicals ‘Oriental Music in European Notation’ which was first published in 1893 with the
help of his brother A. Ayyāsvāmi Mudaliyār. He published the theory of Oriental music in
comparison with Western music and numerous compositions in a special adaptation of European
Staff notation. At present, we find three editions of the book available.
1. AMC’s Original Version, 1893
The original version of this book is available as a scan copy, traced from
Maraimalai Aḍigaḷ library. Due to lack of preservation & care, some portions of the
periodicals are not found according to the contents given in the book.
2. ‘Tamilnādu Iyal Isai Nāṭaka Mandram’ version – Edited by Prof. P. Sāmbamūrthy
and Prof.P. Bālakṛṣṇan, 1973
A copy of this book was decided to be reproduced by ‘Tamilnādu Iyal Isai Nāṭaka
Mandram’ with the help of Late Prof. P. Sāmbamūrthy and Prof. P. Bālakṛṣṇan, who
took the full responsibility of editing the book with great devotion so that – “the
present generation may realize the efforts taken by AMC in those days and his sincere
services in propagating our ancient music to Western music lovers” as stated in the
preface of this book by S.D. Sundaram, Ex. Hon. Secretary, Tamilnādu Iyal Isai
Nāṭaka Mandram.
3. Version Edited by Gowri Kuppuswāmy and M. Hariharan , 2003
Another edited publication of this work is made available by Gowri Kuppuswāmy
and M Hariharan, who have stated in their preface that they have altered the original
scripts of the songs which were in Telugu into Nāgari and Roman scripts with the
help of Sri K. Muraḷidhar Rāo of Mysore to ease its use by wide segment of both
Indian and Western musicians. In comparison of this book with the original
publication (1893), we find those songs were already made available in Telugu, Tamil
and Roman scripts.
About A.M. Chinnaswāmi Mudaliyār
With a master’s in Latin and music from Madras University, and a deep interest in
English literature, Chinnaswāmi Mudaliyār developed an intense passion for Karnāṭaka music.
Amazed at the beauties of Karnāṭaka music, he not only wanted the western world to understand
this system, but also preserve it for posterity by putting it down in Staff notation. With the aim of
making Oriental music a universal language, he faced great difficulty to collect authentic
versions of the compositions of Tyāgarāja, Dīkșitar and other south Indian composers to
transcribe them into western notation. For this purpose he sought out representative of the direct
siṣya parampara of Tyāgarāja like Wālājāpet Kṛṣṇasvāmi Bhāgavatar and the descendant of
Muttusvāmi Dīkșitar being Subbarāma Dīkșitar, whom Chinnaswāmi Mudaliyār described as
“the direct representative of one of the most scientific of our Beethoven and Mendelssohn
families”. Besides all the three versions of this book, it is important to note that in the book ‘A
Dictionary of South Indian Music and Musicians of Prof. P. Sāmbamūrthy - Volume IV (O-S)’
edited by Dr. M.B. Vēdavalli, it is mentioned that “AMC also had access to the Umayālapuram
disciples of Tyāgarāja along with Wālājāpet Kṛṣṇasvāmi Bhāgavatar and not to any other
disciples of Tyāgarāja”.
AMC and Subbarāma Dīkșitar
According to Saṅgīta Sampradāya Pradarśini (SSP), AMC’s undaunted pursuit of his
objective for the publication of SSP produced a result of momentous significance - coming into
touch with Eṭṭayapuram Samastānam and Court musician there, Subbarāma Dīkșitar. In ‘The
Hindu’ and in the pages of ‘Oriental Music’, it is found that Subbarāma Dīkșitar and AMC
corresponded with each other their valuable knowledge. The former called AMC as “Avatāra
Puruśa” and the latter took the former as his Guru and got him thrice to stay with him in Madras
to enlighten him on science and art of Karnāṭaka music, intricacies of rāga system of
‘Veṅkaṭamakhi’ tradition and gamakās in particular. Thus their association helped AMC to write
about many compositions of Muttusvāmi Dīkșitar.
AMC had labored hard, faced acute difficulties and had reached a stage in which he was
unable to publish all the material he had written down. His eye sight was badly affected. It was at
this juncture that AMC visited Eṭṭayapuram and personally appealed to all those who mattered
including the Rājah himself, that his unfulfilled mission should be completed by the Samastānam
and Subbarāma Dīkșitar should be urged and helped to publish in notation at least in Telugu
script, the entire music of the Dīkșitar tradition which resulted in the publication of the
monumental work ‘Saṅgīta Sampradāya Pradarśini’.
Contents
The contents are given in a same manner as given in the original version of ‘Oriental
Music in European Notation’.
Contents of First Issue
i) Oriental Music - A Hidden Treasure
ii) Efforts made to redeem the treasure in Southern India
iii) Difficulties to be Surmounted
iv) Defects in existing system of Notations - Indian and European
v) The staff notation system the Best Available
vi) Its Special Advantages
vii) Improvements to effected
viii) Cooperation of both Western and Eastern absolutely necessary
ix) Why Europeans dislike Oriental Music
x) Why Orientals do not appreciate European Music
xi) Peculiarities in European Music :Modes - Development of
Harmony
xii) Peculiarities in Oriental Music: Modes - Development of
Melody
xiii) Various Schools
xiv) Karnāṭaka System
xv) Styles of great masters
xvi) Authenticity of their works
xvii) Difficulties in the way of using the Western and Eastern
Systems
xviii) Effects producible by Possible Combinations
xix) Steps proposed to be taken
xx) Plan of present work
xxi) Concluding Remarks
2. Extract from the Merchant of Venice (Act V) on Music
3. Scheme of Translation adopted
4.Compositions of Tyāgarājayya
5. Alphabetical Index of Tyāgarājayya's kritīs ( First Half)
6. Compositions of Muttusvāmi Dīkșitar
7. Compositions of Sēshayyaṅgār
8. Rāmāyaṇa Kīrtanās
9. Miscellaneous Songs
10. Foreign Music
11. Addenda and Corrigenda
Contents of the Second Issue
1. Supplement I - Lakṣaṇa Gītās
2. Svarajatīs
3. Varṇās
4. Life and works of Tyāgarājayya
5. Alphabetical Index of Tyāgarājayya's Kritīs ( Second Half )
6. Compositions of Tyāgarājayya
7. Navagraha Kritīs of Muttusvāmi Dīkșitar
8. Compositions of Śyāma Śāstri
9. Compositions of Sadāśiva Rāo
10. Compositions of Kulaṣēkhara Maharāja
11. Compositions of Subramaṇiayya
12. Hindustani AIRS and Jāvaḷis
13. Addenda and Corrigenda
Contents of Third Issue
1. Supplement I - Lakṣaṇa Gītās
2. Supplement II – Svarajatīs
3. Supplement III - Tāna Varṇās
4. Compositions of Tyāgarājayya
5. Compositions of Muttusvāmi Dīkșitar
6.Compositions of Vīṇa Kuppayya
7. Compositions of Kulaṣēkhara Maharāja
8. Compositions of Ghanam Kṛṣṇayya
9. Jayadēva – Aṣṭapadīs
10. Rāmāyaṇa Padams
11. Popular Reels and Jigs
12. Hindustāni Melodies
13. Addenda and Corrigenda
Contents of Fourth Issue
1. Supplement I - Lakṣaṇa Gītās
2. Supplement II – Svarajatīs
3. Supplement IV- Tāna Varṇās
4. Compositions of Tyāgarājayya
5. Compositions of Muttusvāmi Dīkșitar
6. Compositions of Śyāma Śāstri
6. Compositions of Subbarāya Śāstri
7. Compositions of Subramaṇiayya
8. Compositions of Pallavi Gōpālayya
9. Compositions of Dorasāmiayya
10. Compositions of Rāmasvāmi Piḷḷai
11. Jayadēva – Aṣṭapadīs
12. Popular Reels and Jigs
13. Hindustāni Melodies
14. Addenda and Corrigenda
Scope and Importance
AMC considered the publication of ‘Oriental music in European Notation’ as the only
way to quote in his own words – “To Extricate, the treasures of the Oriental Music – Hidden
Treasure from darkness of secrecy and labyrinths of intricacy by which they are environed”. He
also said that merits of Oriental Music will never be properly recognized until its best
compositions are reduced to the most popular form of European notation, advantage of which
will be placed permanently before the eyes of the whole world instead of being addressed in a
transitory form, as at present to the ears of the few listeners. In other words, Oriental music will
become “universal and will no longer remain exclusive”.
The scope of Research in this work of AMC is very wide and interesting to explore,
which requires understanding of the nuances of Western system of notation, Karnāṭaka music
and interpreting skills of Telugu, Roman and Nāgari scripts. ‘Oriental Music in European
Notation’ – being the foremost publication(1893), focusing Karnāṭaka music Compositions in
staff notation and the association of its author with Subbarāma Dīkșitar and direct disciple of
Tyāgarāja, gives ample scope and curiosity for comparative study and analysis of its
contemporary works like ‘Prathamābhyāsa Pustakamu’ (PAP)
and Saṅgīta Sampradāya
Pradarśini (SSP) of Subbarāma Diksitar and Various paṭāntarās of Tyāgarāja’s compositions,
compositions of Śyāma Śāstri, Subbarāya Śāstri, Gōpālakṛṣṇa Bhārati, Rāmāyaṇa padams of
Aruṇācala Kavi and many others to find out the differences & similarities and to analyse the
extent to which the tradition is being maintained in recent times.
Comparative Study of AMC Staff Notation with SSP and PAP
In this book, the composition ‘Vīṇāpustakadhāriṇi’ of Śri Muttusvāmi Dīkșitar and ‘Dēvādi
Dēva’ of Tyāgarāja given in Staff notation by A M Chinnaswāmi Mudaliyār is taken for a
comparative study and analysis with Subbarāma Dīkșitar’s “Saṅgīta Sampradāya Pradarśini” and
‘Prathamābhyāsa Pustakamu’ respectively.
1. Vīṇāpustakadhāriṇi – Vēgavāhini
(AMC’s Oriental Music, 1893)
(SSP, 1904)
General Observation:
According to the description of the composition ‘Vīṇāpustakadhāriṇi’ given in Oriental
Music by AMC, the following are observed:

Vēgavāhini is given as the Janya of Cakravāham (16th Mēḷakarta).

The tāḷa of the composition is Jampa said to be rendered in a speed expressed as
Met. ♪ = 144 (Count by quaveres) i.e.., 144 quavere beat are to be sung in a minute.

The style of execution of this composition is given as `Maestoso` (Latin Word) which
means it should be performed in a majestic style.
According to the description of the composition ‘Vīṇāpustakadhāriṇi’ given in SSP
by Subbarāma Dīkșitar, the following are observed:

Vēgavāhini is given as the rāgānga rāga of agni( III ) cakra and bhū (IV) mēla
Category
Subbarāma Dīkșitar’s SSP , 1904
AMC’s Oriental Music, 1893
Arōhaṇa
Obs – I
Observation:
In Oriental Music, the Arōhaṇa is given as ‘vakra’ form –‘ s r g m p d n d ṡ ‘.
In SSP, it is given as ‘ s r g m p d n,’ in a krama form.
Tāḷa
Jampa
Khaṇḍa ēka
Obs – II
Observation:
As seen above, the tāḷas given in Oriental Music and SSP are Jampa Tāḷa and Khaṇḍa Jāti ēka tāḷa which
have 10 and 5 akṣara kāḷas respectively. Although both are different tāḷas, their counts match with each
other as the Khaṇḍa Jāti ēka Tāḷa is to be rendered in two kaḷais.
Pallavi
Obs - III
Interpretation:
SSP – Pallavi:
Observation:
In the above phrase we can see that the ending note is ‘r’ in Oriental Music, but it is come down as ‘s’ in
SSP.
Pallavi
Obs - IV
Interpretation:
SSP – Pallavi:
Observation:
In the above phrase, we see that ‘vēga’ starts from the tāra sthāyi ‘Ṡ’ in Oriental Music, but it starts from
madhya sthāyi ‘S’ and goes to the mandra sthāyi further. Also, the phrase ‘dṡnd’ is given as ‘dndp’ in SSP.
Pallavi
Obs – V
Interpretation:
SSP – Pallavi:
Observation:
Similar to earlier observation (Obs – V), The Phrase given from madhya sthāyi to tāra sthāyi in Oriental
Music is given in mandra sthāyi in SSP.
Pallavi
Second Saṅgati not present in AMC’s
Obs –VI
Oriental Music book version
Anupallavi
Obs - VII
SSP – Pallavi:
Interpretation:
SSP - Anupallavi:
Observation:
In the above phrase, the ‘n’ to be sung from ‘ṡ’ as ‘ṡ n’ and ‘pmmp’ as given in Oriental Music is given
along with the Pratyāghāta gamaka (
) and Kampita gamaka (
) respectively. The ending note in
Oriental Music version is ‘p’ against the presence of ‘M’ in SSP.
Anupallavi
Obs - VIII
Interpretation:
SSP – Anupallavi:
Observation:
In the above phrase, ‘gmgmp’ is plain in AMC’s Oriental Music but it is given with ‘Anusvara’ and
Pratyāghāta gamaka (∵) in SSP. In ‘kuṭām’ the `tām` touches ‘ṡ’ from ‘p’ and then lands in ‘d’ which is not
so in SSP.
Anupallavi
Obs - IX
Second Saṅgati not present in AMC Version
SSP – Anupallavi:
Anupallavi
Obs – X
Interpretation:
SSP – Anupallavi:
Observation:
In the above phrase, the melody of ‘ēkāgra’ has been given as
in Oriental Music but in SSP it
is given as ‘Ṡṡṁġ’.
Anupallavi
Obs - XI
Interpretation:
SSP – Anupallavi:
Observation:
In the above phrase, a speed difference is seen in the execution of the melody for sāhitya ‘dhyātām’ among
of the two.
Caraṇa
Obs - XII
Interpretation:
SSP – Caraṇa:
Observation:
In the above phrase, According to Oriental Music – In ‘sDdnd’ , ‘d’ to be sung from ‘n’ and ‘m’ in
‘pmmp’, ‘m’ is to be sung from ‘p’ . This is mentioned in SSP along with Pratyāghāta gamaka (∵) and
Kampita gamaka (
Caraṇa
Obs - XIII
) respectively.
SSP – Caraṇa:
Interpretation:
Observation:
In the above phrase, the melody of the ‘svarūpā’ is plain in Oriental Music but it is given with Pratyāghāta
gamaka
( ∵ ) and Kampita gamaka (
).
The melody of vakāśām in Oriental Music is
but in SSP, it is given as
Caraṇa
Obs - XIV
Interpretation:
SSP - Caraṇa:
Observation:
In the melody of ‘Pourṇami’, there is a change in Anusvara and Kampita gamaka (
in SSP.
Caraṇa
Obs - XV
) is added to ‘M’
SSP – Caraṇa:
Interpretation:
Observation:
In the above phrase, the melody consists of second and third speed which is not seen in SSP.
Caraṇa
Obs - XVI
Interpretation:
SSP – Caraṇa:
Observation:
In the melody of ‘campaka’, phrase ‘dndp’ in third speed is given as ‘pDp’ in SSP unlike Oriental Music.
Caraṇa
Second Saṅgati not present
SSP – Caraṇa:
Interpretation:
SSP – Caraṇa:
Obs -XVII
Caraṇa
Obs -XVIII
Observation:
In the above phrase, there is a change in the melody of ‘prapañcasaṅkō’ and Kampita gamaka (
added to the melody of ‘kāsām’ in ‘M’.
Caraṇa
Obs - XIX
Interpretation:
SSP – Caraṇa:
) is
Observation:
In the above phrase, there is slight change in the melody of ‘mānanavilōka’ where ‘vilōka’ ends as ‘ṙ Ṡ ṡ’
in SSP, Kampita gamaka (
) and Pratyāghāta gamaka ( ∵ ) are also added.
Caraṇa
Obs - XX
Interpretation:
SSP – Caraṇa:
Observation:
In the above phrase, the starting note ‘g’ is plain in Oriental Music but this is given an emphasis with nokku
(w) in ‘g’. Also, the starting note on ‘vigrahām’ is given with Pratyāghāta gamaka (∵) in SSP.
On comparing the composition in both Oriental Music and SSP, it is found that the
structure on the whole has not undergone a major change. The main differences between these
two versions are observed in terms of ‘Change in Anusvara, Saṅgati, Pitch, speed of the phrases
and melody.
It is important to note here that AMC has also given a composition of Tyāgarāja as well
in ‘Vēgavāhini – Callaganātō’, the version of which is different with that of Dīkșitar’s
Vēgavāhini. In Tyāgarāja’s tradition, Vēgavāhini is a Janya of Cakravāham. Its scale is ‘Arō : S
R G M D N D S Ava: S N D P M G R S’ – ‘vakra sampūraṇa’ rāga.
2. Dēvādi Dēva – Sindhurāmakriya
(AMC’s Oriental Music, 1893)
(PAP, 1905)
General Observation:
According to the description of the composition ‘Dēvādi Dēva’ given in Oriental
Music by AMC, the following are observed:

Sindhurāmakriya is given as the Janya of Māyāmāḷavagauḷa (15th Mēḷakarta).

The tāḷa of the composition is Dēṣādi (i.e the starting of the song will be after 3
quavers in the bar) said to be rendered in a speed expressed as Met. ♪ = 208 (Count
by quaveres) i.e.., 208 quavers beat are to be sung in a minute.

The style of execution of this composition is given as `Vivace` (Latin Word) which
means it should be performed in a lively and quick style.
According to the description of the composition ‘Dēvādi Dēva’ given in PAP by
Subbarāma Dīkșitar, it is given as a note that “In all printed books that this kīrtana ‘Dēvādi
Dēva’ is in Sindhurāmakriya rāga of Mālavagauḷa mēla. Veṅkaṭamakhi not only said that
Sindhurāmakriya rāga which is i Śivapantuvarāḷi is an upāṅga rāga in the second part of his 45th
rāgānga rāga Lakṣaṇa gīta, but also that ‘ri’ in the avarōhaṇa is vakra in the rāga lakṣaṇa ślōka of
Sindhurāmakriya”.
Category
Tāḷa
Subbarāma Dīkșitar’s PAP , 1905
AMC’s Oriental Music, 1893
Dēṣādi
Ēka
Obs – I
Observation:
The tāḷa of the composition is given as ‘Dēṣādi’ in Oriental Music and ‘Ēka’ tāḷa in ‘PAP’ whose akṣara
kāḷas are as follows: Dēṣādi - 8; Ēka - 4. Although both the tāḷas are different, two cycles of ‘Ēka’ tāḷa will
constitute one cycle of ‘Dēṣādi’.
PAP – Pallavi:
Pallavi
Obs – II
Translation:
Interpretation:
Observation:
In the above phrase, the placement of ‘dēvādi’ after ‘nayana’ while ending the pallavi it starts from samam
in PAP unlike Oriental Music where the graha of ‘dēvādi’ remains same.
PAP – Anupallavi:
Anupallavi
Obs - III
Not present
Interpretation:
Translation:
Observation:
In the above phrase, the placement of ‘dēvēśa’ after ‘hari’ while rendering the whole sāhitya ‘dēvēśa
pitāmaha…..’ it starts from samam in PAP unlike Oriental Music where the graha of ‘Dēvēśa’ remains
same.
PAP – Caraṇa:
Caraṇa
Obs - IV
Interpretation:
Translation:
Observation:
In the above phrase, the placement of ‘…kāśa’ slightly differs in the speed of the phrase
On comparing this composition ‘Dēvādi Dēva’ in both Oriental Music and PAP, it is
found that the structure and melody of the song is almost the same. Only subtle differences are
noted in the inception of Pallavi and Anupallavi in repetition.
Gamakas adopted by AMC and Subbarāma Dīkșitar in Notation
AMC has given notation according to the structure of the compositions. He has attempted
to incorporate few gamakas like Sphurita ( ∴ ), Pratyāghāta gamaka ( ∵ ) and Khaṇḍimpu (√)
which is similar to its counterpart acciaccatura (
) in western music. For the gamaka nokku
(W), there is no exact replication in western music but the slur used in western music infers a
slight shortening of its note. Similarly, Subbarāma Dīkșitar has also incorporated few symbols
based on Western Notation like Dalsegno ( ) & Repeat Symbol (
) which show the
repetition of lines and Fermata Symbol ( ) that denotes a long pause and Fin. Symbol meaning
‘End’.
CONCLUSION
‘Oriental Music in European Notation’ is one of the foremost book comprising of
numerous compositions of various important south Indian composers notated in the view of
global reach. Although AMC learnt compositions of ‘Muttusvāmi Dīkșitar’ from Subbarāma
Dīkșitar and notated, we could find few differences in the SSP (1904) and Oriental Music
(1893). For the purpose of annotating Tyāgarāja’s works, the services of Kṛṣṇasvāmi Bhāgavatar
of Wālājāpet who belonged to the direct siṣya parampara of Tyāgarāja, helped validating the
authenticity of Tyāgarāja’s compositions. With the view to verify the correctness of the music as
noted down in the book and compare it with the renderings given by AMC, Mr. F.A. D’Cruz, the
well-known violinist and certified teacher of the Madras School of music, on has been good
enough to play the pieces, from the notations given, before the renowned singers and proved to
their satisfaction that the reproduction is as faithful as can be desired under existing
circumstances.
Besides presenting compositions in staff notations, AMC brought out expounding the
theory and science of south Indian music, a companion series of what he called ‘Academy of the
Divine Art – dramatic musical disputations in 72 divisions’, discussing as diverting and
entertaining dialogue all debatable and doubtful points connected with divine arts.
AMC in his own words stressed the importance of bringing out this book as “Merits of
Oriental Music will never be properly recognized until its best compositions are reduced to the
most popular form in European Notations”. Since Oriental Music is known for its oral traditions,
AMC in his own words conveyed that “It becomes therefore a matter of no small difficulty to
discriminate between the spurious and the original; and the attention of all educated classes
ought to be directed to this most important point; otherwise there will be nothing which can be
recognized as the classical Music of the country. No doubt there are living masters who are
competent enough to create embellishments superior to those of their illustrious predecessors;
but it would redound to their greater glory if they adapted their Music to fresh compositions
instead of seeking to interfere with the known works of others”.
Thus to conclude, we see notations of both the compositions given in this article with
respect to Oriental Music, SSP and PAP are almost similar except for few changes. Also, a lot of
non-familiar compositions of composers like Gopalakṛṣṇa Bhārati, Kulaṣēkhara Maharāja,
Sēshayyaṅgār, Subramaṇiayya, Dorasāmiayya , Rāmasvāmi Piḷḷai and Aṣṭapadīs of Jayadēva are
found with notations in one of the earliest available book - AMC’s ‘Oriental Music in European
Notation’ back in 1893 which gives us a lot of scope for comparative and analytical study.
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
‘Oriental Music in European Notation by A M Chinnaswāmi Mudaliyār’, scanned
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
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
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
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