Indian Musicology- Melodic Structure

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Dr. Mriganka Sekhar Chakraborty

A famous Indian Musicologist was born in the District of Dacca, present Bangladesh. He is the son of late Makhanlal Chakraborty who participated in National movement, took up the teaching profession and established himself as an ideal teacher in both East and West Bengal.

The present author qualified himself in different branches of conventional arts and education, established himself as a good performer in traditional music of Bengal with special aptitude in kirtan singing and playing different percussion instruments, specially "Sree khole" of the Eastern region. He is an M.A. in Political Science (Cal. Uni.): M.A. in History (Cal. Uni.); Bachelor of Education (Cal): Sangit Visärad in kirtan (gold medallist) (SBSSP, Cal) D. Lit in Musicology (Rabindra Bharati Univer sity), Mridangācārya, Kirtan kalāratna.

By profession he is a teacher of both Music and Musicology in Rabindra Bharati Univer- sity, Calcutta, conducting research works in different branches of music; Ex-in-charge of the B. Ed. Department, Rabindra Bharati University, Cal. Ex-Part-time lecturer in Bengal Music College (Calcutta University Department); Director, composer and trainer of Musical records in HMV (India). His famous books and articles already Published and complete in presses are (1) Tältatiwer Kramavikās, Firma KLM (P) Ltd, Cal (2) Bånplår Kirtan Gân, Sahityaloke, Cal.; (3) Kholer Katha, Himadri, Cal. (4) Kirtan Ki Ratar, indra Bharati Patrika, Cal; (5) Methosis-R.B.U.. Instrumental Music Def Laya tattwa, Uttarsuri, Cal; (7) Kirta bänglår Kirtee, Chatuskone, Cal. (8) Gåter bhandari Dinen- dranath, Paschim Banga Patrika, Cal. etc.

Dr. Mriganka Sekhar Chakraborty is a distinguished Scholar. His erudition is extensive and pervades various disciplines, such as Music, History, Political Science, Sociology, education and literature. I have perused with interest his Manuscript on "Indian Musicology-Melodic Structure". He has explained what is Musicology and considered its wider perspective. He seems to be a very competent author to deal with such a subject which requires a vast knowledge of various other allied branches of study also.

The Indian Musicology has been a difficult matter of investigation since its development is not clear stage by stage, for the comprehension of an author who wants to pursue it systematically and scientifically. The subject, as it stands today, is clear unto the age of Dhrupad during the later Mughal period. We are aware of the formation of Dhrupad from documentary evidences and its subsequent developments as well. Dhrupad is recognised as the oldest form of Music prevailing among the present, musicians. But, kheyal and Thumri are also the two forms viewed with great regard, nevertheless, the origin of either is not precisely defined like that of the Dhrupad. Anybody interested to trace out this historical identities, is kept intriguing for want of available and reliable records. The result has been various imaginations most of which are neither correct nor dependable. Dr. Chakraborty leaves no stone unturned to arrive at a correct decision in each of such issues.

Music is a performing art, which requires a high degree of musical training, culture and creativity. Musical training is ardent practice of some essential factors of music together with theoretical knowledge of some musical facts, what a musician should know. Every practical training, whatever technological it may be, must have theoretical base of its own. Both theory and practice have complementary relation- ship with each other. Programme-perfection in music depends on the capacity of an artist for synchronization of theoretical knowledge with practical ability, social need with individual potentiality, philosophic understanding with phenomenal appreciations, musical positivism with speculative frivolity and philantrophic sentiment with frolic attitude. This synchronisation is not mere mechanisation of aesthetic facts but socialisation of the musical aptitude of an individual. Social demand is one of the underlying forces which impels an artist to create music by proper use of his latent musicality. The relation of music with society is like a two-way-traffic i.c., society influences the form of music while a good music pulls the society to it. Again, teaching of music is the influence exerted by adult generation on those who are not ready for musical life, so also it is a methodical medicalization of young generation. It is a conscious and deliberate process in which one musical personality acts upon a music learner in order to modify the behaviour pattern of that learner by communication and manipulation of musical knowledge. Of course, the need of synchronization, methodical way of teaching music and knowing music of the past have made the knowledge of musicology essential for all.