Suvo Guha Thakurta
Translated by Camellia Paul
Introduction: What is Swaralipi?
Preservation and Prevention of Distortion of Tunes
The importance of studying notations lies primarily in their role in preserving a song’s original tune and preventing distortion. Historically, Indian music has been transmitted orally through the guru-shishya parampara (teacher-student tradition). While this tradition enriched Indian music over generations, it also carried the risk of distortion due to several factors.
First, memory limitations make it challenging for students to retain every detail of a learned song. Second, prolonged lack of practice by both teachers and students contributes to errors. Third, inadequate education in music theory and wilful alterations by artists further distort tunes.
By mastering the study and application of notations, such distortions can be avoided, allowing the original compositions to remain intact over time. For teachers, a strong understanding of notations enables them to teach a wide variety of songs accurately. Similarly, students benefit from learning and practicing with notations, ensuring precise performance of the songs they learn.
In Western and modern Eastern traditions, notation-reading is considered an essential exercise for developing accurate vocal skills. Moreover, even if a song is forgotten or hidden from the public for a long time, its lost tunes can often be recovered using its notations. Notations also play a critical role in transmitting authentic melodies across generations and international boundaries.
Historically, the absence of a systematic notation method led to the extinction or alteration of many ancient Indian musical compositions. However, the introduction of various notation systems has addressed this issue. For instance, Pandit Vishnu Narayan Bhatkhande’s Koshi-Matrik Swaralipi helped preserve the structure of ancient bandish compositions in classical music. Similarly, Rabindranath Tagore’s songs, written in the Akaar-Matrik Swaralipi developed by Jyotirindranath Tagore, continue to meet the needs of music lovers and learners to this day.
Different notation methods employ unique symbols to denote the duration of notes. For example:
- In the Koshi-Matrik system by Pandit Bhatkhande, the duration of a note is represented by a boat-shaped (koshi) symbol.
- The Danda-Matrik system, introduced by Khetramohan Goswami, uses vertical bars (danda) above notes to indicate their duration.
- Sarala Devi’s Sankha-Matrik Swaralipi employs numerical digits to represent note duration in matras.
- The Akaar-Matrik system uses the symbol ‘া’ to denote one matra.
Notations: A Framework, Not Absolute Music
While notations are essential, it is important to recognise that they represent only the framework of a tune, not the complete essence of music. The soul of music lies beyond written symbols, in its presentation and emotional expression. A singer must not only master the notations, but also grasp the gayaki (the delivery and style of rendition), understand the poetry’s intrinsic meaning, and perform with proper pronunciation, voice modulation, and emotional expression.
True musical artistry allows the audience to connect deeply with the performance, transcending the boundaries of notations. This principle applies not only to Indian music, but also to Western classical music, where variations in interpretation occur even when the same notations are used by different conductors. Similar to how a screenplay can be given distinct artistic expressions by different directors, music gains depth and uniqueness through individual renditions.
Notation-study from the Perspective of a Rabindrasangeet Student
Rabindranath Tagore was strongly opposed to the distortion of his compositions. In a conversation with Dilip Kumar Roy, he lamented:
"Every day, I hear such distortions of my songs that I fear they may lose their intrinsic essence. I do not wish to perpetuate this grief."
Even at a young age, Tagore criticised the lack of proper notation systems in India. Writing in the magazine Bharati (Bengali year 1288, Magh edition), he remarked:
"Our country lacks a good notation system. The names of ragas and raginis serve as incomplete notations. Yet, I see no reason not to embrace complete enjoyment despite this incompleteness. Adopting English notations or creating a new system could address this gap."
Tagore advocated for teaching notations to students in Santiniketan. In a letter dated August 30, 1920, to his student Anadikumar Dastidar, he wrote:
"Learn the notations with special care. You must practice them to the extent that you can sing a song just by reading its notation, as effortlessly as reading a book. Many people in this country are capable of doing so—it’s only a matter of practice. ...You can also learn the staff notation of English music from Dinu. It is the best notation, and it will be essential for introducing Indian music to the world."
As documented in Jatrapather Anandagaan by Shailajaranjan Majumdar, Tagore advised teaching notations to students so that they could read them fluently, akin to reading a letter.
Notations serve as the primary means to preserve the authentic melodies of Rabindrasangeet. Without their proper study and application, the unique tunes created by Tagore risk fading into obscurity. Rabindrasangeet represents the cultural identity of Bengalis and Indians on the global stage. Therefore, preserving its original form is a responsibility that every artist, teacher, and student of Rabindrasangeet must embrace. Mastery of notations is the only reliable way to fulfill this duty, ensuring the enduring legacy of Tagore’s music.
