Critical and Historical Essays
pipes which could give one hundred different sounds, each pipe
being able to produce ten tones. This mysterious instrument was
called _magrepha_, and although but one Levite (the Levites were
the professional musicians among the Hebrews) was required to
play it, and although it was only about three feet in length,
its sound was so tremendous that it could be heard ten miles
away. Hieronymus speaks of having heard it on the Mount of
Olives when it was played in the Temple at Jerusalem. To add
to the mystery surrounding this instrument, it has been proved
by several learned authorities that it was merely a large drum;
and, to cap the climax, other equally respected writers have
declared that this instrument was simply a large shovel which,
after being used for the sacrificial fire in the temple, was
thrown to the ground with a great noise, to inform the people
that the sacrifice was consummated.
It is reasonably certain that the seemingly incongruous titles
to the Psalms were merely given to denote the tune to which
they were to be sung, just as in our modern hymns we use the
words _Canterbury_, _Old Hundredth_, _China_, etc.
The word _selah_ has never been satisfactorily explained, some
readings giving as its meaning "forever," "hallelujah," etc.,
while others say that it means repeat, an inflection of the
voice, a modulation to another key, an instrumental interlude,
a rest, and so on without end.
Of one thing we may be certain regarding the ancient Hebrews,
namely, that their religion brought something into the world
that can never again be lost. It fostered idealism, and gave
mankind something pure and noble to live for, a religion
over which Christianity shed the sunshine of divine mercy
and hope. That the change which was to be wrought in life was
sharply defined may be seen by comparing the great songs of the
different nations. For up to that time a song of praise meant
praise of a _King_. He was the sun that warmed men's hearts,
the being from whom all wisdom came, and to whom men looked
for mercy. If we compare the Egyptian hymns with those of the
Hebrews, the difference is very striking. On the walls of the
great temples of Luxor and the Ramesseum at Thebes, as well as
on the wall of the temple of Abydos and in the main hall of the
great rock-hewn temple of Abu-Simbel, in Nubia, is carved the
"Epic of Pentaur," the royal Egyptian scribe of Rameses II:
My king, his arms are mighty, his heart is firm. He
bends his bow and none can resist him. Mightier
than a hundred thousand men he marches forward. His
counsel is wise and when he wears the royal crown,
Alef, and declares his will, he is the protector of
his people. His heart is like a mountain of iron. Such
is King Rameses.
If we turn to the Hebrew prophets, this is their song:
The mountains melted from before the Lord and before
Him went the pestilence; burning coals went forth at
His feet. Hell is naked before Him and destruction
hath no covering. He hangeth the earth upon nothing
and the pillars of heaven tremble and are astonished
at His reproof. Though He slay me, yet will I trust
in Him. For I know that my Redeemer liveth, and at
the last day He shall stand upon the earth.
As with the Hebrews, music among the Hindus was closely
bound to religion. When, 3000 years before the Christian era,
that wonderful, tall, white Aryan race of men descended upon
India from the north, its poets already sang of the gods,
and the Aryan gods were of a different order from those known
to that part of the world; for they were beautiful in shape,
and friendly to man, in great contrast to the gods of the
Davidians, the pre-Aryan race and stock of the Deccan. These
songs formed the _Rig-Veda_, and are the nucleus from which
all Hindu religion and art emanate.
We already know that when the auxiliary speech which we call
music was first discovered, or, to use the language of all
primitive nations, when it was first bestowed on man by the
gods, it retained much of the supernatural potency that its
origin would suggest. In India, music was invested with divine
power, and certain hymns--especially the prayer or chant of
Vashishtha--were, according to the _Rig-Veda_, all powerful in
battle. Such a magic song, or chant, was called a _brahma_,
and he who sang it a _brahmin_. Thus the very foundation of
Brahminism, from which rose Buddhism in the sixth century
B.C., can be traced back to the music of the sacred songs of
the _Rig-Veda_ of India. The priestly or Brahmin caste grew
therefore from the singers of the Vedic hymns. The Brahmins
were not merely the keepers of the sacred books, or Vedas, the
philosophy, science, and laws of the ancient Hindus (for that is
how the power of the caste developed), but they were also the
creators and custodians of its secular literature and art. Two
and a half thousand years later Prince Gautama or Buddha died,
after a life of self-sacrifice and sanctity. On his death five
hundred of his disciples met in a cave near Rajagriha to gather
together his sayings, and chanted the lessons of their great
master. These songs became the bible of Buddhism, just as the
_Vedas_ are the bible of Brahminism, for the Hindu word for
a Buddhist council means literally "a singing together."
Besides the sacred songs of the Brahmins and Buddhists, the
Hindus had many others, some of which partook of the occult
powers of the hymns, occult powers that were as strongly marked
as those of Hebrew music. For while the latter are revealed in
the playing of David before Saul, in the influence of music on
prophecy, the falling of the walls of Jericho at the sound of
the trumpets of Joshua, etc., in India the same supernatural
power was ascribed to certain songs. For instance, there were
songs that could be sung only by the gods, and one of them, so
the legend runs, if sung by a mortal, would envelop the singer
in flames. The last instance of the singing of this song was
during the reign of Akbar, the great Mogul emperor (about 1575
A.D.). At his command the singer sang it standing up to his
neck in the river Djaumna, which, however, did not save him,
for, according to the account, the water around him boiled,
and he was finally consumed by a flame of fire. Another of
Akbar's singers caused the palace to be wrapped in darkness
by means of one of these magic songs, and another averted a
famine by causing rain to fall when the country was threatened
by drought. Animals were also tamed by means of certain songs,
the only relic of which is found in the serpent charmers'
melodies, which, played on a kind of pipe, seem to possess the
power of controlling cobras and the other snakes exhibited by
the Indian fakirs.
Many years before Gautama's time, the brahmas or singers of
sacred songs of ancient India formed themselves into a caste or
priesthood; and the word "Brahma," from meaning a sacred singer,
became the name of the supreme deity; in time, as the nation
grew, other gods were taken into the religion. Thus we find in
pre-Buddha times the trinity of gods: Brahma, Vishnu, and Siva,
with their wives, Sarasvati or learning, Lakshmi or beauty,
and Paravati, who was also called Kali, Durga, and Mahadevi,
and was practically the goddess of evil. Of these gods Brahma's
consort, Sarasvati, the goddess of speech and learning, brought
to earth the art of music, and gave to mankind the _Vina_.
This instrument is still in use and may be called the national
instrument of India. It is composed of a cylindrical pipe,
often bamboo, about three and a half feet long, at each end
of which is fixed a hollow gourd to increase the tone. It is
strung lengthwise with seven metal wires held up by nineteen
wooden bridges, just as the violin strings are supported by a
bridge. The scale of the instrument proceeds in half tones from
[F: a,] to [G: b''] The tones are produced by plucking the
strings with the fingers (which are covered with a kind of
metal thimble), and the instrument is held so that one of
the gourds hangs over the left shoulder, just as one would
hold a very long-necked banjo.
It is to the Krishna incarnation of Vishnu that the Hindu scale
is ascribed. According to the legend, Krishna or Vishnu came to
earth and took the form of a shepherd, and the nymphs sang to
him in many thousand different keys, of which from twenty-four
to thirty-six are known and form the basis of Hindu music. To
be sure these keys, being formed by different successions of
quarter-tones, are practically inexhaustible, and the 16,000
keys of Krishna are quite practicable. The differences in tone,
however, were so very slight that only a few, of them have
been retained to the present time.
The Hindus get their flute from the god Indra, who, from being
originally the all-powerful deity, was relegated by Brahminism
to the chief place among the minor gods--from being the god
of light and air he came to be the god of music. His retinue
consisted of the _gandharvas_, and _apsaras_, or celestial
musicians and nymphs, who sang magic songs. After the rise and
downfall of Buddhism in India the term _raga_ degenerated to
a name for a merely improvised chant to which no occult power
was ascribed.
The principal characteristics in modern Hindu music are a
seemingly instinctive sense of harmony; and although the actual
chords are absent, the melodic formation of the songs plainly
indicates a feeling for modern harmony, and even form. The
actual scale resembles our European scale of twelve semitones
(twenty-two _s'rutis_, quarter-tones), but the modal development
of these sounds has been extraordinary. Now a "mode" is the
manner in which the notes of a scale are arranged. For instance,
in our major mode the scale is arranged as follows: tone,
tone, semitone, tone, tone, tone, semitone. In India there
are at present seventy-two modes in use which are produced by
making seventy-two different arrangements of the scale by means
of sharps and flats, the only rule being that each degree of
the scale must be represented; for instance, one of the modes
_Dehrasan-Karabharna_ corresponds to our major scale. Our minor
(harmonic) scale figures as _Kyravani_. _Tanarupi_ corresponds
to the following succession of notes,
[G: c' d-' e--' f' g' a+' b' c'']
_Gavambodi_, to [G: c' d-' e-' f+' g' a-' b--' c'']
_Maya-Malavagaula_, to [G: c' d' e-' f' g-' a' b-' c'']
It can thus easily be seen how the seventy-two modes are
possible and practicable. Observe that the seven degrees of
the scale are all represented in these modes, the difference
between them being in the placing of half-tones by means of
sharps or flats. Not content with the complexity that this modal
system brought into their music, the Hindus have increased it
still more by inventing a number of formulae called _ragas_
(not to be confounded with those rhapsodical songs, the modern
descendant of the magic chants, previously mentioned).
In making a Hindu melody (which of course must be in one of
the seventy-two modes, just as in English we should say that a
melody must be in one of our two modes, either major or minor)
one would have to conform to one of the _ragas_, that is to
say, the melodic outline would have to conform to certain
rules, both in ascending and descending. These rules consist
of omitting notes of the modes, in one manner when the melody
ascends, and in another when it descends. Thus, in the _raga_
called _Mohanna_, in ascending the notes must be arranged in
the following order: 1, 2, 3, 5, 6, 8; in descending it is 8,
7, 5, 4, 2, 1. Thus if we wished to write a melody in the mode
_Tanarupi_--_raga Mohanna_--we could never use the fourth,
F, or the seventh, B, if our melody ascended; if our melody