It is really unfortunate that the idea of written music as applied to the Karnatic system is still repellent to the vast majority of our musicians, both amateur and professional. The fact that our system does not supply notes or signs sufficiently expressive of the almost imperceptible elevations of the voice in the melodies of which timing is most difficult and the modulation frequent and very wild is considered to be a fatal objection to the reduction of Karnatic music to notation. Another objection is that we can never put expression and life into notation.
If music can be put into notation under any system, it is possible to do the same with the Karnatic system as well. There may be greater difficulties in the Karnatic than under the European system, but that is no reason why we should reject the idea. As regards the other objection it must be remembered that the difficulty is not peculiar to Karnatic music.
The attempts made in the past to provide a notation for Karnatic music amply demonstrate the vast possibilities in the matter. The principle is same in all systems of music, the transference of sound to written signs; and it is idle to contend that Karnatic music cannot be reduced to writing. In spite of all its difficulties, the Karnatic system is perfect in itself and it can be described as nearly as possible, if not absolutely, by means of a written language.
The Singarachari Brothers were the pioneers of written music. In a series of books they expounded the theory of Karnatic music and reduced to writing the “ Tanavarnams ” with their simple timings. The short letter was taken as the unit and the long letter as two units. Commas were added, notes of longer duration. No “ gamakams ” (graces) were attempted and a later endeavour to write out the music for “ kirtanams ” and “ alapanas ” for ragas was not of much practical use, because no attempt was made to indicate the exact time value of each svara .
The next and the only serious attempt was that made by the late A.M. Chinnaswami Mudaliyar who sacrificed all his time, money, health and happiness to the cause of Oriental music. gamakamsgamakams. But Mr. Mudaliyar was more idealistic than practical and the enterprise was a complete financial failure. His labour went unappreciated and his musical journal had to cease publication with the first issue.
About this time the late M. Venkatesa Sastriyar published a book in Telugu in which he embodied the principles of the staff notation. A few years later the personal influence of Mr. Mudaliyar induced the late Subbarama Dikshitar of Ettaiyapuram to notate the works of his family, commencing from Venkatamahi. Numerous are the music books that have since been published but none of them follow the principles of staff notation or any other common principle. This is a great misfortune. The importance of this cannot be over-estimated because it is only by written music that the works of composers can be preserved. It is also only by means of written music that the art can be popularised so that every Indian boy or girl will learn something of music. That the musical syllabus committee appointed by the Government last year and the South Indian Academy of Music will turn their attention to this problem, is the earnest hope of all lovers of music.
