^il’^ «f^CT^ freereed instrument

*m:5i «iCT ‘ctî?’,

rn7f^
*
^ ‘(Tiî’ ‘c?<ït’

^W‘î, X^wic^fw îiCT

*f ^rc&c5;

*?
'¿»(W *fCT I iH ÇfCT^sn

- 3^ Syntagma Musicum
Harmonie Universelle (i'b'c'b)-
'S 4»C^<f'SH free reed instrument-'33
'îhIl^ I *tf>l(.^)
î 3’451 <£) ir4U44
C^si^ <pCT'^ CT4C3»<^JC5R-iî]'îI ^4TÎ
*
f^

c5»(t) *v
Î^A <il'sr»ij c.5i

‘^3l^WT ^Jl4l(.^i^’ (?4C^ •’ÏW^'S

>ÎÎ4 (CTTCTf^ (CTC^^8 ^3^ WTTôîCT 3H I iVio TîîCTr iJ.MCTlR4|5|-<il^

IC^R ^^CT
- VTCT^ ÎR7U PCTÎCTTÎ CTÎCT^ <9'^1^ ^'»Nh ■^CT'T spIc^ ^jiScîjoi
(Tf'8?It alcoli CT
■^WCillÌH^N 'ollR'srl^sj «îrî^ - "^CT C^l(.>14> ŒÎÎ^ (iQi'b-ilr'c'i) I

! ’W 13^ (?Plc<Pi1 '^345 R’^bl ^4rrCT^'8 i^ç, I f^CTTCTK 5i\s R«J5T i^ 'ûlICŸll ^JIÎ^C.’IîI

'W ^3^ C<T>*MÎ ÿI t>Î4<3 ^l(.iiŸi '4S RIj^KN 3T fWCT '^'8 *Hf4
'iHlW<I»'Srl CWf (ib-oîi-iV3‘i)

Wlli^ll|5| 43Î^ '*)|^rC^ RvSŸl'î <lC^ I’’ '3’C5| (3C‘T3 <llC‘$l ^R’CT Î^îf^ ‘i(NC5||p^^|i)’ ^^511^ C3t&^ (TR

W 4ÎRÎ4 4CT WÎ3Î TO 3TCT miCR (CTCTîî’^ ^rU5 iV8^ (^'8 ^13Î^ ^5nWf^

3(5 ^3TOtî TO 4CT &|oi|(.»ll ^kbil 0*1 col I <PCi, *3^ 'SrHI I if 1^ '8
I ‘13^^!^’ ^3ITO ^Fn5rR ^CT I ^Srliili^C^ î>,Ii1CS)tÎ^4R’^^

‘H^’lfsm’ 49<I>I^4C^S ‘^î<SfîlHW5l’ <j<lï<N ^â’iR ^b-(to-

<ibaic<i «rfîJoi I
TOi ((50 C’lliliit^ O
W
* ^^Ÿllc^ '8

“3f(êîÎ^ TO3 3tfìiT ■’l^C'û bicè CT ^^tfR

I "41 ‘"SlIbR
Wrf^HN <3CTÌ^ WP CT'Sf^ ‘*t1^'^ - îfm ^ooo
W'S íJl^Í3»^’ ’srm

W (7î^ ^f(S «ÎCT I ^3^Î3C<P *ÎCT 'SrFft '»(l(.^, 'i s/a ■’‘M^
<p5»î(I4, î<l»)&'sr, C^f^, oïl CH H
'Îf^WlPi^N’ I îJW (Trwn CTKCT îfCT ■’CT 'RMCT •‘ll'SrC^
^^3nR ^SRÎàif K5c>iio1,

^<5t iWo-i3^ Wl (M^ I ^'8 iîb^o’^ W

*f^ (?4C^ 3PW5I ^3^
W 3Î4TO ^3^ ^'SÎ^ WTUs

I Î4
*nôf t>|i)\j5N C'^Coil «r^Cil f^CT PfirTCTT

3!^ 345Î^ 3«^ 31413 iTO^^l^il i3^O ï^ÇfîÏT ç£l^ ^IA^N ^sîL^ ■sflTT CT *b
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l

•IIÎ^ 44è 4SCo1<)Cil *331 (?3rôl3^ ^■’Î^ {?lC.*î»X ^CTil I '5(TsRri C^Tliîî ^Tæ5î 1^1

’’raT®ÎÎ^Z4^4s3RT 3CT3 ^3"^ C^313 I CT *,Ÿl(.'i'5i ‘^^îfFf’ (TflX CTTtlj^ <i)^’4ÎÎ^ '5f$I ^N'f *liTR'2s|(.'ii1

; ^lïf^ >3^ ^3fR'Ç2Î^ TOJ3 ^mÎR (iV-i<i-S.8)

HîiÎ W1133? 8èiR15n TO bR'ÿTil ‘*rr”*t 4î "sr^’, ^ctic^îi ‘On the Sensations of Tone’
3Î5I1? 3C3 i^C3 3CS3 i^\s<l ^'8313 ^iI^Ictj ‘■^Î^’ 4Î ■^CTi) ( ù V >59 ci ) i®1(.^(.^
*(S
WIR ÎS831 ^3^ '*IC3il 3srsr I ’nCTf^ ^^>T, X5CT CTtK
“Among musical instruments,
I TO3 31^ W1 4îto ‘CTCTîî’ sound the harmonium, on account of
’SPI^ I ’Si’îfl^ ^CT3 chamber-lil ^*tCTr^ *il^lCTJ l its uniformly sustained tone.

73 Courtesy: Presidency Alumni Association Calcutta, Kolkata 700073

iq PRESIDENCY ALUMNI ASSOCIATION

the piercing character of its i^Wil dl45 ^Sft^ "sn^l ^8 “^^RK CSO 3i^
quality of tone, and its tolerably srrcsH 'sn^,^ 5tfi^ «ÌT’^Ì^ '2>5lW%Wl^ «
distinct combinational tones, Pl^Rwl^ 4^0145^5^ 'i>IIC>1'^, CTR (i.ài^-àa)
is particularly sensitive to
*t^'S
Cofift C4Ì^ •9<1C.^ *1|(.4»^ I blr'isi 5tU5 *
^
i I ÌT? C5Ì-C!
inaccuracies of intonation. And
■’Tf^ FòR ^|4®® (.4>i
*jiii^4 *^
(.'tI<pI(. ?rRruft
*R 4list's iiiw
as its vibrators also admit of a
delicate and durable tuning, it (?{iT ^4? pRKRi 'S 4k(43f ^(.4C^ I
appeared to me peculiarly suitable Ci|4lMrsC^ I >1IC^C44
for experiments on a more perfect 'gl<)4Hn?i^ ‘(.\bli)ti^H 5^’
*R^K?< i^ Ì4Co1^ 041::^ 4|it}4S »ilTzT
system of tones.” ‘Cvbtilli^»^ ^lilWlAuR’ ’SfW^
Ac'STii (.'tI4R •4‘(.4'I ’ilC®1 -
i^wcNiA^iii ^5r4
*n^ c
*
i^-^ ‘(5^
(.«1t^r4 iU'S,'^ Ci^lC^U '5(4 C'tÌ4='R i^=1 ‘'fè
ìrrtm aRT’41^ RiKR’^s (by8<^-
bàbìì) ^5^ ‘C&R’-<ilR R^Rf^ ÌR<ÌRI7Ì CTK "SHT'Q HiW I *
O C'tl4»IW'4 RR
*1Ì44Ì^^ C^bRti^ RJT'9 RR - '*I ’'^RI
■^tRWffRRlR 414i<14 R(.4C^H I
'S *li^4^s«^ 'b R® CRRtR Ìb^
*3R >IW *1^4(171 WCSf I iW
RP'bT®! 4R7’Rr5r!RUf4 RC4T
C4TU5 (by^ìV), '^'55‘ì R® C^4Rff4 fìJóR ÌMC'Sr'SiTÌ’4 (ilrSo-
(bb-bb-b-'Js), (3^ ZFt^
(iyìi(i) b-A ^bHC^ÌR C^4RKR icS^'Js) I ^b-^o Tffcsf i<i^ ''
(blz^i<-ci>o), 4’R'1I4 (bir^8-
ii'5s), ^^(.'oRfR (by8b-bis>o8),
^RRtR (bb-a‘ì-bì6®8), W«
(bb-^bo-bàbb), ^R (Tt^
-5ijii^(.^«i C'SricTf^ (2ii^ I 1^
bifcbb-), ÌRbrè (bb-'538-i.Ì68ìi) (?T^ (^voi5,-^b-‘ia)

a^ WfR ^l4Ci||Pt4lR 'S ‘^|i1WlA[?ÌÌ^’ (7R

414^(4 RWC^-H I

(bcboks) I boo <,^(.44'6 CrH C*tR TTCSF ^l4Wli^R 4lfefe’P

RgdRl^f4 R®4'® ^I4C5^|A4[R 'S
Ritrite (R^éRlR i^4PRf k/i< <£|R?nLR5 ^£1R? li] RURO RU4§
Rf-itfR ?iRR Rr3R RiR f^RRlfR 'S
’^) citirhì^ bRi^, au^ trsra \5f?f RT’^fW&tR (■Xl^'3i!.’(l?^
iaf&R '^RfRiRptRUrR 4iR I aiRTERT
CRiR ^SRR ^rlÍ4C'íí I CRt^ftR MfR (bb-8o-b^b8) 4^-
4»<!1<T>|®N i^Ri^ R^ '^^CRI'^IR ^^®4Caf4
PiRKRT, '©(I(.4Ì44H ^^tÌR, RRÌÌR'StTI^ R(.
*14'» ^ilR? ‘R^)^5R1R-R?3^’,
C^rfRiR i^ - b ® R° <3^ CRTS 3^
a^ RtSR Ri5f ^tKRR ^34^^ *^
R^ ^44 a^’, ‘43fC.‘ip^ W^’,
CR»R RUi'Q CRT?, R° C^lR^
ii)R° i*lRtLRt Ib^R® RWIRS ‘4aC<PR’ 4^ I 411^
RI 'SCiJ^I'T (^f^® CRT® ^14 ® R°
CR4RÌ^4 ■^TSr'S '555 1 blrììiO-iilR ^CMtbLR RCR CR4T
'®|oiC^i>i C'5|>|yf4-‘il ^|4®?5 RHT'Q CRH® I
CRiR CRTCRtaiR (.4R^ RTRT'Q '‘^ (bb-48) Rf?RlR aR’f i,lilWlf^
C^lcyl'OiD bk^ib- RTCR b-8 R?
■RC4RI ->1^4^ bb'iro’R '^•1(.R i^i^ R^ I Riw« 4^ (?t414
^R? RTiRiR i^R?R-i£)R vblXCR^
RTiRTWR aÌRfbXs ‘R^ ^I4CRIÌH4R’ ^^tRR iR, ilIRRR R’i^a 4^ (^oii)
'©(•j^’llCR liiRT Music and Musical
Rr:4R RliR HI4CR«1 xblSlR ^l4Ci|IÌ^R '5i^<PfR *iRr?
lAc
R '*l«f4f^ RC4C^:
Instrument Importers and
RRRRR'G RIRR I ai^ (7f^
Repairers l '¿1'^ CRT^RTIri?®^ “In recent times, many among the /
Rf^PRtiR Ì^ÌR (.RRìN, a^r®
PtRnzTT RlTR 4kl4a CyRlyiic® music-loving youth of Bengal - L
<llT)45i '©<l4^ R(.4«^ I their hearts and minds entranced
aiiRCyiiWH 'giRRHIR CRlR,
^(.a^ÌRCRÌR RiRT^^ RU^ ^Aè^l-
4TCR ^iR'olR RIRT^ ‘CRft^R^’ RT ‘R^’ by the euphony of the harmonium
i^ RtWRRlUSfR ihoKR RtKRRI — have expressed a great desire
■^J^r^rrfRRTCRR 'sr»^R RRt I
RtlRtR ^l<$44li^R 'bIC'tCRR RCSF^S to learn the instrument, but they
«d^è ■3T*’a^ RU? 'Q't^y I ÌRUSr RR have not been able to succeed in

74
Courtesy: Presidency Alumni Association Calcutta, Kolkata 700073
 practice. Since the harmonium
is a European instrument, quite
unlike any of the Indian ones,
the professors of Indian music
are not at all acquainted with the
method of playing it. In order to
gain expertise, it is necessary to
practice methodically under the
supervision of a European master,
but for how many can such an
advantage materialize? Even if
these days a few Bengalis can be
seen playing the harmonium,
they usually are such novices
that it is impossible for a listener
to be satisfied by them. How
f can the true sweetness of the
harmonium be expressed when
Dijendemath Tagore presided ...
The service began with the short
recitation of a kind of creed,
“By all accounts, the free reed organ in which all the congregation
called the harmonium, which joined. Prayers were then read
appeared on the music markets of by the officiating Brahmans; a
Europe in the early 1840s, came as short sermon in Bengali was also
a boon to European missionaries read ... [as were] extracts from
and amateur musicians in the sacred Sanscrit books; while
colonies. Keyboard music being all [this] was intermixed with
essential to church services and hymns sung and chants,
much desired in secular, private accompanied by the harmonium
spaces of European leisure, and a tom-tom or drum.”
concerned parties had long fretted
i^CWirHlC4^ >1WJ-arHl««i
over the expensive proposition
'S c«rj|fA9^«1l’4'S <|^lC.vi)»1 I l?CSi
of purchasing and transporting
a piano or a proper organ from
Europe to India. Even when ilvijICal'l I

*
nw
^
SJCX PlC'^C.^'iS

'S Qfb*i ^1'^ *11 Rae'S <X|<pot cGRoI

f^i 'sf^^ ?iu5r

(Tfi^ ^*O'S I
Bengali instrumentalists are most expenses were not a hindrance, it
iTCsr sticsiiA^w ^51^ C3
*r
often restricted to employing only was virtually impossible to keep a
'Sri^oi I 'SfilJ
two or three fingers of their left European piano in tune and shape
’<3 3U5T ¿6i^ I \5^
hand? Just as we find it difficult to in the tropics” ialoM a’®'o<?N«?iil
control our laughter upon seeing a “The harmonium... 'i (M«i >¿1^ ’r4>Tr«ii3{7l3

European on the sitar repeatedly is the only instrument of its oPi's I WT

hammer his index-finger on the kind that remains perfectly in 'S
instmment, I have no doubt tune, and from the simplicity of -Il'SrlXc^d I *fC3 torWit 'S
that the Europeans find our its construction, is but slightly
harmonium playing even more affected by any changes of
hilarious ... It is for the benefit of weather.” 3mn7fT *fM
2f
the students and teachers of the ‘Tl'iil'^01 I

Bengal Music School that this 31^

small tract named Harmonium
Sutra is being published in its first
part... The idea behind publishing
/
only the first part now is that
if this proves to be even a little
beneficial to students then I will
publish a second part dealing with
more difficult topics. ”
1 Mt7i3«n-*rc3r
3‘í^e's•^ I
3PFr Ci|i^ iicocom
311^ C3i^ ^WT3
“On a small raised and carpeted
MN«? i^coi»( I C5fni^3T^
dais in this centre place, two
officiating Brahmans sat cross-
legged; before each was a low, I Wit >IL8F
marble-topped stool, on which lay «il'srl^C's «il'srl'^c's 'St^N ^le»ili^i(le»i
prayer-books and hymn-books; C3
*t >l«?ColX Wt
opposite those was a sort of desk,
*f?3i
^lC»ilRi|i( 5?p5f-^M ’33 2i «liRWH I
in which sat the singer; and behind
e'SrJlRxll-^t 3i^fWT, ‘WT ^lCsirAniJ<l^r«i>
was a harmonium, at which Mr.

75
Courtesy: Presidency Alumni Association Calcutta, Kolkata 700073
—¡Residency alumni association

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<ic«ii^(.=i'i, ‘'snfw
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77
Courtesy: Presidency Alumni Association Calcutta, Kolkata 700073
 PRESIDENCY ALUMNI ASSOCIATION

'incuoi *
c
tf^\ ‘i’c.ii PrCoi'i saw, was the best that I had ever
Pi’^l^ C^n^, 'étil (CAFmrR^LRT^ (7T
*t seen. The new model is a great
improvement over that even. You
(ib-vv-) W:^S b^V^) 1”
have improved it every way; but
the most striking improvement is *

^5^ ‘5'Q C^\ i^«i 'SHTfl

to be found in the tone. The most
'^Ic.^ - bV'olii *)l(.oi *il
<,J<, '®)N^
critical ought now to be satisfied
'S >1^ c'ti<fic.'1ìi «Thf fè (?n^ ^'Q
with it. You deserve every praise
(.•tI^H I c>l^^ ^FT; <p<?1<p|^|y for the successful manner in which
'SEC^FI i^, *i
?f you have been trying to meet the
C^l c^
want of an instrument really suited
iTi; bb-ys b^b-a >)E®1ìì ^tot
Rt cinNr®^ ^f^Ricvf^ rlsf
to the Indian climate” 1 bb-lrb 717
M''§R ^’tj'óI «rtilil I *t
fbi? (??rc^ ^c

■^f^,' *iN ‘i*^<i^ ‘■sE^’ I

<lJ<l’ll ^5^ <p(.i)'t *)'fl

CTl<PlC »t|ij<l’'il't
2i«m, 's ^¡rnrRR, *fE^
bb-b-y Rt^

W^RE^m HESf
itML’sJli^il zjg vi5Ì^^ (Dawkins) [Rollio 5fi^nn <Pwfe’W
(7R, ^5(1^ (Dwaraka) <C?i
?f^E^ 2i*f?>niRJ I 1m
*r^C
tiri^(. fen c^r?lli^'l (Dwarkin) RPl
sfM^^ iRNR
'Srli^Lit I <9^ RSE?I^ ^i?t«i4C-fR

‘^RWlPiitit i*f^’ 3^fb <1 t>-^l «TiWd I

byirlr, ib'ìi'ì 'Q b^o8
¿l^iJ RW '^M'^RI(.’<R (Tn^fETh^'G
’TTCst; cvbl^w
*] 'smIwR^H ’®f^tfpT inC?)ÌÌ^I
*ICbi^ai ^c*l‘aTR»c*fE^ I
Musical
^(.'*1wi^(.‘‘1l(.'frir
Advisory Press (Advertiser Press
^lER^ ?r^E^ CVt^ Wl

Musical Advertiser Press RE^t <3^ *1^

^*fRRi '^’’R I bb^b-ti­ I ’i’rR ■Sfl'dlR^ yf

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iSL*t^i4L*fE^
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E^ 'S *tn? ’n?rr5r
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■<Ui^W4<f» i^’ 'ir?1<l’HI(.’4?
C^bf’Jli^'t (?E^ CqR ^>3^ wi w ;
?ì«ìw
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fi Pi *1 linceo ibii f^nx
c^ 1^
PrfRRT ^^T*RTR - fi^RE^ Wf
“I am happy to be able to
RCR >i(.^j'2i»tl’4 (RR .a^>i“^hs I W
speak in the highest terms of
“WR, CSRi (?R i^^s^l^?...” c’l'^ ’pfi
your ‘Dwarkin Flute’. The first
^(.R'srR'C.^tRJ ^l^-si'Tj'il NI Ci) it instrument of this kind that I ùtei I W

78
Courtesy: Presidency Alumni Association Calcutta, Kolkata 700073
B
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79
Courtesy: Presidency Alumni Association Calcutta, Kolkata 700073
 PRESIDENCY ALUMNI ASSOCIATION
=1
*rtoi ^Nwfí^^cN c^jifoHkic<i» ’^’tor w ítto51 dito tsí^ tTWl
toT
* ^lílWIÍ^

^|i^l(.4 foA ^ÍR líJÍ^-iíl'C^ ^íq^l ‘^sd^ FSp^ (^ 'snÑ ^5’5^ «iIt'IC'^ íw *dk?f dm Iw
«FptW'F l” Pmrd’ i£i^ to “níR “itw, #1,
<^wíic=i'F íto i” (?«RM *ndf 'S íit^ 51^ f
Xtoiw'd cBt55i^k^ fd^
í^MwiÍH?iR *
o ^
fW
«id's'll^ ídcdtoR - ‘c^d5 <ímT
d^H I iti^o-iíi'^ TT
*r^ (?K^
'aiW^R'l *rc^ "^iNTíl
cw ^Mcijíd’sjicsí^ ^5?d^ F
<i>i'=3!>j I c'«í^ <píil ■^C<ílfeí^h5 9lc,<qí|etT *fU2í (,«1(.^S
(TÍ^K^, '«N^y ^*|i|i?,l'C ‘fU'f
'5KR^^(C^ ‘^ÍR gCíl ^lüiü '®<l(.'35 C^KTI
“The instant and astounding 5^1 (?TC?n;^i
l’...
popularity of Ghosh’s
to ^o >lvoc«P^ C5fl^ (?lí^
innovation, christened the
... <) ^ Tír«^ I C.'-<r^ g<p(.“¿í) ■’TC^ ^MCiJldl^lWíl dW)
‘Dwarkin Flute’, soon attracted
(7f^ other manufacturers into the tord c?5Tt§t's to I
I ?fsi5i i^<hRrnr burgeoning harmonium market. w ‘id todt guf^
'siWf^ 4i>rm fój^
* As relevant advertisements, "«rnTRóTCíR CVf^ JR’WO /
srm 2f5i^ particularly in vernacular
I The Dawn *
tdí^ ’íP
I ^51^ ^«íf^(.
*iíJ ’1'O)2l>inT
magazines and journals, reveal,
c«K;^ Ríjijd ^-'
*IIWIÍB^ I W5n Mlft
by 1890 there were at least two
^|!^Ri'S ’IC.Sf’ I fiR ÍIU5 “sweeter music... i
other competing brands of hand
harmoniums in circulation: than the execrable harmonium, (
Xf^íHc^T^ Mandal and Company’s ‘Mandal concentine and the accordion”! j
^Ic.'F *3i'^t(.
íi^ ‘-44 (.<il'&rHI ■3픑’íí^ Flute’, and the ‘Harold Flute’ Rfmr (R^ “I live in
í^c.'^c^'i - ■^(.•^ <(.^1 »3^ by Harold and Company - the hope that one of the earliest actv
concern where Dwarakanath had of the Swaraj government will be
to ítw w?Tm cu^ ^«n
originally honed his skills as a to ban this awful instruments”!
keyboard maker, before striking tos, siUi
out on his own. Indeed, the
^RiSftoR rni^H H5,
- ^«^<?iíi ^^n;«í ^iilcTí, ^OT *^11^)
1 permeation of the harmonium in
“it cannot glide smoothly
?r»K:4^ ^rcítr ^(^cíjiíh^í) >8 toM ^iís?f Bengali society was so rapid that
a contemporary observer noted between discrete notes” (^
’55 to i - c'&rjifó<M^i5r«fo^ Ptwr
in 1894: “In instrumental music to (?r'S^ Rf) “its tuning is
^r^T'íif^ ’^’41
the principal change in recent wrong” ((iUs ■^sd Rl^C3FldR W,
WH I C5i<MC<^ ai^>liJlC'5?
times has been the introduction »ttfd R^tUs iiORR life) I
’í|t(.<Pí1 <íl<í’ÍI> ■íX
*'íí1 í^oi I ’oR
of the harmonium ... which ha[s]
C^JlfadtffRR to ^tWÍiC'íR “*ra
^41^ í*f^lC»lN ^5íR penetrated even into the zenana.”
^icddnij bito 3Fm TO w
*
ní^
C^ ^««35 C^
fTlH
* toRf C5RT I 'i|NlC‘T^
ái^>iwrü5f *ff^ vn?i^ ^<wn i
1
lí)^ *t ’4 *](,ílX ^(.«1'1 RI^ I ^l(.dd?R ^-
C^X *P
llPi ’l^lC'Sr <lR<?l<l’lí1 ^lc.•^í^ '’TC5F
^fsfíV^'T RTM toRUai RTSKIRÍ ‘flW W . i
4>l<ICiJf1^TI^ "SíK^ l’
í4Wt^ a«^^ríi<h - tot Rii^ Rims^
b ci ^o - ^«fíOíl't •tI>I C^Í^ <P(,'?l’i i
1»n?Rs^ 5l
*bl(.^R tofWR Rmi A H Fox
- ‘^Kzl I Strangways (The
<>íí(.'o <P(-<1C-O ■'STÍÑ ‘RÍ&^íil’^ <j(.íi Í^TW *fL^ Wí^ Music of Hindustan, 1914) *8^
kr»1l«í
I wR ^
* PmKzTÍ ^l'SrlCB^ ’ti^ >i^c^<i ^*n7n^i toi^ I "RiR^

8o
Courtesy: Presidency Alumni Association Calcutta, Kolkata 700073
 ibsi) (Foreword to Clement’s <Ì>(.i5 *!(.**<’ <9^
Introduction to the Study of esrram •^c
*rsRf ’?i iJ^i|^rN (?^
Indian Music’, 1913) (7s AOTTOTA ^TOTHìOT ‘92?rsTf^ifwn:^ 4>=14l^l c<^0t«
nie(X)nstant use of the tempered *PCili^(.®l»^ I ’f'jb ’I’Os?) 'S <P(.^I<1 '®J«j.^<’1(.»^i1 <?'i'?fi1 ?jt>l(.i1i, CI>5l I <5^
harmonium... actively contributed
^WSrR ^al'Sr^f^ >TWW^ i^OTH (71^ *^il^?l i^, (7I-i^Rf^ *^ix5l>M'n
to the degeneration of Indian
nA <i'srl*4 W’^(.^ I f^
*
W ÌRÌ <I>WC^»i...
music” I ^%ifAOTW A A Bake
^lilOTlidsjN (TINA WriNKOT WTOTt NR
NU5 “The small
harmonium... has spread over 'BIN (WA'S <l2f'^ AN I’’
C’Iwi^ColH (71, *T>l(.»ll
C '5<ibl
the (»untry like a plague, and
lil ?OTOT (71 ‘•fi^'a-
even reached remote village. It
has the worst quality of sound *
^
nwi W ^1 (7f5r

imaginable, and has further ‘<lR^<l^’-W^ SPTl^^^ *

fM iÌ6i<^
our tempered scale, by which it C<1^l(.i1i1 Ì4^
WOTT <9^^ (WOTt (OTOTR
irreparably spoill much that is
ÌR I ^(,<1 'srHd’fi) (71 <pR^ìFì1 (.»ni^^ Sii I
, characteristic of Indian music”
I i . WOTOTI^ W I iftssirr iit
(Indian Music and Rabindranath
Tagore’, Rabindranath Tagore 4(.iliic=iH I (7T

' Centenary number, Sangeet Natak i9N *19 'oi (.‘i'«N-A\^9’ttì51 W?T C^TTit WRI^ (TfW
‘N55ÌWW (NWN 'S N^fSAlN’ ifNOTi
■ i .tkamedi, 1961) 1 iJt I ^STT^ (TTÌ^
I (<»<=141^1 C^WN, ^oi^) ^aC4 •^(.«I'^Pi I (.•^iR'i
I I i^tWOTfA iSf^fB (‘V5AA

I WOT ^OTOTH BTKT^

I W’) ’^!(Wi^(.^ ^otot “<f><!i«i»i\si OT^it<-si csrisrm 'i’ifXf^ ^Ic»ii5 R'sr'if 'O()c^, C
*1Ì5I c<t>

The harmonium, that bane of (.<p|(.-ll i*

t§t ^SPTÒì-'^Tfói
Indian music’ W7t i >T^ (.<l'>sN (717^ ^¿^■si 3t>|(.<i<i
valsesi >i4(.oi f^Ioi WSfl^
‘That Ban(e) <P(.iif^(.oi»^ I <pRc<}’
*1^
'8 <T>i1(.^ I i£|'^
of Indian music. Hearing Politics Wiif Ws RTl (9^ Ol’S?) (.iJC^ C^sNill I
and±e Harmonium’ ('^oi^)-C5
WOTTA "^<41...
'Sllt’ili&'o '5OTOTI iti'filz AlOTTN C<P9’i)li^ *l'f1
^I(. (7‘tOT
if’iW ÌWOT5 *13I»^l«4
»;jC AAWW C4C^il (7^ fbW^iT
’i (Sl^,
^T^spft^ wfefbTi >rOT (7^
*{yfBA i^(.i) N(.‘T(.“1 (>(,«1
^l.4^W WI
ì5^
*3 ì»ìIc’44 f^KTl (.<i'sN- (?5l(,oi'l I ^N 'SrtNBttN A
*
(.^
»3 ORI ’«(ilW^’x ‘?m
*f5tOTA I i^OTW WOTr (Tlt^ iWOTIA
WT C<^ilC<l<1 Ril’C'a, ^’ot (.N'T - N^l^ATOTN ^(^Bt 4oi4l^l
"sniil^WN NAt NtN i ci»'^'^ APT *niig <ioic«i'^ (7f, <p(,il^'&r»^ (.<1^N(.<P(.^9 *
lA^'a| NU? C®pfN An
*nOT

C^WOT iNNfe '4NHN I flOTA IWOTA W5J^

J W3 Tj^CtrNil i^TJrOTt WN <IJ<1^N BmzW fer bHiCbfe’H I ^9^? NTA^, ^COTi^C^s
*?! I *li^<,C'^ ’¿N Bl|t.»s<i NOT ^9^^ NTCA dynamic personality AW WII

(WN (TTW I '9A<in *(aìì5HC<^

(?^ ^SrHtOTT >ii\sb—<9A ^’N<M(.<?1 'NC
*n<} *
’t^l ’ CAA

(S 'Sal^ NFSrlOTl WSf, <9^ ^£1^ 4«1(3MN IaUSt^ »tti^i^CW(A (TTKOTA - '^OTtW

pW « <l'&rl(.«TN (OTTA ÌNNA I W?F d\Ìj<MÌ>G? olKillOTol iì>«1(.\5OT<l RTO A^t^AlOTiA A(.9r Al^l"?, 4i1l I \i5^9
NfOTN Nt^ÌNì’ÌOTS I ^W'ai(.4If^R (TTA (i^ i^OTTA

81
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—PRESIDENCY ALUMNI ASSOCIATION

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—j PRESIDENCY ALUMNI ASSOCIATION
I

‘meendr’ and ‘gamak’ with their

•ri^PiS innumerable nuances, are the
Cof^ “1^ CoiXU^ major constituents of any worthy
'S 1to^, WR
performance. The presence of this^
^fUo ^sTfCT 'i^l'er^f^, is^o
^«rt (TwIR'S I *0 particular kind of grace is almost
^nus Wf?f^ cvqiciC^
^SbbR ^«ft '^t^ totally ruled out in a harmonium.
3^®! ^TO 1 I 'Sr (RRIR But, inspite of this acknowledged
deficiency, a good-toned and weD-
tuned harmonium has always
- 4ur tor 3^3 TO^ *R ’^TRR
ti^^
‘c^'olcil * *1^11?
'^R?R^ (XW’ 3 I been admired. We have seen this
?iwi 'S<^ «311^
C^ 'S^’X'f ^
*41 *tT'SiiT instrument being used almost
invariably as an acompanimentby I
C^, CeT«rri^ ^'S
‘R TO, R I ^3 Ustad Faiyuz Khan, Ustad Abdul
^MCiJli^R C^JlWltfR 33’1” Karim Khan, Ustad Ghulam Ah
Khan, Ustad Amir Khan and
‘Harmonium as a Sole Instrument’ many other eminent musicians
(b is 8) C^n??Ro “The throughout their lives. Hiis
‘cvbi^ii^c^ wfurm fact alone is enough proof that;
initiative was taken in Calcutta
some time around the latter there are some qualities in the Si
part of the 19th century, when harmonium which musicians of
'S ■’i’iSfFt^ '5J§t Dwarakanath Ghosh remodelled rank recognise as conducive to
this Foreign Instrument by music-making” 1 OT-
C4^IC^ (TIT^
changing the system of bellows. vpTR f^<?i ^3^ to
b iii o I
The wrist-chart and some other
C5|f5i i ci> 8 o 1!
mechanical adjustments made
C4Wf manipulation easy. Change of
4PR tonality was also attempted. The
*if^ I purpose of all endeavours was to
produce a suitable tone that could
help singing, particularly solo
'S *ai'2slii
5,liic»ili^iiN-i^c. ^(.SJC’f singing ... Neither the masters
Western Free Reed
^«tWl, W5f nor the aspirants of the present
Instruments - patmissin.coni
age ever beleaved that slow and
(M3);
melodious movements would suit
the basically-detached notes of the '®) Pump Organ - Wikipedia
-file's I
harmonium, although a simulation
... could be effected with an efficient
Hi (.«pcTa ^rwtf^ hand combined with a properly 8) The Gramophone Company’s
responsive instrument. But a First Indian Recordings.
‘gamak’ cannot be produced on a 1899-1908-Michael S.
(R3RR ^TR
harmonium because of the lack of Kinnear, Popular Prakashan,^
flexibility and adhesiveness in the Bombay, 1994;
TO inC^C^ril 4»wi^Wd I
tone-continuity of harmonium. It <9)
is a well-known fact that amongst
the various instruments of Indian
music - vocal and instrumental - Musical Knowledge and

84
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 Subjectively in Colonial India, i's)
1780’5-1900 - Sharmadip ^srfUI, i Ji iS) <1; CW,
Bosu, thesis, Syracuse
University,, 2011 is) 'S 8< ’’f'Q) - ?r^ ^o) The Harmonium Handbook:
, PUWsfTii); *rM, Owning, Playing &
Maintaining the Demotional
1) Sketches of Indian Life and i(t)
Instrument of India - Satyaki
Travels from Letters and
Kraig Brocksmith, Crystal
Journals - Mrs. Murray
Clarity Publishers, 2003;
Mitchell, T. Nelson & Sons, i'b) A Perspective of the Indian
London, 1876; Harmonium - Kedar ^i) My Family ... My Pride ...
Naphade, 2008 Our Dwarkin and Son Pvt
Ltd. - Bollywood Movies 360
^00^); CWT
ia) 1875 Dwarkin & Son: Sound-
Clouding Centuries - Shamik
!l^ CWr
Bag, Aug 13, 2012 (7n^’ -
I ^oob; (Trim ?fM); ^p5r<!Mo1 »rr^

J«) W is^o
ib-) That Ban(e) of Indian Music:
Hearing Politics and the
ij) W
* - Harmonium - Matt Rahaim,
i?r
*i Journal of Asian Studies, 26,
2011 cmuit 2n^);
wn « -
(?p5r iiib-y; iti)

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