GNB had that great gift of writing. Even in the midst of a hectic career as a musician lasting over decades, he found the time to write on themes relating to our great system of music, with clarity of prose, expansive erudition and infallible insight. The period when he was producer of Music at the All India Radio, Madras was the most prolific, because he gave many talks on many aspects of our musical culture, shedding light of his incisive intelligence and vidvat on many dark corners of the science of Karnatak music. He was also willing to contribute articles on music to journals, sabha souvenirs, etc., which contain priceless wisdom.

Musical Landscapes

His articles on music taken together offer a kaleidoscope of stunning landscapes in music that no serious student of Karnatak music can overlook. What emerges from his writings is the credo of devout, total sincerity which marked his rnusic career. His articles constitute a treasure chest of rewarding insights into the salient aspects of our music. They are written in a compact, elegant and simple language, the expression of a rare soul, uplifted by accurate and painstaking scholarship and exalted by his own unique success as a musician. " The Angel took a sapphire pen, and wrote in rainbow dew ". The pleasure of hearing, or having heard, great music relies on memory and with the passage of time, can fade. But the pleasure and profit derived from his articles partakes of a benign emotion that can be shared and felt for ever.

GNB's writings on Thyagaraja, Ariyakkudi, Concert Tradition, Comparative Study of the Trinity and on other themes some of which are included in this book are no self-indulgent displays of superficial thinking. They depict an unflagging quest for the ultimate varieties and essences of our great system of music.
GNB is not the first or the last artist to acquit himself exceedingly creditably in two different disciplines that are not necessarily complementary or related. Julius Caesar and Xenaphon successfully combined the pursuit of letters with their wars. Sir Isaac Newton was an efficient Master of the Mint and the greatest mathematician. Locke was Secretary to the Board of Trade and a philosopher. Chaucer, the father of English poetry, was also Controller of Customs. Rabelais and Schiller were surgeons. Cervantes and Descartes were soldiers first.

What all these instances prove is that the perfection in each of the dual callings achieved by the above famous persons was the result of the union of the active and contemplative essences in life. GNB could lay claim to that as much as the other great names of history mentioned above. That is praise indeed for any musician. To use the words of Dr.O.W. Holmes, he was a

" Brave singer of the coming time,
  Sweet minstrel of the joyous present ".

Gleanings from GNB's Writings

Characteristic of the Artist

" The chief quality and characteristic of the artist is the unique capacity to induce in others the same feelings as the artist himself has experienced. Of course, this does not mean that art achieves a verisimilitude to life. As a matter of fact, it is just the opposite. To achieve an artistic effect, a certain amount of the addition of the usual, a twisting of the normal findings of life is indispensable. "  When the reproduction coincides with the original, art is destroyed by the very perfection of craftsmanship, as the vital rhythm of a curve is lost in the geometry of the circle ". The apparently horizontal lines of the Parthenon are really curved. There is some deception in art which is inevitable. Art is something additional to the actual. The succession of sound and rhythm in music is artificial. Judged by the study of the ordinary movement of the body while walking or sitting, the movements in dance are certainly artificial. To revert, one feels that the artist has expressed something which all of us have felt in us all the time but which we never realised or expressed. In revealing himself, the artist has revealed us to ourselves. While listening to good music, one moves along its graces and nuances, its waves of ascent and descent, its caresses and its kicks, its tears and its smiles.

Music is four-dimensional

Of all the arts, music is the most universal and least severe in its appeal. If painting is two-dimensional and sculpture three dimensional, we can say that music is four dimensional, having its base in tone, colour, rhythm and melody. The artist and the listener are all free of the bonds of time and the logic of mundane circumstances. It is enjoying and creating beauty without responsibility. Really, there is no language for sound or music. Yet it is the most universal language. Music can express the gamut of all emotions.

What is Art?

The greatest art is that which is born of profound and powerful emotional inspiration; controlled, selected and chiseled by the exercise of reason and giving us a unified and structural whole and achieving the union of vigour and beauty in the parts with exquisite attractiveness and appeal in the whole.

Music, the Messiah for the Golden Age

In the end when all the nations of the earth are worn out in their fight for world supremacy, when there is desperate cry for universal peace, Music wilt be the Messiah for the Golden Age, uniting all in one common religion and language the language of sound-at once sensuous and intellectual, exciting to calm, stimulating to appeasement and marshalling all the powers for Goodness, Truth and Beauty to work in unison in a spontaneous, disciplined and organised manner towards the achievement of the common weal of all mankind.

Building up of Musical Culture

Music is the most democratic of the fine arts. It does not demand for its enjoyment as much of technical knowledge and equipment as the other arts do. It is not surprising, therefore, that by far a large section of the public seek enjoyment in music than in other arts. Besides the vox populi plays an important part in fixing the musical standards of a particular time and in shaping the destinies of artists. This is brought home to us by the fact that oral and printed, individual and sectional opinions and reviews have been found to be more effective in music unlike as in architecture or engineering. Incidentally, in the matter of giving expression to opinions and views, the power of democracy has never been more exercised elsewhere than in the music world. The dictates of good taste being not a wholly individual enterprise, it is obvious that the artistes and the public are mutually responsible for laying the foundations and building up of musical tastes and musical culture.

Ariyakkudi's Music is ' Sangeetha Gita '

Ariyakkudi Ramanuja Iyengar typifies the golden mean which is the ideal of ' Gita '. His music is to Karnatak music what Bhagavat Gita is to Indian Philosophy, its quintessence. The undeftected middle position of the mouth, chin and face, the use of  ' Aakaras ', the golden mean of madhyama kala in kala pramana, the balance in proportion of the presentation of various aspects in a concert, all these typify the golden mean. That is the secret of Ariyakkudi's musical longevity. If one may say so, his music can be called ' Sangeetha Gita '.

Pre-requisite for success in Art :

Only those artists will be outstanding successes who combine natural gifts, hard work, indefatigable industry and who possess " that inexplicable magic gift " to push it across " and that elusive charm, which make the audience realise that there is something more than what meets the eye or sounds in the ears when they attend an artist's performance and long to attend the next.Technical ability and ease come with strenuous practice and are easy of acquirement and last for some time after the artist has lost the facility for his medium. It is the memory of the artist's unique personal touch, his personal mode and the individual impress he gives to art and its interpretation that is retained and cherished by posterity. Cheap jugglery never lasts, though great artists can afford it occasionally, Hence it is that in music and its allied arts, one or two per cent alone really count.

Karnatak Krithi and Hindustani Drupad :

In form and rendering there are many points of resemblance between the Karnatak Kriti and the Hindustani Drupad. Both are invariably introduced with Rag-alap and in the musical interpretation of those, ample opportunities are given for the artists' " manodharma " or improvisation according to certain fixed principles and in a particular pattern and also with the tacit understanding that the words of the compositions should not be shifted from their original place in the rhythmic setup of the piece. Thus both the Drupad and the Kriti are examples of a musical form, that combines ' Kalpita' and ' Kalpana ' music, Though the ' Khyal ' admits of Kalpana Sangeeth, it is a more romantic and less classical type of Kalpita Sangeeth than the Drupad nor does it claim or enjoy the status of the Drupad. It is indeed a great pity that such a great classical and musical form of composition has of late lost its ground and appeal with the general public and more so with the musicians. Possibly, the history of Hindustani music might have been parallel to the South Indian or Karnatak music, had the Drupad been kept up. as its counterpart in the South the Kriti, has been.

The Modern Concert Tradition:

In the evolution of our music, the two major aspects, the determinate and the indeterminate, i.e., the recitative and interpretative, become the warp and woof of the texture of the modern concert. The modern concert is a well thought-out and schematic arrangement in the presentation of Karnatak music in both these aspects. The concert could be divided into three segments, viz., (1) the pre-pallavi segment, (2) the Ragam, Thanam and Pallavi, and (3) the post-pallavi and comparatively lighter segment. The one which precedes the pallavi is a mixture of recitative and interpretative elements. From the opening varnam, through alternating fast and slow phased kritis, small raga prologues for the former and elaborate expositions for the latter, the classical atmosphere gets gradually heightened. It culminates in the second segment, i.e.., the Ragam, Thanam and Pallavi which is the high water mark of classical Karnatak music. It is the peak of the concert. From the RTP to the end of the performance, there is a gradual shading off of classical music into light classical and light music so that at the end, even non-classical folk music and Hindustani melodies fit with naturalness into the pattern of the concert. Even in the prepallavi portion, in the rendering of each piece, the succession of the ragam, kriti, neraval and swara has a significance. From the raga to the kriti, from kriti to neraval and from neraval to swara improvisation, it is a graded, increasing emergence and emphasis of the aspect of laya.

It will be good to remind ourselves that all art is great to the extent that it is informed by the spirit, by the nobility, of its content, harmony of its parts and the elegance in its presentation. We should not allow this great tradition to disintegrate into mere and empty aesthetic formalism and uninspired technique and showmanship, which inordinate and indiscriminate commercialisation of any art is likely to bring in its wake.

Sri Rajamanickam Pillai :

Rajamanickam Pillai, one of our most reputed and top ranking violinists with a long, uninterrupted and consistent record of service to Karnatak music needs no introduction. ' He comes of the Sishya Parampara of Thirukodikaval Sri Krishna Iyer, who typified the best and the most wholesome traditions of our music It is no exaggeration to say that Sri Rajamaniykam Pillai has followed, with credit, his musical fore-fathers and has never stepped down, for professional exigencies or economic, from the high ideals in music set up by the great master violinist. He has accompanied three generations of musicians from Sri Poochi Srinivasa Iyengar to the present day. For these five decades or more, there has never been a single instance, when he has rubbed any performer on the wrong side or antagonised any musical institution or section of public opinion.

There are many famous musicians including my humble self, who will with pleasure acknowledge their rise, to his support on the platform. All young aspiring musicians have without an exception clamored for his accompaniment for more than three decades. On the platform he has always striven his best to give his maximum help to the main performer and contribute to the success of the performance. His adaptability to the various styles of the main performers, without losing his own individuality, has been unequalled.

Sri T. Chowdiah :

Sangeetha Kalanidhi Sangeetha Ratna Sti T. Chowdiah, the violinist is, as acclaimed in all hands, a unique personality in the firmament of Karnatak music. He is one of the very few who have long, consistent and glamorous record of musical reputation and achievements. Even now, on the wrong side of 60, his enthusiasm and sprightliness on the platform combined with his own platform tactics never leave a dull moment in the concert. First and foremost, when about three decades ago, the ' AdharaSruti ' of the performers came down, most of the violinists were in dismay as to how they could make themselves heard in a fairly big audience, the more so at a time when the mike had not found its place on the concert platform. It was a result of his research and his genius that he pioneered the seven stringed violin, which as all are aware, is almost universally in use among violinists. This left a peculiar colour and tone to the musical notes and provided an effective support for the performers. As all pioneering movements, this also met with disapproval and adverse criticism initially. But Sri Chowdiah had the Courage and tenacity to prove that genius is always progressive and his innovation has stood the test of time. In a performance, he has many cards up his sleeves and in all my experience for the past 27 years, and more, there has not been one occasion, when any of them let him down. I once called him "SoundIyya". His alacrity and resilience have always stood him in good stead on the platform and elsewhere. "

CONCERT TRADITION

Sangeetha Kalanidhi Sri G. N. BALASUBRAMANIAM, B A. (Hons.)

THE word "Tradition" connotes the sum total of observances and practices as they come down in human history, in the aspect of man's mental and social activities such as literature, art, religion and philosophy. Each generation takes up the heritage of its distant and immediate past and perforce moulds it to the needs, temperaments and capacities of its own time. Therefore, tradition cannot be a dead fossil of the past, but it is a continuity of it, accommodated to the needs of the times. Other-wise it will cease to have a living quality about it. Its validity is proven by the discovery of its moorings in the early ages of human history.

Modern Classical concert music is an instance in point. The limbs and parts which go to make up the present day concert are the growth of such basic elements and components that were born even as early as a thousand years ago. To give a few instances, the raga, the soul of our music is a lyrical and historical corollary of and development from "Jathis", dating from 7th or 8th century A. D. Swara prasthara seems to have existed even as early or even earlier than the 13th century A. D. Both the "Sangeetha Ratnakara" of Saranga Deva and the later "Ragavibodha" mention swara varisais or alankaras about sixty in number which are quite aesthetic and interesting, judged, even by modern standards.

"Kootatanam" as opposed to •'Suddhasadanam" is swara prasthara in vakra order. Thanam singing of the modern type in which raga phrases are sung to madhyama kala with specified letters or aksharas, seems to be only 300 to 400 years old. Again Pallavi singing has been hinted at and vaguely described in the words "Roopaka Alapati" in the "Sangeetha Ratnakara".

Between the post Ratnakara period, about which time, the Indian Music system seems to have bifurcated itself into the Southern and Northern systems and the 18th century, the 72 Mela Karthas with their enormous possibilities for the creation of innumerable janaka ragas had been propounded and exploited. The theory of the music of the South had been promulgated in all its elaborateness and detail Purandara Dasa had laid secure foundations of our music with his Alankara, Geetham and Chooladhis, not to speak of thousands of his Padas. Lakshana Geethams for many ragas had been composed by Venkatamakhin and others. The ground had been thoroughly prepared for the flowering of men of genius like the South Indian Trinity who appeared in the firmament of music and flooded our continent with the light of their celestial compositions. The Krithi in its embryo form in the "GeethaGovinda" reached adolescence with the Talapakkam composers followed by Badrachala Ramdas and others and reached its full maturity in the compositions of Sri Thyagaraja, Syama Sastri and Dikshithar. Periods of private and Royal patronage of music have always been rich in producing great composers and public encouragement, great performers. In the pre-Thyagaraja period, concerts were mostly held in the chambers of Royalty and Zamindars, where only a chosen few were privileged to listen to Classical Music. The concert then which lasted for about two hours and more was mainly elaborate raga singing followed by Pallavi. Musical history has it that even contests in such concerts were held in Royal courts. Nadaswaram, the most effective instrument to the propagation of Classical music among the masses, on occasions of royal festivities as also religious and temple utsavas, was the medium through which, large sections of the public got gradually acquainted with many prasiddha ragas and talas.

Thus it will be seen that all the material for the structure of modern concert, barring krithis were ready in the Thyagaraja period. Varnams of Audiappier and others, krithis of the Trinity and other composers in their wake and the ragam, tan am, and pallavi. The early forms of music like Tayams, Prabhandams etc., were swept away by the advent of the krithis. But their spirit continued to live in the varieties of the kritis produced by the Trinity. Dikshitar's krithis are Prabhandhas in spirit, those of Thyagaraja and Syama Sastri, of kavya. Kaipana Sangit which was till then only confined to ragam and pallavi, could now be had through the interpretation of various types of compositions.

From  an   analysis   of the history of our music from very early times up to the 18th  century,   it  will  be  evident  that  there  had  been a progressive, though slow, evolution of music in all its forms which gave  nourishment and growth to individual talent, through scientific methods and codification of musical practice and knowledge. Ample  opportunities were  afforded  in private houses of royalty and zamindars for exhibition  of such  individual artistic talents.    The adaptation of the modern violin, an  importation  from  the West  and  exploitation  of its possibilities as a solo and accompanying medium  in  a concert came  in  handy  and timely when the concert emerged  from  the private  chambers  into  the public  wing.    With  the increasing patronage  of music by  the public  and private audiences, musicians were tempted to pursue  it  as  a  career.    The performer  as  such  had  to enlarge his stock and repertoire.    Unalloyed  interpretative   music   was    found  inadequate  to meet  the increasing demands  from the public.    The performer   had to    include  recitative portions  also  in  the  concert before and after the Ragam, tanam and pallavi.    The post-Thyagaraja period saw an exuberance of compositions like Tillanas, Javalies etc. which  supplied  the  needs  of the performing musicians in this respect.   The large volume  of compositions  of the  Trinity   came in a very strategic and psychological moment.    These  compositions  afforded   unprecedented  scope for the display of the individual talent in  the very  handling of such pieces as well as raga prologue to the pieces in the niraval and swara improvisations which could be introduced during or after the recitation of the piece. They were also of such wide range of variety
as could suit the varying musical temperaments and equipments of many talented and gifted musicians, as also various grades of the fast growing public taste for
music.

It  was  in this way  that  the two major aspects, the determinate and indeterminate (the receptive and the interpretative) became the warp and woof of the texture-of the modern  concert.    The  modern  concert  is  a well thought-out and schemed arrangement  m   the  presentation  of Classical  music  in   both  these format     The concert could be divided into three segments, (1) the prepallavi segment  (2) the raga thanam  and  pallavi,   and  (3)  the  post-pallavi   and  comparatively light. The  one  which  precedes   the  pallavi  is  a  mixture   of recitative and interpretative elements.    From  the  opening  varnam,  through  alternating  fast  and   slow phased krithis, small raga prologues to  the former and elaborate expositions for the latter the  classical   atmosphere gets  gradually  heightened. and  culminates in   the second' segment,  i. e.   ragam,  tanam  and pallavi  which   is  the  high water-mark of South Indian  Classical  Music.    It  is  the  peak  of the concert.    From the ragam, tanam, pallavi, to the end of the  performance, there is a gradual watering down of classical and light music, so  that at the end, even  non-classical folk and Hindustani melodies fit with naturalness into the pattern   of the concert.    Even in the pre-r,ai!avi portion, in the rendering   of each piece,   the   succession of the ragam, kriti, niraval and swara has a significance.    From   the raga to krithi, from krithi to niraval and from niraval to   swara   improvisation,   it   is   a   graded,   increasing emergence and emphasis of the aspect of laya.


The unique appeal and greatness of our art are owing to its capacity for growth and adaptation, through  a long period of time and more so because, men of great genius  system, through their knowledge and intelligence could have the greatest freedom  for the play of both these factors within the framework of tradition. Our system, the most  aesthetic, intricate and exalted in the  world, is the noblest heritage of man. 

Our  concert    tradition  has come to stay. .It will be good to remind ourselves that all Art is great to the extent  that it is informed of the spirit, by the nobility of its content, harmony of its parts and the elegance in its presentation. We should not allow this great heritage to disintegrate into mere and empty aesthetic formalism and uninspired technique and showmanship, which inordinate and indiscriminate commercialisation of any art is likely to bring in its wake.

The Hero as a Musician

By Sangeetha Kalanidhi G. N. Balasubramaniam.

To talk about modern Carnatic music is to talk of Sri Ariyakkudi, the architect and maker of our music today. He is seventy-four years "young" and very much in his strides as a top performer and musician. His record is unique in the annals of music history, in its consistently high level of performance and reputation. As a man and as a musician, he is many-sided, being entertaining as well as instructive. Throughout, his career has been the cumulative result of professional dignity, business acumen and artistic ideals.

He has been an outstanding, long-established success. It is not due to luck or adventitious chance that it is so. There are solid grounds for it. Moreover, it is, it will be admired, more difficult to maintain leadership in a public career than to gain it. His repertoire is as varied as it is big. He is as firm in his ideals as he is adaptable in his music and manners. He is as alert and aware of contemporary musical trends and movements as he is composed and convinced in his belief in tradition and "sampradhaya". His is probably the one instance of a unique wedlock of seeming incompatibles, "sastra" and "sravya" and tradition and modernity.

There are good many amongst us now who have followed his musical career for the past four decades and more, who have noticed all the qualities which conduced to make him an undisputed leader in the profession, ever since he entered the music world. Many musicians have come into the music field after him and risen to prominence. He still retains his sovereignty. Why? If one such, tries to make a mark by specialising in any aspect of performance, this aspect is immediately taken up by him and he has unfailingly demonstrated that he could do it and more, in a better way. This naturally presupposes that his stock and resilience should be sufficiently big and tough so that he could meet these moves and prove himself superior to them. Incompatibility in equipment and musical temperament of the accompanists have never stood in the way of his making a success of the performance. He is at home with both great senior accompanists as well as rising junior ones. He never allows himself to be nonplussed on the platform. His adjustability, stock and diplomacy are in ample evidence when new and young accompanists perform along with him. He is a musician with a classical ideal, with a definite choiceful awareness-choiceful because, there is all round fullness from which to choose. He knows what he is about, leaving nothing to chance or the moment, preferring "how" a thing is done to "what" is done-a typically classical ideal, based on conscious, deliberate artistry, rather than haphazard musical adventure. This is why he is so dependable and never below par on any occasion.

It cannot be denied that his is the greatest share amongst all the musicians for making Carnatic music as popular amongst the laity as it is now. He effectively exploded the myth and illusion which were prevalent for a long time that "Sampradhaya" and tradition were not pleasing to the ear. The music world is and should be indebted to him for the long and signal service he has rendered in stabilising and presenting our prasiddh a and Rakthi ragas in their true basic and traditional form and with their characteristic and unmistakable sancharas, sangathis and prayogas.

Sri Ariyakudi is a musician with a clear vision and idea of what he is about. He never allowed himself, even in his early days, to fall into the dangerous illusion that originality comes only with the avoidance of the well-known, obvious and basic sancharas and form of a raga, a shoal on which many young musical minds are apt to wreck themselves. He has to his credit introduced the largest number of new compositions of the Trinity, pallavis and the miscellaneous items which come after the pallavi. He, it is, who has codified and adapted to modern times, the aspects of a concert, their spacing and timings and this so well done that both the lay and the learned never have a dull moment or feeling of boredom, throughout the concert.

Sri Ariyakudi's music is the touch-stone on which we can judge the standard of the music of others, probably because, it is in the truest and basic traditions of our classical music. The unmistakable and indispensable attributes of our classical system are its "Gamaka suddha", the prime importance given to madhyama kala and the strict maintenance of and timely and well-proportioned admixture of Sowka, Madhya and Drutha kalas, the appropriate use of the correct kala pramana and the necessary gamakas in the phrases and the Jiva Swaras in the ragas and the usage of the "thin" and the "thick" in the Jiva Swaras of the ragas. These are exemplified very well in his style. That madhyama kala, the Jiva of our Sangeetha has been amply demonstrated from the days of Sri Thyagaraja, the composer, through performers and musicians like Sri Patnam Subramania Iyer, Sri Maha Vaidyanathan Sivan, Sri Poochi Srinivasa Iyengar and of the present, the late Mysore Sri Vasudevachar and Sri Ariyakkudi. The madhyama kala is neither too fast nor too slow. This, his gift for gamaka suddham and madhyama kala, makes his music unstinting and never tiring. Hence, there is as much movement and life in his Vilamba krithis and ragas as there is poise and balance in his madhyama kala ragas and krithis. There is no listlessness in the latter nor drag in the former. This is amply borne out in his method of singing Vilamba kala kshetragna padams which when rendered in pure chamber music style, do not have that movement and vivacity for lay listeners, which he is able to impart by his manner of singing them.

With all his equipment, musical, and temperamental, he rose by sheer merit to eminence, not by the supplementary and auxiliary methods of sycophancy or seeking patronage. In his case, it was the reverse. Distinguished personages and patrons sought him. He, being such a graceful, inoffensive and pleasing person, never antagonised them. In spite of his inordinate and long-standing, though legitimate, success, he is unique in not making a handle of this art for gaining social and material status for himself. He has always placed his musical ideals in a high pedestal and stood by them. He has not been known to sacrifice his ideals for personal gains nor make any concessions thereof to please a particular section of the public, or water them down to meet the tastes of the masses. Those who know his musical history may remember in this connection that he antagonised a very great accompanist in his young days, which few musicians in his place and with his status then would have dared to, in their own interests and the glory of it is that he got away with it too. All these are unmistakable pointers to the tenacity of his conviction in his own musical ideals and the courage to practice it. With all this, he is probably the one musician with a real sense of humility. Humility as a pose and artifice, stands self-indicted and self exposed. He has always attributed his "humble" success to the reverential care with which he has preserved what he has imbibed from the great masters like his Poochi Srinivasa Iyengar, Thirukodikaval Krishna Iyer and others.

The great concern he shows for the success of his performance, how he spends the time on a performance day, avoiding sleep in the afternoon even at this age and doing musical "mananam" all the time, these indicate what reverence he has for the Art and how humble he is. Besides, the smug complacency that comes with an established reputation, which is the canker that kills progress and improvement in the art, has never claimed him as its victim at any time of his life. He is even now learning new compositions. On the platform, the way he conducts the performance, shares it with his accompanists and never indulging in meaningless or unprovoked diversions or even unintended offence under provocation, to his accompanists, or a noisy audience, again show his sense of seriousness while performing. Even at moments of hilarious success, his behavior has never been tinged with insolence or swankiness. Technique in his music has always been given its proper place never obtruding on aesthetics. Throughout his career, he has been an example on the platform for others to emulate. Further, from private conversation to platform concert his deportment is the most pleasing and graceful. There is not one discordant word, or unmusical sound.

Sri Ariyakudi typifies the golden mean. The golden mean is an ideal of the Gita. His music is to Carnatic music, what the Gita is to Indian philosophy, its quintessence-eternal and elemental truths and values which stand for all time. Singing with full-throated ease and the undeflected middle position of the chin and face, mouth, neither too open nor too closed, the use of pure akaras- the golden mean of madhyama kala, the jiva of Carnatic music-the balance in proportions of the presentation, of the various aspects of the concert --these represent the golden mean. This is the key to his musical longevity. If one may say so, his music can be called the "Gita of Sangita".

He has been the "Sangeetha Dharma Paripalaka" for so many decades by fostering with genuine care, real interest and innate strength, Carnatic Sampradhaya. It is the duty--the best and most effective tribute to his services for our music--of musicians and listeners to adopt in principle and encourage, the establishment and growth of the musical culture and tradition he has so assiduously and for so long, built-up.

APPENDIX 1

THE MUSIC ACADEMY, MADRAS

THIRTY-SECOND CONFERENCE

PRESIDENTIAL ADDRESS OF VIDWAN G.N.BALASUBRAMANIAM

on 20th December 1958

Your Excellency, my musician friends, members of the Academy and ladies and gentlemen !

Let me start this address with salutations to the Goddess of Music, but for whose blessings on me as one of her humble votaries, this much coveted honor of presiding over the Conference of this illustrious institution would not have been conferred on me. I offer my respects also to all my predecessors in this chair and to this body of experts whose blessings and cooperation I crave for making this year's conference a success. I should express to His excellency the Governor of Madras my gratitude for his consent to honor this occasion with his presence and inaugurate the Conference over whose deliberations I have been called upon to preside. This Academy has been, for the past thirty two years, doing true service to the cause of Carnatic Music and has been responsible for the propagation of authentic musical culture and science, as also for building up the, career and reputation of deserving and promising young artists. The greatest service IS that of giving timely and adequate encouragement to the younger generation of musicians and helping them in stabiIising their career and progress. My memory goes back to my youth when I appeared for the All India Music Competition, sponsored by this Academy and got the first prize amongst boy competitors. I dare say that I am the only prize boy of this Academy, who after three decades, has the privilege of being chosen as President of its annual Conference.

On this occasion I offer my respectful gratitude to Sri K.V.Krishnaswamy Iyer, the President of the Academy, who has been showing a parental affection for me and to all the office bearers and expert members of this organization, who have always taken a brotherly interest in me. I should also express here my thanks to all the other various sister institutions and to other eminent colleagues of my profession, several of whom I had the good fortune to be accompanied by. I thought that I would have pleasure of addressing this distinguished gathering in the new hall, which is rising in the Academy's premises; I hope by God's grace and the generous co-operation from the public, the artists, the building will, ere long, be completed and we will have a magnificent hall befitting this institution. I express my deep indebtedness to this body of experts for the fostering care with which they have tended my career and growth as a musician. I am one of the many in this line. I feel that I shall be failing in my duty if I do not mention, especially in this regard, how much I owe to the late Sangita Kalanidhi Sri T. V. Subba Rao, whose demise is a personal loss to me. He was an unparalleled rasika and aesthete as well as a great scholar and musicologist. One can describe him best, as he did his hero, Sri Tyagaraja, as a conservative radical, combining in himself the apparent incompatibles-conservatism and progress. No other composer has sung of Sri Rama in such varied moods and attitudes as Sri Tyagaraja did ; no other scholar enjoyed and interpreted the spirit of Sri Tyagaraja' so well and effectively as Sri T. V. Subba Rao did.

Present day music is not of the same kind as described in Bharata's Natyasastra. It is none the less true that modern music is a highly evolved development of our ancient music. The earliest phase was the" Marga" system of music which was merely recitative. The Ramayana and the Mahabharata are said to have been set to "Jatis" and sung in the" Marga" style. These Jatis were the precursors of the modern raga. At about this time, the" Gandhara-grama " seems to have gone out of vogue and out of the three original gramas, the " Shadja " and " Madhyama " gramas alone survived. There were only fourteen Jatis of the pure variety and four of a mixed type, in all eighteen. Raga, as such, had not come into being puring Bharata's aays. The second phase which can be called " Desi Sangeetha " signifies the introduction of individual and provincial interpretations of these Jatis and scales and hence can be said to have contribiited to free forms of melodies than in the previous phase ; This was at the time of Matanga's Brihad Desi. It is interesting that Matanga makes mention of " Bhasanga ", " Upanga " and " Raganga " ragas in his text. Curiously enough, out of the remnant two gramas, the " Madhyama " grama then went into disuse. Thus the only grama left 'was the " Shadja " grama. By taking each of the notes of the grama as the tonic, murchanas were derived which became Jatis which, being embellished with jiva and amsa swaras, paved the way for the eventual raga form. That modern and recent texts on music, almost without exception, point for all ragas the" Shadja" graha is clear and unmistakable evidence that the JatiMurchana system of ragas had become defunct. Otherwise the mention of " Shadja " graha for ragas is needless. It was about the thirteenth century that the Sangeetha Ratnakara appeared. There is reason to believe that the music of the whole of India had its basis in one system till about the time this musical treatise appeared. The bifurcation into the Northern and Southern systems seems to have begun in the post-Ratnakara period. Modern Carnatic music, as the name suggests, starts its history from the Vijayanagara period and the basements for this modern edifice were laid by Sri Purandaradasa. The Northern system had at about the same period evolved the " Raga-Raginis ". The Southern system had evolved the Mela and Janya ragas, as is seen in the Swarainela Kalanidhi of Ramamatya (1550 A.D.) and Raga Vibodha of Somanatha about 1614 A.D. The cultural centre of music seems to have shifted then to Tanjore, ruled by Nayaks, who Were first viceroys of the Vijayanagar kings. Now appeared the Sangeetha Sudha of Govinda Dikshita and later the Caturdant- diprakasika of Venkateswara Dikshita (Venkatamakhin). The latter presented the 72 melas or scales. It was still later than Venkatamakhin that one Govinda gave us the Sangraha Choodamani, formulating the modern 72 melas, in which, unlike: in Venkatamakhin's treatise, he gives each melaraga a regular ascent and descent with the full compliment of the seven swaras in an octave. This had a very far-reaching repercussion in the sense that men of genius brought forth a considerable number of Janya or derivative ragas from these Janaka or parent scales.

It seems to me to have been an act of providence that the great South Indian Musical Trinity should have been born about Tanjore and at about this time. It is almost unimaginable what modern music, as it is today, would have been, if these men of , God and musical giants had not appeared on the musical horizon and left us such a rich legacy of musical compositions, which are the main source and sustenance of such a phenomenal development and propagation of musical culture as is seen today.

Thus, it will be clear that the two systems, which we can call now the Carnatic and Hindustani, were brothers from the same stock. Whatever differences there are between the two are only in the classification, treatment and interpretation of swaras. There is evidence to show that mutual borrowings have been, and are being made. During the past decade ragas like Simhendramadhyama, Aboghi, and Andolika have been taken up by our northern brethren. Varnams are being composed on the pattern of ours. In swara improvisations too, besides their usual emphasis on the "Sam" of the tala, north Indian musicians have started singing swaras for the " Eduppu " or " graha " of the Sahitya in unchanging relationship with the tala of the compositions. 'The National program and the comparative expositions of South Indian and Hindustani Ragas on the AIR. have also contributed much to the interest of our Northern musical brethren in our system. We in the south, can, in .my humble opinion, with advantage borrow their " Dhrupads ", which some Kritis of Dikshitar resemble. The North with the help of great musicians will find that a revival of the Dhrupads and the creation of more kalpita-sangeeta in the pattern of our Kritis, instead of " Khyals " which are one line pieces and belong more to the Kalpana Sangeetha, will go a long way in stablising the spirit and form of their ragas. The standardisation of the form of each Raga, sung differently by different Gharanas, will give an impetus to this move. The strict adherence to the compartmental speeds of Vilambit, Madhya and Drut tends to loosen the grip of the musician on the lay audience and sometimes gives an air of sameness in the treatment of ragas. The madhya kala or medium speed seems to be the best for both the lay and the learned listeners. Valmiki, while describing Hanuman's first meeting with Sri Rama, in his quest for Seeta says, that Hanuman spoke in a pitch which was neither very high nor very low and in a speed neither too fast nor too slow. Probably performing musicians of the previous generation, for this same reason, did not sing Pallavis of slower speeds than 4 kalas. Nearly 60 per cent of Sri Tyagaraja's Kritis are composed in Madhya Kala.

It has been found in experience that a judicious and clever juxta-position and mixture of madhya and druta speeds in raga-improvisations hold the attention of big audiences more than singing them in compartmental, single speeds. We in the south, can adopt and emulate, not because we do not have our own methods for it, the northern system of voice culture. Our northern brethren display amazing control in voice production through which they are able to express subtle nuances, graces and beautiful glides and shades of a raga. I am afraid there is a tendency amongst us nowadays towards mechanical voice production. Each of these two big musical systems has developed so enormously individually that an amalgam of the two systems is well-nigh impossible. Each can absorb and adopt, in principle, whatever is good and desirable in the other.

When we turn to our occidental brethren, we find there is nothing in common between their music and ours. Broadly speaking, the music of the .west is mainly secular, orchestral, recitative and collective, as against ours which is spiritual, vocal, interpretative and Individual. Being their liturgical and spiritual music, their art can be said to be extroverted, springing from and trying to evoke physical passions and emotions like love, anguish, despair, joy, etc. when ours is obverted, has its roots in to evoke spiritual emotions and is used mainly as a means for uplifting the human spirit towards Godhead. The music of the west, till about the 17th century, was mainly modal in basis, when orchestration and the equal temperament swept all the earlier musical trends. Even today Spanish folk music uses embellished notes and graces that seem to remind us of our own systems. The primary emphasis given to the vocal part or the sung-line in the music of the west and the subsidiary importance given to the instrumental accompanists, is typically oriental. In recent times, our rhythmic variations seem to have caught the imagination of the west as is very clearly evident in the rhythms of the American Jazz music of today. The very nature and spirit of their music is such that there does not seem to be even a remote and distant possibility of our music being influenced by theirs.

In music, as in other aspects of the culture we have inherited from the past, we have now come to a stage, when I am afraid, blind and unmeaning obedience and adherence to the past will no longer .obtain amongst the younger and future generations. Unless we are able to understand and communicate to them the why and how of our past traditions and practices, there is every reason for our being nervous about the continuance of our in- herited cultures. Therefore it behooves us to acquaint ourselves, I mean musicians, and study intimately the science or lakshana of music. We are now in an age of transition. I have a feeling that this being very much of an age of performing artists, and seeing as we do, the great dissemination and demand for music dance and other arts, the future will be assuredly bright if the necessary impetus is given to good composers and men of genius, who can invent and present new beautiful and aesthetic compositions and forms in these arts. If I can venture to suggest, a new body of specialists from the country and from this Academy can be formed, who will judge and select these new creations purely on their merits and pass them on to the National Sangeetha Academy for preservation and future propagation. Nothing new should be rejected merely on the score that it is novel. All cultural progress has been due to pioneers of new ideas and expressions, though at their own times they were called rebels.

I am afraid I have drawn already more than I should on your patience. I close this with an appeal. This great organisation has been serving the cause of Carnatic music and musicians and has been responsible for the growth of real musical culture and the uplift of many young artists, manned as it is by a united band of selfless workers who have always striven with single-minded devotion for the achievement of its noble ideals and aims, for the past thirty years and more. We musicians, therefore, owe it to ourselves to extend our hearty co-operation to this organization. Art is certainly higher than the artist and the institution greater than the individual.

Thank you, Your Excellency, Ladies and Gentlemen, Members of the Academy and my musician friends!

APPENDIX II

ART, ITS DAWN, PERFECTION AND FUTURE ROLE By SANGEETHA KALANIDHI SRI G. N. BALASUBRAMANIAM, B.A. (HONS.)

In the early history of humanity man was very much more of an animal than what he is, concerned primarily with finding for himself food and shelter and protection against the sun and rain and the wilderness of inanimate and animate nature. His instincts were related to the task of self-preservation and his creative faculties took destructive and self-perpetuating directions. The bow and the arrow, the earthen pot and the goat or sheep-skin were later amenities. When such elementary needs were satisfied, the primitive mail flowered into a later development when he started making painted ware-ware and such alike. The art of communication with his fellow-beings produced significant language and elementary work-a-day arithmetic so useful in buying and bartering articles of food, clothing, etc.

The dawn of art broke in these foggy years of human history when Intelligence fluttered her eye-lids and saw Nature in the clearer perception of Her own light. With this new and unique gift, man's vision of Nature and things reacted in novel, pleasant and unknown ways on his " Five little senses" which" startled with the delight" of a better and a new perception. Man realised the peculiar and pleasing effects of line and colour, tone and rhythm, the embryo of painting and music. Thus it is that we find that early man began making pretty dwellings and charming daily utensils, which were not only useful but also charming and handy. He painted the walls of his dwellings and the surfaces of pottery and ware-ware with likenesses from Nature-animals, birds and natural scenery. The twang of the bow-string was the origin of the harp. The wind or breeze moaning through bamboo grooves or reeds was the inspiration for the making of the flute and other wind-instruments, and the spreading of the goat-skin over the mouth of ware-ware gave birth to percussion-instruments. He himself started humming tunes and airs while doing daily work, like ploughing the field or drawing water from the well. Paper was made from bamboo-wood. The barks of trees and their leaves were used for written language which later gave us literature. It is interesting here to note that man first started doing things before knowing how to do them.

Thus the primitive emotions of love for all that contributed to security and comfort and hatred for the opposite, got sublimated in to nobler, the love of the beautiful and the hatred of the ugly. In a safer and more secure environment the senses of hearing and sight became less urgent in their use and man developed, what can be called disinterested observation and appreciation of beauty. Through varying degrees of progress, the aesthetic sense-that which is sensitive to the quality of beauty-grew apace and the embryo of the artist came into being, who as yet was unborn and dumb.

The material for all art is aesthetic experience, as different from ordinary human experience. The every-day man is one whose finer senses are dulled by routine, lethargy and mechanisation. Conditions of life being what they are or were, he could not react to his environment or circumstances so that the epicenter of his emotional being was shifted and he could experience, what may be loosely called an aesthetic shock or earth-quake. In the artist, what the intelligence discovered is an experience, the Imagination adorned and sublimated. Other-wise poets and artists cannot " Give to airy nothings a local habitation and a name". But for this unique sensitiveness and aestheticism, the world of art would have been the poorer for the stinging sensuousness of Keats, the ethereal idealization of Shelley, the elemental simplicity of Wordsworth and the introverted mysticism of Browning and the Gothic, ornate grandeur of Milton. It is evident that the artist's reaction to things is quite different from the layman's. As it were, Experience is put into the crucible of Emotions and under the warmth and fire of the Imagination melts into aesthetic experience. Though no woman or man behaves in real life like the characters of Shakespeare's or Shaw's works, we are nowhere more shocked into the realisation of the fatal possessiveness of love than when we read" Othello" or "Anna Karenina" looks to us to be more really alive than many women we have met in private life. This leads us on to the realisation that more than the actual experience, it is the way the artist presents his theme or subject that distinguishes him from the rest of mankind in their expressiveness. Everyone looks at the moon, but it is the, poet who calls her " the queen of the night ". We do not describe wine in a glass-cup as " with beaded bubbles winking at the brim ". Eventless time is eternity but the poet expresses it thus " I saw eternity the other night, like a ring, great and pure, of endless bright. The artist is not concerned with the fruit of experience, but with experience itself-an aesthetic one-and his experience, in a language, which is again different from our " in its emotional content and significance. He creates as it were, fresh, immediate and sensible forms out of otherwise common things. It is an outcome of the irrepressible force of feeling which is innate in all human nature and the overwhelming desire to express it. In other words, the artist is one whose capacity for feeling is inordinately greater and uniquely different from the general order, of humanity-a gift for a peculiar quality of hyper-sensitiveness which transmutes everyday language into a higher significance. He communicates more to us than the mere smell of the rose, more than the mere sounds in Music. We are made to feel with him and revel in the same kind and rush of reactions-a contagious and poignant excess in emotion-what Keats. calls, " a burning forehead and a parching tongue ". Thus the world of the artist is one which transcends commonsense and common discourse, knowing and speaking, what is otherwise, unknowable and unspeakable. The artist here " partakes of the Nature of the Mystic in his experiences of beauty, in tune with the infinite, catching and communicating to us a glimpse of the Eternal and the Absolute." One is reminded of Carlyle who speaks of music as " a kind of inarticulate and unfathomable speech that takes us on and leads the edge of the Infinite and lets us for a few moments gaze into it ". Art gives us a peace that passeth under- standing-the same peace the artist finds in form and the mystic in the contemplation of God.

As a corollary, the chief quality and characteristic of the artist is the divine capacity to infect others with the same feelings as the artist himself has experienced. Of course this does not mean that art achieves a verisimilitude to life. As a matter of fact, it is just the opposite. To achieve an artistic effect a certain amount of the addition of the grotesque, a twisting of the normal findings of life is indispensable. " When the reproduction coincides with the original, art is destroyed by the very perfection of the craftsmanship as the vital rhythm of a curve is lost in the geometrical symmetry of the circle." The apparently horizontal lines of the Parthenon are really curved. The most absorbing story is not necessarily a work of art. There is a certain deception in art. Art is something additional to the actual. The succession of sounds and rhythms in Music are artificial. From the study of the ordinary movements of the body while walking or sitting, the movements in dance are certainly artificial, beyond the , customary. To revert, one feels that the artist has expressed something which all of us have felt in us all the time, which we never realised. In revealing himself, the artist has revealed us to ourselves. .While listening to good Music one moves along its grand nuances its waves of ascent and descent, its caresses and its kicks and its tears and its smiles.

One is thus made aware of the Universality of all art, its appeal irrespective of language or castes or creed. Keats says in his " Ode on a Grecian urn".

                                                 " For ever warm and still to be enjoyed
                                                      For ever panting and for ever young",

a statement on the endurance of all great art.

" A thing of beauty is a joy for ever". Great art endures for ever standing permanent against the ravages of time and space and for ever satisfying the aesthetic senses in their hunger for the beautiful, in all ages and climes. Its language is the language of the Universe, the language of the human Emotions, taking us through the concrete and the sensual, known and experienced into a world thoroughly abstract, transcending the senses, unknown and transcending experience, through experience, feeling and language to a world beyond all of them. " Is it not strange that sheep's guts should hale souls out of men's bodies" (Shakespeare). It is a reorientation of an experience, usual and peaceful, into one strange and intense. It comes of the exercise of that impulse to creative expression which is Universal in human Nature-an impulse which is deeper and more spiritual than the physical, wherein as James H. Cousins" says, " The artist becomes one with the creative power of the Universe, inwardly to his own happiness and outwardly to the happiness of others, a revealer' and translator of beauty, and truth, inherent in Nature and Humanity,"

Of all the arts, Music is the most universal and least sensual in its appeal. If painting is two-dimensional, sculpture three, one can say Music is four-dimensional having its basic on tone, color, rhythm and melody. The artist and the listener are free of the bonds of time and the logic of circumstances. It is enjoying and creating beauty without responsibility.

Really, there is no language for sound or music  Yet it is the most universal language, " sound with significance is language, but exploits the aural possibilities of pure sound, signifying nothing logical, but carrying aesthetically great and emotionally poignant meaning " - hence, the appeal-of music is more intellectual and abstract than in the other Fine Arts. It is so curious to notice that all " musical compositions are edifices which exist transiently in time " - which are mainly musical ideas and essences internally related to each other and no more - " This objectless realism of sounds, irrelevant to anything but its own internal relations, is surprising in its emotional effect on the listener ". Music can express the whole gamut of all emotions. Walter Tater says "All arts constantly aspire towards the condition of music " - meaning, while in the, other sister arts it is possible to detach form from matter, all art especially music, is an attempt to break the detachment. In all great art, the end is inseparable from the means. In music the great artists have put into sound a hearing which echoes their own meaning, of life. Music has more than any other art, the infinite, capacity to express to thousands of listeners in a thousands  different accent, in an intonate but irresponsible manner, what will be otherwise incommunicable.

Roger Bry says " Artis a biological blasphemy" in the sense that it panders to the-sense of the beautiful and is otherwise of no use. Is it really so? The exercise of any creative faculty is a biological function. It is a venue for the release of powerful and delectable emotional energy which is again Man's self-assertive and perpetuating instinct, latent in so many, at play. " Man does not live on bread alone ". Of course, society in all ages and conditions has encouraged any workman who performs a useful function. But more than merely living, the spiritual hunger of a man gives birth to the unusual power to feel and this passion to create. Art is the result. In other words, the world of the artist, is a richer dream, as it were, of experience, where the only reality is for the artist that it is aesthetically convincing and enjoyable. To this extent he is not a mere copyist of Nature or Humanity. With the technique and resources of his medium he expresses, in the phrases and idiom peculiar to it his imaginative reaction to some aspects of them.

This bifocal vision of Art, has at all times, produced what is commonly called " Commercial Art and Art for its own sake ", " commercial Art " is that which has always a reference to the requirements of society. A painter paints a picture with the idea of selling it. The more the artist bridges in his productions, the gap between what he yearns to produce and what the then society demands, the more commercial, his art becomes. But this pragmatic view of art has always been thought of at a lower evaluation by the higher conception, namely, that art should be indulged in for its own sake. Great artists have always be in people whose souls were thoroughly unfettered by the present dreamers and visionaries of no use to anyone but to themselves. Hence it is that one finds, some times, such artists thoroughly un-worldly, impractical and contributing nothing to the schematic efficiency of life. Apart from its commercial use, art fulfils a higher purpose. By ' intelligently educating the latent aesthetic sense, it is a means to a higher exaltation of the human spirit and an expression of this ecstatic state of the soul. Besides, it uplifts the soul of all with its contagion thus unifying all into one. Clive Bell says on Art that " it is in fact a necessity to and a product of the spiritual life," Tolstoy also says "It is a means of union among men, joining together in the same feelings and indispensable for the life and progress towards the well-being of the individuals and humanity. This double-edged view of aesthetic creation gradually merges into the two schools of thought, namely, Classicism and Romanticism. Ever since the beginning of the history of art, there have been two undecided and embittered sections of opinion regarding the aesthetic process of producing works of art, the Classical and the Romantic. It is a distinction between Reason and Emotion, Intellect and Imagination, in a crude way between Form and Matter. The Classicist is one who is concerned more with form than with matter. He imposes a voluntary. Rational control on the imagination and strives at a selective and chiseling ideal, making for simplicity and severity. His mission is to make the familiar charming, give novelty to things of every day life. He has the peculiar gift of retaining freshness even while endlessly repeating the same theme or subject-matter or himself. He is so good here because, he expresses himself so well. It is no surprise therefore, that the whole absorbs the attention of the Classicist, more than the parts. But the worst of Classicism is that much of it looks like hack-work and mechanisation. At his best he does not excite or thrill you. At his depths, he looks formal and sterile, dull and uninspired and lacking in emotional fire. He makes up in the unity, simplicity and austerity of the whole. One is some times, therefore, almost tempted to agree with the view that Classicism is negation, repudiation and contradiction of the creative impulse.

The Romanticist, on the contrary, is one who believes more in intuition and inspiration and in the philosophy, " Better, to have attempted and lost than not to have attempted at all ". He subordinates reason and conscious design to imagination, thus caring less for the attribute of beauty and being interested. more in the addition of the element of strangeness in all artistic organsisation. He is interested more in saying or expressing some thing that is unfamiliar and strange rather than saying or expressing it well. The worst of Romanticism is that it results in the violently fantastic and bizarre. The. romanticist is .rich in emotional content and easily swept off his own feet and. gives you the suspicion that you cannot always be sure of him or that he is "dependable". Thus what he lacks in structural unity, he makes up in the remarkable vigour and beauty of the parts but his merit far out-shines his weakness because his work is that of the unfettered creative impulse inherent in all humanity and satisfies the everlasting spiritual hunger of man-kind. From there it is quite logical to infer that the classicist has greater chances of becoming a professional success than his opposite. The greatest art is that which is born of profound and powerful emotional inspiration, controlled selected and chiseled by the exercise of reason and giving us a unified and, structural whole and achieving the union of vigour and beauty in the parts and exquisite attractiveness and appeal in the whole.

In short, the end of all art is to unite all in one common feeling. The use to which the individual puts his leisure is a key to knowing his cultural index and the arts constituting as they do, the play-time of the race indicate unequivocally, the quality and nature of its civilisation ' All art is therefore a fore-taste- and earnests of, the future ideal state wherein we will all have a rational civilisation in which sensuous beauty, emotional delicacy and intellectual order will work together in harmony-" a regimen for the conduct of the living, concerned with remediable evil and attainable good with happiness in this world and salvation in the next, "

" A refined musical sensibility is the most civilising of educational instruments. A mind educated to musical form and " an imagination refined to the finesse of musical emotion cannot remain completely gross in the contacts of life ". (Edman). To conclude in the end when all the nations of the earth are worn out in their fight for world-supremacy, when, there is a desperate cry for Universal Peace, Music will be the Messiah for the golden age, uniting all in one common language and religion or sound at once sensuous and intellectual, exciting to calm, stimulating to appeasement and marshalling all the powers for Goodness. Truth and Beauty to work in unison in a spontaneous, disciplined and organised manner, towards the achievement of the common weal of all mankind.