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Title: 22 SHRUTIS and Melodium
Author: Dr. Vidyadhar Oke
Publisher: Sanskar prakashan, Mumbai, India [2007]
Pages: 94.
Website: www.22shrutiharmonium.com
This is a book on microtones (shrutis) in Indian music. It brings to
light those
microtones in mathematical terms, and also reiterates and reinforces the
concept of shruti given in ancient treatises on music by Bharat Muni and others.
The ancient sage-musicologists expressed shrutis as additive. In this book the
same shrutis, as well as the same number, 22, of shrutis, are derived
in terms of
simple ratios. Of course, this has always been the practice adopted by the
Western musicologists. However, Dr. Vidyadharji, in this book, uses this concept
not only to derive the number of shrutis, but also shows us why that
number is 22.
He also shows us how to play those shrutis on a string, and on the keyboard.
In addition, Dr. Oke has made available a unique and patented harmonium
(called Melodium), and a metallophone, so you can actually play those 22 shrutis
meaningfully. This proves, once for all, that the shruti is not merely
an ancient,
ambiguous and out-of-date concept, but it is a mathematical derivation of the
very fundamental concept in the aesthetics of Indian music. He proves the
relevance of the shruti concept in today's Indian classical music. At the same
time, Vidyadharji also recognises the fact that good
singers/instrumentalists of
Indian music have always been using the correct shrutis, through intuition.
The book shows how the three kinds of shruti, namely, Poorna shruti, Pramana
shruti, and Nyoona shruti, are derived. Also briefly mentioned are the
differences
in shrutis in Hindustani and Karnatic classical styles of music. In the book, a
comparison has been brought out between the shrutis and Pythagorean and
Ptolemic commas. The shrutis have been derived through pancham samvad and
madhyam samvad.
And, finally, Dr. Oke has provided in his book the guidelines for the
use of shrutis
as swaras (notes) in various ragas. This shows the importance and significance
of using the concept of shruti in the Indian classical music of today.
Dr. Vidyadhar Oke deserves all the compliments for his work on shrutis in the
present book. The book must find a respectful place on the desk of all Indian
musicians and musicologists.
Haresh Bakshi Feb. 3, 2008.
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