೩೪೪ | ಕುಕ್ಕಿಲ ಸಂಪುಟ
ಬಹುದು ಹೊರತು ಗಾನಲಯ ಅಥವಾ ಛಂದೋಲಯವಾಗುವುದಿಲ್ಲ. ಪಾಶ್ಚಾತ್ಯ
ರಲ್ಲಿಯೂ ವಸ್ತುತಃ ಇದು ನೃತ್ಯಲಯವೇ. ಅವರು ಛಂದಸ್ಸಿನ ಪಾಠ (Recitation)
ದಲ್ಲಿಯೂ ಅದೇ ಲಯವನ್ನು ಅನುಸರಿಸುತ್ತಾರೆ. ಅವರ ವರ್ಣೋಚ್ಚಾರವು ಸ್ವರಭಾರ
(Accent) ಪ್ರಧಾನವಾಗಿರುವುದು. ಅವರ ತಾಳದ Beat, section ಅಂಗಗಳೆಂದರೆ
ಇವೇ ಲಯ ವಿಭಾಗಗಳಾಗಿರುತ್ತವೆ ಎಂಬುದನ್ನು ಲಕ್ಷಿಸಬಹುದು. ನಮ್ಮ ಮತ್ತು ಅವರ
ಛಂದೋಲಯಗಳಲ್ಲಿರುವ ಈ ಪ್ರತ್ಯೇಕ ವೈಶಿಷ್ಟ್ಯಗಳನ್ನು Fox Strangeways
ಎಂಬ ಪಾಶ್ಚಾತ್ಯ ವಿದ್ವಾಂಸನು Music of Hindustan ಎಂಬ ಗ್ರಂಥದಲ್ಲಿ
ಸರಿಯಾಗಿಯೇ ಲಕ್ಷಿಸಿರುತ್ತಾನೆ-
Fox Strangeways, elaborating the difference between Indian
and European (Musical) time measures, says:
'Indian rhythm moves in avartas (bars) broken up into
vibha-gas (beats), each of which contains one or more talas. We
can equally say that it moves in sections broken up into bars, each
of which contains one or more beats. In what dose the difference
between the two systems consist? It may be answered that theirs'
is derived from song, ours from the dance or the march; that both
are based upon the numbers 2 and 3, but that they add and we
multiply in order to form combinations of these. But that they add
and we multiply in order to form combinations of these. But the
answer which goes deepest is that thier music is in modes of time
(as we saw that it was in modes of tune), and that ours changes
that mode at will, principally by means of harmony. In order that
rhythm, an articulation of infinite variety of sounds, may be upon
some regular plan, the plan must have some recognizable unit of
measurement. India takes the short note and gives it, for a
particular rhythm, a certian value as opposed to the long; Europe
takes the stressed note and gives it in a particular rhythm, a
certian frequency; as against the unstressed, and graduates its
force. We find the unity of the rhythm in the recurrent bar (which is
always in double or triple time, just as our two melodic modes are
either major or minor), and have to look elsewhere for the variety;
they find variety in the vibhaga, whose constitution is exstremely
various, and must look for the large spaces of time; they find unity
in avarta and we find variety in sections.'
'Indian rhythms have their raisondetre in the contrast of long.
and short duration \, and to identify these with much or little stress
is to vulgerize the rhythms. stress pulses and demands regularity;
duration is complimentary and reveels in irregularity. In order to
get the true sense of duration we have to get rid of stress.'-
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