To Satyanad Kichenassamy’s wonderfully informative reply to this query, I only wish to add that some indologists who have experience in archeology, art history, or manuscriptology may have encountered the technique of chemical analysis known as Raman Spectroscopy and based on C V Raman’s work on optics. Quite the man for all seasons.
Matthew Kapstein Sent from Proton Mail for iOS On Sat, Aug 5, 2023 at 21:12, Satyanad Kichenassamy <[[email protected]](mailto:On Sat, Aug 5, 2023 at 21:12, Satyanad Kichenassamy <<a href=)> wrote: > Dear Herman (if I may), > > About the paste used nowadays to produce varying membrane thickness in > mrdangam : "Iron filings or manganese dust mixed with cooked rice provide the > black-paste [sic] on the right head of the Mridangam." (P. Sambamoorthy; Laya > Vadyas, New Delhi : All India Handicrafts Board, 1959, p. 3). I haven't heard > it called mārjanā in this context -- of course, this doesn't mean it is not > attested. > > What is alluded to in Naa.tyazaastra, ch 33 under mārjanā could be something > like the above, but that is not clear. Another possibility is something like > this : "[i]n the drum Urumi, the milky juice of a plant is applied on the > right head and rubbed. This head when stroked, gives that characteristic > sound. In fact, Urumi is an onamatopoetic name." (P. Sambamoorthy, op. cit. > p. 3). > > Coming back to the mridangam, the effect of the paste at the center of Indian > drums has been elucidated by C. Venkata Raman (Nobel Prize in Physics, 1930). > He showed that : > > "in the Indian musical drums we have a circular drum-head which is loaded and > damped in such a manner that all the overtones above the ninth are suppressed > and these nine are grouped in such a manner as to give a succession of five > tones in harmonic sequence." > > see > > Scientific papers of C. V. Raman, volume 2, p. 464 > > (reprinted from "The Indian musical drums" Proc. Indian Acad. Sci. A1 179-188 > (1935)). > > available at archive.org. This is why the sound of the mridangam markedly > differs from that of a drum with a mere circular (uniform) membrane, as > anybody can check. > > The above volume of over six hundred pages contains C. Venkata Raman's > contributions to acoustics. He was himself a competent violin player, and he > analyzed, among other things, the workings of a variety of musical > instruments. The papers relevant to Indian drums are articles 42, 43, 45 and > 46. > > Many sections of these papers may be followed with little scientific > background. For this reason, some of his arguments, that only require musical > sense and experimenting with strokes, may be historically relevant in part, > although that wasn't his focus of interest. He does not refrain from using > modern physical concepts in his papers. > > In ancient Tamil literature, there were also much bigger drums as long as a > bed (this refers of course to how poet மோசிகீரனார் nearly escaped death, see > புறம் 50). If these war drums looked like timpani, the relevant tuning may > have been different. > > The timpani or kettledrums also admit of tuning -- see the beginning of the > second movement of Beethoven's D minor symphony op. 125 (the "choral" s.) for > a familiar and remarkable example among many. However, modern timpani do not > sound at all like the mridangam, apparently because only the first three > frequencies are controlled in the former, as opposed to nine in the latter. > "The three principal modes, under normal playing and tuning conditions, have > frequencies nearly in the ratio of 4:3:2, thus giving timpani a musical pitch > which is easily discernible." (CA Anderson and TD Rossing, J Acoust Soc Am > 66, S18 (1979), Abstract). It appears that the loading here is provided by > the large air mass enclosed in the drum, rather than by a paste. > > At any rate, a variety of physical phenomena, some rather subtle, need to be > taken into account to understand the effect of drum shape and tuning. Even if > the physics had not been understood in ancient times, the musical > implications of surface treatment were observed -- otherwise these treatments > would not have been adopted in the first place. And it is apparent they are > missed if one disregards the correlation between drum construction and the > sounds it can produce -- they are very difficult to guess indeed. > > (Sir) CV Raman is better known for his work in Optics. He discovered what we > now call the Raman effect. He explained why the blue color of the > Mediterranean, or of ice in glaciers, are different from the blue color of > the sky. Recall that it is Lord Rayleigh that had explained why the sky is > blue even though the sun isn't. > > I hope this helps somewhat, > > Kind regards, > > Satyanad Kichenassamy > > Le 05/08/2023 à 10:59, Tieken, H.J.H. (Herman) via INDOLOGY a écrit : > >> Dear List members, >> >> I would like to know more about the so-called tuning paste, or the mud >> smeared on the membrane of a drum (Skt mārjanā) or (in Caṅkam poetry) a lute >> (yāḻ). What does it actually do, for instance, is it making the leather more >> supple? >> >> With kind regards, Herman >> >> Herman Tieken >> Stationsweg 58 >> 2515 BP Den Haag >> The Netherlands >> 00 31 (0)70 2208127 >> website: [hermantieken.com](http://hermantieken.com/) >> >> The Aśoka Inscriptions: Analysing a corpus, New Delhi: Primus Books, 2023. >> https://primusbooks.com/ancient/the-asoka-inscriptions-analysing-a-corpus-by-herman-tieken/ >> >> _______________________________________________ >> INDOLOGY mailing list >> [email protected] >> >> https://list.indology.info/mailman/listinfo/indology > > -- > ********************************************** > Satyanad KICHENASSAMY > Professor of Mathematics > Laboratoire de Mathématiques de Reims (CNRS, UMR9008) > Université de Reims Champagne-Ardenne > F-51687 Reims Cedex 2 > France > Web: > https://www.normalesup.org/~kichenassamy > **********************************************
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