The totality of song, instrumental play and dance (giita-va’dya’-nrtya) is called sam’giita or music. When a song is composed only to express the laughter and tears of ordinary life, there is hardly any difficulty in conveying this to the ears and hearts of the people: the song discharges its responsibility well enough through the medium of ordinary language and melody.

But where the feelings and sensibilities are deep and subtle — where one has to create vibrations in the molecules and atoms of the body, in the chords of the heart — there the music has to follow an extraordinary path: Hence to those who are incapable of ingesting the subtle feelings of the Science of Music, the a’la’pa or introductory portion of a classical piece, will be nothing but pra’la’pa or delirious raving.

If music must descend to the ordinary level of life to conform to the slogan of naturalness, then pre-eminence will be given to doggerels, as the sweetness and charm of real music becomes extinct. Indeed, the music that is in vogue in the world today in the name of “popular music” is nothing but doggerels of this type, though expressed in a better language. Language, rhythm and melody are the indispensable parts of a song: one cannot exclude any one of them. (The difference between song and instrumental music is that songs comprise rhythm, melody and language, but in instrumental music, rhythm is predominant, melody is subordinate, and language is absolutely nil.)

Shrii P. R. Sarkar

A Music College has been established at Uma Nivas India.   Several Music Academies are developing for Prabhat Samghiita.