Danielou and Tamil Musicology

[Palaniappa at aol.com]

Yes, Ramanathan published "cilappatikArattu icai nuNukkam" in 1956. According
to his introduction in the book "cilappatikArattu icait tamiz", he had
 presented a research paper on the seven major musical scales at the First
International Tamil conference in Kualalumpur. He wrote his dissertation at
Wesleyan in 1970. He says that "cilappatikArattu icait tamiz" (published in
1981) was based on all his research until that time. So my guess is that he
must have added some material between 1956 and 1970. 

The two processes of 'paNNup peyarttal' are 'valamurait tiripu' and
'iTamurait tiripu'. In the first one, in an ascending fashion 'ri' of
Harikambodi (cempAlai) is kept as 'sa' to get Natabhairavi (paTumalaip pAlai)
and then ga of Harikambodi is kept as 'sa' to get Thodi with two 'ma's, and
so on. In the latter, in a descending manner, the 'sa' of Sankarabharanam
(arum pAlai) becomes 'ni' of Kharaharapriya (kOTip pAlai), then the 'sa' of
Sankarabharanam (arum pAlai) becomes 'da' of  normal Thodi, and so on.

VPKS also clarified the terminology with respect to mullaip paN. mullai yAz
or mullaipperumpaN or cempAlaip paN is raga Harikambodi. paN mullaittImpANi
or paN cAtAri is raga Mohanam which is derived from Harikambodi by
eliminating 'ma' and 'ni' notes. 

Regards.

S. Palaniappan