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CHAPTER IV

THERAPEUTIC USES OF MUSIC IN INDIAN CLASSICAL

MUSICOLOGICAL TEXTS

Popular is the opinion that Indian Classical Music possesses healing attributes. Time

immemorial have existed various miraculous stories about our classical music, which lied

in the hands of great masters, had the capacity to heal the mind and body. Scholars are of

the belief that the very roots of Indian Music lie in our sacred scriptures so an in-depth

study of the Vedic era automatically becomes mandatory.

Exploring the Philosophical and Musicological literature of Ancient India various terms

like Akshara, Sabda, Om, Pranava, Udgitha, Nada, Para Brahma, Nada Brahma, Dhvani,

Shruti, Swara, Sangeeta, Raga, Raginis etc., are respectively found in Sacred Vedas,

Upanishads, Tantras, Epics, Puranas, and different classical musicological texts.

Hypothetically, these have been discussed or used in context of / for sound and are

considered likely to be the precursor of, what is known to us as Music today. But the

question is was our music acknowledged for it’s much boasted about “healing potential”

in the scriptural lineage?

Ms. Sonia Parikh in her book “Hkkjrh; laxhr }kjk fpfdRlk”, p.80 quotes that:-

Jh mes”k tks”kh viuh iqLrd ^Hkkjrh; laxhr dk bfrgkl*

esa fy[krs gSa fd rkez ;qx (copper age) esa tc dksbZ chekj

iM+rk Fkk rks nzfoM+ mls nok ugha nsrs Fks cfYd laxhr }kjk

mldk mipkj djrs Fks vkSj bl lkaxhfrd mipkj ls

vusd O;fDr LoLFk vkSj lqanj cu tkrs Fks A feLVj

Mksokldhjseyk us Hkh bl ckr dh iqf’V viuh iqLrd “The

enchanting power of music” esa rFkk fo[;kr ys[kd tkWu

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QkDl us “The Health & Music” esa dh gSA

According to Sakuntala Narasimhan in “Invitation to Indian Music”, p.12. - History of

Indian music dates back to 3rd and 2nd millennia BC i.e. the period of Indus valley

civilization, references to Indian classical music can be found in the Vedas. Four in

number viz., Rig-Veda, Sama-Veda, Yajur-Veda & Atharva-Veda. The oldest, the Rig

Veda, dates back to about 4,000 B.C. It was recited, at first, in a monotone and then later

developed to 3 tones (one main tone and two accents viz., one higher (uddatta) and one

lower (anudatta), and svarita. This was done to accentuate the words, since the text was

of primary importance. The Yajur Veda, which mainly consists of sacrificial formulas,

mentions the "veena" as an accompaniment to vocal recitations during the sacrifices. By

this time, the chants had evolved to two main notes with two accents, which formed the

first concept of the tetra chord (4 note chord). Three more notes were added to the

original tetra chord, resulting in the first full scale of seven notes. These original seven

notes used in reciting the Sama Veda became the first ragas and, it later became known as

the Kharaharapriya raga of the Carnatic (South Indian) system of music.

It is observed by the learned that music from its early times had been a spiritual modality

used for meditation to attain self-realization or to elevate the mind & soul. Traces of the

association of musical terms & tones and syllables of the chants (mantras) with the deities

(brahma, Vishnu, Shiva, Shakti, etc.) can be found in most of the hymns (strotas).

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The chart below shows the types of Vedas, Shastras, Epics, Puranas & their lateral

extensions:

Image Source:

http://www.thevedicfoundation.org/authentic_hinduism/bhartiya_scriptures.htm

Indian mystical & philosophical thinking is impregnated with Om, mentioned widely in

Upanishads, tantras, puranas, samkhyas and in specialized vedantic texts. It symbolizes

the essence of sanatan dharam (the eternal way), commonly known as Hinduism – the

tolerant & profound conglomeration of spiritual thinking and practice from which yoga

has come. Om is known as the “Mahat Mantra” meaning “The Great Mantra” and is not

directly mentioned in Rig Veda, probably because it was considered too sacred to utter or

even write down. Om is first mentioned, albeit indirectly, in Yajurveda in verse 1:1

where it is known as ‘Pranava’ i.e. ‘the humming sound’ – or as ‘Udgita’ meaning ‘the

elevating chant’. No graphic representation of Om has yet been found in the extensive

excavations of the so-called Indus Valley civilization (circa 3000 BC, though probably

older). The reason may be either that Om was considered too sacred to be graphically

represented, or that it had not yet been realized and brought into mainstream spiritual

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practice. The oldest direct references and descriptions of Om are to be found in the

Upanishads, which are considered to contain the essential teachings of the Vedas. 0F

1

A) DELVING THE PAST

Bill Osmer is of the view that Indian

music has at its roots a spiritual concept

that is always present philosophically

and musically - the idea that creation is

a manifestation of consciousness at

different levels of vibration. From the

Samkhya philosophy of creation to

numerous verses of the Vedas and

Upanishads, this idea resonates

throughout. 1F

2

Scriptural verses from “Hymns of the

Samaveda” translated by Ralph T.H.

Griffith, (1895) given below exhibiting

the sacredness & effectiveness of the Maha-Mantra (om):

Samaveda - Part 2nd, Book II, verse (2.19.2), Says - For he, O Indra, hath produced for

thee the newest gladdening song. A hymn that springs from careful drop thought,

ancient and full of sacred truth.

Part 2nd, Book V, verse (2.8.6) The Pavamana (self-purifying), hymns bring weal

(prosperity): by these man goes to Paradise.

Part 2nd, Book V, verse (2.11.3) - Penetrate, Pavamana (self-purifying), best at winning

booty, with thy rays, giving the Singer hero strength!

1 Swami Nishchalananda Saraswati, article “The Mantra Om – Symbol of Primordial Vibration”, at www.mandalayoga.net 2 Bill Osmer, 2006, Raga Chikitsa and Raga Ragini Vidya, at http://yogasangeeta.org/index.php?option=com_content&view=article&id=172:article-raga-ragini-bilwa&catid=923:raga-ragini&Itemid=273&directory=273

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1. Significance of OM in Upanishads:

The sacred syllable OM and was considered as the originator of the entire cosmos. This

statement is supported by few verses of Chandogaya Upanishad:

,s’kka Hkwrkuka ifFkoh jl% ifFkO;k viks jl% A

vikeks’k/k;ks jl vks’k/khuka iq:’kks jl%

iq:’kL; okxzlks okp _xzl _p% lke jl%

lkEu mn~xhFkks jl% AA 1-1-2 AA

Gist - The essence of all these beings is the earth; the essence of the earth is water; the

essence of water is plants; the essence of plants is a person; essence of a person is speech;

the essence of speech is the Rig—Veda; essence of the Rig—Veda is the Sama—Veda;

the essence of the Sama—Veda is the Udgitha which is Om. 1

The ancient Vedic philosophy confirms the origin of the universe along with its five

elements, living & non-living beings all from the sacred sound ‘AUM’ also known as

Pranava. The shloka given below from Dhyanabindu Upanishad brings out the validity of

the statement: 2

vksasssdkj izHkOkk nsOkk% vksadkj IkzHkokLOkjk% A

vksa sdkj izHkok loZ =SyksD; Lojkpj.k AA

Mandukya Upanishad begins with a verse-

vkse~ br;srn{kjfen loZa rL;ksiO[;kua

Hkwra Hkon~ Hkfo’;fnfr loZeksM-dkj ,o

;PpkU;r~ f=dkykrhra rnI;ksM-dkj ,o AA 1 AA

Gist - Harih Aum! AUM, the word, is all this, the whole universe. A clear explanation of

it is as follows: All that is past, present and future is, indeed, AUM. And whatever else

there is, beyond the threefold division of time—that also is truly AUM. 3

1 Swami Nikhilananda (Translator), Chandogaya Upanishad, at www.swamij.com 2 Indra Bhai, Thesis – “Music & Mythology”, D.U, 1986, p.21 3 Swami Nikhilananda (Translator), Mandukya Upanishad with Gaudapada's Karika, at www.swamij.com

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In Taittriya Upanishad, Shankar Bhashyam Shiksha, Adhyaya 4 - Om is also the source

of devotional recital of god & a way of salvation according to our ancient scholars. 1

vksadkj fcUnwla;qDre fuR;a /;k;fUr ;kSfxu% A

dkena eks{kna pSo vksadkjk; ueks ue% AA

Chandogaya Upanishad narrates that Udgitha (Om) is the best of all essences, the

supreme, deserving the highest place, the eighth. Speech, indeed, is the Rik; the vital

breath (prana) is the Saman; the syllable Om is the Udgitha. When Speech and the prana,

form a couple and become united in the syllable Om then they fulfill each other’s desire

in the below verse:

l ,’k jlkuk jlre% ije% ijk/;ksZs‘Veks ;nqn~xhFk% AA 1-1-3 AA okxsoDizkZ.k% lkeksfeR;srn{kjeqn~xhFk% A

r}k ,rfUeFkqua ;}kDp izk.kJpDpZ lke p AA 1-1-5 AA

rnsrfUeFkqueksfeR;srfLeUu{kjs l lt;rs

;nk oS feFkqukS lekxPNr vki;rks oS

rkoU;ksU;L; dkee~ AA 1-1-6 AA

Now udgitha (Om) with reference to the body (Chandogaya Upanishad):

vkxkrk g oS dkekuka Hkofr ; ,rnsoa

fo}ku{kjeqn~xhFkeqikLr bR;/;kRee~ AA 1-2-14 AA

Gist - He who meditates upon the imperishable Udgitha (Om) obtains all his desires by

singing the Udgitha.

In Katha Upanishad also, Sage Yama reveals to Nachiketa (1.2.15-16) that the goal which

all the Vedas declare, which all austerities aim at and which men desire when they lead

the life of continence, it is Om. This syllable Om is indeed Brahman. This syllable is the

Highest. Whosoever knows this syllable obtains all that he desires.

1 Indra Bhai, Thesis – “Music & Mythology”, D.U, 1986, p.21

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He who sings the praise of the syllable Om enters this same syllable, called the Svara,

which is immortal and fearless. Having entered it, he becomes immortal, also one should

meditate on the Udgitha as the principal prana, for (i.e. the vital breath) moves in the

body, on uttering Om (Chandogaya Upanishad):

l ; ,rnsoa fo}ku{kja iz.kkSR;srnsok{kj

LojeereHk;a izfo”kfr rRizfo”; ;nerk

nsokLrnerks HkofrAA 1-4-5 AA

vFkk/;kRea ; ,ok;a eq[;%

izk.kLreqn~xhFkeqiklhrksfefr g;ks’k LojUusfr AA 1-5-3 AA

2. Vedic Syllables - The Potent Codes:

Upanishads like Chandogaya has it that, the celestial & terrestrial elements has a syllable

associated with it, an example of which is given below from the same:

v;a oko yksdks gkmdkj% ok;qgkZbdkjJpUnzek vFkdkj% A

vkRessgdkjkssfXujhdkj% AA 1-13-1 AA

vkfnR; mdkjks fugo ,dkjks foJos nsok

vkSgksf;dkj% iztifrfgdkj% izk.k% LojkssUua ;k okfXojkV~AA 1-13-2 AA vfu:DrL=;ksn”k% LrksHk% laPkkjks gqadkj% AA 1-13-3 AA

Gist - This Earth is verily the syllable hau; the air is the syllable hai; the moon is the

syllable atha; the self is the syllable iha; the fire is the syllable i. The sun is the syllable

u; the invocation is the syllable e; the Visve—devas are the syllable au—ho—i; Prajapati

is the syllable him; the prana the syllable svara; food is the syllable ya; Virat is the

syllable vak. Indefinable is the thirteenth stobha, namely, the variable syllable hum.1

Syllables, Senses & Impact – Nexus:

Chandogaya Upanishad has linked the fivefold samas viz. himkara, prastava, udgitha,

pratihara & nidhana, with the five senses, in the 1st chapter of second part (adhyaya 2) as:

1 Swami Nikhilananda (Translator), Chandogaya Upanishad, at www.swamij.com

276

Ikzk.ks’kq iUpfo/ka ijksojh;% lkeksiklhr izk.kks

fgadjks okDizLrkoJ~p{kq:n~xhFk% Jks=a izfrgkjks

euks fu/kua ijksokjh;k fl nk ,rkfu AA 2-7-1 AA

ijksojh;ks gkL; Hkofr ijksojh;lks g yksdkUt;fr

; ,rnsoa fo}kUizk.ks’kq iUpfi/ka ijksojh;%

lkeksikLr bfr rq iUpfo/kL; AA 2-7-2 AA

One should meditate on the fivefold Saman, which is the most excellent, as the pranas

(senses). The syllable Him is smell (i.e. the nose), the Prastava speech (the tongue), the

Udgitha sight (the eye), the Pratihara hearing (the ear), the Nidhana the mind. These

are each greater than the preceding. The most excellent objects belong to him, nay; he

conquers the most excellent worlds (i.e. earth, fire, sky, sun & heaven) who, meditates

on the fivefold Saman.

In the 10th chapter of 2nd adhyaya (part) sevenfold sama is given in a revised order

himkara, prastava, adi, pratihara, udgitha, updrava & nidhana. Here the author has

assigned particular number of syllables 3, 3, 2, 4, 3, 4, 3 respectively to each of the seven

fold samas, which makes the sum total of 22 and meditating on which leads beyond

death (2.10.2-3-4), further links the seven syllables with different sense organs in the

shloka below:

euks fgadkjks okDizLrkoJ~p{kq:n~xhFk% Jks=a izfrgkj%

izk.kks fu/kuesrn~xk;=a izk.ks’kq izksre~ AA 2-11-1 AA

l ,oesrn~xk;=a izk.ks’kq izksra osn izk.kh Hkofr

loZek;qjsdr T;ksXthofr egkUizt;k i”kqfHkHkZofr

egkUdhR;kZ egkeuk% L;kRRkn~ozre AA 2-11-2 AA

The syllable- Him is linked with the mind, the Prastava with speech, the Udgitha with

sight, the Pratihara with hearing, the Nidhana with the breath (the prana). This is the

Gayatra Saman. He who thus meditates on this (Gayatra Saman) interwoven in the

pranas preserves his sense organs intact, reaches the full length of life, lives brightly,

and becomes great in children and cattle, great in fame.

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Meditation on Yajnayajniya saman in reference to the body parts in the same

Upanishad goes like this:

Ykkse fgsadkjLRoDizLrkoks ek leqn~xhFkksfLFk

Izkfrgkjks eTtk fu/kuesr|Kk;Kh;eM~-xs’kq izksre~ AA 2-19-1 AA

L ; ,oesr|Kk;Kh;eM~-xs’kq izksra osnkM~-xh Hkofr

ukM~-xsu fogwNZfr loZek;qjsfr T;ksXthofr

egkUizt;k i”kqfHkHkZofr egkUdhR;kZ laoRlja

eTKks uk”uh;kRrn~ozra eTKks uk”uh;kfnfr ok AA 2-19-2 AA

The syllable Him is hair, the Prastava is skin, the Udgitha is flesh, the Pratihara is

bone, and the Nidhana is marrow. This is the Yajnayajniya Saman as interwoven in the

parts of the body. He who thus meditates on it becomes possessed of limbs; he is not

crippled in any limb, he reaches the full length of life, lives brightly, becomes great in

children and cattle, great in fame.

Chandogaya Upanishad Discusses forth about the pronunciation of different notes in

chanting of saman in the below verse:

losZ Lojk ?kks’koUrks cyoUrks oDrO;k-------

---------------loZs Li”kkZ ys”ksukufHkfufgrk---------AA 2-22-5 AA

All vowels should be pronounced with resonance and strength and with the thought

on the part of the singer & all consonants should be pronounced slowly and without

mixing them with the others.

3. The Gayatri Mantra – A Descendant of Om:

Let us first understand the meaning of Gayatri and Mantra.

Adhyaya 3rd of part 12th of Chandogaya Upanishad tells the meaning of gayatri as:

Xkk;=h ok bZn loZ Hkwra ;fnna fda p okXoS xk;=h

okXok bn loZ Hkwra xk;fr p =k;rs p AA 3-12-1 AA

;k oS lk ifFkoh;a oko lk ;fnnefLeUiq:’ks

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“kjhjefLeUghes izk.kk% izfrf’Brk ,rnso ukfr”kh;Urs AA 3-12-3 AA

;}S rRiq:’ks “kjhjfena oko lk r|fnnefLeUuUr%

iq:’ks gn;efLeUghes izk.kk izfrf’Brk ,rnso ukfr”kh;Urs AA 3-12-4 AA

The gayatri is everything, whatever here exists. Speech is the Gayatri, because speech

sings forth (gaya—ti) and protects (traya—te) everything, whatever here exists. In man,

that Gayatri is also the body, because the pranas exist in it. And that body, in man, is

again the heart, because the pranas exist in it and do not go beyond.

Whereas, Mantra is derived from Sanskrit words ‘manas’ &’trai’, former syllable stands

for ‘mind’ and the latter means to ‘protect’ or ‘to free’. Therefore, the word in its most

literal sense means to free from the mind. Mantra is, at its core, is a tool used by the mind,

which eventually frees one from the vagaries of the mind. 1

Bhuh, Bhuvah, Suvah – these three, indeed, are the Vyahritis. Of them the fourth one

known as– Maha by name is the Brahman; it is the Self. The other gods are the limbs.

Know it as - Bhuh is this world, Bhuvah is the intermediate space & Suvah is the other

world. Maha is the sun & through the sun, indeed all the worlds flourish. Now, Bhuh is

the fire, Bhuvah is the air & Suvah is the sun. Maha is the moon & through the moon,

indeed, all the luminaries flourish. Again, Bhuh, is the Rig-Veda. Bhuvah is the Sama-

Veda. Suvah is the Yajur-Veda Maha is Brahman (i.e. Om) & by Brahman (Om), indeed,

all the Vedas nourished. Bhuh, indeed, is Prana; Bhuvah is Apana; Suvah is Vyana; Maha

is food; for by food, indeed, are all the vital forces nourished. These, then, that are four,

are (each) fourfold. The Vyahritis are divided into four groups of four (each). He who

knows these knows Brahman, so says Taittriya Upanishad (1.5.1-3): 2

HkwHkqZo% lqofjfr ok ,rkfLrlzks O;kgr;%A

---------------------------------------------

lqofjR;lkS yksd% AA 1 AA

eg bR;kfnR;%A

1 What Is a Mantra and How Does It Work, at http://www.sanskritmantra.com/what.htm 2 Swami Gambhirananda (Translator), Taittriya Upanishad, Pub. Adaivita Ashram, Kolkata

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---------------------------------------------------------

lqofjfr ;tw f’k AA 2 AA

l osn czg~e A losZ LeS nsok cfyekogfUr AA 3 AA

The 16th part of Chandogaya Upanishad deems the life of the man as a sacrifice and his

life been divided into three metres – the gayatri, the tristubh & the jagati metre, reciting

which one can abide all the ailments and live for 116 years:

Ikq:’kks oko ;KLrL;-------------------

------------------------‘kksM”ka o’kZ”kra thofr ; ,oa osn AA 3-16-1&7 AA

Gist - A person, indeed, is a sacrifice. His first twenty—four years constitute the morning

libation. The Gayatri metre has twenty-four syllables and the morning libation is offered

with Gayatri hymns. The Vasus are connected with this part of sacrifice. The pranas are

the Vasus here; for, verily, they make everything abide (visayanti) in this body and if

anything ails him during that period, he should recite the following mantra: "O ye pranas,

ye Vasus, unite this morning libation with the midday libation. May I, who am a sacrifice,

not disappear in the midst of the pranas, who are the Vasus." Thus he rises from his

illness and becomes free of it. His next forty—four years constitute the midday libation.

The Tristubh metre has forty-four syllables and the midday libation is offered with

Tristubh hymns. The Rudras are connected with that part of the sacrifice. The pranas are

the Rudras; for, verily, they make everything weep (rodayanti). If anything ails him

during that second period, he should recite the following mantra: "O ye pranas, ye Rudras,

unite this midday libation with the third libation. May I, who am a sacrifice, not disappear

in the midst of the pranas, who are the Rudras." Thus he rises from his illness and

becomes free of it. His next forty—eight years constitute the third oblation. The Jagati

metre has forty-eight syllables and the third oblation is offered with Jagati hymns. The

Adityas are connected with that part of the sacrifice. The pranas are the Adityas; for,

verily, they take up (adadate) every—thing. If anything ails him during that third period,

he should recite the following mantra: "O ye pranas, ye Adityas, extend this my third

libation to the full age. May I, who am a sacrifice, not disappear in the midst of the

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pranas, who are the Adityas." Thus he rises from his illness and becomes free of it. He

who knows this lives on to a hundred and sixteen years.

With Om, Brahma created this cosmos, and from Om constituted of the three isolated

letters A, U, M, the Vyahritis came forth: Bhuh, Bhuvah, Svah. From the three Padas of

the Gayatri-Mantra, the meaning of the three sections of the Purusha-Sukta emerged, and

from the meaning of the Purusha-Sukta, the meaning of the entire Vedas emanated, and

from this vast meaning of the Vedas, Brahma created this cosmos, say the scriptures. 1

The Gayatri mantra originally contained in Rig-Veda starts from “Tat savitur vare niyam”,

is said to be the Mother of the Vedas, having 24 syllables, reads as:

(3.62.10)

Word to Word meaning of the Mantra:

tat = that ;

savitur = bright like sun ;

varenyam = best choicest ;

bhargo = destroyer of sins ;

devasya = divine ;

these first nine words describe the glory of God

dheemahi = may imbibe ; pertains to meditation

dhiyo = intellect ;

yo = who ;

naha = our ;

1 Swami Krishnananda, The Mandukya Upanishad, Pub. The Divine Life Society Sivananda Ashram, 1996, p.61

281

prachodayat = may inspire!

“dhiyo yo na prachodayat” is a prayer to God

The literal meaning of the mantra is: "We meditate upon (dheemahi) the splendour or the

glory (bhargo) of the most adorable (varenyam) Supreme-Divine- Being (devasya) from

which Savitur (the centre of light) is born. Who (yo) may stimulate or sharpen

(prachdayat) our (na) intellect (dheeyo)." 1

The gayatri is four-footed and sixfold (Chandogaya Upanishad 3.12.5), each foot

consisting of 8 syllables (Brihadaranyaka Upanishad 5.14.1-4), mediating on the first

(aum bhur bhuvah svaha) leads to win all that is in the three worlds viz. earth, sky and

heaven. The knower of the second foot (tat savitur varenyam) wins as much as that

treasury of knowledge, the three Vedas, has to confer. Whereas, three forms of the vital

breath constitute the third foot of the Gayatri (bhargo devasaya dheemahi), knower of

which wins all the living beings that are in the universe. The fourth (dheeyo yo nah

prachodyaat) is called turiya, knower of which shines with splendour and glory. The

Gayatri is based on the vital breath within the body. That Gayatri protected the gayas.

The organs are the gayas; therefore the Gayatri protected (tatre) the organs. And

because it protected the organs, it is called the Gayatri.

As per the practice description in Yajurveda (22.9, 30.2, 36.3), before each offering in

sacrifice (yajya) or before commencing any spiritual ceremony, as part of invocation, all

mantras are chanted with the pre-fix: Aum Bhur Bhuvaha Svah. Therefore, the Savitri or

the gayatri mantra, as it is popularly known, is also chanted with the pre-fix of seven

syllables of Aum, Bhur, Bhuvah, Svah . Here AUM is the Nada-Brahman (primeval

sound) emanating from the Supreme at the time of creation. The remaining three words

of Bhur, Bhuvah Suvah represent the earth (matter), atmosphere and the space as symbols

of gross, subtle and casual or sat, chit ananda (truth, beauty and bliss). In the context of

human body, these represent the three important parts of the body: from feet to the navel

centre is bhur (the earth), from navel to throat centre is bhuva (the atmosphere), and 1 Dr. Manohar Abhay, Article - My Pilgrimage to Gayatri Mantra at http://sanskritdocuments.org/articles/MyPilgrimagetoGayatriMantra.html

282

from above the throat to mind (braham randh) is svaha (the space).

Meditating the first part of Gayatri, one contemplates, to invoke certain powers, on the

glory of the light that illumines the three worlds namely; earth, sky and heaven or the

gross, subtle and casual or the three realms of waking, dreaming, and sleep or the three

part s of the body (from feet to navel, navel to throat, throat to mind). This prepares the

ground for effective functioning of the second, third and the fourth part of the mantra.

This is also an invocation to pay reverence to the planes of our existence (the planes of

our ordinary life- the physical, astral and mental) and to invite their presiding deities to

support and help us. 1

So important is Om, not a chant uttered by Brahma, but a vibration that rose from the

Supreme Being in the initial stage of creation - a comprehensive vibration. And when we

chant Om, we also try to create within ourselves a sympathetic vibration, a vibration that

has sympathy with the cosmic vibration, so that, for the time being, we are in tune with

the cosmos. We flow with the current of the cosmos when we recite Om, and produce a

harmonious vibration in our bodily and psychological system. 2

Image Source: http://nirmukta.com/2010/05/22/the-art-of-pseudoscience-featuring-the-gayatri-mantra-a-five-step-program/

1 Khadesar Dham Ashram, at http://www.gayatrisidhpeeth.in/significance.aspx 2 Swami Krishnananda, The Mandukya Upanishad, Pub. The Divine Life Society Sivananda Ashram, 1996, p.61

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The following table gives the 24 letters of the gayatri spell & its relation to the power:1

1. ‘tat’ – tapini – fruitfulness

2. ‘sa’ – saphalata – valor

3. ‘vi’ - visshwa – preservance

4. ‘tur’ – tushti – welfare

5. ‘va’ – varada – yoga

6. ‘re’ – revati – love

7. ‘ni’ – sukhsham – wealth

8. ‘yam’ – janana – luster

9. ‘bhar’ – bharga – protection

10. ‘go’ – gomati – wisdom

11. ‘de’ – devika – subjugation

12. ‘va’ – varahi – allegiance

13. ‘sya’ – simhani – simhani

14. ‘dhi’ – dhyana – life

15. ‘ma’ – maryada – time

16. ‘hi’ – sphuta – penance

17. ‘dhi’ – medha – forecast

18. ‘yo’ – yogmaya – alertness

19. ‘yo’ – yogini – production

20. ‘nah’ – dhanin – protection

21. ‘pra’ – prabhava – idealism

22. ‘cho’ – ushma – adventure

23. ‘da’ – drishrya – discrimination

24. ‘at’ – niranjana – service

The 24 powers of the Gayatri mentioned above is said to awaken certain qualities and

along with this awakening one starts getting success and prosperity i.e. siddhi.

1 The 24 letters of Gayatri Mantra and significance of each letter, Khadesar Dham Ashram, at http://www.gayatrisidhpeeth.in/significance.aspx

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4. MANTRAS in TANTRAS:

Tan is a Sanskrit word which signifies expansion, and Tra means liberation. Tantra,

Taantrik Yoga or Tantrism is one of the several esoteric traditions rooted in Hindu and

Buddhist philosophy that dates back to the 5th -9th century AD. The principles of tantra

are found in books known as Nigama while the practices of tantra are contained in books

known as Agama. - States Dada Vedaprajinananda Avadhuta in his book, The wisdom

of Yoga, Tantra: The Science of Liberation (2006), p.3.

Tantrik Master Shri Aghorinath Ji describes Tantra "sadhana" or practice as a systematic

and comprehensive path meant for liberation through expansion; thus the discipline

rigorously explores all energies and their application associated with human existence

and human environment. He says all the profound science and practices pertaining to

hatha yoga, pranayama, mudras, rituals, kundalini yoga, nada yoga, mantra, mandala,

visualization of deities, alchemy, ayurveda, astrology, and hundreds of esoteric practices

for generating worldly and spiritual prosperity blend perfectly in the tantrik disciplines. 1

Tantra Yoga lays special emphasis on the development of the powers latent in the six

chakras, from Muladhara to Ajna. Worship of Devi in the form of Sri Vidya is of two

kinds, viz., internal, and external. In the internal form of worship there are neither rituals

nor ceremonies. The Supreme Being, in the aspect of Siva united with the Sakti, is

1 Shri Aghorinath Ji, What is Tantra?, at http://hinduism.about.com/od/tantra/a/what_is_tantra.htm

285

worshipped at the various centres of energy, of the human body or Chakras or lotuses.

This mode of worship believe in the awakening of Kundalini, taking it up, through the

various Chakras to Sahasrara or the thousand-petalled lotus, through Japa of Mantra,

where the individual soul unites with the supreme soul. This method of sensitizing the

chakras through meditation to awaken the Kundalini Shakti is referred as “Nada-

Anusandhanam”. In the external form of worship Sri Chakra is worshipped. Yantra is

inscribed on gold or other metallic plates. Mantras are repeated with gestures, postures,

waving of light or Arathi and offerings of incense or various sorts of food or Prasad.

Each verse has a Yantra with Bija Aksharas and a prescribed course of worship. The Bija

Aksharas and Yantra are inscribed on a gold or copper plate. The food offerings to the

Devi vary according to the mode of worship and the purpose. There is a definite

distinctive aim to be achieved by a particular mode of worship with a particular Yantra

and a particular offering. Tantra Sadhana bestows tremendous Siddhis or powers. Wealth,

learning, lordship, success in enterprise, mastery over the elements, eloquence,

poetic talents, conquest over the enemy, eradication of incurable ailments, etc., can

be attained by worship of Devi, in different Yantras, with different Bija Aksharas and

different offerings. 1 Here, Bija means a seed. Hence Bija Mantra means a mantra, which

is usually of one syllable.

The best tantrik view of mantra is given in Sir John Woodroffe’s collection of essays,

Shakti and Shakta, chapter 24 as:

“Mantras are not prayers and the relationship of the letters of the Sanskrit alphabet,

whether consonants or vowels point to the appearance of devata (divinity) in different

forms. An uttered mantra is the manifestation of a more subtle sound while mantras

themselves are forms of Kundalini. Mantras may be male, female or neutral. Female

mantras are called Vidyas.

Vedic mantras are Tantric mantras, and are very complex. Western scholars have hence

failed to understand tantric ‘bija (seed) mantras’ used to invoke deities and their origins – 1 Sri Swamichidananda, Tantra Yoga, Pub. The Yoga-Vedanta Forest University, 1955, Himalayas, p.19

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which lie within the Sanskrit alphabet itself. Here are some examples of how such great

mantras are formed, from Vedic sounds: 1

Au is Sadashiva - the great form of Shiva as Parameshvara or the Supreme Brahman

(Supreme Consciousness). It refers to sound and calling or invoking.

Da is Durga. It means a weapon, and refers to the Danda (staff).

Ga is Ganesha or Ganapati. It means a song, and hence implies sound, since Ganapati is

lord of the word (Brihaspati), which is Vedic mantra or hymns (he is Brahmanaspati and

Narashamsa).

Ha is Shiva. It means ‘to destroy’ and refers to the destructive power of Shiva in his

terrible form as Rudra or Bhairava, and hence as Fire (Agni), which has power to destroy.

I (ee) is Mahamaya, the great illusion form of the Goddess. It refers to emotions, such as

pain and anger, and thus represents the power of suffering in Maya. It also means the god

of lust and thus implies illusion due to lust and ego.

Ka is Kamadeva (God of Love) and Goddess Kali. It means air, time and sound.La is

Indra, the Vedic wielder of the Vajra (thunderbolt). It means ‘to cut’ and refers to the

vajra destroying or cutting heads of (i.e. removing ego or mind). It also stands for tejas

(light and heat – properties of lightening).

M is the Universal Mother and represents sound (nada) – the primal sound of creation. Ra

is Brahma, the creator. It means to rule or govern.

U is Bhairava, the firey form of Shiva. It means ‘to protect’ and also the moon, which are

forms of Shiva. Bhairava is also the militant form of Shiva that destroys the demons and

thus protects us.

These are few examples, and thus we can see how the mantras work: The mantra ‘Hum’

is therefore the ‘sound (m.) that destroys (ha) and protects (u)”. It is hence the kavacha-

1 Rodney Lingham, (2005), Understanding Tantric Mantras

287

mantra or armour mantra in Tantra.

Hlrim is the mantra of Goddess Bagalamukhi. It is hence the ‘sound (m.) that destroys

(ha) and cuts (la) the creative force (ra) which is illusion (i)’. It creates stillness and

silence by destroying the creator and illusion, leaving us to dwell on the inn-most self

(beyond ego and illusion).

Likewise, Krim, the mantra of Goddess Kali is the ‘ruling (ra) sound (m) of space and

time (ka) of the great illusion (i)’. It is thus the ruling mantra for subtle sound in the

cosmos that breaks illusion – which is the sound of thunder and power of lightening.

Chakra mantras, for example, are mentioned in the Upanishads, and many have failed to

correlate them with later ideas in the Tantras. The Heart Chakra (also called Hridayam or

Anahata) mantra, for example, is described in three syllables in Brihadaranyaka

Upanishad (5.3.1) as “hri” “da” “yam”, where "Yam" is the sacred syllable (of the heart)

- later used in Tantric Yoga to open this specific Chakra. Yam means "Control" and

refers to the Inner-Controller (of death or Prana, breath of life). Interestingly also, "Ram"

is mentioned (Brihadaranyaka Upanishad 5.12.1) by Yajnavalkya as the syllable for

Prana, relating to Food. Now, the Manipura Chakra has Ram (Rang, the bija-mantric

form) as its mantra, and relates to the Digestive system, thus food. Manipura is also the

City of Gemstones chakra, relating to Delight or Bliss, which comes from Ram (pleasure,

bliss). Mantras such as “phat” (crack, break) that are used in astra-mantras in Tantra, are

found in Vedic texts as Shukla Yajurveda and elsewhere. This suggests they were used

much earlier in Rig Vedic times, as part of older brahmana and yajur (sacrificial)

traditions. 1

1 Rodney Lingham, 2005, Understanding Tantric Mantras, at http://satyavidya.com/bijas.htm

288

The table below is not complete, but gives the most common bija mantras:

Image Source: http://www.astrojyoti.com/bijamantras.htm

The Shiva Sanhita, translated by Srischandra Basu (1887), (The Esoteric Philosophy of

the Tantras of Shiva Sanhita, (5.189-191), Calcutta it is mentioned that:

By knowing this highest of the mantras the Yogis certainly attain success (siddhi), this

gives great power to the Yogi. In the four-petalled Muladhara lotus is the seed of speech,

brilliant as lightening. In the heart is the seed of love, beautiful as the bandhuk flower. In

the space between the two eyebrows (i.e., in the Agaya lotus), is the seed of Sakti (power

of force) brilliant as tens of millions of moons. These three seeds should be kept secret-

they give enjoyment and emancipation. Let the Yogi practice these three mantras and

try to attain success. (N.B: The mystical names of these seeds i.e., the mantras are not

given in the text. They should be learnt from the Guru, by the word of his mouth).

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5. Nada Yoga – An association of Nada & Chakras:

What is Yoga?

According to Katha Upanishad (2.3.10-11) - while meditating on Om, when one attains

the supreme state of mind and is able to have firm control of the senses is called yoga.

But one must then be vigilant; for yoga can be both beneficial and injurious. 1

Ayurveda (1.138-139) says - Happiness and misery arise due to contact of the self, sense

organs, mind and the sense objects but when the mind is steadily concentrated to the self

both cease to exist due to non-initiation and a supernatural power comes forth into the

person. The expert sages know this state as “yoga”. 2

What do we mean by Nada?

Nada is usually translated as "causal sound" and is derived from the Sanskrit root nad,

which means "to sound" or "to reverberate." This is also the root of the word nadi, which

means, "to flow" or "river." Nadis are the subtle nerve channels in which life energy

flows throughout the body. (Bill Osmer, 2006)

The following quotes from the Brihaddesi (5th century AD) of Sri Matanga Muni defines

& illustrates the syllabic meaning & its significance of the word, nada: 3

Ukdkj% izk.k bR;kgqnZdkj”pkuyks er% A

uknL; f}inkFkksZS;a lehphuks e;ksfnr% AA 20 AA

The letter ‘na’ is spoken of as prana (air) and the letter ‘da’ is known as fire, this is

spoken of by me as the meaning of the dual verbal component (pada) of nada.

u uknsu fouk xhra u uknsu fouk Lojk% A

u uknsu fouk uRra rLekUuknkReda txr~ AA 18 AA

1 Swami Nikhilananda (Translator), Katha Upanishad, at www.gayathrimanthra.com 2 Gabriel Van Loon (Editor), Charaka Samhita, Vol I, Pub. Chaukhamba Orientalia, 2002, USA, p.84 3 Sharma, Brhaddesi of Sri Matanga Muni, Vol I, Pub. IGNCA, 1992, Delhi, p.9

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Gist - there is no geeta (music) without nada, there is no svaras (musical notes) without

nada, there is no nritya (dance) without nada, and hence the world is of the essence of the

nada.

Whereas Pt. Sarangdeva (13th century) advocates that nada is the very essence of vocal

music. Instrumental music is enjoyable, as it manifests nada. Nrtta (dance) follows both;

therefore all three together depends on nada. Nada manifests the letters (of alphabets),

letters constitute the word, and words make a sentence; so the entire business of life is

carried on, through language; and therefore the whole phenomenon (i.e. the world) is

based on nada. 1 Further he writes that we worship Nada-Brahman (Nada-Upasana). An

incomparable bliss which is immanent in all the creatures as intelligence and is manifest

in the phenomenon of this universe.

Pt. Sarangdeva considers Nada to be two fold (section 1, p.23) viz., produced (ahata or

struck) and unproduced (anahata or unstuck). Pt Ahobal also mentions the same in Sangit

Parijat and gives a quote from Narda Samhita (p.17): 2

UkknLrq lf}/k% izksDr% iwoZuknLRoukgr% A

----------------------------------------------------------------------- AA

vkgLrq f}rh;ksSlkS ok|s‘ok?kkrdEeZ.kk A

rsu xhrLojksRifRr% l uknks tk;rs Hkqfo AA ( ukjn lafgrk )

Nada by Matanga Muni is said to be fivefold has been given their respective stanas

(places) in human body (p.9):

Lwk{eks uknks xqgkoklh gn;s--------------

----------------O;Dr”pkO;DrLrkyqns”kds AA 22 AA

The suksma (subtle) dwells in the guha (lit. cave, secret place) the atisuksma (very subtle)

one in the heart, the distinct one (vyakta) in the throat, the indistinct (avyakta) in the talu

(lit. palate, but here cerebrum) and the artificial one (kritrima) in the region of the mouth.

Pt. Ahobal also referred the above five stanas (p.17) but did not mention the names of the 1 Sharma & Shringy, Sangitaratnakar of Sarangdeva, vol I, Pub. Motilal Banarsidass, Reprint 1984, Delhi, p.21-23 2 Kalind, Sangeet Parijat of Pandit Ahobal, Pub. Sangeet Kaaryalaya, 1971, Hathras, p.17

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nada in their respective stanas. He elucidates forth Panini’s opinion of sthanas as eight

viz., heart, throat, crown, tongue, teeth, nose, lips and talu.

Since the nada manifests itself in the human body Pt. Sarangdeva believes that ahata nada

stationed in five places (sthanas) in the body. Here are the couplets from

Sangitaratnakar:

vkgrksSukgr”psfr f}/kk uknks fux|rs A

lksS;a izdk”krs fi.Ms rLekfRi.MksSfHk/kh;rs AA 3 AA

Process of the manifestation of (ahata nada) sound or voice production in human body is

called the result of “desire for self –expression” by Sarangdeva (section 3, verse 3-4,

p.111), which impels the mind and the mind activates the battery of power stationed in

the body, which in turn stimulates the vital force (prana). The vital force stationed around

the root of the navel, rising upwards gradually manifests nada in the navel, the heart, the

throat, the cerebrum and the cavity of the mouth as it passes through them. Pt Ahobal

quotes Ratnakar for defining the production of nada in Sangit Parijat (p.18).

Dr. Prem Lata Sharma comments on the above statement as - It is notable that uptil now

the word nada was signifying unmanifest (anahata nada) sound; but, here from it

obviously signifies manifest (ahata nada) sound. It has already been said to be two fold as

manifest and unmanifest. Moreover, the word is now being used in context of music. 1

uknksSfrlw{e% lw{e”p iq’VksSiq’VJp df=e% A

bfr iapkfHk/kk /kRrs iapLFkkufLFkr% dzekr~ AA 5 AA

Gist - Stationed in these five places (Sangitaratnakar, p.112), nada takes on five different

names as associated with them respectively, viz., atisuksma (very subtle) in the navel,

suksma (subtle) in the heart, pusta (loud) in the throat, apusta (not so loud) in the

cerebrum, and krtrima (artificial) in the mouth. He adds to it that in actual practice in

music the nada is threefold (verse 7, p.114) called Mandra in the heart, Madhya in the

throat and Tara in the head and is successively double in pitch. Sri Parsvadeva (13th

1 Sharma & Shringy, Sangitaratnakar of Sarangdeva, vol I, Pub. Motilal Banarsidass, Reprint 1984, Delhi, p.111

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century) in Sangita Samayasara accepts three stanas as the Heart, Throat and head, each

possessing 22 grades (shrutis) 1 and so does Pt. Somnath in Raga Vibodha and Pt. Ahobal

in Sangeeta Parijat. 2

A detailed description about contemplating on Nada (The sacred syllable Om) one attains

the supreme state (as in yoga practices), has been given in Nada Bindu Upanishad in the

following Verses: 3

Verse 8 talks about the 12 intonations of Om and says - Each of these Matras has indeed

three Kalas (parts). This is called Omkara. Know it by means of the Dharanas, viz.

concentration on each of the twelve Kalas (or the variations of the Matras produced by

the difference of Svaras or intonation).

Verse 50(b)-51(a). Many myriads of Nadas and many more of Bindus – (all) become

absorbed in the Brahma-Pranava sound.

Verse 49(b)-50(a). The mind which along with Prana (breath) has (its) Karmic affinities

destroyed by the constant concentration upon Nada is absorbed in the unstained One.

There is no doubt of it.

Verse 56. When the (spiritual) sight becomes fixed without any object to be seen, when

the Vayu (Prana) becomes still without any effort, and when the Chitta becomes firm

without any support, he becomes of the form of the internal sound of Brahma-Pranava.

Whereas Dhyana Bindu Upanishad illustrates the process of contemplation of nada

through nadis in the following way: 4

Verse 9(a) - The one Akshara (letter OM) should be contemplated upon, as Brahman, by

all who aspire to emancipate.

1 Dr. M. Vijaya Lakshmi, Sri Parvadeva’s Sangeetasamayasara, Pub. Shivalik Prakashan, 2003, Delhi, p.8 2 Kalind, Sangeet Parijat of Pandit Ahobal, Pub. Sangeet Kaaryalaya, 1971, Hathras, p.18 3 Mr. K. Narayanaswamy Aiyar (Translator), Nada Bindu Upanishad, at www.vedarahasya.net/nadabind.htm 4 K. Narayanasvami Aiyar (Translator), Dhyana Bindu Upanishad, at www.astrojyoti.com

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Verse 20 - Taking in Vayu (air) through the left nostril and filling the stomach with it,

one should contemplate upon Omkara as being in the middle of the body and as

surrounded by circling flames.

Verse 23 - One should practice restraint of breath as much as it lies in his power along

with (the uttering of) Omkara sound, until it ceases completely.

Verse 39 – 40 - Having made the lotus-sheath of the form of Ardha-Matra, one should

draw up the breath through the stalk (of the Nadis Susumna, Ida and Pingala) and absorb

it in the middle of the eyebrows. He should know that the middle of the eyebrows in the

forehead, which is also the root of the nose, is the seat of nectar. That is the great place of

Brahman.

Verse 51 - 53 - There arise (from it) Nadis seventy-two thousand in number. Of these

seventy-two are generally known. The chief ones are ten and carry the Pranas. Ida,

Pingala, Susumna, Gandhari, Hastijihva, Pusha, Yasasvini, Alambusa, Kuhuh and

Sankhini are said to be the ten.

Verse 58 - All these are situated (or run along) the one thousand Nadis, (being) in the

form of (or producing) life. Jiva which is under the influence of Prana and Apana goes up

and down.

Verse 61(b)-63 - The Jiva comes out with the letter ‘Ha’ and gets in again with the letter

‘Sa’. Thus Jiva always utters the Mantra ‘Hamsa’, ‘Hamsa’. The Jiva always utters the

Mantra twenty-one thousand and six hundred times in one day and night. This is called

Ajapa Gayatri and is ever the bestower of Nirvana to the Yogins.

Verse 69 - Folding firmly the fingers of the hands, assuming firmly the Padma posture,

placing the chin firmly on the breast and fixing the mind in Dhyana, one should

frequently raise up the Apana, fill up with air and then leave the Prana. Then the wise

man gets matchless wisdom through (kundalini) Sakti.

6. Kundalini awakening through Nada – A Healing Intonation:

Through the contraction of the neck, Prana goes above from the chest. Sarasvati who has

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sound in her womb should be shaken (or thrown into vibration) each day. Therefore by

merely shaking it, one is cured of diseases. Gulma (a splenetic disease), Jalodara

(dropsy), Pliha (a splenetic disease) and all other diseases arising within the belly, are

undoubtedly destroyed by shaking this Sakti utters Yoga-Kundalini Upanishad 1 (1.16-

18).

Verse (2.16-17) - By means of this science, a person will attain the Siddhi of Khechari.

Joining with Khechari Sakti (viz., Kundalini Sakti) by means of (the science) of Khechari,

which contains the Bija (seed of letter) of Khechari, one becomes the lord of Khecharas

(Devas) and lives always amongst them. Khechari Bija (seed-letter- Hrim, Bham, Sam,

Pam, Pham, Sam, Ksham) is spoken of as Agni encircled with water and as the abode of

Khecharas (Devas).

Verse (2.21-24) mentions the accomplishments on chanting this kechari bija as - He who

recites this twelve times every day, will not get even in sleep that Maya (illusion) which

is born in his body and which is the source of all vicious deeds. He who recites this five

lakhs of times with very great care – to him the science of Khechari will reveal itself. All

obstacles vanish and the Devas are pleased. The destruction of Valipalita (viz., wrinkle

and greyness of hair) will take place without doubt.

Verse (2.37-38) says - Gradually it (kechari bija) opens the great adamantine door in the

head. The rare science (of Khechari) Bija has been explained before. One should perform

the six Angas (parts) of this Mantra by pronouncing it in six different intonations. One

should do this in order to attain all the Siddhis. Verse (3.9b-11) There

are six Chakras. Muladhara is in the anus; Svadhisthana is near the genital organ;

Manipuraka is in the navel; Anahata is in the heart; Visuddhi is at the root of the neck and

Ajna is in the head (between the two eyebrows).

In Yoga Sutras (around 2nd century BCE) of Patanjali (4.1. 27-29) below, the author

unveils the fact that –

rL; okpd% iz.ko%

1 K. Narayanasvami Aiyar (Translator), Yoga-kundalini Upanishad, at www.sribabaji.org

295

rTtiLrnFkHkkoue~

rr% izzR;DpsRukf/kxeks I;Urjk;kHkkoJp

Gist - The sacred word designating this creative source (ishvara) is the sound OM, called

pranava. This sound is repeated, murmured constantly for realizing its meaning. From

that remembering come the realization of the individual Self and the removal of

obstacles.

Verse (4.1.30-31) stretches on the kinds of obstacles one faces during meditation:

O;kf/kLR;ku------------------------------ ------------------------------fo{ksilgHkqo%

These obstacles are disease, idleness, doubt, inattentiveness, lack of energy and

proneness to sensuality, mistaken views, not being able to maintain the progress

attained, unsteadiness in progression, scattered mental and emotional energy.

Distress, depression, nervousness and labored breathing are the symptoms of a

distracted state of mind.

B) SHRUTI TO RAGA – A LISTENER’S DELIGHT

We will be discussing musical concepts like nada, shruti, swara, raga, etc., & talk about

their relationship in reference to the three important and most sought after musicological

texts of Indian music that are:

1. Brihaddeshi of Sri Matanga Muni (5th century AD)

2. Sangeeta Ratnakara of Pt. Sarangdeva (13th century AD) &

3. Sangita Parijat of Pt. Ahobal (17th century AD)

There are two reasons for taking these three texts:

Firstly, these authors have taken into account the opinion of their anterior as well as

contemporary scholars, irrespective of their accordance or contradiction to his views.

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Secondly, all the three belong to the different eras of history, so this will give a clear

view of the prevalent traditions and practices of that time.

1. Relation between Shruti-Svara-Gram-Murchana-Jati-Giti &Raga:

Speaking of the etymology of the word ‘shruti’ from the roots ‘sru’ meaning hearing,

with the suffix ‘ktin’ (verse 3.24); Matanga delineates that sound itself is known as shruti

on account of being perceived by the sense of hearing and so agrees Pt. Ahobal in

Sangeet Parijat, p.18)1. He adds that it could be one or many, in the following verses

(Brihaddeshi of Matanga Muni, section 3, Anu. 2, p.10):

Jo.ksfUnz;xzkg;Rokn~ /ofujso JqfrHkZosr~ A

------------------------------------------LojkUrjfoHkkxr%AA

fu;rJqfrlaLFkkukn~ ----------------------------------A --------------------------------------------------------------------- AA

vUr%LojfoofrZU;ks g;UrjJqr;ks erk% A

Matanga Muni in agreement with Kohala on the shruti count as 22 quotes him (section 3,

Anu. 6):

}kfoa”kfra dsfPknqnkgjfUr Jqrh% JqfrKkufoPkkjn{kk% A

‘kV~’kf’VfHkUuk% [kyq dsfpnklkekuUR;eU;s izfrikn;fUr AA

Gist- some who are adept in the knowledge of shrutis speak of twenty shrutis, some

(speak of them) as being differentiated into sixty-six. Others propound their infinity itself.

In (Anu.11) he spells out the opinion of those who considers sixty-six kinds of shrutis as -

twenty-two of them being differentiated in each three sthanas (known as) mandra,

madhya and tara (and) chest, throat and cerebrum. Whereas (in section 3, Anu. 26)

infinite shruti count has been compared with the infinity of dhvanis in the ‘belly’ of space

(ether, gagana).

Sarangdeva talks about the nada being differentiated into twenty-two grades on the

account of their audibility, which are known as shrutis, here is the couplet:

1 Kalind, Sangeet Parijat of Pandit Ahobal, Pub. Sangeet Karyalaya 1971, Hathras, p.18

297

rL; }kfoa”kfrHksZnk% Jo.kkPNzqr;ks erk% A

g|w/oZukMhlayXuk ukM;ks }kfoa”kfreZrk% AA 8 AA

And these are believed by him to be closely associated with the two upward nadi’s in the

heart where the twenty-two nadis are placed obliquely and the twenty-two shrutis

successively higher and higher in pitch are produced by the force of wind acting upon

them. Similarly 22 shrutis are discerned in the throat as well as cerebrum. 1 Even Pt.

Somnath & Pt. Ahobal holds the same view that all the three sthanas viz. the heart, throat

and cerebrum are the three registers or octaves viz. mandra, madhya and tara which

double in pitch respectively: 2

gRd.Bew/kZuknk% dzekneh eUnze/;rkjk[;k% A

f}xq.kk ;FkksRrj p Jqfrrka Lojrkap ofPe pSrs’kke~ AA ( jkx focks/k )

Verse (3.33) of Brihaddeshi reveals the relationship between svara and shruti as – the

seven svaras beginning with shadja are always manifested by shrutis, just as the jar and

the like located in darkness (are manifested), by the candle.

From the root Rajr, meaning brilliance, to which is prefixed the word sva (the word svara

is derived); because that which shines by itself is known as svara- says Matanga (4.54).

He pronounced it as the progenitor of raga. He further alluded to Kohala about the

production of svara in (Anu.15-16) as:

m/oZukMhiz;Rusu loZHkfRrfu?kV~Vukr~A

ewfNZrks /ofujkew/uZ% LojksSlkS O;kid% ij% AA

By the effort of the urdhvanadis on accout of rubbing or striking of the walls, the sound

that grows upto the cerebrum, is svara, it is vyapaka (pervasive) (and) para (beyond).

Matanga (4.55-60cd) illustrates the etymology of savara-names, he says:

‘k..kka Lojk.kka tud% ‘kM~fHkokZ tU;rs LojS% A 55 A

----------------------------------------

1 Sharma & Shringy, Sangitaratnakar of Sarangdeva, vol I, Reprint 1984, Delhi, p.115-116 2 Kalind, Sangeet Parijat of Pandit Ahobal, Pub. Sangeet Karyalaya, 1971, Hathras, p.18

298

fu’khnfUr Lojk% losZ fu’kknLrsu dF;rs AA 60AA

The producer of the six svaras, or the one produced by six svaras, or that which is born of

six angas is called sadja (= lk). (That which) reaches the heart quickly from the other

(svara) is known as rsabha (= js). That which holds the ganatmika vak (musical vak) is

named gandhara (= x). Madhyama svara is known to be so because of being the middle

one among svaras (= e). Pancama is that which measures the elaboration of svaras. Or, it

is pancama (fifth) in number in the order of patha (lit. reading aloud or recitation, here

enumeration) (= i). Dhivan is one who has got dhi (buddhi, intellect), the one related to

him (dhivan) is dhaivata(= /k). It is known as dhaivata because it is held on the sixth

sthana (location). The place of dhaivata is in the lalata (forehead). Nisada is known as

such because all the svaras rest upon it.

Pt. Sarangdeva’s definition of svara (p.134, 136) is:

JqR;uUrjHkkoh ;% fLuX/kksSuqj.kukRed% AA 24 AA

Lorks jat;fr JksrfpRra l Loj mP;rs A

Gist – immediately consequent upon shruti, creamy and resonating, the sound that

delights the listener’s minds by itself is called svara. In short shruti are the root cause of

svaras.

Sri Matanga Muni has the shown the “Svaroddhara” (analysis of svaras- names) as

contained in Agamas like this (verses 62-70): - 1

‘S’ combined with the Hari-bija (a) is the initial svara that the knowledgeable in svara

one should draw out with all effort. ‘R’ combined with kama bija viz., ‘a’, know that as

the second svara arising out of the brahmasthana (brahamagranthi). ‘G’ combined with

the Vishnu bija viz., ‘a’ one should always draw out this svara which is attractive among

various svaras. ‘M’ combined with the initial one ‘a’ known as madhyama, the

indestructible and the best among the svaras. ‘P’ combined with ‘a’, know that as the

beautiful svara, associated with the number (five) of vyoma (space) and the born of the

1 Sharma, Brhddeshi of Sri Matanga Muni, Vol I, Pub. IGNCA, 1992, Delhi, p.47

299

ostha (lip) sthana. ‘Dh’ combined with ‘a’, one should draw out that excellent svara born

of the two bows. ‘N’ differentiated by the end that is akara viz., ‘i’ arising out of the

brahma-sthana (cerebral aperture) is combined with ‘high’ sound.

In (Brihddeshi section 4, Anu. 29) Susruta gives an explanation to Matanga Muni as to

why there is a rule that there are seven svaras?

lIrpdzkfJrRosu lIr}hikfJrRosu ok lIrSo Lojk bfr A

He says- svaras are only seven on account of being dependent on or dwelling in seven

chakras or seven dvipas (lit. islands).

Matanga in verse (section 4, p.49) locates the svaras in reference to human body as: –

d.BknqfRr’Brs ‘kM~t ----------------- A 81 A

------------------------foKs;% loZlfU/kr% AA 82 AA

Shadaja arises from the throat, rishabha from cerebrum, gandhara from nose, madhyama

from chest. Panchama from throat, dhaivata is born of the palate-region (talu-desa).

Nishada is born of all the joints (sandhis).

Pt. Sarangdeva has already pointed out above that the nada manifest itself in three places,

viz., in the region of heart, throat, and the cerebrum. These are the three sthanas from

which the notes are produced, as said in Sangitratnakar. He has forth narrated 10

psychophysical centres of the body called the chakras. Dr. Premlata Sharma in her

commentary on Sangitratnakar (Vol I, p.85) says that six psychophysical centres are

conceived in the astral body of man by certain schools of yoga, specially kundalini-yoga,

the mantra-yoga, the raja-yoga, etc. These, function as the centres of consciousness at

various planes and control of one or many of these centres bestows enormous psychic &

occult powers. However, the aim of the yoga is to train the mind to concentrate upon and

penetrate through all these six psychophysical centres and thereby attain complete

mastery over the physical and astral body and freedom from the limitations of mind and

matter.

300

Here is the detailed account of the chakras in reference to Sangitratnakar: 1

Each centre is symbolically expressed by lotus with a particular number of petals used as

an aid to meditation on the centre. Here, Dr. Prem Lata Sharma mentions about the

symbolism of the kundalini yoga where each petal of the lotus is assigned a particular

letter. The letters so assigned represent symbolically the particular mantra and the

presiding deity of that mantra and thereby are the potential sources of the powers inherent

in those deities. It has been ascertained that meditating on a particular petal of a particular

centre by the attendant will cause him to bear definite fruit.

Image source: http://planetwaves.net/pagetwo/daily-astrology/aspect-of-the-moment-

venus-conjunct-chiron/

Adhara chakra and Kundalini: (now known as muladhara chakra) is the basic psychic

centre called the “foundation cycle” situated between anus & genitals, a four petalled

lotus as it were.

1 Sharma & Shringy, Sangitaratnakara of Sarngadeva, Vol I, Pub. Motilal Banarsidas, 1984, Delhi, p.85-95

301

Muladhara Chakra

Image source: http://en.wikipedia.org/wiki/Muladhara

The petals named isana etc. are invested with the fruits of the supreme bliss,

spontaneous happiness, heroic joy, and the divine unity respectively. (The four petals

of the foundation cycle have the letters va, ssa, s++++a and sa assigned to them).

Next is the Svadhisthana chakra is the six-petalled lotus situated at the root of the

genitals called “self-abiding cycle”.

Svadhisthana chakra

Image source: http://en.wikipedia.org/wiki/Swadhisthana

The consequent fruits of (concentration on) the eastern and other petals are respectively

said to be courtesy, cruelty, freedom from pride, stupor, disrespect and distrust. This

is the seat of passion. (The six petals of the lotus bears the six letters from left to right ba,

bha, ma, ya, ra and la, with a dot above).

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The Manipura chakra, the ten petalled lotus around the navel is called the “naval cycle”

is located around the navel.

Manipura Chakra

Image source: http://en.wikipedia.org/wiki/Manipura

The results flowing out of (meditation on) the eastern and other petals respectively are

dreamless sleep, craving, jealousy, faultfinding nature, bashfulness, fear, hatred,

stupidity, impropriety and dejection. (The ten petals bear the letters d+++aa, d+++ha, n+ +++a, ta, tha,

da, dha, na, pa and pha with a dot above).

Anahata chakra, in the heart is called the “cycle of the unmanifest” with twelve petals

which is considered to be the place of worshipping lord shiva in the form Om.

Anahata Chakra

Image source: http://www.thepunekar.com/2012/07/17/anahata-chakra/

303

The consequences meeting the mind concentrated upon them respectively are freedom

from fickleness, clear thinking, repentance, hope, light, worry, desire for warding

off evil, equanimity, vanity, mental instability, discernment and will. (Its twelve

letters bear the letters ka, kha, ga, gha, na, ca, cha, ja, jna, ta, and tha with dot above).

Visuddhi chakra, with sixteen petals situated in the throat larynx called the “cycle of

purity”.

Visuddhi Chakra

Image source: http://inkarasworld.com/2012/08/29/vishuddha-throat-5th-chakra/

Contemplation on which offers the following results respectively: pranava, udgitha,

humphat, vasat, svadha, svaha, namah, nectar, the seven tones sadja etc. and poison.

(The sixteen petals of the lotus have sixteen vowels from a to ah+++ for their symbols with a

dot above them).

Lalana chakra, with twelve petals situated at the back of the neck. The consequences

emerging out of (concentration upon) the eastern and other petals respectively are –

arrogance, haughtiness, affection, sorrow, agony, greed, disenchantment, emotional

excitement, the basic urge for living, devotion, satisfaction and cleverness. (the lalana

chakra though well-recognised is not counted among the six main psycho-physical

centres in the body demonstrated in such standard works as Satcakranirupana).

The Ajna chakra located between the two eyebrows, called the “cycle of supreme

command”, having three petals.

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Ajna Chakra

Image source: http://www.meditateom.com/pages/articles/foy10/foy2.html

The results of (contemplating upon) the various petals are the manifestations of the

three guna-s – sattva, rajas & tamas. (The two petals of this lotus bear the letters ha

and ks+++ ++aa).

The Manas Chakra, the “cycle of mind” having six petals situated higher to ajna. The

consequences attendant upon the eastern and other petals respectively are dreams and the

palatal enjoyment, olfactory sensation and the perception of form, touch and sound.

Soma chakra, the “cycle of moon” with sixteen petals located over and above the manas

chakra. The consequences, for the Individual, attendant upon the eastern and other petals

respectively are: grace, forgiveness, straightforwardness, forbearance, detachment,

patience, cheerfulness, mirth, horripilation, tears of fixed gaze, stability, profundity,

endeavor, purity of heart, generosity and one-pointedness.

Sahasra Chakra, the thousand petalled lotus located in the cerebral aperture.

Sahasra Chakra

Image source: http://www.vectorstock.com/royalty-free-vector/krone-sahasrara-chakra-

vector-308594

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Spilling innumerable streams of ambrosia, it nourishes the body.

Further Sarangdeva talks about Meditation on chakra-s as related to the cultivation of

music saying: 1

That contemplation on the first, eight, eleventh and twelfth petals of the Anahat chakra

attains proficiency in music, etc.; while concentrating on the fourth, sixth and tenth of

the petals one destroys one’s capacity for music etc.

In Visuddhi chakra contemplating on eight petals from eight onwards leads to success

in musical arts, etc., while sixteenth petal is destructive for this purpose.

The tenth and eleventh petals of Lalana bestow success in the same (music) while the

first, fourth and fifth petals are known to be detrimental.

Focusing on the aperture of the upper cerebrum one finds fulfillment and should

therefore cultivate the musical arts with great excellence.

It may, however, be observed that Saradatanaya, a contemporary of, but somewhat

anterior to Sarangdeva, provides us the rudiments of the hypothesis incorporating the

relationship between the psychophysical centres & music. He relates seven tones to

seven different places located in the body right from the Brahmagranthi. 2

Pt. Sarangdeva says (verse 165a, p.105-106) that contemplation attainable through one-

pointed concentration of attention is not conveniently within the reach of people. Dr.

Prem Lata Sharma and R. K. Shringy beautifully elaborate his (author’s) viewpoint that

considering these difficulties, the sages have discovered a technique - Nadanusandhana

of attaining liberation through the meditation of the unmanifest nada i.e. the primordial

sound which is heard inside the head if carefully listened to with an unburdened mind.

This sound is produced without any friction, it is natural and spontaneous and that is why

is called anahata (unstruck). But even this found to be of little interest to the common

people because it is pure and devoid of emotional color therefore is uninteresting to them.

That is precisely why music becomes more useful and a treatise on the science of music

1 Sharma & Shringy, Sangitaratnakara of Sarngadeva, Vol I, Pub. Motilal Banarsidas, 1984, p.96-98 2 Sharma & Shringy, Sangita Ratnakara of Sarangdeva, Vol I, Pub. Motilal Banarsidas, 1984, p.102

306

is necessary, so that the people can easily cultivate both the ends of life, viz., experience

of the world and salvation from its limitations through a pleasant and a convenient means

like music, which is universally approved and considered attractive. Therefore the utility

of music as a mass entertainer and as a means of salvation approachable by common man

without any effort is brought out by the author as the prominent characteristic feature of

the manifest sound i.e. ahata nada.

Below is the chart (from Sangeeta Ratnakar, Vol I, p.116) illustrating the whole theory of

the relationship between svara and varna sthana as given by Saradatanaya (contemporary

of Sarangdeva).

2. Musical Notes (svaras) & Rasas (emotions):

The Natya Shastra is an ancient Sanskrit Indian treatise on the performing arts,

encompassing theatre, dance and music written by Saga Bharata Muni in between 200

BCE and 200 CE. A lot of importance is given to music, wherein about nine chapters

have been dedicated to it. In vocal and instrumental music, he describes svara and its use

in expressing particular aesthetic sense i.e. Rasa. Human body is also called veena, a

musical instrument as it produces musical notes through vocal cords.1

1 Dr. Asawari Bhat. "Glimpses of Natyashastra", course notes, IIT Mumbai.

307

The melodic basis for music mentioned in Natyashastra has been the jati and Bharata in

the 29th chapter of his work, specifies the relationship between the ansa (prominent)

svara of a jati and the rasa. Or he specifies which jati, defined in terms of the dominant

ansa, should be associated with which rasa. For instance, if a jati has ‘sa’ and ‘ri’ as ansa,

then it should be used in the vira, raudra and adbhuta rasas. If ‘ma’ and ‘pa’ are the ansas,

then those jatis should be performed in sringara and hasya rasas. The jatis having nishada

and gandhara as the principle ansas, should be used in karuna rasa. The jatis having

dhaivata as the ansa, should be used in vibhatsa and bhayanaka rasas. 1

Matanga muni in verses (p.49) in agreement with Bharata muni’s view of rasas from

different svaras and states: 2

gkL;”kM-xkj;ks% dk;kSZ------------------------A 79A

-------------------------------chHkRls lHk;kuds AA 80 AA

The two svaras madhyama and panchama should be made (used) in the two (rasas) hasya

and sringara, sadja and rishabha should be known as vira, raudra and adbhuta rasas.

Gandhara and nisada should be done in karuna rasa. Dhaivata should also have done

(used) in vibhatsa and bhayanaka.

Here are few examples from Nanyadeva’s Bharat-Bhasayam (9/10 century) depicting

how a particular melody was applied to portray a particular rasa (verse 104-105): 3

Vesarasadava, whose source is sadjamadhyama (jati), has been prescribed the scale of

suddhasadja murchana. It has madhyama serving as ansa and nyasa and shadja, on

account of consonance, accompanying the madhyama-nyasa. It lacks the two-shruti

svaras (ga and ni). It plays a part in the accompaniment of shringara rasa by

sadjamadhyama (jati).

http://www.hss.iitb.ac.in/courses/HS450/notes2.htm 1 Premalatha Nagarajan, (2008), Association of Rasa and Kala (time) with Raga-s, at www.musicresearch.in 2 Sharma, (1992), Brhaddeshiof Sri Matanga Muni, Pub. IGNCA, Delhi, p.9 3 Chaitanya P. Desai, Nanyadeva’s Bharat-Bhasayam, vol.II, 1976, Pub. Indira Kala Sangita Visvavidyalaya, Khairagarh,

308

The ansa svaras (prominent) of the jatis were the key to decide which jatis is to be

employed in which rasa. An example is given below from Sangeeta Samayasara (section

4, p.84):

( y\) xfyrk VDdjkxkr~ rq rnM-xa yfyrk erk AA 42 AA

---------------------------------------------------------- ohjs fjiksfT>rk A

Lalita is the part of raga lalita, which rises from takka raga. Sadja is the note of nyasa and

ansa and is to be used to express vira rasa.

Pt. Sarangdeva says (section 3, 59-60c, p.153):

Ljh ohjs n~Hkqrs jkSnzs /kks chHkRls Hk;kuds AA 59 AA

dk;kS xuh rw d:.ks ---------------------------------

That sadja and rishabh are employed in the expression of heroism, wonder and wrath;

similarly dhaivata is used for abhorrence and terror, gandhara and nisada for pathos and

madhyama and panchama for mirth and conjugal love.

3. Grama, Murchana, Jati system:

What is Grama?

lewgokfpukS xzkekS LojJqR;kfnal;qrkS AA 85 AA

The two gramas (viz., shadaja grama & madhyam grama) stand for a group composed of

svara, shruti and the like - answers Matanga muni (p.51)

Sarangdeva also defines grama as a group of tones and considers it as the basis of

murchana (section 4, p.160):

xzke% Lojlewg% L;kUewPNZukSSns% lekJ;% A

The two fold Grama has been explained by both as shadaja grama & madhyam grama,

also a third Gandhara gram has been emphasized saying that it is not to be used by the

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mortals and was prevalent in heaven (Brihaddeshi, section 5, verse 87) (Sangitaratnakara,

section 4, verses 2-5). Pt Ahobal defines grama, it’s threefold and it’s relation with

murchana, in the same as done by Sarangdeva, in Sangita Parijat verse 67, 68.

Matanga Muni briefs the objective of the gramas (anu 31) as:

LojJqfrewNZuk & rkutkfrjkxk.kka O;oLFkkiuRoa uke iz;kstue~ A

The systematization of svara, shruti, murchana, tana, jati and raga is indeed the objective

of grama. Moreover remarks he that svaras have attained the state of grama through jatis

and shrutis (section 5, anu 33).

Sarangdeva relates the period of time to the gramas as below:

gseUrxzh’eo’kkZlq xkrO;kLrs ;Fkkdzee~ A

------------------------------------------ SH;qn;kfFkZfHk% AA 8 AA

Those who are desirous of prosperity should sing the gramas in the forenoon, mid-day

and in the afternoon, in the winter, summer and in the rainy season respectively. Dr. Prem

Lata Sharma comments upon it that the gramas were not meant to be sung but what it

probably represents here is the various types of melodic patterns or musical forms set in

the pattern of particular gramas, such as jatis and ragas. Thus, the expression ‘they are to

be sung’, refers not merely to the basic scales of the gramas but all those melodic

structures or musical forms that are set into their basic pattern.

Now what is murchana?

The etymology of the word is - murch stands for moha (loss of consciousness,

stupefaction, infatuation) and saucchraya (increase, growth). That through which the raga

(colour, delightfulness) grows or increases, is called murchana as spoken of by Matanga

Muni:

ewNZ~;rs ;su jkxks fg ewNZusR;fHklafKrk AA 90 AA

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The ascending and descending movement of the seven notes in successive order is called

murchana by all three scholars i.e. Matanga, Sarangdeva & Ahobal. A couplet defining

the term is below:

dzekRLojk.kka lIrkukekjksgJokojksg.ke~ A

ewPNZ;usR;qP;rs xzkek};s rk% lIr lIr p AA 9 AA ( laxhr jRukdj )

A comprehensive classification of the murchanas, tanas (note series), varnas (tone

patterns) and alankaras (specific arrangement of tone patterns) are given in all the three

texts. The combinational note series (sudha-tanas) of all the gramas have been derived

and given vedic names in Ratnakara. Sarangdeva has then indicated that it was believed

that tanas bearing the name of particular of vedic sacrifice is effectual in bringing about

the corresponding benefit in the below shloka:

;|Kukek ;LrkuLrL; rRQyfe’;rs AA 90 AA

The specific use of the combinational and permutational note series i.e. koot-tanas in

gandharava and gana in Sangitratnakar are set as – in context of gandharava the

murchanas have been ordained in the vedic lore for the attainment of beatitude (divine

joy); while in ganam, murchanas along with the koot-tanas are useful in obtaining

sthanas (section 4, verse 91,p.228). The latter is stated in Brihaddeshi also.

Meaning of Jati:

“The word jati as applied in context of music has been defined by matanga as that which

gives rise or induces (in the listener) enjoyment of a particular sentiment (aesthetic

delight) is called jati,” as quoted in the commentary on Sangitratnakar by Dr. Prem Lata

Sharma (p. 267).

Sri Parsavadeva, contemporary of Pt. Sarangdeva writes in Sangita Samayasara: 1

ldyL; jkxkns tkfr tUegsrqRokTtkr;% JqfrLojxzgkfnlewgkTtk;Urs

1 Dr. M.Vijayalakshmi, Sri Parsavadeva’s Sangitasamayasara, Pub. Shaivalik Prakashan, 2003, p.30

311

Jatis are named thus because they give birth to all ragas. They materialize from shruti,

svara, the group of graha, etc notes so they are called jatis.

Sarangdeva brings out the importance and value of jati gana and says:

czgeizksDrinS% lE;DizkxqDrk% “kadjLrqrks AA 113 AA

vfi czgeg.ka ikikTtkr;% iziquUR;ew% A

These jati’s if properly sung with the verbal texts formerly composed by brahma in the

eulogy of lord Shiva can redeem even the sin of slaying a Brahmin. He says as the hyms

of Rigveda, the Yajurveda and the Samaveda are not otherwise uttered (except according

to the rues) so also the jatis that have originated from the Sama Veda are in conformity

with the vedas (verse 114,115).

Whereas, giti is understood by Sarangdeva as the act of singing, embellished by various

patterns of tonal movement and couched in verbal phrases set in musical speed (section 8,

verse 14, 15).

4. Raga-Ragini System:

Ragini Karnati

Image Source: http://chandrakantha.com/articles/indian_music/raga_ragini.html

312

In the medieval period ragas underwent a good deal of evolution on the account of social,

political and cultural influences. Various attempts were made to classify them in different

ways. There were many fanciful depictions, both conceptual as well as visual for e.g.

many ragas described as having human traits and fanciful moods ascribed to ragas

depicted in raga mala paintings. This is how raga–ragini classification came into being.

Some ragas were referred to as male ragas and their females as raginis along with their

putra (sons) ragas along with their putra-vadhu (daughter in-law) raginis. It is also

believed during the period of Amir Khusro (13th century) he developed new styles of

singing known as Khayal and Tarana which was the result of experimentation of Persian

and Arabic elements with Indian ragas and compositions. 1

Now the Raga!

Pt. Ahobal speaks of the definition of raga as well as the time allotted to each as (p.97):

jatd% LojlUcHkksZ jkx bR;fHk/kh;rs A

losZ’kkefi jkxk.kkale;ks = fu:Ir;s AA 339 AA

Gist – An organized group of pleasing notes is called raga. Now, the time decided for all

the ragas are being explained here.

The entire Raga Prakarana of Sangeet Parijat (p.102) is dedicated to the description of

ragas and their respective lakshanas (rules). Each raga is addressed as male / female / son

/ daughter–in-law. The time & season for singing that raga has also been specified. For

example, the lakshanas of ragini asaveri are – it is born from asaveri thaat (parent scale)

where ‘ri’ and ‘dha’ are flat and ‘ga’, ‘ni’ are sharp. Both ‘ga’ and ‘ni’ are minus in the

ascending order and the descending comprises of all seven notes, this makes its jati

audava-sampurna.’m’ is the beginning note, ‘pa’ is prolonged; ‘dha’ is the prominent one,

so ‘ri’ and ‘dha’ are consonants.

Indian music with svaras (notes) sa, ri, ga, ma, pa, dha, ni and (octave) sa. Of these sa

(the basic note) and pa (the fifth note) are invariant, while the remaining five notes have

1 Acharya Chintamani Rath, Article –Raga, www.ragaculture.com

313

two varieties each -the komal (flat) and the tivra (sharp), making a total of 12 semitones.

Using these semitones, one can "make" different ragas by choosing any 5, 6, or 7 notes

out of 12 given svaras in a multitude of ways. By choosing and dropping different sets of

notes and changing the ascending and descending orders, it is possible to make up

thousands of ragas, each one different from the other, up to 72,000. It is interesting to

note that according to the esoteric texts of Indian philosophy there are said to be 72,000

nadis or subtle channels in the human body. The scholar Venkatamukhi (17th) was the

first to systematize the raga system in to 72 parent scales from which all other scales

could be derived. This is known as the Melakarta system of Carnatic music. The

melakartas or parent scales are scales using the same seven notes in ascending and

descending natural order. These are worked out by a systematic formula of permutations

and combinations of the 12 basic notes.1

Image Source: http://rajamsmusictherapy.com/music-and-the-energy-centres-in-the-

human-body-.html

1 Osmer, Bill, December, 2006, Raga Chikitsa and Raga Ragini Vidya, at http://yogasangeeta.org/index.php?option=com_content&view=article&id=172:article-raga-ragini-bilwa&catid=923:raga-ragini&Itemid=273&directory=273

314

Shown above is a Human Body – Veena interface. The picture is taken from Sangita

Kalpadrumam – a treatise on South Indian Classical Music by Harikesanallur Muthiah

Bhagavatar (20th century). It is significant that many Indian Classical Music String

Instruments have the same structural interface, establishing a relationship between their

generation of a musical note and its resonating response in the human body. 1

The grouping of ragas according to the time theory system as discussed above is still

followed in Hindustani music i.e. each raga allotted the time of day or night as

appropriate. For this purpose, the 24 hours of the day are divided into eight sections of 3

hours each (called prahar) and the ragas are categorized on the basis of the notes

employed especially vadi and samvadi svara, and allotted time for it, too. Ragas taking

the sharp (tivra) of ‘re’, ‘dha’, and ‘ga’ are to be played following dusk and dawn. Night-

time melodies use mostly ‘ma’ (sharp). Early evening ragas are characterized by ‘re’ and

‘dha’ (flat) thus becoming weak or disappearing altogether before twilight. 2 This

classification of raga-s based on the time of the performance within a day is found in

many works of which Sangitamakaranda (mid-11th century), Ragavibodha (1609) and

Sangitadarpana (early 17th century by Catura Damodara) are prominent ones. This

classification is also referred to as "Ragavela Nirnaya". In Sangitamakaranda - The

author then points out how by singing the ragas in specific times, a musician will be

bestowed with all prosperity and will also be rid of all sins. He then makes a finer

classification of the time of the day for the raga-s to be sung. The author further adds

singing the raga-s according to time will make the musician happy; singing it out of time

will bring harm to him and he who listens to it will loose wealth and age. (Premalata

Nagarajan, (2008), Suryansha, Madhyahna and Candransha)

C) FEW MYTHOLOGICAL STORIES

Historical records indicate that Haridas Swami (16th century) who was the guru of the

famous musician in Akbar’s time, Miyan Tansen is credited with the recovery of one of

the queens of the Emperor with a selected raga. 1 http://rajamsmusictherapy.com/music-and-the-energy-centres-in-the-human-body-.html 2 Osmer, Bill, December, 2006, Raga Chikitsa and Raga Ragini Vidya, at http://yogasangeeta.org/index.php?option=com_content&view=article&id=172:article-raga-ragini-bilwa&catid=923:raga-ragini&Itemid=273&directory=273

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Miyan Tansen was the premier court musician of Akbar, the 16th century Moghul

emperor. It was Akbar who gave Tansen the honorific title of 'Miyan'. Tansen was not

only a performer of the highest calibre, but was blessed with the rare gift of translating

sound into the purest expressions of the human soul and this led to his discovery of

several profound ragas such as Miyan ki Malhar, Miyan ki Todi, Miyan ki Sarang and

Darbari Kanada, all still cornerstones of the classical repertoire. [It is said that ragas are

discovered and given names for the identities they already possess: they are not created].

The mythology of Hindustani classical music attributes magical powers to Tansen: it is

said that he was able to command the forces of nature with the power of musical sound:

bring rain with rainy season ragas like Megh Malhar, generate fire with raga Deepak, and

cause flowers to bloom with springtime ragas with raga Basant. At the time of his death,

as legend has it, a struggle ensued for an heir to occupy Tansen’s venerable position.

Tradition says that his sons were asked to sing at his funeral and one of them, Bilas Khan,

who had been leading the life of an ascetic, sang a mournful, yet transcendent melody of

such profundity and power that it caused the hand of the deceased Tansen to move,

indicating Bilas Khan to be the true successor. Such melody was later named Bilaskhani

Todi [from India Archives Music]. 1

Baiju (17th century) was a musician at the court of the Raja of Chanderi (MP) who later

became a musician at the court of Raja Mansingh of Gwalher. According to historical

books preserved in Jai Vilas Mahal in Gwalior, he would light oil lamps by singing Raga

Deepak, make it rain by singing Raga Megh, Raga Megh Malhar, or Raga Gaud Malhar,

and bloom flowers by singing Raga Bahar. 2

Gopal Nayak, a court musician in the State of Kashmir, India, was a student of Baiju. The

then king of Kashmir challenged Baiju against Gopal Nayak. Baiju sang Raga

Bhimpalasi. Instead of singing in response, feeling overwhelmed, Gopal Nayak cried in

the court. After this defeat, Gopal died and his body was cremated on the bank of river

Satluj. When the bones in Gopal's body were thrown in the river following the cremation,

they sank. According to a legend, Gopal's widow then asked Baiju to retrieve her

1 Miyan Tansen, http://ragamala-nada-yoga.com/stories.htm 2 Baiju Bawra, http://chanderi.net/BaijuBawraSmarak2.php

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husband's bones. Responding, Baiju taught a new version of Raga Malhar to Nayak’s

daughter, Meera; and after a week's training, Meera sang that Raga on the bank of Satluj

in front of a crowd. As soon as she finished the Dhrupad, her father's bones emerged on

the bank out of the river. From that time on, that Raga is known as Meera ki Malhar. 1

Legend has it that Saint Thyagaraja brought a dead person back to life with his Bilahari

composition Naa Jiva Dhaara. Muthuswamy Dikshitar’s Navagriha kriti is believed to

cure stomach-ache. 2

D) RAGA CHIKITSA – A RECENT EXPLORATION

This is said that Raga Chikitsa, an ancient manuscript, dealt with the therapeutic effects

of Indian ragas. The library at Thanjavur is reported to contain such a treasure on ragas

that spells out the application and use of various ragas in fighting common ailments.

Additionally, another ancient Indian text called Swara Sastra said that the seventy-two

melakarta ragas (parent ragas) control the 72 important nerves in the body. It is believed

that if one sings with due devotion, adhering to the raga lakshana (norms) and shruti

shuddhi, (pitch purity) the raga could affect the particular nerve in the body in a favorable

manner. 3

Shall it be assumed that the raga therapy – at least as a methodology – is lost for long?

Though both the classical forms of music viz. Hindustani and Carnatic have reached their

zenith in recent times. Though certain references do hint the potential of raga at various

quarters but it becomes imperative first to document such information and test them

clinically for their role in the treatment of speculated ailments and to publish such

recorded findings.

Dr. Sairam in his book “Raga Therapy” p.16 refers to certain ragas having a therapeutic

value, when played in certain instruments. The credit he says goes to the unique texture

of sound or timbre. For instance, in south India sweet strains from the veena have been

believed to ensure a smooth and safe passage for the baby’s arrival from the womb of its

1 Wikipedia dictionary 2 Dr. T.V. Sairam, RAGA CHIKITSA, The Indian Music Therapy, www.ayurveda-foryou.com 3 Dr. T V Sairam, Raga Therapy, Pub. Nada Centre for Music Therapy, 2004, Chennai, p.14

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mother. The descending motes in raga are found to create inward orienting or introvert

feelings; the ascending notes represent an upward or expansive mobility. So more

ascending notes are found in war music or in joyous dance music all over the world.

Similarly melancholic songs should opt for smooth avarohis.

Mr. M. M. Sabharwal in his research paper - “Scope of Music therapy” quotes Dr.

Neelam Verma, consultant physician and cardiologist, Saras Foundation says, “the seven

notes of music are connected to our psyche”. Acknowledging the deep healing power of

Indian classical ragas, the notes of ragas reach the energy centers (chakras) of our body

and produce vibrations. The pitch, tone, vocalization and specific arrangement of notes

in raga cure ailments by including electro-magnet changes in the body. Our body is made

up of vibrations and these vibrations are disturbed during illness. Eventually, only

vibrations can balance vibrations. Herein lies the importance of listening to or singing or

playing the correct notes to ensure the right potency of vibrations. We have heard that the

raga Deepak could light up lamps. It is possible because music produces vibrations and

these vibrations, in turn, produce that spark. 1

It seems that one’s experience of sound depends entirely upon the refinement of one’s

consciousness. By understanding the sound-consciousness nexus, one can implicit the

mind’s interference.

Curiously scientists have recently stumbled upon not two or three but precisely four

distinct types of brain-wave rhythms. And with the help of latest electronic medical

equipment such brain wave patterns’ identity with the nada consciousness levels (para,

pashyanti, madhyama & vaikhari as mentioned in ancient Vedic texts) is traceable. 2

The world’s leading champion of Brain Music Therapy Dr. Galina Mindlin, a 20-year

veteran of psychiatry says, “Music and brain waves are actually very similar and both are

a combination of different frequencies and patterns.”

1 Dr. Kalyan Bagchi, Music therapy as an alternative medicine, Pub. An Alternative Medicine' Society for Gerontological Research, 2002, New Delhi p.6 2 Dr. T.V. Sairam, Self-Music Therapy, Pub. Nada Center for Music Therapy, 2006, Chennai, p.24

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Image Source: http://newbrainnewworld.com/images/4%20levels,%20no%20text.jpg

Dr. Sairam has given the following table in his book “Self-Music Therapy” saying that

this could be a meeting point between mythology and modern science:

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Image Source: Book “Self-Music therapy” by Dr. T.V. Sairam, (2006), p.24-25

Dr. Sairam has long-drawn-out a chart (portion of it given below) portraying the ragas

from both Hindustani Music as well as Carnatic music and their therapeutic value. He

also has given their respective scales and explained qualitatively where it can be used:1

1 Dr. T.V. Sairam, Raga Therapy, Pub. Nada Center for Music Therapy, 2004, Channai, p.36-60

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321

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Observations (based on the texts studied):

1. Chanting of Vedic & Tantrik syllables and mantras in a highly “codified manner”

along with the time / duration of the worship were practiced. These codes were

exercised to procure specific powers through meditation (nada-yoga) and rituals.

2. Stress on their correct pronunciation and recitation were laid so as to achieve

results.

3. Allocation & Association of Vedic syllables in reference to human senses, organs

and psychophysical centres along with its effects (of meditating on them) are

observed in both - Vedic and musicological texts.

4. Process of sound production from psychophysical centres in both texts and an

alliance between shrutis & nadis (nerve channels) has been found in sangeet

shastras.

5. Derivation of svaras from shrutis, use of svaras in jatis in expressing different

moods (rasas), formation of grama, murchanas, jatis and ragas from svaras - has

been traced.

6. Esoteric value of gramas, murchanas and tanas has been acknowledged.

7. Each raga has been codified with certain rules (lakshanas) so as to maintain its

personality and a specific period of day or night and season has been assigned

respectively.

8. No mention of the use of ragas for treating ailments in musicological texts.

9. Raga Chikitsa is a modern practice.

Inference: Since Vedic age, musical sounds, forms and practices have always been

credited for the powers they hold. Indian music has endured various

transformations and modifications for a very long period in history but has evolved

with a very distinct style in its own and that too without loosing its properties and

divinity. In spite of such developments, of our raga system known for its aesthetic

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value we find no clue about the therapeutic uses of our ragas in alleviating illnesses

in the musicological texts referred here. However the reason of allotting specific

time of the day / night or season to a raga could be its mood and personality. To be

precise, Raga Chikitsa or raga therapy does have its roots in the age-old traditions

but this very practice came into being in modern times.