Classical Music in Ancient Texts

Having originated in the prehistoric times, Indian Classical Music has been mentioned in numerous Hindu mythological texts. The epics (Ramayana and the Mahabharata), the Silapathikaram, the Puranas, the Kalidasa plays, and the Natyashastra itself mention this form of art. The Sangam texts and the Natyashastra describe music in a very elaborate manner, theory of music discussed in these works are most similar to the music practiced today.

The Ramayana

Evaluating the adequate use of musical metaphors in the epic, we can infer that an elaborate concept of a music system had already been established in that era. For instance, when Rama describes the kingdom of Kishkinda to Lakshmana, he uses the lute as a comparative for the sound of the bees and a mridangam for the sound of the clouds. The term Marga Sangeet is used to depict the renowned prestigious form of music.

The epic refers to musical instruments collectively as “atodya”, and musical festivals were called “samaj”. The instruments identified were: the Veena, Venu, Vansha, Shankha, Dundubhi, Bheri, Mridang, Panav and Pataha. Professional musicians composed songs in praise of their heroes, their dynasties, and their deities. Terms such as pramana, laya (rhythm), tala (beat), samatala, kala (time), matra (meter), and shamya are regularly featured.

In the epic, the antagonist named Ravana was also proficient in music. He played the Rudra Veena.

The Ramayana itself was originally an oral epic, meant to be narrated in a musical manner.

The Mahabharata

This epic is composed in the form of 24000 shlokas in 400 BC. Instead of the term “sangeet”, the Mahabharata refers to music with the term “Gandharva ''. The art form was called “Gandharvashastra”. Celestial beings called Gandharvas were skilled musicians. The gandharvas and their consorts, the apsaras, were proficient in the arts. They knew to sing, play, and dance. The characters - Gandhari, Dhritirashtra, Arjuna and Krishna were said to be proficient in the field of music.

In that era, Music was a luxury reserved for the wealthy. It was for the entertainment of the rulers. The author (Vyasa) mentions music as one of the well developed branches of science. Only poets, kings and the sages were blessed with the knowledge of the art form.

The Saptak (the seven basic notes in Indian Classical Music) have been distinctly mentioned. The swaras are mentioned in this work with their original Sanskrit names. Terms such as Tala (beat) and Laya (timing) are mentioned. Tala was demonstrated in a diverse manner, ranging from hand claps to percussion instruments. Laya was of three types: vilambha, madhyama, and druta (slow, medium and fast respectively). Tana is a term mentioned here which refers to a prolonged swara. Ucchanica and samhara are terms used to refer to high and low notes respectively. There were Ganas or songs composed for every need, for the mortals. Songs for almost every occasion such as marriages, birth, education, love contests, festivals, religious ceremonies, victory, welcoming, and lullabies existed.

Stringed instruments were integral to performances. The veena, for instance, was included in many auspicious rituals. Instruments like the tanpura, veena, kacchappi (a variation of the veena) and dundubhi etc are mentioned here. Musical concerts and musical theatre were revered and sought after art forms.

The depiction of music being played at important celebrations and cultural events bears testimony to the importance of music in those times. Similar to today’s music, the Mahabharata mentions an elaborate system of music which was culturally relevant in those times. It was an extensively developed art form, which was classified as a science due to its rigour.

The Texts from the Sangam Age : Silapathikaram, Tolkappiyam, and Ettuthogai

The Sangam Age ranged between 300 BC and 3 AD. The texts written about music during this period laid down the foundations for today’s Carnatic Music. Therefore, Sangam music texts are regarded as “The Mother of Carnatic Music”. Works such as the Tolkappiyam, the Silapathikaram, Ettutogai, and Patthupattu elaborate on ancient Tamil Music. The structure of music in today’s age and the Sangam age are very similar.

The 7 notes in today’s established music system existed then too. They had Tamil names. The notes were: Kural, Tuttam, Kaikilai, Uzhai, Ili, Vilari and Taram. Their equivalents were Shadjam, Rishabham, Gandharam, Madhyamam, Panchamam, Daivatam, and Nishadam respectively. The Ragas, known as Panns, also had their Tamil equivalents. For instance, Pannati equates to the Raga Alapana. Instruments such as Kuzhal (Flute), Yazh (Vina / Harp) and Muzhavu (percussion) were used to accompany dance and theatre performances. A few Raga parallels include:

• Sempaalai - Harikamboji

• Neithalpaanai - Hindolam

• Kodipalai - Kharaharapriya

• Mersempalai - Kalyani/Yaman

• Arumpalai - Sankarabharanam

• Maruthapaani - Sudhadhanyasi

• Vilaripaalai - Thodi

• Mullaipaani - Mohanam

The structure of music in today’s age and the Sangam age are very similar. Preceding the famous Trinity (Tiruvarur Trinity), there existed another trinity of Tamil Musicians: Muthuthandavar, Arunachala Kavi, and Marimuthu Pillai. Muthuthandavar composed in the traditional Pallavi-Anupallavi-Charanam format, which is seen in modern day Keerthanais and Krithis.

Musical Instruments were categorised according to their type: Pann (melodic instrument), Yazh (percussion instrument), and Parai. There was a diverse variety of musical instruments, each of which were believed to evoke a particular Rasa (emotion). Considering that the country was divided into four main regions, each region had its own music and instruments. For instance, the coastal region (Neithal) had Sevvazhi (Pann), Vilari (Yazh), and Minkot (Parai).

Ettuthogai:

The name literally means eight collections. It lays down eight categories of music, each with a distinct form of composition with specific instruments and an individual theme.

• Natrinai - Ahaval type of music, organic, natural sounds.

• Purananooru - ballads in praise of the kings.

• Ainkurunooru - Ahaval type of music, references to the pastoral regions, also used in theatre.

• Kalithogai - Love songs.

• Ahananuru - Music associated with Rasa (emotions).

• Parippadal - Devotional songs in praise of Gods.

• Paditrupattu - Ahaval type of music, stage music accompanied by dance.

• Kurunthogai - learning music, music for entertainment and gatherings, etc.

Natyashastra

The Natyashastra is the treatise on Ancient Indian Performing arts which was written between 200 BCE and 200 CE, by sage Bharata. The name itself translates to the Treatise on Dance, which in this context, also comprises theatre and storytelling. Music is elaborately discussed in various categories, which are: vocal, instrumental, vocal and instrumental, preliminary music, and Dhruva music. It discusses the significance and relevance of music with regards to dance. Musical instruments were classified into the following: “tata” – stringed,“avanadha” – covered percussion,“sushira” – hollow (flute), and “ghana” – rhythm supports like cymbals. The Natyashastra also gives instructions on the dimensions of the instruments and the materials to be used.

The concept of the Swaras was established in great detail. The 7 swaras, the variations within them, and the complete octave set is described with precision. The author, Bharata Muni, also emphasized on a 22 swara (note) octave. In a large public experiment, the Muni demonstrated the 22 note octave. Using the concept of Jathis and Murchanas, he explained the classification of swaras into the categories of: vadi, samvadi, anuvadi, and vivadi.

The notion of ragas did not exist at that point in time, so postulations such as “jathis” and “murchanas” were used. The Natyashastra also elaborated on the emotional aspect of performing arts. It introduced the 9 stage emotions, known as “Navarasa”, and how they must be portrayed through dance and music. For instance, the notes Gandhara and Rishabha (Ri/Re, Ga) are employed to portray tragedies (karuna rasa) and Rishabha (Ri/Re) is used for heroism (veera rasa).

After the Vedas, the Natyashastra was the first to give an elaborate and detailed account of classical music. Since it was written much before the bifurcation of Indian Classical Music into Hindustani and Carnatic Music, it is considered as the only embellished documentation of the purest and most authentic form of Indian Classical Music.

The Kalidasa plays

In the Ancient times, music played an integral part in the Sanskrit plays. In India, arts are considered as a form of worship. Music was considered as a source of culture and civilization. It was an excellent way to realise God. Plays like Abhijnana Shakuntalam, and Mirchakatika used music to emphasise on the emotions and also for a dramatic flair. The fourth act of Vikramoryasiya by Kalidasa used different musical compositions like Aksiptika, Dvipadika, Jambhalika, Khandadhar, Carcarj, Khandaka, and many more.

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Sources:

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