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Indian Mythology and Music Mythological PDF
Indian Mythology and Music Mythological PDF
URMI VAZ
Paper I, PG Diploma in Comparative Mythology, 2013-14
Dept. of Sanskrit, University of Mumbai
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INTRODUCTION
Music is inherent to humankind. Since the beginning of documented culture, there has been
evidence of music. Music has emerged spontaneously and in parallel in all known human
societies. Archeological evidence shows a continuous record of musical instruments, dating
back to at least 30,000 years (DErrico et al., 2003). Thus, music is an ancient capacity rather
than the recent creation of a single intelligence. Music appears to transcend time, place, and
culture.
Music is ubiquitous yet mysterious in the way it manifests and perpetuates. Since music has no
apparent evolutionary function,
this product of pure culture has
always roused curiosity. The
human capacity for music has
often been attributed to higher
sources, and consequently, a
whole body of mythology
surrounding music has been born.
This paper attempts to explore
the effects music and mythology
have had on each other over time
in India.
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The following timeline traces the evolution of the musical tradition in India:
Music originated from chanting of Vedas from the Aryan age. The Indus Valley civilization
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declined around the first half of the 2nd millennium BC, giving way to Vedic civilization. An
important aspect of Vedic religious life was the bard-priest who composed hymns, in praise of
the gods, to be sung or chanted at sacrifices.
This tradition continued until a sizable body of oral religious poetry had been composed. The
Rigveda came into being between 1500 BC and 500 BC. It was not committed to writing, but
the text and the chanting formula were carefully handed down by word of mouth from one
generation to the next, up to the present period. The poems in the Rigveda are arranged
according to the priestly families who chanted and, presumably, had composed the hymns.
'Nada' the source of sound turned into Chandas. The priests chanted hymns in a musical tone
with the pronunciation according to the tune. Vocalising syllables called Sthobhaksaras were
added. Melody and rhythm created the music. Priests used to perform group chanting at the
sacrifices. There are many legends about the origin of music.
The Yajurveda and the Samaveda were composed after the Rigveda The Yajurveda, with portions
in prose, is a manual, describing the procedures to be followed in the sacrifice. The Samaveda
contains hymns to be sung by those who did the chanting. It is this Veda which is specifically
connected with music in India. A fourth Veda, the Atharvaveda, replete with magical chants and
incantations, was accepted as a Veda considerably later and is quite unrelated to the other
three.
SCRIPTURAL REFERENCES
B. The Epics
Ramayana - The first Indian epic, Ramayana, was composed by the sage Valmiki. It was written
in shloka form. The word shloka refers to a particular kind of metrical composition known for its
brevity, easy tempo and lilting rhyme.
The term Marga Sangeet is also used in the epic to denote the
accepted and prestigious mode of music. There were three
important features of Marga Sangeet. It was created and
propagated by Brahma and other deities. It was not meant for
entertainment. It was presented before the Gods to please them.
The knowledge of music was widespread. Ravana the demon-leader was proficient in music. So
was Sugreeva, the monkey-leader. Occasions of festival music were known as samaj. There were
professional classes of musicians such as Bandi, Soota, Magadha and others, whose repertoire
included songs in praise of heroes, their deeds, their clans or dynasties.
Ramayana, as an oral epic, was also propagated according to the musical norms perfected in the
oral tradition. This was the pathya mode of music making, ideal for narration. This was the form
employed by Rama's sons Kush and Lava, when they sang a narrative song in Rama's praise at
his court accompanied by only a lute. Even today, the story of Rama, when traditionally narrated
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in India in different languages and regions, follows the norms laid down by the ancient Sage.
The use of technical terms in popular literature signifies that knowledge in the concerned field
of study is widespread in society. Musical terms such as pramana, laya, tala, samatala , kala ,
matra and shamya regularly feature in the epic.
Mahabharata used the term gandharva instead of sangeet. The epic, therefore, referred to a
more specific kind of music. Musicology, or the science of music was called Gandharvashastra.
Superhuman beings called Gandharvas were the expert practitioners of this music. Both
gandharvas and their consorts, the apsaras were experts in singing, playing musical instruments
and dancing.
Arjuna, one of the heroes in the Mahabharata had learnt these musical arts from Chitrasen
gandharva. Kings maintained their own music schools to train princesses and their
maids-in-waiting in the performing arts.
The names of the seven basic musical notes (shadja) have been clearly mentioned in the
Mahabharata, which was composed around 400 BC. The epic therefore bears testimony to the
long living tradition of Indian Classical music.
The use of music in festivals and other social occasions brings out the importance given to
music in human life. There were, in fact, many classes of professional musicians like the
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gandharvas who catered to various musical and cultural needs.
D. Natyashastra
The Natya Shastra is incredibly wide in its scope. While it primarily deals with stagecraft, it has
come to influence music, classical Indian dance, and literature as well. It covers stage design,
music, dance, makeup, and virtually every other aspect of stagecraft. It is very important to the
history of Indian classical music because it is the only text which gives such detail about the
music and instruments of the period. Natya Shastra heralds the foundation of Indian fine arts.
Each of the abovementioned scriptures acknowledges and explains the divine origins of music,
attributing certain arts to certain gods. One cannot help but draw parallels with the Muses and
Apollo in Greek mythology, who were reigning gods of music. However, unlike the Greek gods,
Indian gods have been more associated with instruments rather than the crafts, with the
exception of Shiva, who is considered the God of (cosmic) dance. Here are some of the major
Indian deities majorly associated with music.
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Brahma: The origin of the universe is often attributed to
the Nada Brahma, or the primeval sound energy. On more
concrete terms, Brahma, the deity, is associated with the
barrel drum, or Mridangam, which is one of the most
significant instruments in Indian music. Brahma is said to
have created the mridangam (mritha being clay and
anga being body) from the blood soaked earth when he
killed the demon, Tripura.
Vishnu: Vishnu holds the shankha or conch in one of his four hands. This sankha is said to have
created the primordial sound of Om, which is the source of all other sounds in the universe.
The sankha is held sacred to this day in Hindu temples and rituals.
Shiva/ Rudra: Of all Hindu gods, Shiva has the most significant place in the world of music and
dance. As Shiva, he holds the damru, a small drum that plays the beats of life and death. As
Nataraja, he dances the cosmic dance, forever maintaining the balance of the universe. Shiva is
also said to have invented the first five of the six main ragas. Of the five faces of Lord Shiva the
eastern face gave birth to raag Bhairav, the
western face to Raag Hindol, the Northern
face to Raag Megh, the Southern face to
Raag Deepak and the fifth face, which was
directed towards the sky gave birth to
Raga Shree. Goddess Parvati is said to have
created the Raga Kaushik. Shiva is also said
to have created the Rudraveena, a string
instrument, inspired by the voluptuous
supine form of his wife, Parvati.
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Saraswati: Like Brahma, his consort Saraswati is associated with music. Not just music,
Saraswati is considered the patron goddess of all arts. She is seen holding a classical Veena in
one of her four hands (as seen on the first page of this paper) and is credited with the invention
of the 7-toned scale or swara. Interestingly enough, each one of the seven swaras is associated
with one Hindu deity viz. Sa with Ganesha, Re with Agni, Ga with
Rudra, Ma with Vishnu, Pa with Narada, Dha with Sadashiva, and
Ni with Surya.
Other characters
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Ragas: An important component of music is the melody or Raga, as they are known in Indian
music. The powers of swaras (individual notes within a Raaga), and Ragas are attributed to divine
agency. In the 13th century, Sarangadeva assigned a patron deity to each Raga in his musical
treatise called Sangita Ratnakara. Later, the ragas themselves were represented as semi-divine
beings. The Ragamala miniature paintings from the 16th-17th century india illustrate the ragas
personified. In fact, fully developed mythologies around ragas purported the principal male ragas
having wives and children! Of the Ragas in Ragamala, six are male (parent) ragas; the thirty
raginis are their wives and the remaining forty-eight are their sons.
Ragamala miniature paintings of Sarang Ragini, Raag Deepak, Ragini Asavari and Raga Sri
In a famous story from the Brhaddharma Purana, the musician Narada is taken to heavenly
realms to confront the souls of the ragas and raginis cruelly injured by his inept performances.
When Shiva sings them correctly, the ragas and raginis present themselves to him in person.
CONCLUSION
The influence of mythology on Indian music has been undeniable and extensive. From the Vedic
times down to the modern day, songs about gods have been central to the music of India.
Whether it is naming of the Ragas, or the invention of music instruments, Hindus have always
turned to scriptures and mythology for inspiration. We do not just tell stories about our gods
and heroes, but sing them, for music is divinity manifest!
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