Mythological Origin of Music | Sa Re Ga Ma Pa Singing Superstar (2024)

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I read a book few days back on Origin of Indian Classical music. there at the first part of the book dealt wth Mythological origins of music. So looked for more info & finally collected some articles regarding this. let me shre thm wth yu all.. Lets deal wth this particular part of music..

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Mythological Origin of Music

We must look at mythology to really see the significance that Indian music (sangeet) has to Indian society. This is easily illustrated in the story concerning its origin. Perhaps the clearest mythological raison de etre may be found in Bharata's Natya-Shastra(Rangacharya 1966):

Once, a long time ago, during the transitional period between two Ages it so happened that people took to uncivilised ways, were ruled by lust and greed, behaved in angry and jealous ways with each other and not only gods but demons, evil spirits, yakshas and and such like others swarmed over the earth. Seeing this plight, Indra and other gods approached god Brahma and requested him to give the people a toy (Kridaniyaka), but one which could not only be seen but heard and this should turn out a diversion (so that people gave up their bad ways)

Although it was decided to give the celestial art of sangeet to mankind, a suitable human had to be found who was capable of receiving this gift. Sangeet had always been in the realm of the demigods (gandharva. A super-human of superior spiritual ability was required to convey this celestial artform to the world of man. It fell upon the great sage Narada to be the first mortal recipient of this divine art. Through Narada, we are indebted for the presence of classical music.

The introduction of this artform to the mortal world was only the first step. Traditional pedagogy had to accommodate it. Classical music is considered more than mere entertainment; it is a moral and spiritual redeemer. Therefore, the divine qualities inherent in the artform imply certain prerequisites; key among them are guru, vinaya and sadhana (Shankar 1968). This translates to teacher, humility, and discipline. The guru, or teacher is the most important prerequisite in traditional musical pedagogy. Music is said to be a guru mukha-vidhya (i.e., knowledge which must come from a teacher). This is considered the highest form of knowledge. Traditional pedagogy is based upon the transfer of knowledge from the teacher (guru) to the disciple (shishya in an unbroken tradition (parampara) (Courtney 1980). The tradition of guru-shishya-parampara extends back countless millennia. The second prerequisite is vinaya (humility). This also reflects the divine origins of the artform. Classical music is said to be a worship that involves both the listener and the artist alike. Any negative emotions such as arrogance (abhiman) becomes an impediment. This is an impediment from both the divine aspect as well as a matter of simple pedagogy (e.g., "If you think you already know everything, then what is there to learn?") The final prerequisite for a student of classical music is sadhana (discipline and practice). Sadhana is necessary at two levels. At one level, the divine origins of the artform require that the student "be prepared" to be a recipient of this knowledge. However, from a simple pedagogic standpoint, the music is so incredibly difficult that if the student does not devote countless hours of practice spread over many years, the student certainly will not be able to master the music.

This may clarify many points of pedagogy, but what about the artform itself? Any art must deal with the topic of aesthetics. The Indian tradition has much to say on this point as well.

The ancient scriptures describe nine fundamental emotions from which all complex emotions may be produced. Just as all hues may be produced by mixing the three primary colours, so too, all emotions are said to be derived from these principal emotions (Shankar 1968). They are called navaras and are shown in the table below. These emotions form the aesthetic foundation for sangeet. We must remember that we are talking about music. This requires an acoustic vehicle to convey these emotions.

This acoustic vehicle is known as rag. Rag may be thought of as the melodic foundation upon which classical Indian music is based. During the last few centuries it was customary to anthropomorphize the rag in the form of gandharvas (demigods) and apsaras (celestial nymphs).

The divine quality of music is perhaps best illustrated in nad siddha. This is the ability to perform miracles by singing or playing certain rags. The most famous miracle-working musician was Tansen (Garg 1984). It is often said that he was able to create fire by singing rag Dipak, or create rain by singing rag Megh Malhar.

We have seen how this artform is considered divine. This divine quality influences concepts such as aesthetics and pedagogy. The reverence that Indians have for this system may only be seen in a traditional approach.

However this does not bar us from taking a more objective approach.

Edited by Barnali - 17 years ago

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Music is an integral part of Hindu Mythology. According to Hindu Mythology, music originated with the first sound in the universe, OM, also called Naada Brahma (the first note). OM is believed to be the purest sound ever made, and just chanting of OM can heal the body. OM is positioned in Indian philosophical and religious thought as being one with the rhythms of the universe. The correct rendition of it requires a particular breath-process, and as such is believed to clear the system and the karmic cycle. There are several music CDs made around this theme of chanting OM. Preface to one such CD says - OM is a musical bliss through the regular use of which, a restive heart and stressful mind can achieve eternal peace and harmony, delirious joy and happiness of being at one with the Creator.

Music in the celestial world was practised by Gandharvas, demigods. Indra and other gods requested the Creator, Brahma, to give the people something which not only creates a diversion from their bad ways, but helps in their upliftment. Brahma agreed and gave music to people through a human with extraordinary abilities, Narada Muni (sage). Even now, Narada is represented with images of him carrying a Tanpura.
Brahma is also said to be the author of the four Vedas, of which the SamaVeda was chanted in definite musical patterns. Other vedic hymns were sung in plain melody, using only 3 notes.

Many mythological figures have music association. Sarasvathi, the goddess of learning and knowledge, is represented as playing the ancient instrument, Veena. Infact, the most common form of veena is called Sarasvathi Veena. Ravana, the villain of the epic Ramayana, was proficient in Veena.

Considering these beliefs it is not surprising that even to this day, music and musical instruments are considered sacred. All classical composers are considered saints and are worshipped (especially the Carnatic composers like Sri Purandara and Shri Thyagaraja) as such.

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This is the best article tht I found. it deals in details on this topic.

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Worship of Nada Brahman

T.S. PARTHASARATHY

The real aim of Indian music has always been to attain self-realization and through music practiced as Nadopasana, this is achieved much sooner.

Music ranks as the highest of the fine arts; as the one which, more than any other ministers to human welfare. Even Westerners feel that "music is more intimately connected, than any other art, with the hidden soul in us; the incognisable part of our minds which it stirs into activity that at once fills us with delight and passes understanding." A Hindu philosopher would have applied this description for what is known as Brahmanubhava.

Although, in the West, music was not considered as an Upasana to attain the Supreme, music and devotion to God went hand in hand. Composers like Bach were intensely religious men and the bulk of their work was church music. Bach's music has a serenity which comes from confidence in God and eternal salvation. This common feature between the master composers of Western and Indian music is remarkable.

Music was never looked upon in India as a form of entertainment to the people; not even as a fine art, but as a means for attaining eternal beatitude (moksha, apavarga, svarga, etc.). This accounts for the large number of saints, evolved souls and devotees among its best exponents and composers.

Origin Traced to "Vedas"

The origin of Indian music is traced to the Sama Veda and music itself is styled as the Gandharva Veda, one of the Upa Vedas. From time immemorial, God has been conceived as Nada Brahman (embodiment of sound) and the practice of music as spiritual sadhana, as Nada Vidya or Nada Upasana (Worship of God through sound). In one of his kritis Tyagaraja calls it Sangita Upasana (worship through music).

The Yajnavalkya Smriti is perhaps the oldest treatise which mentions that a mere votary of absolute music viz. music without words, attains salvation.

Another verse equally oft-quoted in this context is attributed to Lord Narayana Himself:

"Naaham vasaami Vaikunthe na yogi hridaye ravau Madbhaktaah yatra gaayanti tatra tishthami Naarada".

"I dwell not in Vaikuntha nor in the hearts of yogins, nor in the Sun (but) where my devotees sing, there I be."

Even before Sarangadeva wrote his 'Sangita Ratnakara' (13th Century) devotees like the Alwars and Nayanmars of the Tamil country, several of whom were qualified vocalists and instrumentalists, conceived of God as the embodiment as well as the fruit of music (Isaiyay, Isaippayanay).

Voice of God

In the very first sloka of his monumental work, Sarangadeva pays homage to Lord Sankara as 'Nada Tanu,' i.e. 'one whose body is sound'. This led to music itself being described as 'Brahmanaada' or the voice of God. Sarangadeva later proceeds to give a long list of gods and goddesses who were votaries of music and adds "Saama Vedaadidam gitam samjagraaha Pitaamahah" (Brahma created this music from the Sama Veda).

Nada Vidya or Nadopasana is the worship of Nada which is not mere sound but musical sound. The whole subject of music relates to Nada. Nada gives rise to srutis which give rise to svaras and they in turn become the source of ragas. Nada admits of the division of Ahata and Anahata, the former being the sound produced by the conscious effort of man and the latter, the nada that is heard without conscious effort like the music of the spheres.

Anahata Nada includes the Nada emanating from the Muladhara part of the human body. Tyagaraja, the greatest Nada Yogi of recent times, refers to the Muladhara Nada in his kriti "Svara raga sudha". The Anahata Nada, being devoid of aesthetic beauty, does not afford pleasure to the mind. Hence Ahata Nada alone is studied and meditated upon by humans.

Emanation of Nada

An interesting description of how Nada is caused in the human body is furnished by Sarangadeva and other writers. The Atma or soul, desiring to speak or sing, stirs the mind; the mind strikes the fire abiding in the body; the fire strikes the wind; the wind abiding in Brahmagranthi, rising along the upward path, manifests sound in the navel, the heart, the throat, the head and the mouth.

Nada is thus produced by the combination of Prana and Anala. This description may appear somewhat fanciful to moderns but Tyagaraja, who must have experienced the emanation of Nada in this form, describes the process graphically in his kritis 'Mokshamu galada' and 'Sobhillu saptasvara.'

The supreme aim of music is to realize the essence that shines behind music. So, the ragas have been conceived as the media for the realization of that essence which is the source of all knowledge, all intelligence and all bliss. Tyagaraja describes it as "Sangita jnnanamanu brahmananda sagaramu" (the ocean of supreme bliss called musical knowledge).

Tonal Forms Deified

The seers of music felt within themselves the necessity for animating the material structures of the ragas. They conceived the idea of the tonal forms possessed of flesh and blood like human beings and thus deified the ragas. Then the invisible ragas became visible in material forms. This idea is developed in a poetic manner by Tyagaraja in his kriti "Naada sudha rasambilanu".

"The ambrosia of sound has assumed a human form", he exclaims: "It is the basis of Vedas, Puranas, Agamas and Sastras. The seven notes are the bells of His bow, the Kodanda, which is none other than raga. Ghana, naya and desya are the strings, talagatis the arrows and bhajana the supreme reward." All true musicians desire permanent peace of mind through the practice (sadhana) of music and through concentration and meditation upon the ideal of music.

Sarangadeva's Thesis

Highly abstruse descriptions of the source and the nature of sound are found in Matanga's Brihaddesi (5th - 6th Century), in Yoga treatises and Tantra works. Sarangadeva, who synthesizes all these doctrines in his Sangita Ratnakara, has elaborately discussed the divine nature of the causal sound. He says that when the causal sound manifests at the level of the heart, it is known as Mandra; at the level of the throat as Madhya and at the base of the tongue as Taara. The three levels are known as Brahma, Vishnu and Mahesvara. Such descriptions have a deep meaning and spiritual significance. The philosophical foundation of music rests upon the solid rock of the realization of the immortal soul of music, namely Nada.

According to the philosophy of music, the divine psyche or Atman is the foundation (Adishthana) of music. The psyche sings eternally the immortal song of absolute music, which is formless and colorless in essence and yet represents the infinite. The feeling distilled in sound becomes itself an independent object. It assumes a tune form which is definite but a meaning which is indefinite.

Spiritual "Sadhana"

Thus music is looked upon as a spiritual sadhana which elevates and animates the level of man's consciousness and kindles in the cave of his heart the perpetual light of divine knowledge. The intuitive authors of the music of India were fully conscious of this secret and have made music the best and purest means for attaining God-realization.

Among the composers of Karnataka sangita, Tyagaraja alone has composed a group of 15 kritis exclusively dealing with the art and science of music and prescribing it as a sadhana to attain the Supreme. Other composers like Purandara Dasa and Diksh*tar have, no doubt, made passing references to music like ten gamakas, 22 srutis, etc., but have not devoted an entire group of kritis to music as Tyagaraja has done.

A scrutiny of these songs shows that Tyagaraja was a confirmed votary of absolute music and his object of composing these kritis was to impress upon mankind that Nadopasana was spiritual sadhana. He presents his ideas in beautiful musical garb. He first pays homage to the divine sage Narada whom he describes as the "bee that hovers round the lotus called Nada" (Nada sarasiruha bhringa). He calls the seven notes as 'beautiful deities' who shine in the Vedas like Rik and Sama, in the Gayatri Mantra and in the hearts of gods and Brahmins. He asks his mind to drink the deep nectar of raga and get edified. To him, ragas are not mere groups of notes but have an ethos and to those who do sangita upasana, 'they assume the most pleasing forms and dance before them with their anklets jingling' ("Sripapriya").

Role of Bhakti

The question might be asked why if sound (Nada) alone can constitute music and ensure salvation, have we thousands of musical compositions with sahitya in almost every Indian Language. Why has Bhajana or Sankirtana or Hari Kirtana, as it is called in different parts of India, been prescribed as an unfailing sadhana for spiritual elevation? The answer is that the worship of pure Nada as emanating from the Muladhara etc can only be done by duly initiated Yogins. If music is to serve the aspirations of the uninitiated multitude, it should be combined with devotion (bhakti) and made accessible to every aspirant.

PRINCIPAL NOTE

Hindu mythology says: The seven principal notes are associated with the cries of animals and birds, and are classified as follows: Shadja (Sa), the cry of peaco*ck; Rishaba (Ri), the sound made by the cow when calling her calf; Gandhara (Ga), the bleat of the goat; Madhyama (Ma), the cry of the heron and the tonic of nature; Panchama (Pa), the note of the Cuckoo or Kokila, the Indian nightingale; Dhaivata (Dha), the neighing of the horse; Nishada (Ni), the trumpeting of an elephant.

Nice article Barnali ji...

Quick Q - Is "Lajja" not considered one of the nav-rasas?

History of Music ORIGINS!!!!!!!

Edited by Qwest - 17 years ago

History of Music

It is not easy to point to one period of history or one ancient form of music as the source of contemporary Carnatic music. Several changes in theory and practice have surely taken place from Vedic times to the present day. Historical records allow us to trace the interesting pattern of evolutionary changes in music.

Divine Origins: It is the general belief in Indian culture, that all art forms have a divine origin. Carnatic music is also believed to have originated from the Gods. This has been separately discussed in the mythological section.

Natural Origins: A number of musical sounds are naturally produced, e.g. the sound emanating from the bamboo reed when air passes through its hollows. Ancient man observed this phenomenon and designed the first flute! Some ancient treatises describe the connection of the origin of swaras to the sounds of animals and birds. Man, with his keen sense of observation and perception tried to simulate these sounds. His ability to distinguish between sounds of different frequencies, qualities and timbre would have been an important factor in the evolution of Carnatic music.
Folk Origins: Folk music, also said to have a natural origin, is considered by many scholars as one source that has influenced the structure of Carnatic music. While folk music evokes more spontaneity, a classical system like Carnatic music is more organised. Certain folk tunes correspond to Carnatic melodies or ragas like Anandabhairavi, Punnagavarali, Yadukulakambhoji, etc.

Tamil: Tamil works like Silappadikaram, Tolkappiam and other Sangam literature works give old Dravidian names for the seven notes in the octave, and describe how new scales can be developed by the modal shift of tonic (shifting the reference Shadja) from an existing scale. In the old Tamil music, the concept of Pann corresponds to that of the modern Raga. The rhythmic meters found in several sacred musical forms like Tevaram, Tiruppugazh, etc., resemble the talas that are in use today. Above all, Tamil music was practised by the native Dravidians of Southern India. Since Carnatic music is prevalent in South India, many scholars believe that the ancient Tamil music is an important source from which Carnatic music is derived.

Edited by Qwest - 17 years ago

Edited by Qwest - 17 years ago

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WOW !!

Another good thread by Barnalidi & Qwestda.

Thanks to you all I have been able to aquaint myself with so much of rich Indian musical heritage.

I would also say the musical threads that we have at IF is a good archive for any music lover. Just the otherday there was a Indian music quic #2, conducted by Karan Bhai and wherever I was not sure of the answers, all I had to do was visit our golden threads. It was all there !!!

THANK YOU.

Edited by adi_0112 - 17 years ago

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No Babumoshayi the nav rasas r..

happiness, anger, disgust, fear, sorrow, courage, compassion, wonder and serenity.

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Music and Morality

by

Ram S. Sriram

This is a reprint of the article that appeared under Culture in Chandamama, U.S. and Canada Edition

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I hope our past discussions on music, dance, and other arts have been exciting and fascinating to you. This month I want to share two stories from Hindu mythology. Mythology contains interesting and fictional stories about Gods, people, their beliefs, and traditions. The Ramayana and the Mahabharatha, for example, talk about ordinary people and every day events. These stories teach people that knowledge of our mythology and accomplishments in music are important, while illustrating at the same time, that it is even more important to live our lives with decency and honor. While these are stories of the past, we can relate to them even today and find great meaning in them.

The general belief among Indians is that music is divine and life like. Even Gods are pleased by music. Even today, it is common to recite mantras and other hymns in praise of Gods during Hindu religious ceremonies. Often, these mantras and hymns are recited musically because they are very pleasing to those who are present in the congregation. Also, many of our culture's stories describe some of the Gods and saints as gifted musicians, excellent dancers and learned scholars. For example, Krishna is a flute maestro. Goddess Saraswathi is a Veena player, while Nandi is an accomplished drummer. Shiva and his wife, Parvathi are great dancers. Brahma and Saraswathi are learned, wise scholars. In fact, Saraswathi is also personified as the goddess of wisdom, learning and knowledge. The Gods and saints are not described as musicians or scholars simply to make them appear interesting, however. Through the narrations of reading about the life of these accomplished individuals, we discover the qualities that made them great but also the weaknesses that made them fail.

For example, take the story of Saint Narada. Narada, when translated into English, means knowledge giver -- Nara is the word for knowledge and Da means giver. Saint Narada is most known for creating mischief and quarrels between people (although the quarrels always lead to good things and makes everyone happy). Apart from his mischief making, however, Narada is also well known for his supreme musical talents - according to Hindu mythology, he introduced people to the gift of music. Narada always appears with a Veena in his hands and constantly chants the name of Lord Narayana. Even today, In India, when a religious discourse or a Yakshagana (a type of dance-drama or an opera) is held, the programs begin after invoking the name of Narada.

Saint Narada, wasn't without flaws, however. He was proud of his musical skills, but looked down on others who were less skilled than he was. Once he went to the kingdom of Lord Krishna. Krishna knew of Narada's arrogance and wanted to teach him a lesson on modesty and respect for others. Krishna asked Narada to play his Veena before an assembled audience in his court. Narada played the Veena brilliantly and delighted the audience with his music. At the end of his performance, Narada turned to Krishna and waited for the God to express his appreciation of Narada's music. Krishna, instead, turned to Hanuman, the monkey God, who was sitting in the audience, and asked him what he thought of Narada's music. Narada, unaware of Hanuman's divine status, was very unhappy that Krishna, instead of expressing his appreciation, sought the opinion of a mere monkey. "What does a monkey know about music?" Narada thought.

Krishna reading the mind of Narada said, "Oh Narada, I understand your concern, but first, let us find out if this monkey really knows anything about music. Give him your Veena and let him play it." Narada became even angrier because musicians consider their musical instruments sacred. Narada didn't want to share his Veena with anyone, especially not a monkey. He couldn't refuse Krishna's request however, and reluctantly handed the Veena to Hanuman. Hanuman began to play the Veena and sang beautiful hymns in praise of Lord Rama. The Monkey God's singing and playing was so sincere and so devoted that the entire audience was mesmerized. Even the great musical genius Narada was compelled to appreciate Hanuman's music. Being a person of enormous wisdom, Narada began to realize the lesson that Krishna was teaching him. Narada asked Krishna's forgiveness for not respecting the greatness of Hanuman and for underestimating Hanuman because he was a monkey.

Like the story of Narada, the myth of Ravana also illustrates the importance of good conduct and morality over mere accomplishments in music or education. Ravana, the mighty demon king of Lanka is one of the principal characters from the Ramayana. Like Narada, Ravana was very talented in music and also very learned and knowledgeable in the Vedas and the scriptures. He was an ardent devotee of Lord Shiva and enchanted Shiva with his music (Shiva is called "Gana Priya", one who is pleased by music). One day, delighted by the demon king's music, Lord Shiva granted him a wish: Ravana desired that his life could only be ended by Shiva and by no other Gods. As the years passed, Ravana acquired enormous powers through his penance and through the wish granted by Shiva. But, instead of using his powers and his knowledge of music and the Vedas to benefit the world, Ravana used them to only benefit himself. He became very proud, conceited, and even immoral.

According to the Ramayana, Ravana kidnapped Sita, Rama's wife and tried to take her for his own. To rescue his wife from Ravana, Rama, invaded Lanka. But Ravana was unconcerned, confident that he was too powerful to be killed by Rama. Alas, he didn't realize that Shiva only exempted him from being killed by Gods, but not human beings. Since Rama was a human incarnation of Vishnu, Shiva's boon could not save Ravana. He died at Rama's hands.

We can learn a great deal from the stories of Narada and Ravana. The Narada story shows that even great saints and learned scholars occasionally make mistakes or act foolish. Regardless of one's accomplishments in music, art, or education, one must be modest and simple and never underestimate the talents of others. More importantly, we must learn, like Narada, that no one, not even great Saints, can judge people based on their color, appearance, or origin. Finally, even great saints can admit when they are wrong.

Ravana's story tells us that having musical talents or knowledge of scriptures isn't adequate. We must also live a life of austerity and simplicity. We must not always pursue our own interests, but must also work toward the welfare of the community and world in which we live. Like Ravana, we must learn that a person does not become powerful because of birth, wealth, or possessions. Even the most powerful will become powerless if they violate ethics and morals.

Hindu mythology is intended to help us see ourselves more clearly by depicting the lives of Gods and Saints in everyday situations. By reading their stories, we can learn from the mistakes made by these characters as well as the lessons that they learn from them. In this way, we can use these stories as a way to examine our own lives and see how we can make our world and ourselves better.