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Music has universal appeal and an arresting influence on human mind. Music finds a place in every aspect of human life. In fact Music is an inseparable part of Nature itself. There is Music in the sound of waves, thunder and the lightening, the wind blowing through the bamboo blasts, the cooing of a cuckoo and the other birds. The sound of music from nature might have kindled the imagination of man in evolving his own music. Music is found reflected in every other form of art man evolved like literature, painting and sculpture. A study of the history, culture and civilization of any nation, for that matter cannot become complete without a study of its Literary and Musical traditions. The study of music is invariably associated with that of musical instruments as well. Sanskrit literature has a hoary past. The Vedas are the sources of Indian culture and civilization. Then we have the Itihasas, the Puranas, the Kavyas, the Philosophical Works, Technical Literature and the Religious Literature, all of which carry on the tradition of the land. Majority of these works contain references to Indian Music and Musical Instruments. There is also a vast storehouse of technical literature on Music in Sanskrit. The present thesis makes a study of `Musical Instruments in Sanskrit Literature'. References are also drawn from technical literature on Music wherever necessary. Emphasis will be on South Indian Musical Traditions as a measure of restricting the thesis to reasonable limits.

ii The purpose of this study is to peep into the realms of its horizons and have a glimpse of its great contribution in the field of music. I express my sincere and heartfelt thanks to Secretary Swamiji, R.K.M.Vivekananda College, Chennai-4 and Dr. V.V.Subramaniam, Principal, Vivekananda College, for their kindness in permitting me to conduct research in the Department of Sanskrit. I record here my great indebtedness to Dr.S.Ramaratnam, the former Principal and Head of the Department of Sanskrit, Vivekananda College, Chennai-4 for the help he rendered in each and every step in the preparation of this thesis. The present work is the result of the research work undertaken by me, as a full-time Ph.D student in the Department of Sanskrit, Ramakrishna Mission-Vivekananda College, Chennai-4, in 1995-2006, under the guidance of Prof Dr.S.Ramaratnam, Former Principal & Head of the Department of Sanskrit. I am beholden to him for selecting the current topic for me, since I am a performing artiste (Ghatam Artiste) in the field. It helped me to go deeper into the realms of musical traditions in South India. It was an exploring and educating experience and it is sure to help me to become a better artiste.

iii My grateful thanks are due to the authorities of The Adyar Library and Research Center, Sampradaya at Mylapore, Kuppuswamy Sastri Research Institute, Sanskrit College Campus, Mylapore and Prof. K.V. Sharma library, Adyar for having permitted me to consult books in their respective Libraries. I am also thankful to the various websites in the Internet, which I browsed for clarifications on the subject and for some nice pictures, which I have included in the Appendix. I would like to place on record the support from my family members and friends for the successful completion of the work. My grateful thanks go to all of them. I would like to specially mention and would like to express my deep gratitude to my dear wife, Anjana, who was my moral strength. I would like to dedicate this research work to my beloved father, Late Sri.E.V.Subramanaim, who is my everlasting and perennial source of inspiration. I offer my salutations to the GOD Almighty, for all the strength that He has given, and to the all the Gurus and Elders, who have guided me in this endeavor. Date: 05/05/2006 RAM. Shock Rey Kandinga AKRISHNA S.KARTHICK RAJ KOUNDINYA) MYLAPORE MISSION MADRAS-600 004 * VIVEKANA COLLEGE