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5.1 Musical Instruments - a survey Music has an absorbing influence on human life. A study of the history, culture and civilization of any nation, for that matter cannot become complete without a study of its musical tradition. The study of Music will again be complete only when the relevant Musical Instruments are also studied. The Literature of any nation invariably represents the history and culture of its times. Therefore both these aspects of Indian culture - The Musical instruments and Literature, particularly with reference to Sanskrit Literature are studied in juxtaposition of each other in this dissertation. In the study of Indian Music and Musical Instruments, Sanskrit has a major role to play since a large number of original texts dealing with the theory of music are in Sanskrit language. In addition to these texts called 'Laksanagranthas' we also have abundant references to Musical Instruments in Sanskrit literary works. A brief account of the original texts dealing with musical instruments was dealt with in the second chapter. Musical instruments of various kinds were known even during Vedic times. The laya (tempo) and its varieties (Druta, Madhyama and Vilambita) are mentioned in the ancient Pratisakhya texts. The Brahmavaivarta Purana makes a specific mention of `Mrdanga'.

266 We have dealt with the origin and evolution of musical instruments in the later section of the second chapter. It may be seen from mythological accounts that majority of Hindu Gods or Goddesses are associated with musical instruments. Thus we see that Lord Siva turned his drum (Dakka) 14 times to evolve the 14 Mahesvara sutras that spell out the entire Sanskrit alphabets. Different types of drums were used for indicating human emotions like joy or sorrow. Drum beating was also employed for conveying messages. Music and Nature are interwoven in character. Those aspects that relate to nature such as the cries of the birds or animals corresponding to the Seven Svaras are dealt with at an appropriate place. Music is the language of emotion and is an integral part of the human life. Music is a language by itself and is capable of expressing subtle thoughts and refined ideas. Just as a Poet expresses his thoughts through the medium of words and a Painter through the medium of brush and colors, a musician expresses his thoughts through the medium of melody and rhythm. India has developed not only an excellent system of music and dance, but also has taken adequate steps to ensure their preservation and development.

267 India's hoary musical culture, the richness, variety and prolific character of the musical literature and repertoire, the amazing number and variety of musical instruments and the galaxy of musicians, composers and musicologists produced have all earned for India a dignified place in world culture and heritage. From early times India has been famous for the eminence in fine arts. India has earned a dignified position in the world of art, stage, dances, vocal music and instrumental music, which are characterized by a graceful blend of style, aesthetics, an expression in the most subtle style and in their polished exposition. This beautiful land of fine arts is indeed a place of joy and refined cultural heritage. Following the principles of art and aesthetics, the description of Instruments, the Orchestra and an outline of Technical aspects of music are dealt with in this dissertation. The Laksanagranthas provide the basis for structural framework relating to classical music and dance. The fact that dance and music have maintained their classicism over the ages is proof enough for the importance and impact of Laksanagranthas on the practical aspects of dance and music. Music is also an integral part of each man's character, sentiments and moods. Man likes a particular type of raga or rhythm in a particular setting. We are aware of the Navarasas, which primarily form a basis for any composition.

268 Each sentiment for example Love or Anger or Valour is supported or even enhanced by a particular raga. Thus, Mohana raga goes well with Srngara, Nattai with Vira and Mukhari with pathos. Even nature responds to certain ragas. There is a tradition that the Saint composer Muttusvami Diksitar could bring forth rain by singing Amrtavarsini raga. In Indian Context, Music and Musical Instruments are associated with almost every aspect of Indian culture like Spirituality, Philosophy, Yoga, Sculpture, Mathematics, Theatre and entertainment. Music is part and parcel of Temple tradition in India. Music be it Vocal or instrumental, is closely connected with temple rituals. In majority of the South Indian temples, the temple artistes play Nadasvaram and the Tavil, even today. The hymns dedicated to the respective deities are sung with the accompaniment of instruments. Women dedicated to temple service rendered music or dance in the temple precincts. Musical concerts (vocal/instrumental) and dance performances are held even today during the annual temple festivals. Next to the temple, music and art forms flourished in the royal courts of Kings. There were rewarded artistes attached to each court, as is evident from references found in the Literature. The Kings supported composers and authors of the musicological texts.

269 The musicological texts throw much light on the types of musical instruments, their structure and method of playing then. Some of them deal with modes of playing drums, fingering techniques, qualifications of a good drummer, varieties of rhythm patterns and their nuances etc. They also give instructions on drum making, selection of hide and mud smearing (Marjana) for the upkeep and maintaining quality sound in these drums. Different drum types like, Dundubhi, Bheri, Adambara, Vanaspati and Agati are mentioned in the Yajur Veda. Panini refers to drummers called Mardangikas (Mrdanga players) and Panavikas (Panava players). The Ramayana refers to Panivadakas who kept time and rhythm when percussion instruments were played. Drums were played on happy occasions like a coronation and also during sorrowful times. Martial music was known as Yuddha Gandharva. Valmiki mentions at least a dozen types of instruments. Kalidasa too refers to a number of musical instruments. The thunder of the cloud messenger in Meghaduta is portrayed as if beating a Pataha drum at the time of evening worship at Mahakala Temple of Ujjain. For King Aja, the waves of ocean seem to sound the drums while waking him up. Drums were sounded to mark the birth of prince in the royal household. Sportive women played soft drums during water sports as we see in Raghuvamsa. Drums were played during the proposed execution of Carudatta in Mrcchakatika and its sound hastened his friends to take steps for his release. Mrdanga is an indispensable instrument in orchestral music according to Kumaradasa.

270 Other poets like Bharavi, Magha, Bana, Harsa and Bhatti too refer to a number of musical instruments in their works. All these references in Sanskrit literature go a long way in tracing the origin and development of musical instruments in India through different ages. In the fourth chapter an attempt has been made to compare the musical instruments in India with those in the other ancient cultures through few references in Bible and from the Persian and Arabic forms. Some references about musical instruments are given from essentially Tamil Literature, which is also an equally ancient tradition as that of the Sanskrit literature. Hence the similar aspects that are present in Tamil literature as compared with the Sanskrit literature were also taken up in this chapter. For centuries over, Vina is considered as a divine instrument and playing Vina is considered to be yoga. Yajnavalkya Maharsi observes: vina vadana tatvajnah srutijati visaradah | talajnasca - aprayatnena moksamargam sa gaccati || Yajnavalkya Smrti (III-15) The artiste who knows the science behind Vina playing, who can play Vina by tuning the instrument and maintaining it perfectly, and has superb rhythmic control without any effort can attain salvation or 'Mukti'. It means- Salvation or Liberation can be attained effortlessly by playing Vina. The Maharsi has chosen the word "aprayatnena" (effortlessly) since the usual yogas prescribed by the Vedas for liberation require a lot of mental and physical efforts.

271 Vina playing can bestow happiness both in mundane as well as spiritual lives. From the sages of the yore to musicians of the day all of them have engrossed themselves in the Divinity of Vina as means to the end, namely the Ultimate Liberation. The Ramayana speaks of the Vipanci Vina and Vallaki Vina. Valmiki declares that the historical poem, which is pleasant to sing and adapted to the three measurements of time, is contained within the seven notes and can be sung to the Vina. Lava and Kusa are said to have sung with perfect pitch alignment in Lord Rama's court. Bharata in his Natyasastra talks of the Vinas such as kachchapi, ghosaka, citravina etc. We observe that Sarangadeva has beautifully elaborated the divinity of Vina as follows: darsanam sparsanam casya bhogasvargapavargadam | punati brahmahatyadi patakaih patitam janam || dandah sambhuruma tantri kakubhah kamalapatih | indira patrika brahma tumbam nabhih sarasvati || dorako vasukirjiva sudhamsuh sarika ravih | sarvadevamayi tasmadu- vina - iyam sarvamangala || || Sangita Ratnakara Chapter VI - Verses 54, 55, 56 That is, by seeing and touching the Vina, one attains the sacred religion and liberation. It purifies the sinner, who is been guilty of killing a Brahmin. The Danda, made of wood or Bamboo, is Siva, the string is Devi Uma, the shoulder is Visnu, the bridge is Laksmi, the gourd is Brahma, the navel is Sarasvati, the connecting wires are Vasuki, the Jiva is the moon and the pegs are the sun. The Vina thus represents nearly all the Gods and Goddesses, and is, therefore, capable of bestowing all kinds of divine blessings, benediction and auspiciousness.

272 The Great Acarya, Sankara Bagavadpada exemplifies Devi Minaksi as Vina Venu Mrdanga Vadyarasikam in Minaksi Pancaratnam. In the stotras attributed to Kalidasa we come across such expressions as in Syamala Dandakam, Manikya Vinamupalalayantim Vinasamkrantahastam in Navaratna malika stotram etc. srimatsundaranayakim bhayaharam jnanapradam nirmalam syamabham kamalasanarcitapadam narayanasyanujam | vinavenumrdangavadyarasikam nanaviradambikam minaksim pranato'smi santatamaham karunyavaram vidhim || Minaksi Pancaratnam - Verse 4 manikkavinamupalalayantim madalasam manjulavakvilasam | mahendraniladyutikomalangim matangakanyam manasa smarami || syamala Dandakam - Dhyana Slokam 2 sarigamapadaniratam tam vinasamkrantahastam tam kucabharatamtam namami sivakantam || Devi Navaratna Malika Stotram - Verse 2 In temples of the South, Lord Daksinamurti is worshipped with a Vina in his hands. Lord Siva was known as 'Vina Gana Priya'. Saint Tyagaraja in the kriti 'Moksamu galada' in raga Saramathi says 'Vina vadana Loludau Sivamano Vidhameruga' The specialty of Vina is that it produces all the gamakas or graces of Indian Music. Both the Laksya and Laksana forms of music are possible in Vina playing. These gamakas are categorized as ten in number.

273 Muttusvami Diksitar in his Krti on Minaksi extols her as 'Vina Gana Dasa gamaka Kriye' meaning as one who creates these gamakas in Vina. (It is also means that the Goddess performs ten divine activities through the forms Varahi, Matangi etc). Muttusvami Diksitar refers to many musical instruments in his krtis. (A list is given in the appendix) The Tamil saivite saints in various places have glorified the music of Vina. It is said in Tiruvilaiyatal puranam that Lord Siva sung with a Vina when he came to help Panapattirar to beat the haughty musician Hemanatabakavatar. Appar goes one step further when he compares the bliss of remembering the lotus feet of the Lord with a set of mundane things. macil vinaiyum malai matiyamum vicu tenralum vinkila venilum mucu vantarai poykaiyum ponrate ican entai inaiyati nilale macil Vinaiyum malai matiyamum vicu tentralum venkila venilum mucu vantarai poykayum pontrate ican entai inaiyati nilale. Tevaram - 885 - (Aintam Tirumurai -90.1) The first of the mundane things to appear in his mind for comparison with the lotus feet of the Lord is the "Macil Vinai", that is, the blemish less sound of Vina.

274 5.2 Musical Instruments in Sculptures: The Sculptures of South Indian temples give a idea about a number of Musical Instruments. In the temple of Rankanata in Namakkal and at the temple in Tirumayyam we can see images of harp (Vipanci). The Sanskrit name "Vipanci" is probably a derivative of "pancika" and "vip" means "to quiver" and, that which quivered with five strings was "Vipanci". The reference was to the vibration of the strings. The harps sculptured in Nagarcunakonta and Amaravati do not _ carry more than five strings. It follows the range of music confined to five notes and the name 'Pancika' confirms it. There are solo harpists as the player sculptured on a cave at Aurangabad. In some sculptures the Harp is found with the other musical instruments forming an orchestra, or with a percussion instrument. In most of the sculptures harpists are represented as engaged in the act of singing. This shows that musical instruments were used only as simple accompanying instruments or as drones and so not much sophistication was needed in them. As knowledge in music advanced, artists took an interest in introducing innovations in the musical instruments. The pictures from Mahabalipuram, Kancipuram and the neighborhood present many stringed instruments. They are just rods in appearance with two or three strings on them, and the construction is very simple. The varied lengths of the strings determined the pitch of the strings of the harp.

275 That the harp was bow shaped is revealed to us by the earliest Tamil literature, Tirukkural and Pinkala Nikantu where it is described that it is from the bow that the sweetest melody as well as the deadly arrow springs. Among these lyres a few varieties are mentioned: Kanta Vina, Mahati, Gargara, Godha, Pingala etc We saw that the Vedic texts abound in names of these instruments. The instruments with frets are found in Ajanta and Aurangabad sculpture also. Similar instruments are found in some of the early Calukyan sculpture too. In some sculptures we find a rather short stem carrying a few frets being supported by two gourds on either side. That the Stringed instruments with frets had come into popular use is proved by the wealth of sculpture available in the temples in Belur and Halebid, representative of Hoysala art and culture. In Hoysala sculpture, stringed instruments are presented as having the bow running on the strings at he lower end. We also get the idea that the use of frets was the result of the fusion of the Calukyan and Hoysala art. Just as the Rastrakutas outrivaled the Calukyas in art and architecture, likewise the Hoysala absorbed Calukyan art into their own and attained the acme of perfection. The Vina held by Goddess Sarasvati is very much similar to the one found in Kancipuram and at Ellora. It has a rod like structure with circular supports at either end and has no frets.

276 The sculptured Vina in the Kamaksi Amman temple in Kancipuram, in the temples in Maturai, in Gankaikonta Colapuram, Sriranka and in Patticaram have an interesting story to tell us of the development of frets. It is surprising that though the Vina shape in its modern form is recognized in the Nayak period is similar to the stringed musical instruments sculptured in the temples at Tirunelveli. An artiste playing on a Vina seems to have been favourite object of the sculptor. The Vina is figured in the sculptures in the Sri Minaksi temple, Maturai, and also at Patticaram. We also see the bard-saints figured as carrying musical instruments in sculptures; these instruments probably are Sruti accompaniments. "Tantu" is one of the names given to this instrument and the "Vina tantu" referred to in the early Tamil literature is also probably a synonym. These instruments could have been used just for droning. In the early sculptures stringed instruments do not seem to have an important place in the orchestral accompaniment to these dances. Circular drums and small cylindrical or hourglass shaped drums are more common. Hindu iconography has accorded a special place to musical instruments, which are assigned to a few specific deities when they were sculptured. The Vinadhara Daksinamurthi was a favourite subject as is witnessed by the powerful sculpturing in the Ellora temples and other monument of that period. The right end of the instrument rests on the right thigh and it is held diagonally across and played on.

277 Goddess Sarasvati is associated with stringed musical instrument called 'Vallaki', 'Vipanci', and so on. "Vamakucanihita Vinam" is an apt description to state how the goddess holds the instrument. But these figures of Sarasvati belong to a later stage in musical history, for they have a few frets on them. The Vina held by the figure of Sarasvati in the temples at Belur and Somanathpur are also held in a horizontal manner. The entry of the violin into the sphere of instrumental music in South India is of significant importance. The earliest sculptural evidence we have of the violin is found in the panels of the temple at Citambaram. This carving shows it as being played along with a few other instruments. The introduction of the bow is a marked stage in the progress of instrumental music. The Gottuvatyam, which is in current use, is solid proof to support that the most moving and graceful tunes could be played on a long stem having no frets. The Gottuvatyam resembles the Vina in shape, but it has no frets. Another stringed instrument recognized in the Cidambaram sculpture bears a close resemblance to the modern Gettuvatyam, a stringed instrument shaped like the Vina but used purely as a rhythmic accompaniment. Since the mallets with which the strings are struck to produce the rhythmic tones are not visible in the sculpture, we are doubtful if it is identical with the Gettuvatyam. It is a very rare instrument, and there are only very few artists who play it today.

278 The art of sculpture flourished under the royal patrons of art as can be witnessed from some of their masterpieces in Mahabalipuram, Kancipuram, Citambaram, Tanjavur, Maturai, and Tirunelveli and in few other places in South India. Music developed as an art and a science to a great extent. Kings and Princes themselves were masters of it. Music had become the handmaid of religion, and religious hymns came to be sung. The dancing Siva became the favourite subject of the sculptors. Naturally in any panel illustrating His dance, we recognize many musical instruments played by His attendants. His 'personal staff' the 'Ganas' is seen participating in their Master's performance. The potshaped drum kept vertically and played, the flute, the cymbals, the lute are the instruments that ganas play upon. Tatakai is a form of small kettledrum. We find the five-faced drum called Pancamuka-vadyam still in use in the temple in Tiruvarur. In this connection the three-faced drum is found depicted in many sculptures. There are musical pillars and musical steps, not to mention a stone Nadasvaram, producing a shrill volume of sound. This introduction to musical resonance on stone is the specific feature of this period as is found in the pillars many of the temples. A study of them reveals that the sculptors or whoever was responsible in erecting the structure of the pillars were masters of the knowledge of Srutis.

279 The cymbals are ever-present in Hindu musical iconography. In all ages they are to be found in our sculptures. From the very manner in which these cymbals have been positioned in the sculptures, one can almost hear the musical sound. The cymbals clearly played an important role in the accompanying orchestral music. Cymbals and castanets have been part and parcel of musical accompaniments all through the centuries. The wind instruments, Conches and curved trumpets, narrow at the end at which they are blown and bigger at the outer end, are found among the sculptures belonging to the early centuries. In some sculptures, as seen in the Ekambaresvara temple in Kancipuram, the flute is shown as being blown into the middle. In temple sculpture, orchestral accompaniment to many dances is well pictured too. A dancing maid is usually accompanied by a group of musicians in her performance. The lute, the flute, the drum and cymbals are very much there although there is a slight difference in the shape of these instruments from one picture to another. Sculptural relieves of dancing troupes and musicians found in many temples in South India reveal how popular these dances and musical instruments have been. The epics of Ramayana and Mahabharata are other literary sources to know about certain instruments. The description of Ravana's harem enlists a variety of instruments that were played by women, the shape of some of them being indicated by the poet and the method or posture adopted in playing them. Musical instruments are depicted in the scenes of the epics sculptured in many temples.

280 Every dynasty produced musically gifted rulers like Samudragupta and Candragupta. Mahendravarman has come in the history of music because he is the author of the inscription in Kutimimiyamalai, pertaining to the theory of Indian Music. He is also the author of the drama "matta vilasa". Sarangadeva, the author of Sangita Ratnakara, was a dependent of Singanna's Court in Devagiri and his Vina was called Nissanka Vina. Ramamatya was the musical scholar requested by the Vijayanagara king to write the musical treatise Svaramelakalanidhi. The Kakatiya monarch Prataparudra was a famous scholar who encouraged writers of dramas and prakaranas. The Hoysala Queen Santala Devi was a very good exponent of dance. King Raghunatha Nayak, of Tanjavur, the Marata rulers Thejaji Maharaja and Sarfoji Maharaja, were themselves composers besides being patrons. Travancore produced the master musician, composer, Svati Tirunal Maharaja. It is quite natural that in the temples patronized by these kings, sculptures representing music and dance were depicted. These Stones and metals speak across the centuries to those who approach them with understanding. They shed light on the grandeur of Indian cultural heritage and are a source of perennial inspiration.

281 Musical Instruments as gleaned from sculptures, paintings and drawings have been given in the Appendix. The pictures of various musical instruments from different cultures, Photographs, sketches and drawings with respect to different types of instruments are also added. 5.3 Therapeutic use of musical instruments The first impulse of the cosmic evolution is the source for all creation. This ceaseless rhythmic movement in the Cosmos is the Infinite Consciousness. By nature, it is absolutely soundless and still, the ocean of peace undisturbed by any vibration flows through eternity. This Omnipresent Spirit or Brahman is always addressed as Sabda Brahman or the Pranava which is 'Aum' and the Spanda or the primordial momentum of the Nada is very well understood in our Indian Spiritual thought process. Pure Sound is held in great veneration and is considered as standard of musical truth. Melody is the result of Nada. Pure and Positive energy is present in such a melody. Certainly an inexplicable element, Music is rightfully considered the language of the gods. Music has always been linked to the emotional context, and as such a profound influence on the listener. Devotional music is a means of spiritual energy transmission. Instruments that are sounded in the Bhajans, Nama Sankirtanams etc elevate the devotees to higher spiritual plane.

282 The ancient sages, who had merged their minds in this sea of unexpressed Consciousness, realized that the universe is the consequence of vibration of varied waves with different wavelengths. Man is the micro aspect of the macro cosmos. The rhythmic pulse that present in the macrocosm is present in the microcosm as well. The sages of the past knew that each individual's inherent rhythm vibrates at a particular frequency. Many instruments in a symphony play together to create a beautiful harmony. Likewise the combination of all the various "biorhythms" of mind and body (psychic waves, heartbeat, metabolic rate, etc.) induces regularity in every individual. If this individual melody and rhythm is raised to subtler and slower frequencies, it ultimately becomes infinite - and the mind merges in boundless Cosmic Consciousness. Withdrawing the mind from these external sounds, one should focus inside to hear much subtler inner vibrations, which is deeply throbbing and vibrating in our own nervous system. This is the secret of ancient Indian scriptures that say that one should find God within one's own self. Be it Kabir, Mira, Purandaradasa, Jayadeva, Tyagaraja, Muttusvami Diksitar, Syama Sastri, Amir Khusru or Tansen, they all found Music as a powerful basis of communicating the subtle thoughts and philosophy to the people.

283 Many of these saints were trained in playing Musical instruments also. Purandaradasa emphasizes the need of rhythm and instruments. "Tala Bekhu Takka Mela Bekhu'. Muttusvami Dikssitar was an accomplished Vina player. The use of music as a therapy is in vogue for thousands of years. Nearly all-indigenous cultures have had some sort of music for curative purposes. Ceremonial and communal drumming usually involves singing, chanting, and or dancing as well. Despite the vast differences in cultural and musical expression around the world, there is universal concept that binds everyone is this rhythm. The music has the ability to cause positive vibrations and restore the body to a state of balance. Specific rhythm patterns stimulate an individual and cheer him even when he is depressed. With awareness of the healing ability of music, musical instruments are finding their way into therapy, which is proving to be a useful tool, rediscovering what has been known for centuries. Musical ragas (Tunes) are said to help treatment of patients with afflictions of physical and mental nature, in certain conditions. The principle underlying the concept of Musical healing is physical health and a healthy mind if kept tranquil and happy, will be the answer to all the problems of life. Music helps in achieving relaxation by soothing the nerves and through that inducing peace and stillness of mind.

284 Sounds from Instruments produce verve and energy that motivate our whole system. If we listen to some fast paced rhythm, we get excited and mind gets brisk. Likewise, pleasing sounds produce a calm and serene effect that it gives us a relaxed feeling. We have specific rhythms and melodies for the mornings, afternoons, and evenings, night and for every occasion. Likewise we have specific instruments for various ceremonies providing the necessary ambience. It is a matter of common experience that infants go to sleep fast while listening to a lullaby. There are particular tunes, particular 'ragas', and also particular instruments that can appeal to the different systems of the body (like respiratory system, nervous system etc). Psychiatric patients are calmed down through music. Conducive Instrumental Music is used in Re-habitation Centers for drug-addicted patients and alcohol-addicted patients to divert their urge and obsession towards drugs and drinking. Spastic patients are trained in playing musical instruments so that it can improve their 'Body-Mind' Coordination. Music and musical instruments help children in memorizing rhymes easily. Even the hearing-impaired patients are introduced to sounds of different musical instruments for their hearing improvement. Pregnant women are advised to hear instrumental music to improve their system to facilitate easy and safe delivery. It also helps them to maintain good mental state devoid of tension, anxiety and nervousness and relieves them off their stress and strain. Grhya Sutra writers prescribe Vina playing during the Simantonnayana ceremony, which is performed during the eighth month of pregnancy.

285 Life is full of colours. It is worthwhile to mention here about the Ragamala paintings, which are sublime and celestial, enhancing the colour and quality of Indian classical music. (A ragamala painting is given in the Appendix) 'Ragamala' means 'a garland of musical modes'. These paintings belong to early 18 th century and were painted representing the princes and princesses of the Rajput Kingdoms. The paintings have brought about a happy blend of poetry, painting and music. They personify the spirits of the various melodies, associated with a particular season and time of the day. Many representations in the painting are symbolic. Over centuries musicians and painters have marvelled at the symbolic interaction of these two art forms on each other. While the mood of the paintings is inspired by the melody of the raga and the lyric, musicians consider the ragamala works as a source of inspiration for their multidimensional presentation of the ragas. Meditation can be enriched through Music. Mind gets attuned to music and the sound of musical instruments. The saint composers of South India call it Nadopasana, which helps one to reach higher states of spiritual activity. These aspects of Music and musical instruments', curative use in reducing one's tensions, anxiety, etc and to calm down and relax one's mind through its meditative nature are some of the areas that require sustained research. Such a research is bound to help the humanity towards a better life in this strife-ridden world.

286 The Summum Bonum of literature is also same - that is to elevate man in the field of spirituality. So says Mammata: The term 'paranirvrtaye' emphasis this particular point that literature leads to emancipation. kavyam yasase arthakrte vyavaharavidhe sivetaraksataye | sadyah paranirvrtaye kanta sammitatayopadesayuje || Kavya Prakasa (I-2) A world without the pleasing sounds of musical instruments cannot be even imagined. There is music in poetry, literature, painting and even in silence. One of recent developments in the use of music as therapy is Medical Resonance Therapy Music, or MRT-Music. A German musicologist named Peter Huebner composed this music. MRT-Music is based on the principle of resonance, which means that the precise harmony contained in a particular musical structure, resonates inside the human organism, from the ears to the brain and from the brain to the various organs. The harmony inside the music stimulates the re-setting of the biological order and it harmonizes and regenerates the whole body, bringing it gradually towards regeneration. In this way, it also becomes an important tool for prevention of disease. The purpose of this thesis has been suggested at many places in the course of the discussions. Music and literature mutually induce positive vibrations in the minds of listeners and readers. This is indirectly emphasized in the references to musical instruments or instrumental music in Sanskrit literature.

287 The efforts of the researcher will be fruitful if this particular point, that is the harmony and peace through Instrumental Music and literature catches the imagination of the readers and helps them to lead a better life. Transgressing man-made frontiers, Musical Instruments sends the message of harmony, peace and brotherhood. It is this force that unites Humanity all over the world. Music and Musical Instruments have for centuries been known to have a pleasing appeal to humans, animals and even plants. Music is a harmonizing factor in today's world, which is full of conflicts and tensions. The last hymn of the Rg Veda summaries the purpose of life inculcating the values of universal brotherhood, peace and global harmony. samgacchadhvam samvadadhvam sam vo manamsi janatam | deva bhagam yatha purvai sajanana upasate || samano mantrah samitih samani samanam manah saha cittamesam | samanam mantramabhi mantraye vah samanena vo havisa juhomi || samani va akutih samana hrdayani vah | samanamastu vo mano yatha vah susahasati || om santih santih santih || Rg Veda (10.191.2, 3, 4) Let us go together. Let us speak together. Let our minds be together. Let us be united in our share, like Gods accept equally from Agni. Let our thoughts and minds be united. Let us pray together. Let us know our responsibilities together. Let our hearts and intentions are together. Let us be together and let us enjoy the fruits together. Let the good come to us and we enjoy together. OM - Let there be Peace, Peace and Peace everywhere.