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Having discussed the Vedic origins of music briefly we may make a quick survey of music material from other Sanskrit sources. From the lavish use of musical metaphors in the Ramayanda, it is evident that the precise concept of music had been adequately established and appreciated even during the Ramayana times. For example, when Rama describes Kiskindha, Sugriva's kingdom, to Laksmana, he refers to the lute-like resonance of the bees, the rhythmic croaking of frogs and the mrdanga-like sounds of clouds. Rama was an expert in gandharva, the 'classical' music of the time. The term Marga Sangita is also used in the epic to denote the accepted and prestigious mode of music. There were three important features of Marga Sangita. 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 epic tells us that musical instruments were collectively mentioned as Atodya. Four major types of instruments were identified. The instruments mentioned in Ramayana are: Vina, Venu, Vamsa, Sankha, Dundubhi, Bheri, Mrdanga, Panava & Pataha. (See Chapter III) -

36 The knowledge of music was widespread. Ravana the King of Lanka was proficient in music. So was Sugriva, the monkey-leader. Occasions of festival music were known as samaja. There were professional classes of musicians such as Bandi, Suta, 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. Indian musicology describes Pathya as a special mode of making music. Bharata has laid down six main features of Pathya: ucco diptasca mandrasca nico drutavilambitau | pathyasyaite啶緇ankara laksananca nibodhata || Natyasastra Chapter XIX - 46 Six Alankaras (embellishments) of the Pathyas (recited text) or 1. Ucca 2. Dipta 3. Mandra high pitched heightened grave 4. Nica low pitched 5. Druta 6. Vilambita fast slow This was the form employed by Rama's sons Kusa 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 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 was widespread in society. Musical terms such as pramana, laya, tala, samatala, kala, matra and samya regularly feature in the epic.