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The tradition of Indian art and Music flourished in four kinds of performing spaces: sacrificial areas, temple precincts, stages and platforms and princely courts. The character of each of these spaces determined the pitch, volume and timbre of music. The music associated with the sacrificial hall was mainly the mantras, which were recited as well as sung. The words, their pronunciation and their appropriateness for the ritual were the supreme considerations. Musical instruments were employed, but their role was secondary. In the closed or semi-closed structures of temple-spaces, the effects of echo and reverberation were felt. The effect of instrumental and vocal timbres was more pronounced. Much care was taken in designing such temple halls for Music. The quality of the performance also depends on the type of instruments used, and the individual capacity of the performer to produce a greater variety of sounds. There were regular temple artistes who performed in these halls. The courtyard of the temple allowed another kind of music making called the samaja. Visiting artists were also allowed to perform in these halls. Yet another format that evolved in the temple space was the ghata-nibandhanam, which was collective dance and music. Templespaces have thus fostered art, folk, religious and popular music.

42 The stage or the platform was a space, which was a necessary and important part of an auditorium or a theatre. Natyasastra elaborately describes three kinds of theatre, differing in their size and shape. Music from the stage had to be audible to a large audience and the artiste also had to be seen by the public, hence the skilful use of stage space was necessary. Bharata's detailed instructions about the kutapa or the orchestra bring out the close relationship between the kind of music performed and the quality of stage space. The princely court was the most organized performing space. All kinds of music were rendered in the princely court as all the external conditions could be controlled. Delicate effects and subtle nuances could be conveyed. There was also a much better interaction between the stage performer and the audience. While referring to the theatre we have to mention about the role of Natyasastra. In fact, this extraordinary work is an encyclopedia of almost all aspects of Indian Music and theatre art. That leads us to discussion on the Texts on Music, which is inevitable in any aspect of the study of Indian Music.