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Tantras were composed when several sectarian forms of worship came into prominence. In that, ritualistic offering, prayers, music and dance, become a feature in the daily worship of the lord.

139 During the worship, the deities are invoked by particular tunes dedicated to the particular Deity. Pipes and Drums are the instruments played generally. Even bells, cymbals, plate drums are also employed. Several aspects of music are preserved in these Tantras. and The Yamalastaka tantra is an important work. It is an encyclopedia Sanskrit works in all fields. These Tantras Uddisamahamantrodaya supply a lot of information on various musical on instruments. Yamalastaka tantra says in a nutshell the various technical aspects of music. It explains the intricacies of Vina, Ragas, Talas, Drums; it's nuances such as Gati, Yati, Laya, and Marga etc. It also deals with instruments and rhythmic patterns resembling the gait of horse, deer, lion etc. gandharvavedah satrisatsahasragranyasammitah | yatra saptasvarotpatikathanam pahikirtyate || vinatantram kalatantram ragatantram manuttamam | misratantram takatantram gitikatantrameva ca | lasikollasikatantram metantram mahattaram | jatigrahalayasthanam margangakriya kriya | kalasanam vavallitridyinnadhyaya eva ca | turangagatisarangasihyalilavijrmthanam || angaharapraviksepadhyayassamksobhanakriyah | evamadini gandharvavede santi sahasrasah | | Yamalastaka - 9 th Kalatantra Gandharva Veda or the Music as a whole was classified in different perspectives. The origin of Sapta svaras was assigned to the different cries or roars of different animals. Various Tantras such as Vina tantra, Kala Tantra, Raga Tantra etc were analyzed. The Gatis or the gaits were assigned from the gaits of animals like Horse, deer, swan etc.

140 Vinatantra is another work that deals with the principles of Tala, Sruti, Laya and the laksanas of drumming. ekonavimsa vinakhyatantram laksanapramanakam | nadabrahmanandasiddhiryena siddhyati vai nrnam || nisadadi svarotpattigitotpatteti laksanam | raganam bhedakathanam ragakalanukirtanam | dhvaniprabhedakathanam misramisravabarhanam | talasrutilayadinamudbhavascopavarnanam || caturvidhanam vinanam laksanam tantrilaksanam | kinnarasvarayantradi laksanam mela laksanam || sadgitadi prakathanamutpattisthanavarnanam | evamadini kirtyante yasmin tantre sahasrasah || Vinatantra - 19 th tantra The 19 th Tantra namely the Vinatantra gives the laksanas of Music. The aim of music is to attain the bliss of Nada. It describes the laksanas of the origins of svaras. It describes the various varieties of raga, tala, Sruti, laya and dhvani. The four varieties of Vinas (stringed) and the Mela is comprised of concepts like Sruti, Svara, Yantra are given. The production of sound and modulations are the other factors that are explained in this Tantra. The 28 th tantra Trotalatantra also states the various Tala aspects. Trotala tantra explains the Talas, and its 28 varieties. The finger mode of counting the tala, the Marga-mode of play, Kala-tempo, Laya-Time pause, Graha-beginning place of song, which all have sprung up from the mouth of Lord Siva, are explained in this text. vrotalanamakam tantramastavisam salaksakam | yasmin bharatasarvasvam saksacchivamuravoatam | laksanam talathedanamangulonmanalaksanam | margakriyangajatinam kalagrahalayodbhavah | vadisaptatalanam tadbhedanam ya laksanam | vainayikanamaisanam vagbhavanam ca laksanam | anyesam talakotinam sivagamabhuvam tatha | vidhatribhinnalilanam yasmin tantre prakirtyate ||

141 Uddisamahamantrodaya is a work describing the ritualistic worship of Siva. It refers to a number of musical instruments. According to the book 'History of 'History of Classical Sanskrit Literature' by K.Krishnamachariya (pg.842), the instruments mentioned in Uddisamahamantrodaya are Talanilayam, Sallari, Pataha, Maddala, Bherivigha, Himila, Thuthuka, Mithakkatha, Damaru, Muraja, Anguli Sphota, Alamani, Ravanahastaka, Udyanta, Ghosavati and Brahmaka. (III-3987)] Talavidhana [catalogue of Sanskrit Manuscripts in Oriental Library, Madras (I to VII) Manuscript describes the different kinds and versions of instruments are based on its shape, structure and the usage. For eg;- Tala Nilayam is a time-keeping instrument. Sallari is a subsidiary instrument, which accompanies the main instrument such as Pataha or Maddala. Bheri is used for announcements, whereas Vina is played to perform the main melody and used more for ritualistic purposes such as Yagas etc. Each instrument has different kinds and versions. Mrdanga laksana, an anonymous work in Puranic style, gives legendary origin to the musical drum, muraja. There was a demon called 'Mura' who was tormenting the Gods. He was trying to become more powerful by performing sacrifices and getting boons. pura murasuro nama devanantako bali | vrtrasurastu balavanitavu ( bhayu ) tabalo tatha | satrayagapravrtte tam gangatire manohare | himavatprantakantare munibhih kalite pale || purodasanimittesu daivassakam niyodhyatah | tatkale tu mahavisnussarvalokaikaraksakah || murasuram pragrhyasu hatvasadau (hatvapadau ) ( tatha sirah ) | carmana tacchirasthena vamaparsvadvayam mithah ||

142 tatpadacarmana badhya catuvimsatisankhya tatkuksisthena pindena | murasya deham he nandin dvimukhe kanthavistare | mukhadhvanirmahanasat prsthe dhimidhima iti || evam krtam maya cadya takadantam maharavam | tanyatam bharatoktena sastramargena saddhvanih | mahapralaya kalasya tandavasya ca sannidhau | mrdangam vadayamasa mahanandi layanugam || The Demon by name Mura was a fearsome foe of the Devas. He tortured the rsis and munis in their penance. All the virtuous men pleaded to Maha Visnu to shield them, who is the Protector of all the worlds. By killing Mura Lord Visnu saved the earth. Lord Visnu tore the skin of Mura and made it into two pieces and made them as the two sides of a percussion instrument. Nandi used Mura's body and made them as two pieces and played a beat as dhima dhima. This produced a loud roaring sound. It resembled the Pralaya Kala Tandava of Lord Siva. Thus the instrument came to be known as Muraja.