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Magha vividly describes the various technical aspects of Music. He uses the metaphoric usage of musical principles to substantiate his poetic descriptions. Basically, Amaram explains four types of instruments as follows:- tatam vinadikam vadyamanaddham murajadikam | vamsadikam tu susiram kamsyataladikam ghanam || Amaram (I-6-5) Vina etc are the Tata (stringed) instruments, Muraja etc are the Avanaddha (percussion) instruments, Flute etc are Susira (wind) instruments and Cymbals etc are Ghana ( gongs) instruments. Magha also similarly refer four-fold classification of musical instruments. 1. ad: 2. anaddhah 3. susira 4. ghana Stringed Percussion Wind instruments Cymbals Magha refers to several kinds of drums. anaddhah - Percussion : - A drum of one such variety that is played during wars. tapaniyanikarsarajigauraspuraduttala tadicchatattahasam | anubaddhasamuddhasamuddhatambuvahadhvani tadambaramambaram babhuva || (Sisupalavadha. XX, 68) The sky seemed to glitter with group of golden rays with yellow and radiant lightning, which was dazzling with the thunderous sound resembling the Adambara.

192 kahala - A large drum used for military purposes turyaravairahitottalatalairganyantibhih kahalam kahalabhih | nrtte caksuh sunyahastaprayogam kaye kujan kamburuccairjahasa || (Sisupalavadha. XVIII, 54) The deep beats of the Kahala drum (appeared like the often-played beat from Mrdanga and other type of drums), which was played along with other musical instruments, ridiculed the sound of the conch. The poet compares it with the person who mocks at a blind man dancing with hand gesticulations. dindimah - A small Drum, beaten at the beginning at a battle. ghandanadah - kinkinisvanah - gingling of bells. dindimanam - takkanam nihsvanah - sound of a drum called Dakka. ghantanada nisvano dindimanam graiveyanamaravo brmhitani | ametiva pratyavocan gajanamutsahartham vacamadhoranasya || (Sisupalavadha. XVIII, 10) It was observed that the elephants were rejoicing at the gingling of bells tied on the either side and in the neck as well as sound from the Dindima drum. dardurah - A small drum with cylindrical frame udyatkrsanusanusakalesu khurabhidhatadbhumisamayatasilaphalakacitesu | paryantavartmasu vicakramire mahasvah sailasya darduraputaniva vadayantah || (Sisupalavadha.V, 9) The horses, which were running very fast with their firm steps on the earth, were as if, making sounds resembling the Dardura drum echoing from the mountains.

193 patahah A Kettle drum or a war drum sounded at the time of journeys or in warfare. yiyasatastasya mahidhrarandhra bhida patiyan patahapranadah | jalanta raniva maharnavavaughah sabdantaranyantarayancakara || (Sisupalavadha.III, 24) As Narada was about to start, the loud sound of the drums, powerful enough to split open the cavities of the mountains, drowned all other sounds, just as the role of the great ocean which swallows up all other waters. bheri-damdubhi - War-drums that are indispensable during battles and Magha does not fail to mention them in the verses below. bheribhirakrstamahaguhamukho dhvajamsukaistarjitakandalivanah | uttungamatangajitaladhupalo balaih sa pascat kriyate sma bhudharah || (Sisupalavadha. XII, 27) The strong army, which came from the forts with the flags, along with the tall elephant force that created a din on the earth that was heard lound and clear, echoing from the cavities of the mountain like the deep sounds of the Bheri drum. bharasapravrttakuruvacakradundubhidhvanibhirjanasya badhirikrtasruteh | samavadi vaktrbhirabhistasankatha prakrtarthasesamatha hastasamjnaya || (Sisupalavadha. XIII, 3) The Kaurava army exhibited their happiness on the arrival of Lord Krsna by beating the Dundubhi drum, deafening the atmosphere, which made the people to converse through gesticulation.

194 panavah A kind of drum, which is to be beaten with hands on the surface at the time of some auspicious occasions. ( uparipanivrttayah ) drutamadhvanannuparipanivrttayah panava ivasvacaranaksata bhuvah | nanrtusca varidharadhiradhiravaranadhvani drstakujitakalah kalapinah || (Sisupalavadha.XIII, 5) The sounds made on the top of the earth by the shoes of the horse were similar to the sound of instruments that are supposed to be played by the hands. The trumpeting of the elephant is like the roar of the cloud. The sweet voiced peacock that started dancing with joy hearing these sounds. mandukah or (madduka ) - A small drum nabhihradaih parigrhitarayani nimnaih strinam brhajjaghanasetunivaritani | jagnurjalani jalamaddukavadyavalgu valladdhanastanatataskhalitani mandam || (Sisupalavadha V-29) When the ladies went to take bath, the fast flowing waters were slowed down, when it went inside the deep pool like navels and also being obstructed by the broad back which were like two big flowers. They splashed water on their breasts, which sounded like a Manduka. mardalah- A kind of drum jaladapanktiranartayadunmadam kalakilapi kalapikadambakam | krtasamarjanamardalamandaladhvanijaya nijaya svanasampada || (Sisupalavadha VI-31) The Peacocks intoxicated by the sounds of the well-tuned, mudsmeared drum (Mardala), started dancing with sweet cries, thinking that to be the thundering of the rain bringing cloud. The sound of the drum won over the cloud's thunder.

195 mrdangah - A Drum ratirabhasavilasabhyasatantam na yava nnayanayugamamilattavadevahato'sau | rajaniviratisamsi kamininam bhavisya dvirahavihitanidrabhangamuccairmrdangah || (Sisupalavadha XI-2) The lovers spent the whole night, keeping awake and whispering amongst themselves and they were informed about the dawn by the sound of the Mrdanga, which alarmed them with grief. In ghana (i.e. cymbals), we find bells of various forms. fenfeunt - A bell generally tied to a girdle. atisayaparinahavan vitene bahutaramerpitaratnakinkinikah | alaghuni jaghanasthale'parasya dhvanimadhikam kalamekhalakalapah || (Sisupalavadha VII-5) The lady who had a broad waist was decked with girdle fully studded with gems and tied with bells and she was making tinkling sounds when she walked in a relaxed manner. kinkinika - A small bell tied around the horse's neck. asravi bhumipatibhih ksanavitanidrai rasnan nupuro haritakam mudamadadhanah | grivagralolakalakinkinikaninada misram daghada dasanacucurasabdamasvah || (Sisupalavadha V-58) The Kings who woke up just then, saw the horses, eating green grasses, with their necks being tied with the dangling bells, making the sound, mixed with the 'bhur bhur' sounds of the teeth of the horses, chewing the grass.

196 que - A large bell tied around the neck at elephants. udayati vitatordhvarasmirajjavahimarucau himadhamni yati caratam | vahati girirayam vilambighantadvayaparivarita varanendralilam || (Sisupalavadha IV-20) With the Sun, with his string like rays, spread upwards raising (on one side), and the moon setting (on the other), this mountain resembles (displace the beauty of) a stately elephant begirt by a pair of bells. hanging (on either side of his body). Magha also refers to Marjana, which is an operation intended to make the drum produce pleasing sound. A special kind of powder is mixed with water, made into a paste and is applied on the face of a drum so that the surface is softened. marjanam nama mardalanam dhvananartham bhasmamrditabhyah puskaralepanam | (Mallinatha on Sisupalavadha VI, 31) Magha describes the various technical aspects of Music. He uses the figurative usage of musical principles to substantiate even the events like War. purah prayuktairyuddham taccalitailabdhasuddhibhih | alapairiva gandharvamadipyata padatibhih || (Sisupalavadha XIX-47) Before the battle, the army was well arranged with the forces (soldiers, elephant, horse etc) accordingly with grace like a musical concert with proper alignment of sruti, svara, laya and pada.

197 Magha calls God, as ganakovidu, one who is an expert in singing. srautamargasukhaganakovidabrahmasatcaranagarbhamujjvalam | srimukhendusavidhedipa sobhate yasya nabhisarasiroruham || (Sisupalavadha XIV-69) The Vedic chants (Brahman) of the expert singers were in tune with a humming bee. Brahma seated on the lotus that sprang from the naval of Lord Krsna illumined by the moon like face of Goddess Laksmi. Magha refers the following types of musicians. (i) raktavainikah - A musician who has a very sweet voice and who can also play upon a lute. asu langhitavatistakaragre nivimardhamukulikrtaddastaya | raktavainikahatadharatantrimandalakvanitacaru cukuje || (Sisupalavadha X-64) The strings sounded very melodious on the ears when the expert musician sang with a crystal clear voice, with half closed eyes, playing upon a lute, as if touching the beloved. (ii) gayakah A Musician or A Singer gatamanugatavinairekatam venunadah kalamavikalatalam gayakairbodhahetoh | asakrdanavagitam gitamakarnayantah sukhamukulitanetra yanti nidram naraindrah | (Sisupalavadha XI-10) The singer who sang along with the suitably blended lute and flute to awaken the king was so melodious that it made him go back to sleep by closing his eyes with happiness.

198 In the above verse, al: the timing, which has an important place in Music, is refered as kalamavikalatalam . Amaram describes this view about three types of Laya and Tala as:- layah trividhah drutamadhyavilambitabhedena | talah kalakriyamanam layah samyam || Amaram ( I-6-9) Laya is three-fold namely druta, madhya and vilambita and Kalakriya, the equal time interval, that is, Laya, ascertains Tala. (iii) vaitalikah A Bard whose duty was to recite in a sweet voice, at fixed periods with a view to communicate to the outsiders, the special activities of the King. These bards sometimes used to sing songs explaining or remanding the King, the various periods during daytime and night time. spastam bahih sthitavate'啶縫a nivedayanta srestavisesamanujivijanaya rajnam | vaitalikah sphutapadaprakatarthamuccai rbhogavalih kalagiro'vasaresu pethuh || (Sisupalavadha V-67) Technical terms in Science of music referred in his Sisupalavadha srati - Divisions at a svara or a note. gramah - A Range - a scale in music three fold- sadja, madhyama & gandhara . murcchana - A duly regulate rise and fall of sounds, which makes out total number of 21, Seven in each grama . ranaddhiraghattanaya nabhasvatah prthagvibhinnasruti mandalaih svaraih | sphutibhavatgramavisesamamurcchana maveksamanam mahatim maharmahuh || (Sisupalavadha I-10) Narada, looking now and again, (admiringly) at his lute Mahati, in which were becoming manifest, duly regulated melodies of the particular gamuts, made up of notes, arranged in groups of fixed quantity, sounding at the touch of wind.

199 layah A pause in music, can be seen mentioned below. vihagah kadambasurabhavihagah kalayantayanuksana-manekalayam | bhramayannupaiti muhurabhramayam pavanasca dhutanavanipavanah || (Sisupalavadha IV-36 ) On this mountain, redolent of Kadamba flowers, the birds every moment utter notes with various pauses and this wind, which shakes the forests of Kadambas, comes here near us, constantly whirling the clouds. The main notes are seven. They are to be demonstrated at the time of singing the Saman chants, with the hand. saptabhedakarakalpitasvaram sama samavidasangamujjagau | tatra sunrtagirasca surayah punyamrgyajusamadhyamisata | (Sisupalavadha XIV-21) The singing of the Saman, along with seven svaras, sung aloud with Talas on hand, bereft of any mistakes or faults, made the right minded intellectuals start reciting the Rk and Yajur Vedic passages. tatah - Stringed instrument for example he refers to parivadini - A kind of lute, which is to be played which has seven strings. madhukarairapavadakarairiva smrtibhuvah pathika harina iva | kalataya vacasah parivadinisvarajita rajita vasamayayuh || (Sisupalavadha VI-9) The song was rendered in a sweet voice along with the tuneful playing of the lute resembling the humming of bees, which made the deers dumbfold.

200 vina - vallaki The Indian lute, Vallaki is a type of Vina, an instrument to be played upon with the help at the thumb and nails. ajasramasphalitavallakiguna- ksatojjavalangusthanakhamsubhinnaya | purah pravalairiva puritardhaya vibhantamacchasphatikaksamalaya || (Sisupalavadha I-9) Narada, holding in his hand, a rosary of clear crystal beads, which seemed to be, as it were, to be strunged with coral leeds, in the upper half in front, being tinged with the rays of his thumb nail that was polished bright by friction with the lute strings that were ceaselessly struck with it. The effect of music is great that is finds place in important situations, auspicious rituals and ceremonies.