All music which depicts nothing is nothing but noise – Jean Le Rod d’Alembert
In spite of great strides made in Science in recent centuries, very little has come to be known about the breadth and depth of the human mind. From time immemorial music has been employed in various human civilizations as a mind controlling device. From simple lullabies to soothe the agitated infants, to the complex and esoteric Nada usage to control and empower the mind, sound has been used in various ways. Apart from the conscious use of sounds to achieve certain results, sound has also unconsciously affected the human mind. The metallic noises, the off-shoot and the industrial development, the honking automobiles of urban growth, the noise pollution caused by careless industrialization has caused many modern ailments such as stress and stress related disorders. On the other hand, avoidance of noises and application of organized sounds like soft melodies have enhanced not only economic productivity, but also the overall health of the human factor that goes into it.
Giant strides made in the field of Neurology, thanks to the great revolution in electronics in recent times, have ushered in new scientific understandings which have started unravelling the music-mind nexus known for centuries. Advanced Neuro-imaging components and techniques can now be used to record the process and also the impact of sound stimuli in the still mysterious human organ called the brain. A new branch has started to occupy the interests of sound researchers. It is, as part of neurology, referred to as Neuro-Musicology. Now with the more active participation of experts from diverse fields such as bio-engineering, clinical medicine, paramedical and other auxiliary services, musicology, psychology, psychometrics etc. coming forward towards this new branch, there are many exciting possibilities which will pave way for a more scientific understanding on the magic of music!
While the West has come up with a recipe of Mozart effect, the East is engaged in unearthly treasures of concepts and practices relating to the system of Nada Yoga and Raga Chikitsa.
Raga of India
Indian raga system is quite ancient and dates back to Vedic times when intonations were used to achieve contentment in life. The term ‘raga’ refers to a melodic structure. However, this term does not have musical or melodic meaning; instead it has an emotional meaning. (Raja, 2005) Etymologically speaking, the root of the noun ‘raga’ can be traced from the adjective ‘ranjana’. This would mean, ‘to tinge or to colour’. In Indian traditions, different ragas have been associated with different categories of emotional states. These were based on the accumulated experience of human society.
Raga has also been used as a melodic stimulus, capable of inducing well-defined emotional states, not only in the singer or performer, but also in listeners.
Swara: The Building Block of Raga
The root cause for the emotional impact of raga lies in swaras or notes, which are its constituents. The maximum number of seven swaras in an octave have different emotional appeals and affect the moods of the singers, performers and listeners in various ways. A study conducted by H.P. Krishna Rao explains the underlying emotional pattern in the seven swaras in the following manner:
Sa (Shadaj or Shadjam) intonated in madhya sthayi: Produced in the speaking voice at the chest register, with comparatively less muscular effort on the vocal apparatus, this sound is known for its highly tranquil impact on the mind. As the singer produces the sound, his or her facial muscles get relaxed the same way in a meditating yogi.
Re or Ri (Rikhab or Rishabarn): While the komal version (R1) would bring in melancholic and disturbed feelings in the heart of the singers, performers and listeners, its tivra version (R2) is known for its ‘wake-up’ impact, awakening the mind from its sleepful or slothful state. A dose of R2 can help in sharpening the dull mind as observed by this author in many musical experiments conducted with special children and others suffering from mental retardation.
Ga (Gandhar or Gandharam): Komal Gandhar. (G1) is again known for creating certain uneasiness in the minds of the singers, performers and listeners. In the words of Krishna Rao, it ‘indicates disagreeableness’, which is different from ‘inquiry’ attributed to tivra Gandhar (G2) by him. The latter, though soft, is found to be inquisitive by Unnikrishnan (2007). Like people who are inquisitive, this intonation also causes disturbance and uncertainty in the minds of music practitioners and listeners.
Coming to Ma (Madhyarna or Madhyamam): Krishna Rao finds ‘Optimism, and egoism’ in its komal variety (M1), as against ‘degradation’ depicted by the M2 (tivra madhyam). Unnikrishnan (2007) states: “When Komal Madhyarna is sung, the feeling of self-appreciation and self-confidence are expressed. Tivra Madhyamam produces the feeling of misery and pain and strives for an immediate relief and experiences it in the next swara, Pancham.” The same stages of emotions have also been found while singing from Dha (Dhaivat or Dhaivatam) to the thara sthayi Sa.
Swara Combos and their Emotional impact
Combining swaras with different frequencies helps in achieving the emotional colours in a raga. For example, for pacifying and soothing the tensed minds, the following swara combinations have proved useful:
- A pair of swaras having the frequency ratio of 1:2, i.e. a swara and its higher octave
- A pair of swaras having the frequency ratio of 2:3, i.e. ‘a swara and its panchama (P). (This combination is used in tanpura which is known for its widely-acknowledged soothing im-pact.
- A pair of swaras having the frequency ratio of 3:4, i.e. a swara and its Komal Madhyam (M1).
For creating melancholy, a combination of two swaras namely R1 and G1 can be tried. In fact, classification of swaras into vadi, samvadi, anuvadi and vivadi swaras stem from such experience.
This article was published in – My Doctor – April 2008 – Pages 16 to 18
Edited by Geeta Shreedar, July 21, 2021