Long before acoustics came to be understood in Europe as a subject of study, the ancient Arab, Greek and Indian civilizations were already familiar with the therapeutic role of sounds and vibrations and the latter day concepts pertaining to them. While music as a whole is well recognized for its entertainment value, the Indian civilization has gone a step forward to attribute the curative aspect to music.
The ancient system of Nada Yoga, which dates back to the time of Tantras, has fully acknowledged the impact of music on body and mind and put into practice the vibrations emanating from sounds to uplift one’s level of consciousness. It is the Indian genius that recognized that ragas are not just mere commodities of entertainment but the vibrations in their resonance could synchronize with one’s moods and health. By stimulating the moods and controlling the brain wave patterns, ragas could work as a complementary medicine.
What is a Raga?
Raga, we all know, is the sequence of selected notes (swaras) that lend appropriate ‘mood’ or emotion in a selective combination. Depending on their nature, a raga could induce or intensify joy or sorrow, violence or peace and it is this quality which forms the basis for musical application. Thus, a whole range of emotions and their nuances could be captured and communicated within certain rhythms and melodies. Playing, performing and even listening to appropriate ragas can work as a medicine. Various ragas have since been recognized to have definite impact on certain ailments.
Historic References on Raga Chikitsa
The ancient Hindus had relied on music for its curative role: the chanting and toning involved in Veda mantras in praise of God have been used from time immemorial as a cure for several disharmonies in the individual as well as his environment. Several sects of ‘bhakti’ such as Chaitanya sampradaya, Vallabha sampradaya have all accorded priority to music. Historical records too indicate that one Haridas Swami who was the guru of the famous musician in Akbar’s time, Tan Sen is credited with the recovery of one of the queens of the Emperor with a selected raga.
The great composers of classical music in India called the ‘Musical Trinity’, – who were curiously the contemporaries of the Trinity of Western Classical Music, Bach, Beethoven and Mozart— were quite sensitive to the acoustical energies. Legend has it that Saint Thyagaraja brought a dead person back to life with his Bilahari composition Naa Jeevadhara. Muthuswamy Dikshitar’s Navagriha kriti is believed to cure stomach ache. Shyama Sastry’s composition Duru Sugu uses music to pray for good health.
Raga chikitsa was an ancient manuscript, which dealt with the therapeutic effects of raga. The library at Thanjavur is reported to contain such a treasure on ragas, that spells out the application and use of various ragas in fighting common ailments.
Raga Chikitsa: Raga Therapy in India
Living systems show sensitivity to specific radiant energies — be it acoustical, magnetic or electro-magnetic. As the impact of music could be easily gauged on emotions and thereby on mind, it can be used as a tool to control the physiological, psychological and even social activities of the patients.
Indian classical music can be classified into two forms: kalpita sangita or composition, which is previously conceived, memorized, practised and rendered and manodharma sangeetha or the music extemporised and performed. The latter can be equated to the honey-mooner’s first night as it conceives both spontaneity and improvisation. It is fresh and natural as it is created almost on the spot and rendered instantly on the spur of the moment.
According to an ancient Indian text, Swara Sastra, the seventy-two melakarta ragas control the 72 important nerves in the body. It is believed that if one sings with due devotion, adhering to the raga lakshana and sruti shuddhi, the raga could affect the particular nerve in the body in a favourable manner.
While the descending notes in a raga (avarohana) do create inward-orienting feelings, the ascending notes (arohana) represent an upward mobility. Thus, music played for the soldiers or for the dancers has to be more lively and uplifting with frequent use of arohana content. Similarly, melancholic songs should go for ‘depressing’ avarohanam. Although it is not a rule, most of the Western tunes based on major keys play joyful notes, while those composed in minor keys tend to be melancholic or serious.
Certain ragas do have a tendency to move the listeners, both emotionally as well as physically. An involuntary nod of the head, limbs or body could synchronize with lilting tunes when played.
Some Therapeutic Ragas
Some ragas like Darbari Kanhada, Kamaj and Pooriya are found to help in defusing mental tension, particularly in the case of hysterics. For those who suffer from hypertension, ragas such as Ahirbhairav, Pooriya and Todi are prescribed. To control anger and bring down the violence within, Carnatic ragas like Punnagavarali, Sahana etc., do come handy. For stomach-related disorders, there are ragas from the Hindustani school: Deepak for acidity, Gunkali and Jaunpuri for constipation and Malkauns (Hindol) for intestinal gas. For controlling high fevers such as malaria, ragas such as Malkauns (Hindol) and Marva are considered useful. One can try Darbari Kanhada, Jaijaiwanti or Sohni as a treatment for headache.
Conclusion
There is a growing awareness that ragas could be a safe alternative for many medical interventions.
Simple iterative musical rhythms with low pitched swaras, as in bhajans and kirtans could. do wonders as a sedative, even substituting powerful analgesics such as Valium. They can change the brain wave patterns from beta to alpha levels, thereby causing relaxation in the minds of the listeners, leading to favourable hormonal changes in the system.
It is necessary that a group of exponents in Indian ragas join experts in medicine to help evolve a scientific system of raga therapy for the most common illness of the modern times: stress and stress-related disorders. Our leaders, professionals and managers all suffer from stress, thanks to the ever-increasing man-machine interface, resulting in the machine making the man behave, often beyond his capacity —almost to a breaking point!
This article was published in Naadhabrahmam – August 2011 – Page 13 to 15
Edited by Geeta Shreedar, August 24