Suppositions of Origination of Music

The subject “Origination of music” has given rise to a great deal of debates. All of them are quite interesting. Indian mythologies are mainly vocal in this regard. The substance of some of them is as follows.

Lord Brahma is attributed the honor of being the originator of music. Later this art was handed over to Shiva who in his turn transferred it to Goddess Saraswati. It is because of this reason that Goddess Saraswati is represented as holding a book and a “Veena” and is worshiped as “Veena Pustak Dharini” (the holder of Veena and book). Veena is a string musical instrument, Pustak is book and Dharini is one who holds something. Narada was a music teacher and he taught the Kinnars (court dancers)and Apsaras (Angels) in Swarga (Paradise).
Narada, Bharata and Hanumana descended on earth to promulgate music, the knowledge of which they gathered from the Gods and the Goddesses.

According to another Mythological story, after a prolonged meditation, Narada could appease Shiva who in return granted him the boon of music. Yet another such story tells that the idea of the structure of the “Rudra Veena” occurred in tehmind of Lord Shiva on looking at the reclining posture of Parvati, his wife. He himself remitted five Ragasa from his five mouths. Here it is worthwhile to note that Lord Shiva is known as “Panchanana” (one with five heads). The Sixth Raga emerged from Parvati’s mouth. Five profiles of Lord Shiva – eastern, western, northern, southern and skyward produced Raga Bhairav, Hindol, Megh, Deepak and Shree, respectively. Parvati is said to have produced Raga Kaushik.

Before we proceed further, it will be wise to explain the word “Raga”. “Raga” is derivative of the Sanskrit word “Ranj”, which means “to regale”. Any musical composition which brings about mellifluence is called Raga. Indian maestros have conceived few major structures of Swaras (notes) and Swara Sangatis (musical notes couplings) having characteristic style and movement.

Well to resume the myths regarding the origination of music, according to “Shiv Pradosh”, hymn of praise, at one dawn Lord Shiva took to dancing around the Golden Throne on which he seated Goddess Parvati. All the Gods and Goddesses gravitated towards this splendid sight and thronged around. By and by they made a concert by themselves and accompanied the dance of Lord Shiva. Saraswati played the Veena, Indra and Brahma, pairs of cymbal, Laxmi sang and Vishnu played the Mridangam (percussion). This spellbinding dance concert regaled the entire populace of Swarga (Paradise).

Another belief says that music is latent in nature. A sensitive ear can hear music in all natural objects and creatures. It is believed that the conception of the seven notes in the octave took place by listening to various characteristic sounds in the flora and fauna.

According to a Persian folklore once when holy man Hazrat was rambling amidst the beauty of nature, a voice was heard from above calling Hazrat and commanding him to strike his walking stick on a particular rock. Hazrat complied with the devine command and then lo and behold the stone was split in seven pieces from each of which a crystal clear brook started flowing. It is believed that the sound of each of these flow created a particular note of the Octave.

According to Western psychologist Froyed, music is nothing but a natural articulation of euphonious sounds. This is as natural as crying, laughing and exclaiming, etc to human being. Man is subject to his emotions and music is an expression of such emotions.

James Long has more or less the same kind of explanation. He classifies music under other natural reflexes.

Music is a natural gift to Human being. No particular time or process can be ascribed to its origin. As it is part and parcel of aesthetics, it is committed to nurture the divine aspect of human existence.

Linus Orakles
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