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Editor’s Note: This is the concluding edition of the three-part series on science behind music presented by Science India.
The first volume of the article laid the groundwork by exploring the nuanced characteristics of musical sound and providing a comprehensive classification of Indian musical instruments. It then delved into Tantu Vadya, or stringed instruments, elucidating their operation through a scientific lens, unraveling the physics behind their melodic expression.
Building upon this foundation, the second volume expanded the discourse to include Sushir Vadya, or wind instruments, and Avanaddha Vadya, encompassing percussion instruments or drums. Readers were treated to an immersive exploration of flute, trumpet, Tabla, and other percussion instruments, where the scientific principles governing their acoustics and resonance were unveiled, enriching their understanding of these musical traditions.
In the present and concluding edition, the focus shifts to Ghana Vadya, comprising bells, cymbals, and gongs, completing the triumvirate of traditional Indian musical instrumentation. Here, readers embark on a mesmerizing journey through the vibrant world of metallic percussion, exploring the cultural significance and sonic nuances of these instruments. Moreover, this edition extends its scope to include a note on music therapy, underscoring the profound impact of music on human health and wellbeing.
GHANA VADYA (BELLS, CYMBALS AND GONGS)
Ghana Vadya, comprising solid instruments such as cymbals and gongs, are a distinct category of non-tonal, non-percussion instruments created from hard materials like metal and wood. These instruments include Jhanjh, Manjira and Kartal.
Ghana Vadya can be further classified based on their method of play. Some instruments are played with hands, such as the Chipli, while others, like Jaltarang and Ghanta, are played with a stick. There are also instruments that involve free movement or rotation, such as Ghungroo, rattle and Ghantika. These instruments do not produce distinct musical notes but serve to maintain rhythm and tempo.
Bells: The tradition of ringing bells is deep rooted in Vedic rituals, and many Indian shrines feature multiple bells hanging from their domes. These bells are meticulously crafted from a mixture of five metals, lead, copper, zinc, iron, and tin. The art of bell-making involves precise ratios and specifications to create the desired sound.
Manjira: Manjira instruments are typically crafted from materials such as bronze, brass, copper, zinc, or bell metal. They are connected by a cotton cord passing through holes at their centres. When struck together, Manjira produce rhythmic tinkling sounds, and the pitch varies according to factors such as their size, weight, and construction material.
Gong: Gongs are percussion instruments with origins in East and Southeast Asia. These instruments consist of a flat, circular metal disc and are usually struck with a mallet. Gongs can vary in size and may require tuning for specific tones.
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Each bell is carefully crafted to produce a distinct sound that can harmonize the brain’s left and right hemispheres. When a bell is struck, it generates a sharp, enduring vibration that resonates for at least seven seconds, believed to touch all seven healing centers, or chakras, within the body. The resonance of the bell’s sound effectively clears the mind of thoughts, inducing a trance-like state characterised by heightened receptivity. In this state, individuals experience a deeper level of inner awareness, temporarily freed from their usual mental distractions, similar to being awakened from a deep slumber.
Bells are unique in their design, particularly due to the presence of air cavities that reinforce plate vibrations, distinguishing them from cymbals, which lack such cavities. While bells are capable of emitting pleasing tones, their application in music is somewhat limited. However, they have been effectively utilized in specific musical contexts, such as in carillons and chimes. Carillons and chimes consist of sets of tuned bells, often found in large clock towers. The ringing of these bells is controlled by the clock’s mechanism through a sophisticated system of wires connected to small hammers. The hammers are activated by a revolving barrel that features strategically placed studs. These studs serve as touch points that trigger levers attached to the hammers, causing them to strike the bells at precise intervals.
The design of large bells, commonly found in temples and churches, is distinctive and functionally significant. These bells are characterized by varying cross-sectional thicknesses. About halfway down the bell, there is a narrowing known as the ‘waist’. The lower portion of the bell is referred to as the ‘lip’ or ‘brim’. The point where the clapper strikes the bell is near the lower end and is called the ‘sound bow’. This area is crucial, as it features opposing curvatures on the inside and outside of the bell. The thickness at the sound bow typically ranges from one-twelfth to one-fifteenth of the bell’s diameter.
When the clapper strikes the bell at the sound bow, it initiates vibrations that lead to the formation of nodal lines within the bell. These nodal lines include nodal meridians, which run vertically, and nodal circles, which encircle the bell. The interaction of these nodal lines generates a range of overtones, including those corresponding to the fundamental tone and its octave. Overtones are essential in creating the rich, resonant sound that bells are known for.
One particularly interesting aspect of the bell’s sound is the striking note. After the initial strike, this note dominates all other overtones, creating a clear and powerful sound that is often considered an auditory illusion. The striking note can also be elicited through resonance, which enhances its prominence. This phenomenon highlights the complexity of the bell’s sound, making it more than just an instrument of music, it is also a tool for mental and spiritual awakening. The combination of its design, the vibrations it produces, and the overtones it generates contribute to the bell’s unique ability to induce a state of heightened awareness and inner peace in those who hear it.
FOREIGN INFLUENCES
Throughout the ages, foreign influences have left a significant imprint not only on Indian culture but also on its music and musical instruments. During the Mughal period, music in North India underwent a transformation as it absorbed and adapted elements from Persian language, music, and musical instruments, largely due to the influence of Hazrat Amir Khusro (1253-1325), a highly accomplished musician, poet, and intellectual of Turkish origin. Khusro was a prominent figure in the courts of seven Delhi Sultans. One of Khusro’s notable contributions is attributed to the Sitar, an instrument he is believed to have innovated. Originally referred to as ‘Seh-Tar’ in Persian, which translates to an instrument with three strings, the Sitar evolved during this period. Additionally, instruments such as the Kamancheh and Santoor, imported from Persia, gained popularity in regions like Kashmir.
The Sarod and Rebab found their way to India from Afghanistan, and it is suggested that the ‘king of flutes’, the Shehnai also took shape during the Mughal era. Indian classical music welcomed the violin from the west in the last century, although the technique and style of playing Hindustani classical music remained distinctly Indian.
India, in turn, has shared its cultural and musical treasures with the world through centuries of trade and cultural exchanges. Indian instruments like the bow, known since ancient times, travelled to other parts of the world and are considered precursors to various stringed instruments such as the Sarangi and the Chinese Erhu. The bow was later adopted by the Persians and spread to Muslim nations and the West as they fell under Arab influence.
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India also gifted the west with the transverse flute, and several Indian instruments like the Tambura, Tabla, Sarangi, and Sitar journeyed to numerous countries, including Turkey, Mongolia, China, and Indonesia, over centuries, enriching the musical traditions of these regions.
MUSIC AS THERAPY
The human brain plays a crucial role in regulating the secretion of various hormones that control different glands of the body. Researchers have been delving into the impact of music on the human mind. Music is transmitted to the brain through the cochlea, which translates vibrations into electrical signals. These electrical signals are then relayed through nerves and the human brain interprets and responds to them. It is possible to observe brain activity when exposed to different types of music and one method for measuring these responses is through Electroencephalography (EEG). EEG involves the placement of electrodes on the scalp to measure brain signals, which can be categorized into Delta, Theta, Alpha and Beta waves, each associated with distinct mental states.
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For example, the presence of Delta waves (0.1 to 3.5 Hz) signifies a state of deep relaxation, healing, and a connection with the subconscious mind. Theta waves (3.5 to 7 Hz) indicate reduced mental fatigue. Alpha waves (7 to 14 Hz) suggest increased concentration, motivation, and happiness, while Beta waves (14 to 32 Hz) represent states of critical thinking, anxiety and unfocused thinking.
Indian music, deeply rooted in the concept of ragas, plays a pivotal role in influencing brain waves and, consequently, the human mind. Ragas are specific melodic frameworks that allow for extensive improvisation. Mastery of a raga requires musicians to meticulously learn its intricate grammar and aesthetics under the guidance of an experienced teacher. These ragas have a profound impact on the mind and brain waves. According to Swara Shastra, there are seventy-two parent ragas, each associated with regulating seventy-two essential nerves in the body. When performed with precision, encompassing accurate notes, adherence to grammar, and sincere devotion, these ragas can influence and potentially facilitate healing through these nerves.
Musical instruments like the Sitar and Veena are integral to Indian music and are distinguished by their unique structural features. These instruments have finite bridges and robust wooden bodies, which enable them to produce sustained and rich harmonic tones. Similarly, Indian drums, crafted with sturdy wooden frames and composite membranes stretched over them as drumheads, are capable of generating long-lasting overtones. The distinctive construction of these instruments contributes to the richness and depth of their musical tones, a quality that is unparalleled globally.
The discussion of Indian music therapy offers a glimpse into the profound depth of ancient Indian musical knowledge and its practical applications. This field, representing a vibrant branch of indigenous Indian science, holds great promise for further exploration. Understanding the acoustic principles underlying the construction of Indian musical instruments can lead to a deeper appreciation of their role in healing and mental wellbeing. Indian music, with its rich heritage and scientific underpinnings, not only serves as an art form but also as a powerful tool for influencing the mind and body, offering a unique approach to music therapy that continues to be relevant in modern times.
*The writer is Associate Professor, Department of Physics, University of Lucknow.
