Mystical Elements in Instrumental Music

This study delves into the magical qualities found in music without lyrics. Instrumental pieces, which don’t have words, have a unique ability to create a mysterious atmosphere, touching on spiritual and otherworldly experiences. This examination aims to understand how instrumental music can convey deep emotions and intangible influences. We’ll explore the historical and cultural aspects that have influenced the infusion of mysticism into instrumental music, providing insight into the techniques and traditions that contribute to the creation of a special and enchanting listening experience.

RUDRA VEENA

The Rudra veena, also known as Rudraveena or Rudra vina, is a significant plucked string instrument in Hindustani Music, especially dhrupad. It holds a notable place in Indian classical music for its distinctive deep bass resonance. The Rudra veena has a historical presence seen in temple architecture predating the Mughals and is documented in court records from the reign of Zain-ul Abidin (1418-1470). It gained prominence among Mughal court musicians. In the past, Rudra veena players were supported by princely states, but with the end of this traditional patronage system post-Independence, the popularity of both dhrupad and the Rudra veena declined. However, in recent times, there has been a resurgence in interest, partly driven by non-Indian practitioners.

The name “Rudra veena” originates from Lord Shiva (Rudra), and it is believed that Shiva created the instrument for the entertainment of other gods. Another theory suggests that the asura Ravana invented the Rudra veena, inspired by his devotion to Lord Shiva. The Rudra veena is classified as a stick or tube zither, featuring a bamboo or teak dandi (body) between 137 and 158 cm long, with two large tumba resonators made from calabash gourds. The instrument traditionally has a peacock carving at the bottom end, enhancing resonance, and a carved makara at the peg end. It has 21 to 24 moveable frets on top of the dandi, allowing adjustments for individual microtones (shruti) of a raga.

The strings of the Rudra veena include four main melody strings, two or three chikari strings for rhythmic sections, and one drone string. The strings are made of steel or bronze and are tuned with ebony pegs. The instrument follows Hindustani classical practice of a movable root note, with the melody strings tuned to the ma a fifth below the tonic, the tonic, the pa a fifth above the tonic, and the sa an octave above the tonic. Historically, the Rudra veena faced a decline in popularity due to the introduction of the surbahar in the early 19th century. In the 20th century, modifications were made by Zia Mohiuddin Dagar and Lalmani Misra to adapt the instrument to changing musical preferences. Despite being an ancient and rarely played instrument today, the Rudra veena continues to hold a unique place in the history and evolution of Indian classical music.

VEENA

The veena, also spelled vina, is a category encompassing various chordophone instruments from the Indian subcontinent. These instruments, including lutes, zithers, and arched harps, evolved from ancient musical instruments. The Rudra veena, Saraswati veena, Vichitra veena, and others represent regional variations. The North Indian rudra veena, used in Hindustani classical music, is a stick zither. It is about 3.5 to 4 feet long, featuring a hollow body and two large resonating gourds. The instrument has four main melodic strings and three auxiliary drone strings. The musician plucks the melody strings downward with a plectrum worn on the first and second fingers, while the drone strings are strummed with the little finger. However, in modern times, the sitar has largely replaced the veena in North Indian performances. The South Indian Saraswati veena, utilized in Carnatic classical music, is a lute with a long neck and a pear-shaped body. It lacks the lower gourd present in the North Indian design. Despite these differences, it shares features like 24 frets,

four melody strings, and three drone strings. The veena, being a fretted, plucked lute, can produce pitches in a full three-octave range. Its design allows for portamento effects and legato ornaments in Indian ragas, making it a popular instrument in Indian classical music.

The term “veena” is generic for plucked string instruments in ancient and medieval Indian literature. It finds mention in the Rigveda, Samaveda, and other Vedic texts. The Natya Shastra by Bharata Muni, an ancient Hindu text on classical music and performance arts, discusses the veena. The Sanskrit word “vana” evolved into “veena,” encompassing various string instruments. The Hindu Goddess Saraswati is often depicted holding different veenas over the centuries, reflecting the instrument’s cultural significance. There are North and South Indian designs, but modern adaptations use materials like fiberglass. The construction is personalized to the musician’s body proportions, with colorful decorations based on traditional Indian designs. Various types of veenas exist, such as Rudra veena, Saraswati veena, Vichitra veena, Sitar, Surbahar, Ālāpiṇī vīṇā, and more. Each type has unique characteristics and historical significance. The veena has played a crucial role in the development of Indian classical music, embodying cultural and artistic expressions.

BANSURI

A bansuri is an ancient side-blown flute originating from India and Nepal. This aerophone is crafted from bamboo and metal-like materials and is commonly used in various Nepali Lok songs. Traditionally made from a single hollow bamboo shaft with seven finger holes, modern designs may use materials like ivory, fiberglass, or various metals. The instrument, with six holes, covers two and a half octaves of music. Typically ranging from 30 centimeters (12 inches) to 75 centimeters (30 inches) in length, with the thickness of a human thumb, the bansuri’s longer variants produce deeper tones and lower pitches. One end of the bansuri is closed, and a few centimeters from the closed end is its blow hole. The traditional design lacks mechanical keys, requiring the musician to

create notes by covering and uncovering the various finger holes. The bansuri is depicted in ancient Buddhist, Hindu, and Jain temple paintings and reliefs and is often associated with the Hindu god Krishna. It plays a significant role in the love story of Krishna and Radha and is revered as Lord Krishna’s divine instrument, sometimes referred to as the murali. The instrument is also common in other traditions, such as Shaivism.

The word “bansuri” originates from “bans” (bamboo) + “sur” (melody). In early medieval texts, the Sanskrit word “vaṃśi” is a phonetically similar name for the same instrument, derived from the root “vaṃśa” meaning bamboo. Other regional names for similar bamboo flutes in India include bansi, eloo, kolakkuzhal, murali, nadi, nar, and venuvu, among others. Historically, the bansuri is discussed as an essential musical instrument in the Natya Shastra, a classic Sanskrit text on music and performance arts. The flute is mentioned in various Hindu texts on music and singing, referred to by names such as nadi, tunava, or venu. The bansuri has played a crucial role in the cultural and musical history of India and beyond. Construction of the bansuri involves using a special type of bamboo that grows to long lengths between its nodes. After harvesting, the bamboo is cut, dried, and treated with natural oils and resins to strengthen it. The artisans then burn holes into the bamboo using hot metal rod skewers, avoiding drilling methods believed to damage the fiber orientation. The burnt-in holes are sanded, and the bansuri is finished, tested for musical performance, steeped in natural oils, and decorated.

There are two varieties of bansuri: transverse and fipple. The transverse bansuri, preferred in Indian classical music, enables superior control, variations, and embellishments. The fipple flute is usually played in folk music. Musically, the bansuri produces seven basic swaras (musical notes) with six holes. The player manipulates the length and diameter of the bansuri, finger positions, and breath to achieve different notes. The key of the bansuri is determined by its design and construction, corresponding to the sa (shadja, natural tonic) of the swara scale. The bansuri is held horizontally by the player, and finger positions are adjusted to produce different notes. Playing techniques include half-holing for flat or minor notes, and octaves are varied by manipulating one’s embouchure and controlling blowing strength.

SITAR

The sitar is a plucked stringed instrument originating from the Indian subcontinent, particularly used in Hindustani classical music. Its history can be traced back to medieval India, with the 18th-century figure Khusrau Khan often identified as its inventor. There are different theories regarding the sitar’s origin, with some suggesting it evolved from instruments of the tanbūr family introduced during the Mughal rule, and others proposing a connection to indigenous long-necked lutes in India. Amir Khusrow, a Sufi inventor and poet from the 13th century, is sometimes credited with the invention or development of the sitar. However, the credibility of this tradition is questioned by some scholars, as there is no historical record from that period using the name “sitar.” Another hypothesis suggests that the sitar may have evolved from locally developed Indian instruments like the veena, predating the arrival of Islam.

During the Mughal Empire, tanbur-style instruments were used in court, and they started evolving, eventually taking on a modern shape by the late Mughal period. The neck of the sitar became wider, and the bowl, originally made of wood, transitioned to gourd. By 1725, the term “sitar” was used in written works, and the instrument had five strings. A sitar can have 18, 19, 20, or 21 strings, with 6 or 7 playing strings and the rest being sympathetic strings. These sympathetic strings run underneath the frets and resonate sympathetically with the played strings. The frets are movable, allowing fine-tuning. The materials used in construction include teak or tun wood for the neck, faceplate (tabli), and calabash gourds for the resonating chambers. The bridges can be made of deer horn, ebony, or camel bone. There are two popular modern styles of sitar: the fully decorated “instrumental style” and the “gayaki” style. The instrumental style, often associated with Ravi Shankar, is usually made of seasoned toon wood and features elaborate decorations. The gayaki style, associated with Vilayat Khan, is simpler in design. Tuning of the sitar depends on the sitarist’s school or style, tradition, and personal preference. The main

playing string is usually tuned a perfect fourth above the tonic. The player uses a metallic pick or plectrum called a mizraab to pluck the strings. Techniques like “meend” involve pulling the main melody string down over the curved frets, allowing the sitarist to achieve microtonal notes. Other techniques, including Kan, Krintan, Murki, and Zamzama, contribute to the charisma of the performance.

The sitar gained international popularity through Ravi Shankar’s influence in the late 1950s and early 1960s. It found its way into Western popular music during the psychedelic era, with artists like George Harrison of the Beatles, Brian Jones of the Rolling Stones, and others incorporating its sound into their music. There are different sitar gharanas (schools) that have contributed to the development and evolution of sitar playing, including Imdadkhani, Senia, Indore, Maihar, Jaipur, Bishnupur, Lucknow-Shahjahaanpur, Dharwad, and Senia Rampur gharanas. Each gharana has its own distinctive style and approach to playing the sitar.

PAKHAVAJ

The pakhavaj is a distinctive barrel-shaped, double-headed drum originating from the Indian subcontinent, historically crafted from clay and now predominantly made of wood. Commonly used in the dhrupad style of Indian classical music, it also serves as a rhythmic accompaniment for various dance forms like kathak and odissi. The drum features two sides made of animal skin, often goat skin, producing a resonant, low, and mellow tone rich in harmonics. Positioned horizontally in front of the seated player with legs crossed, the larger bass-skin is typically on the left side for a right-handed person. The tuning, similar to the tabla, involves wooden wedges and allows for variations in pitch due to the skin’s thickness. The playing technique differs from the tabla, with the bass face struck by the whole palm, and the treble face played

with varied finger configurations. Mnemonics, or bols, are used to teach rhythms, and various gharanas have their interpretations. The pakhavaj is deeply rooted in Indian classical traditions, with notable gharanas like Nana Panse, Nathdwara, and Kudai Singh contributing to its diverse styles. It continues to play a crucial role in preserving and evolving the rich heritage of Indian percussion.