Interpretation': of Is Based On My Study of "Our Ancient Music of 22 Srutis"

THIS ‘INTERPRETATION’
OF PRAMANA- SRUTI
IS BASED ON MY STUDY OF
“OUR ANCIENT MUSIC OF
22 SRUTIs”
THE TERM ‘PRAMANA’
IS AN ABERRATION OF
THE TERM “PARAMANU”
WHICH MEANS:
“THE MOST ELEMENTAL” (SRUTI)
BHARATA MUNI DISCUSSES THE
PRINCIPLE OF “PRAMANA SRUTI”
IN THE CONTEXT OF
TRANSFORMATION OF ‘SADJA-GRAMA’
INTO ‘MADHYAMA-GRAMA’,
(‘GRAMAs’ WERE THE BASIS FOR
MUSIC DURING THE MEDIEVAL
DAYS IN INDIA)
More about ‘SADJA-GRAMA’?
Please refer to my ‘blog’ and
‘Presentation’ at links:
http://sadjagrama-nambirajan.blogspot.com
(Sadja-grama ‘blog’)
http://www.scribd.com/share/upload/14536227/22wln3lp6pa9hq1p5800
(Presentation in SCRIBD folder)

http://docs.google.com/Presentation?id=dcjz9h97_33cv2dqzf5
(Presentation in esnips folder)
More about ‘MADHYAMA-GRAMA’?
Please refer to my ‘blog’ and
‘Presentation’ At links:
http://madhyamagrama.blogspot.com/
(‘BLOG’)
http://www.esnips.com/web/Madhyama-gramaPresentationslides
(‘Presentation’)
I HAD ATTEMPTED TO
ILLUSTRATE THE PROCESS OF
‘TRANSFORMATION’ OF
SADJA-GRAMA INTO MADHYAMA-GRAMA
BY APPLYING THE ‘RULE’ AS
STIPULATED BY BHARATA MUNI
IN “NATYA-SHASTRA” (200 B.C.)
AS PER BHARATA MUNI,
WHEN THE SRUTI OF ‘PANCHAMA’
AS GIVEN IN THE SADJA-GRAMA FORMAT
IS REDUCED BY “ONE UNIT”,
MADHYAMA-GRAMA RESULTS.
In the Scheme of the
Ancient Music of 22 srutis,
As discovered by me….. ,
IN THE SADJA-GRAMA FORMAT,
‘PANCHAMA’ OCCUPIES
THE ‘Sruti-range’ from positions
‘9.13’ to ‘12.87’ above the Tonic Sadja
(i.e. 3.74 sruti units,
or approximately 4 sruti units)
IN THE MADHYAMA-GRAMA FORMAT,
‘PANCHAMA’ OCCUPIES
the ‘Sruti-range’ from positions
‘10.11’ to ‘12.87’ above the Tonic Sadja
(i.e. ‘2.76’ sruti units,
or approximately ‘3’ sruti units)
THE “CONTRACTION” IN SRUTI-RANGE
SUFFERED BY ‘PANCHAMA’
DURING THE GRAMA-TRANSFORMATION,
AMOUNTS TO CHANGE OF ITS
LOWER BOUNDARY
FROM THE POSITION OF ‘9.13’ SRUTIs
TO THE POSITION ’10.11’ SRUTIs.
THIS ‘LOSS’ IS 0.98 SRUTI UNITS,

i.e. Approximately “ONE” sruti unit,
i.e. “ONE” PRAMANA SRUTI !!!
NOW LET US WATCH THE
ILLUSTRATION OF THIS CONCEPT
IN THE NEXT FEW SLIDES !
TRADITIONAL METHODOF TRANSFORMATION FROM
SADJA-GRAMA TO MADHYAMA-GRAMA
SS 0.00 0.00
THIS IS A SCHEMATIC
R 3.00 3.00
REPRESENTATION OF
G 5.00 ‘SADJA-GRAMA’
5.00
M 9.00 9.00
EQUIVALENT EQUIVALENT
FRACTIONAL FRACTIONAL
VALUE: 3/4 P 13.00 13.00 VALUE: 8/11
D 16.00 16.00
N 18.00 18.00 S – SADJA
R – RISHABHA
G – GANDHARA
S’
S’ 22.00 22.00 M – MADHYAMA
P – PANCHAMA
D – DHAIVATA
N – NISHADA
GRAMA - TRANSFORMATION(TRADITIONAL)
SADJA-GRAMA BEING TRANSFORMED
INTO MADHYAMA-GRAMA : STEP-1
SS 0.00 0.00
R 3.00 3.00
G 5.00 5.00
M 9.00 9.00
EQUIVALENT
FRACTIONAL
VALUE: 3/4 P 13.00 13.00 VALUE:8/11
VALUE: 8/11
D 16.00 16.00
N 18.00 18.00
S’
S’ 22.00 22.00
SS 0.00 0.00
0.00
R 3.00 3.00
3.00
G 5.00 5.00
5.00
M 9.00 9.00
9.00
EQUIVALENT
FRACTIONAL
VALUE: 3/4 P 13.00 13.00
13.00 VALUE:8/11
VALUE: 8/11
D 16.00 16.00
16.00
N 18.00 18.00
18.00
S’
S’ 22.00 22.00
22.00
AS PER BHARATA MUNI, ‘PANCHAMA’ SHOULD

BE REDUCED BY ONE SRUTI
SS 0.00 0.00
0.00
R 3.00 3.00
3.00
G 5.00 5.00
5.00
M 9.00 9.00
9.00
EQUIVALENT
FRACTIONAL 12.00 FRACTIONAL
FRACTIONAL
VALUE: 3/4 P 13.00 13.00 VALUE:8/11
VALUE: 8/11
D 16.00 16.00
16.00
N 18.00 18.00
18.00
S’
S’ 22.00 22.00
22.00
AS PER BHARATA MUNI, ‘PANCHAMA’ SHOULD

BE REDUCED BY ONE SRUTI
SS 0.00 0.00
0.00
R 3.00 3.00
3.00
G 5.00 5.00
5.00
M 9.00 9.00
9.00
EQUIVALENT
FRACTIONAL
VALUE: 3/4 P 13.00 13.00 VALUE:8/11
VALUE: 8/11
D 16.00 16.00
16.00
N 18.00 18.00
18.00
S’
S’ 22.00 22.00
22.00
THIS ‘REDUCTION’ SHOULD BE COMPENSATED BY

INCREASING ‘DHAIVATA’ BY ONE SRUTI
SS 0.00 0.00
0.00
R 3.00 3.00
3.00
G 5.00 5.00
5.00
M 9.00 9.00
9.00
EQUIVALENT
FRACTIONAL
VALUE: 3/4 P 13.00 13.00 VALUE:8/11
VALUE: 8/11
D 16.00 16.00
16.00
N 18.00 18.00
18.00
S’
S’ 22.00 22.00
22.00
THIS RESULTING FORMAT WAS INTERPRETED

AS “MADHYAMA-GRAMA
SS 0.00 0.00
0.00
R 3.00 3.00
3.00
G 5.00 5.00
5.00
M 9.00 9.00
9.00
EQUIVALENT
FRACTIONAL
VALUE: 3/4 P 13.00 13.00 VALUE:8/11
VALUE: 8/11
D 16.00 16.00
16.00
N 18.00 18.00
18.00
S’
S’ 22.00 22.00
22.00
THE DIFFERENCE BETWEEN THE GRAMAs

IS RATHER “TRIVIAL”. i.e. ONLY THE SWARA-STHAANA
OF ‘PANCHAMA’ IS LOWERED BY ONE SRUTI
THIS ‘Traditional View’
OF MADHYAMA-GRAMA
LEADS ONE TO THINK
THAT THE DISTINCTION BETWEEN THE
GRAMAs IS VERY “TRIVIAL”

However, several
scholars are of the view that
the ‘DIFFERENCES’
BETWEEN THE GRAMAs ARE
“FAR DEEPER”
ONE
SUCH
VIEW
Dr. MUKUND LATH
who has written a
“COMMENTARY” on
‘DATTILAM’ (A MUSICOLOGICAL LITERATURE
CONTEMPORANEOUS TO ‘NATYA SASTRA’),
IS A HIGHLY REGARDED
INDIAN MUSICOLOGIST
OF OUR TIME.
Dr. MUKUND LATH
had STRONGLY CONTENDED that
‘something’ was
NOT CORRECT
about
the understanding
of the “gramas”
by medieval Indian musicologists
Dr. MUKUNDLATH’S COMMENTARY
ON “DATTILAM”
“ … the two gramas

in ancient texts have been
carefully separated
and the importance
of the distinction in
ancient practice
can in no way be
belittled …
ON “DATTILAM”
“ …. Tanas, murchanas.
Even the jatis and
The jati-born ragas
Were classified
On the basis of gramas ….”
ON “DATTILAM”
“ … Indeed the entire range

Of musical conception,
It seems
Were classified into
Two distinct compartments
On the basis of the
Two gramas ..”
ON “DATTILAM”
“ … This obviously leads us

To the conclusion that there was
Some core of difference
Between the gramas which was
Probably basic and central to
Ancient music.
This core, however, ‘eludes’ us.

DURING MY STUDY,
I was intuitively inclined to

AGREE with the
‘APPREHENSIONs’
expressed by
Dr. Mukund Lath !!

I have made a
humble ‘ATTEMPT’
to study this phenomenon from a
“DIFFERENT” perspective !
GRAMA - TRANSFORMATION
S 0.00
R 3.00 3.00
G 5.00 5.00
M 9.00 9.00
VALUE: 3/4 P 13.00 13.00 VALUE: 8/11
D 16.00 16.00
N 18.00 18.00
S’ 22.00 22.00
LET US BRING ABOUT A REDUCTION IN ‘PANCHAMA’

BY ANOTHER METHOD
S 0.00
R 3.00 3.00
G 5.00 5.00
M 9.00 9.00
VALUE: 3/4 P 13.00 13.00 VALUE: 8/11
D 16.00 16.00
N 18.00 18.00
S’ 22.00 22.00
REDUCE ‘PANCHAMA’ FROM ITS LOWER SPECTRAL END

S 0.00
R 3.00 3.00
G 5.00 5.00
M 9.00 9.00
VALUE: 3/4 P 13.00 13.00 VALUE: 8/11
D 16.00 16.00
N 18.00 18.00
S’ 22.00 22.00
REDUCE ‘PANCHAMA’ FROM ITS LOWER SPECTRAL END

S 0.00
R 3.00 3.00
G 5.00 5.00
M 9.00 9.00
VALUE: 3/4 P 13.00 13.00 VALUE: 8/11
D 16.00 16.00
N 18.00 18.00
S’ 22.00 22.00
NOW THE SWARA-STHAANA OF ‘PANCHAMA’

REMAINS UNALTERED, WHILE REDUCING ITS SRUTI BY ONE UNIT.
S 0.00
R 3.00 3.00
G 5.00 5.00
M 9.00 9.00
VALUE: 3/4 P 13.00 13.00 VALUE: 8/11
D 16.00 16.00
N 18.00 18.00
S’ 22.00 22.00
NOW THE SYSTEM ADJUSTS ITSELF SPONTANEOUSLY TO

THIS CHANGE IN THE FOLLOWING MANNER !
PLEASE WATCH
S 0.00
R 3.00 3.00
G 5.00 5.00
M 9.00
10.00
VALUE: 3/4 P 13.00 13.00 VALUE: 8/11
D 16.00 16.00
N 18.00 18.00
S’ 22.00 22.00
‘MADHYAMA’ SRUTI BLOCK HAD MOVED UP

TO FILL THE VOID CREATED BY REDUCTION
SUFFERED BY ‘PANCHAMA’
S 0.00
R 3.00 3.00
G 5.00
6.00
M 9.00
10.00
VALUE: 3/4 P 13.00 13.00 VALUE: 8/11
D 16.00 16.00
N 18.00 18.00
S’ 22.00 22.00
‘GANDHARA’ SRUTI BLOCK FOLLOWS UP

S
1.00
R 3.00
4.00
G 5.00
6.00
M 9.00
10.00
VALUE: 3/4 P 13.00 13.00 VALUE: 8/11
D 16.00 16.00
N 18.00 18.00
S’ 22.00 22.00
‘RISHABHA’ SRUTI BLOCK FOLLOWS UP

S
1.00
R 3.00
4.00
G 5.00
6.00
M 9.00
10.00
VALUE: 3/4 P 13.00 13.00 VALUE: 8/11
D 16.00 16.00
N 18.00 18.00
S’ 22.00
23.00
EVEN ‘SADJA’ SRUTI BLOCK MODIFIES ITS POSITION !

S
1.00
R 3.00
4.00
G 5.00
6.00
M 9.00
10.00
VALUE: 3/4 P 13.00 13.00 VALUE: 8/11
D 16.00 16.00
N 18.00
19.00
S’ 22.00
23.00
NOW ‘NISHADA’ SRUTI BLOCK MOVES UP

S
1.00
R 3.00
4.00
G 5.00
6.00
M 9.00
10.00
EQUIVALENT
FRACTIONAL
NO CHANGE IN
VALUE: 3/4 P 13.00 13.00 SWARA-STHAANA
OF ‘PANCHAMA’
D 16.00
17.00
N 18.00
19.00
S’ 22.00
23.00
THIS IS THE FINAL STEP. ‘DHAIVATA’ SRUTI BLOCK
INCREASES ITS SRUTI CONTENT BY ONE-UNIT
S
1.00
R 3.00
4.00
G 5.00
6.00
M 9.00
10.00
EQUIVALENT
FRACTIONAL
NO CHANGE IN
VALUE: 3/4 P 13.00 13.00 SWARA-STHAANA
OF ‘PANCHAMA’
D 16.00
17.00
N 18.00
19.00
S’ 22.00
23.00
This is the Actual compensation within the octave
Against the Reduction suffered by ‘Panchama’ earlier
I apologize for this
long preamble !
Without this preamble,
in my view,
what I am going to explain now
may not have been
comprehensible to the viewers !
Let me now superimpose
the sruti values of the
* Family of 22-Fractions
over the results obtained earlier
For understanding
the details regarding
the * Family of 22-Fractions,
please see my link :
http://www.esnips.com/web/
SearchforOurAnceintMusic
Family of
22-FRACTIONS
TRADITIONAL SADJA- TRADITIONAL

MADYAMA
SADJA-GRAMA GRAMA -GRAMA MADYAMA-GRAMA
S 0.00
0.98 1.00
R 3.00 2.76
3.74 4.00
G 5.00 4.89
5.79 6.00
M 9.00 9.13 .
10.11 10.00
NO CHANGE IN
P 13.00 12.87 12.87 13.00 SWARA-STHAANA
OF ‘PANCHAMA’
D 16.00 16.21
17.76 17.00
N 18.00 17.76
18.66
18.66 19.00
S’ 22.00 2200
22.98 23.00
Family of
22-FRACTIONS

MADYAMA
S 0.00
0.98 1.00
R 3.00 2.76
3.74 4.00
G 5.00 4.89
5.79 6.00
M 9.00 9.13 .
10.11 10.00
NO CHANGE IN
P 13.00 12.87 12.87 13.00 SWARA-STHAANA
OF ‘PANCHAMA’
D 16.00 16.21
17.76 17.00
N 18.00 17.76
18.66
18.66 19.00
S’ 22.00 2200
22.98 23.00
IN THIS SLIDE, THE CONVENTIONAL SRUTI VALUES IN THEIR “ROUNDED OFF
FORMs” ARE OVER-RIDDEN BY THEIR ACCURATE MATHEMATICAL VALUES OF
THE “Family of 22- Fractions” (INDICATED IN RED COLOUR)
Family of
22-FRACTIONS

MADYAMA
S 0.00
0.98 1.00
R 3.00 2.76
3.74 4.00
G 5.00 4.89
5.79 6.00
PRAMANA SRUTI
M 9.00 9.13 (0.98)
10.11 10.00
NO CHANGE IN
P 13.00 12.87 12.87 13.00 SWARA-STHAANA
OF ‘PANCHAMA’
D 16.00 16.21
17.76 17.00
N 18.00 17.76
18.66
18.66 19.00
S’ 22.00 2200
22.98 23.00
VIEWERS MAY PLEASE NOTE AS TO HOW THE APPLICATION OF THE CONCEPT OF
PRAMANA-SRUTI (i.e. “A SINGLE-SRUTI”),
TRANSFORMS THE ‘SADJA-GRAMA’ INTO THE ‘MADHYAMA-GRAMA’
I HAVE EVALUATED THE
“PRAMANA SRUTI”
BY FINDING THE
22nd ROOT OF NUMBER ‘2’
BY USING MODERN
MATHEMATICS
AS PER MY HYPOTHESIS,
THE PRE-HISTORIC ANCIENTS
WERE HIGHLY ADVANCED
IN MATHEMATICS AND WERE,
THEREFORE, CAPABLE OF MAKING
SUCH A
DESIGN OF THE OCTAVE
To know more about this ‘Hypothesis’,
Please refer to my link:
http://sumeriangods.blogspot.com/
-- Gods of Sumeria symbolize our Ancient Music of 22 Srutis (BLOG)
http://www.esnips.com/web/GODSOFSUMERIASYMBOLIZEOURANCIENTMUSIC
-- (PRESENTATION SLIDES)
BUT MEDIEVAL MUSICOLOGISTS,
SUCH AS BHARATA MUNI AND
DATTILA MUNI (200 B.C.) COULD
NOT HAVE POSSESSED
SUCH ADVANCED KNOWLEDGE OF
MATHEMATICS !
IN THAT CASE,
HOW DID THEY ASSERT
WITH CERTAINTY THAT
THE “PRAMANA SRUTI”
WAS PRESENT AT THE
‘PANCHAMA’ SRUTIs OF
SADJA-GRAMA AND MADHYAMA-
GRAMA FORMATS ?
I HAVE IDENTIFIED
TWO METHODS BY WHICH
THE PRESENCE OF “PRAMANA SRUTI”
AT THE ‘PANCHAMA’ SRUTIs OF
SADJA-GRAMA AND MADHYAMA-GRAMA,
WITHOUT USING HIGHER MATHEMATICS !
(Please see next few slides)
METHOD - 1
Family of
22-FRACTIONS METHOD - 1
MADYAMA
S 0.00
0.98 1.00
R 3.00 2.76
3.74 4.00
G 5.00 4.89
5.79 6.00
PRAMANA SRUTI
M 9.00 9.13 (0.98)
10.11 10.00
VALUE: 3/4 P 13.00 12.87 12.87 13.00 VALUE: 8/11
D 16.00 16.21
17.76 17.00
N 18.00 17.76
18.66
18.66 19.00
S’ 22.00 2200
22.98 23.00
THE OCTAVE LIES
BETWEEN ‘1’ (i.e. Sruti value
‘0.00’) and
‘1/2’ (i.e. Sruti value ‘22.00),
i.e. AN EFFECTIVE LENGTH
MEASURING ‘1/2’.
IF THIS LENGTH IS DIVIDED BY ‘22’,
THE SMALLEST ELEMENTAL
PART WILL BE ‘1/44’
THE LOWER SPECTRAL END OF
‘PANCHAMA’
IS AT THE SRUTI VALUE OF ‘9.13’,
WHICH IS REPRESENTED BY THE
FRACTION : 3/4
AFTER REDUCING ONE-SRUTI
OF ‘PANCHAMA’ SRUTI BLOCK,
THE LOWER SPECTRAL END
OF ‘PANCHAMA’ BLOCK
SHIFTS TO THE
SRUTI POSITION ‘10.11’,
WHICH IS REPRESENTED BY THE
FRACTION : 8/11
WHEN ‘8/11’ IS
‘SUBTRACTED’
FROM ‘3/4’,
WE GET ‘1/44’.
( i.e. 3/4 - 8/11
= 33/44 - 32/44
= 1/44 )
KNOWING THIS SIMPLE
MATHEMATICAL LOGIC,
IT IS QITE POSSIBLE THAT
OUR MEDIEVAL MUSICOLOGISTS
COULD HAVE EASILY GUESSED THAT
‘PRAMANA SRUTI’ PROBABLY WAS
LYING WITHIN THIS SRUTI DIFFERENCE
OF ‘PANCHAMA’ BLOCK
DURING GRAMA - TRANSFORMATION !
METHOD - 2
Family of
22-FRACTIONS METHOD - 2
MADYAMA
S 0.00
0.98 1.00
R 3.00 2.76
3.74 4.00
G 5.00 4.89
5.79 6.00
PRAMANA SRUTI
M 9.00 9.13 (0.98)
10.11 10.00
8/11
3/4 P 13.00 12.87 12.87 13.00
D 16.00 16.21
17.76 17.00
N 18.00 17.76
18.66
18.66 19.00
S’ 22.00 2200
22.98 23.00
ALTERNATIVELY,
IF ‘3/4’ IS DIVIDED BY ‘8/11’,
WE GET‘33/32’
= 1.03125
1.03125 HAPPENS TO BE
THE 22nd ROOT OF ‘2’ !
THIS COMPARES VERY WELL WITH
THE MODERN MATHEMATICAL
ACCURACY OF 1.03200828 !!
THIS ANALYSIS ALSO ESTABLISHES
THAT THE CONCEPTS OF
“GRAMA-TRANSFORM”
AS WELL AS “PRAMANA SRUTI”,
AS DESCRIBED IN NATYA-SASTRA
CAN BE COMPREHENDED,
ONLY WHEN THESE ARE INTERPRETED
ON THE BASIS OF THE
“ANCIENT MUSIC OF 22 SRUTIs”
I have developed this theme
Further to discover that
A great treasure of
“Ancient Music”
is remaining uncovered as yet
Please peruse
My BOOK :
MY BOOK
CONTACT ME
Tele: 91 20 30441256
Mobile: 9890266845, 9850121834
E-Mail: snnambirajan@rediffmail.com
Web site: http://www.22sruti.com

POSTAL ADDRESS
A-7 / 103, FLORIDA ESTATE,
KESHAV NAGAR, MUNDHWA,
PUNE-411036

Interpretation': of Is Based On My Study of "Our Ancient Music of 22 Srutis"

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Interpretation': of Is Based On My Study of "Our Ancient Music of 22 Srutis"

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THIS ‘INTERPRETATION’

(Presentation in SCRIBD folder)

THIS ‘LOSS’ IS 0.98 SRUTI UNITS,

AS PER BHARATA MUNI, ‘PANCHAMA’ SHOULD

AS PER BHARATA MUNI, ‘PANCHAMA’ SHOULD

THIS ‘REDUCTION’ SHOULD BE COMPENSATED BY

THIS RESULTING FORMAT WAS INTERPRETED

THE DIFFERENCE BETWEEN THE GRAMAs

THAT THE DISTINCTION BETWEEN THE

GRAMAs IS VERY “TRIVIAL”

“ … the two gramas

“ … Indeed the entire range

“ … This obviously leads us

This core, however, ‘eludes’ us.

I was intuitively inclined to

Dr. Mukund Lath !!

LET US BRING ABOUT A REDUCTION IN ‘PANCHAMA’

REDUCE ‘PANCHAMA’ FROM ITS LOWER SPECTRAL END

REDUCE ‘PANCHAMA’ FROM ITS LOWER SPECTRAL END

NOW THE SWARA-STHAANA OF ‘PANCHAMA’

NOW THE SYSTEM ADJUSTS ITSELF SPONTANEOUSLY TO

‘MADHYAMA’ SRUTI BLOCK HAD MOVED UP

‘GANDHARA’ SRUTI BLOCK FOLLOWS UP

‘RISHABHA’ SRUTI BLOCK FOLLOWS UP

EVEN ‘SADJA’ SRUTI BLOCK MODIFIES ITS POSITION !

NOW ‘NISHADA’ SRUTI BLOCK MOVES UP

TRADITIONAL SADJA- TRADITIONAL

TRADITIONAL SADJA- TRADITIONAL

TRADITIONAL SADJA- TRADITIONAL

Web site: http://www.22sruti.com

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