सङ्गीतरत्नाकर: प्रथम भाग (शार्ङ्गदेव - स्वरगताध्याय सविस्तार व्याख्या व अनुवाद सहित)

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156 Treatment of Svara
The presiding deities of ṣaḍja etc., respectively are
Vahni, Brahmā, Sarasvatī¹⁹, Śiva²⁰, Viṣṇu²¹, Gaṇeśa²² and
the Sun²³, and the metres associated with them seriatim are
anuṣṭup, gāyatrī, triṣṭup, bṛhatī, paṅkti, uṣṇik and jagatī. (57c-59b)
In the vedic tradition, every vedic hymn, i.e., sūkta is endowed
with a seer, a presiding deity, a metre and so on; and it seems that the
present characterisation of notes in the above terms is an extension of
this tradition as applied to music. How far its application to music is
useful, practical and valid is a question of a detailed and a deeper
investigation.
Another obvious fact, as already hinted in this regard is that, all
these characteristics go to raise an individual image of each note. One
might well find the beginnings of the later rāga imagery in the Indian
music developing visual images of tonal structures expressed in line and
colour in their rudiments.
'S' has observed this phenomenon from quite a different angle
which is interesting and thought-provoking. He says that the allocation
of the musical notes to seven different continents as the places of their
origin and the association of seven seers etc. as well points out the fact
that the notes were admitted to be seven only, and not nine, including,
for example, the kākalī-niṣāda and the antara-gāndhāra. Thus, he raises
the question, "why indeed the notes are considered to be seven as a
rule ?", and suggests the following explanation : The number seven as
associated with the musical notes is based probably on the concept of
seven supportive tissues (spoken of in the Āyurveda) of the body such as
19. Terms such as Vahni and Brahmā have already been explained.
Sarasvatī is conceived as the goddess of learning, art and
literature in the puranic symbology.
20, 21. Śiva symbolises that aspect of the Hindu trinity which is
responsible for the dissolution of the creation and Viṣṇu is
the deity responsible for the state of the being in creation, i. e.
sthiti (sustenance).
22. Gaṇeśa, in the puranic mythology, is the son of Lord Śiva
and a god to be propitiated at the commencement of every
religious rite, ceremony or any new social or economic under-
taking.
23. The Sun, though grammatically correct, is yet a misleading
expression, for the presiding deity called Sun, is not inert
like the sun, but is the essence of the consciousness embodied
by it
The following notes (24-31) are prepared on the basis
of the glossary of technical words, appended to Ravi Shankar's
"My Music My Life".

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Section . . .
Ṣaḍja and ṛṣabha are employed in the expression of
heroism²⁴, wonder²⁵ and wrath²⁶; similarly, dhaivata is used
for abhorrence²⁷ and terror²⁸, gāndhāra and niṣāda for
skin, blood, flesh, etc., or on the concept of the seven psycho-physical
centres in the body, or as related to the seven continents. Kākalī-niṣāda
and antara-gāndhāra are not taken as notes independently as they are not
used as the dominant (tonic) notes. This is supported by a quotation
from Dattila to this effect (cf verses 16 and 17).
It is notable that while all other ṛṣi-s from Vahni to Nārada are
more or less mythological, perhaps with the exception of Nārada who is
semi-historical, Tumburu is a historical personality and a gandharva i.e.,
a musician. He is said to have discovered dhaivata and niṣāda (cf. a
discussion on the concept of gāndharva by Sadagopan-Prem Lata-
Brahaspati in the Indian Music Journal, Oct.-Nov. 1967), where it is
said by Brahaspati that dhaivata was discovered by him as an overtone
of madhyama. It seems that the discovery of dhaivata and niṣāda attribut-
ed to him is historical. (56c-57)
The concept of devatā or the presiding deity is once again vedic
in origin. It symbolises in concrete terms the abstract idea of a certain
classification of human consciousness of that particular age, which was
partly functional and objective in its comprehension of the creation and
partly subjective, being conditioned by the time-space of the age. For
example, the group of sun-gods headed by Savitṛ symbolise not only the
sun, but in fact the brilliance that characterises the sun and the stars
alike. Thus the discovery of the modern astronomy that the stars are
as many and more or less powerful suns, is no revelation to those who
are acquainted with the vedic symbolism. The Vedas have comprehend-
ed the truth of it in their own terms.
It is difficult to relate the application and the extension of this
symbolism to the musical notes, as it has already been said, but if any
significance has to be discovered, vedic symbolism must provide the
key.
24. Vīra is expressive of dignity, majesty and glory, courage and
heroism.
25. Adbhuta is expressive of wonderment, amazement, surprise,
exhilaration, and also the mixed feelings of anticipation.
26. Raudra depicts anger or excited fury.
27. Bībhatsa conveys the sentiment of hate, hostility and disgust
which is usually made explicit in dramas.
28. Bhayānaka represents the sensation of fear, fright and awe.
However, it is difficult to express this in music or a solo-
instrument.