There is no reveal of Tabla or Pakhwaj in primeval India. Inspite of this predominantly no discrepancy can be found out between Pakhwaj and Mridangam though many such differences can be found in Tabla. Beliefs and estimations vary about their existence in past and their time of arrival.
The seals of the Mohenjodaro Indus valley civilization contain depictions of men playing long cylindrical drums hung around their necks played horizontally. These drums are most similar to the kharrang of Assam and with the dhole of the Reddis of Andra Pradesh. Other drums inscribed on the seals include an hour glass shaped drum like the hudukka, castanets and cymbals. Some arched harps found in their hieroglyphics and unearthed clay whistles demonstrate they developed a tonal system, but no literature exists which we can translate in order to learn about that system.
The first credentials of music occur in the Vedic scriptures, of the Aryan culture. The most ancient Vedic literature describes drums covered with the skins of wild animals, large earthen drums, and the role of the drums in various rituals. The name of the drum mentioned in vedic literature was ‘dundhubi’.
Literature from the Nardiyasiksa and the Natyasastra that was written around 100 B.C.E. provides a great deal of knowledge regarding music. Naradiysiksa, describes vedic and ghandharva music. It states that semi-divine ghandharva music is composed of three elements: svara, tala, and pada. Narad describes the essentials of vocal and instrumental music. In the 31st and 32nd chapters, the Natyasastra gives descriptions of tala, the fundamental aspects of India rhythm. According to Bharata, tala was known as 'ghana' and time as 'kala'. Laya, called kalapata, subdivided into vilamvita (slow), madhya (medium), and druta (fast). Kala divided into three parts, citra (two matras), vartika (four mantras), and daksima (eight mantras). Bharata stated that tala, or time unit, was known as the measurement of kala, ('kala kala pramanena tala ityabhdhiyate' 31.7). Two kinds of talas existed, n'sabda (soundless or beatless), and sa'sabda (with sound or beat). The soundless tala again subdivided into 4 kinds: samya, tala, dhruva, and sannipata. Other terminology regarding rhythm included: yati (a method of applying a tempo of a tala -- of which they had several kinds: sama, srotogata, gopuccha, damaru, pipilika), prakarana (to make a song ready for singing), satala (with any rhythm), atala (without rhythm). With such terminology they clearly developed a complicated rhythmic system. This originated before the classical music age (600 to 500 B.C.E.), as ghandharva music became obsolete before the Bharata period. Ghandharva music provides the link between vedic music and post-vedic marga type of music (which evolved around 700 B.C.E., and provides insight to the classical period as well.
Mridangam was found to have existence from archaic times but it was found unfeasible to prove their existence in vedic ages and the puranas do not give any description of the shape of mridangam in particular. The “Natyasastra” epoch of Indiaprovides us some information regarding the silhouette of the instrument. At that time the ‘mridangam’ that was played placing in one’s lap was much like the present day’s ‘mridangam’ but it lacked the black portion in the middle known as ‘Gab’. Other features that we see in today’s ‘mridangam’ including its name were added to it during the time of Bharatmuni.Swati noticed the salient features of the instrument and named it ‘Tripushkar’ or ‘Pushkartray’. Muktesvara temple (6th-7th century) and Bhuranesvara (and three other cave temples) of Badari in Bombay (6th century) contain depictions of the Puskara. Musicians often placed the puskara's smaller verticle drum (called 'alinga'), on their lap and played more than one drum at a time. Given the the design, technology, and musical structure for drums common in this this period, we can piece together numerious features of the tabla. During the time of Shrangadeb the name ‘Mridangam’ again replaced the name ‘Pushkar’ and the name ‘Mardol’ accompanied it.The differences between ‘Mridangam’ and ‘Mardol’ was the former had 12 finger size of the two faces while the later had 13 and 14 finger size respectively. ‘Mardol’ was made of wood and had rings to adjust the scale and tune while ‘Mridangam’ was made of tight clay and mud. The similarity was the black middle portion ‘gab’ was densely made in both cases.
The name of ‘Mardol’ and ‘Mridangam’ was found to be associated in the music of different cults in India but none of the books clearly mentioned about them. Suddenly during the Muslim advent in Indiath page of this book he has written a four line sloka which indicated the use of Tabla and Pakhwaj in Northern and Western India during14th and 15th century. the name ‘Pakhwaj’ came into existence. In the book named “Sangeetoponishadsarodhar” written by Sudhakashal presented a detailed study upon opinion of youths free of western influence regarding Indian music. In the 87
It is guessed that in the 14th century, ‘pushkar’ and another instrument named ‘Abja’ was combined to create ‘Pakhwaj’.
Taking a look into the discovery of Tabla there are so many conclusions and varying opinions about it. The correct is still unheard of.
Some of the noted are:-
1>Some experts consider that Tabla originated from the Arabian instrument ‘Tabl’.The name has been supposed to come from the son of musician Jubal’s son Tubal.
2>One strong belief is In 1300 A.D. during the reign of Allauddin Khilji Parsi Poet Amir Khusrau discovered Tabla.
3>In paras another instrument name ‘Nakkara’ was prevalent .Therefore Tabla also might be a Parsi instrument.
4>Going into ancient times some people believe that Tabla has oriinated from the instrument “Audharka” which was much like Tabla in structure.
5>Sangeetacharya Gopeshwar Bandopadhyay believe that Amir Khusrau the second , the disciple of Sadaranga was the real founder of Tabla.This was during the period of Mughal Ruler 3rd Mohammad Shah.
6> Some people believe that famous Pakhwaj player of Delhi Ustad Sudhar separated pakhwaj to make tabla.
Sudhakushal said that Tabla is a Muslim instrument but there is no proof in history supporting his statement. There is no substantiation anywhere that Tabla was used in the 12thCentury before the coming of Anir Khusrau but again in some books of western writers it has been mentioned that instrument like Tabla was used from the 6th century. Another thing worth mentioning here is in Italy there was an instrument named ‘Tipani’.The photo of ‘Tipani’ which we can see in the 192ndpage of the book “Musical instruments through the ages” indicates clearly that the Arabian ‘Tabl’ was like the ‘Bayan’ of a tabla. Another instrument named ‘Tabar’ was found in Western lands that indicated the shape of the ‘Dahina’ of a Tabla. So the time period from when did this instrument come into play is still controversial but the reason of the discovery of Tabla was quite obvious. Musical instruments like ‘Mridangam’ or ‘Pakhwaj’ produced heavy and deep seated sounds and were suitable for songs like ‘Dhrupads’ but on the other hand as the light classicals like ‘Khayals’ and ‘Ghazals’ became popular there was a need for a much more lyrical and sharp sounding musical instrument that led to the discovery of Tabla.
by Sonnet Mondal.
Lucia originally comes from Saint Lucy, but is also known as Saint Lucia, (283 – 304) who was a Christian Martyr. Her name comes from lux, lucis "light", and she is the patron saint of those who are blind. Lucy, or Lucia consecrated her virginity to God, refused to marry, and had her dowry distributed to the poor. Her would-be husband denounced her as a Christian to the governor of Syracuse, Sicily. Miraculously unable to move her or burn her, the guards took out her eyes with a fork. In medieval accounts, Saint Lucy's eyes are gouged out prior to her execution. In art, her eyes sometimes appear on a plate that she is holding.
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