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Fundamentals of Ancient Indian Music and Dance
though śruti etc., is the source of Śruti and the like, and expands songs; it is everchanging.
In the heart, twenty-two nāļis are supposed to be joined with the upward artery. These exist in an oblique manner. As a result of wind striking against them, twenty-two śrutis come into being; these śrutis are of a gradually higher pitch. Similarly, twenty-two śrutis are admitted in the throat and the head.
The use of mudrās or positions of hands etc. in connexion with samgita, particularly with dance, seems to testify to
Tāntric influence. The idea of mudrās, as symbolising feelings. moods, sentiment etc., probably originated in the Vedic period. In Vedic rituals, various poses of hands were adopted by the singer of Sāmans. The mudrās, however, along with mystical diagrams called mandala and yantra, were highly developed in connexion with Tāntric rites. It may be that, with the diffusion of Tantric rites, the mudrās came to be included in larger number in the works on music.
Śiva and Śakti are the two fundamental principles of the Tāntric philosophy. In the musical lore, too, there is a tradition that Rāgas and Rägiņis, which form the basis of vocal music, emanated respectively from Śiva and Śakti. According to one tradition, one rāga emanated from each mouth of Siva, and one rāga from the mouth of Pārvati.
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