To Ramanuja, the Ramayana contains all the six Jatis, the seven musical notes and the twentytwo srutis: Sa- Kanta, Prabhavati, Siddha, Suprabhta, Re- Ugra, Sikha, Dipta, Ga- Nihra, Hradini, Ma- Ksanthi, sarvasaha, Dhira, Vibhuti, Pa- Malini, Capata, Lata, Sarvaratnaprabhavati, Dha- Vikalpini, Sabta, Hradayonmalini, Ni- Vistarini, Prasanna, (or Praoanca)
This epic on Paulastya Vadha is sweet and suitable for reciting as well as singing. It is set to the seven musical notes which are generally known as Jati: according to Sandilya: Sarvagitasamadhano jatirityabhidhiyate. They are Sadji Caivatha Naisadi Dhaivati Pancami Tatha Madhyami Caiva Gandhari Saptami Tvarsabhi Mata. The epic employs vira, bibhatsa, adbhuta, santa and karuna rasas. The dramatic episodes are composed in gandharva style. The rhythm for dance steps is present in the form of Padstha. The svara on notes denotes the beat of the percussion instruments like mrdanga. It is known as avadhana sthana-murchana. Sandilya puts it in the throat where prana resides. Murcchana comes when the seven notes are used in their full form.
Rama’s Experience (mahanubhavam) of listening to the Ramayana 1.4.30
The experience of listening to this epic is called mahanubhavam because it is especially rich in words, meaning, and rhetoric, sung in marga style, not a desi or prakrta.
Musical aspects of the Ramayana 1.4.5-9
To Ramanuja, the Ramayana contains all the six Jatis, the seven musical notes and the twentytwo srutis: Sa- Kanta, Prabhavati, Siddha, Suprabhta, Re- Ugra, Sikha, Dipta, Ga- Nihra, Hradini, Ma- Ksanthi, sarvasaha, Dhira, Vibhuti, Pa- Malini, Capata, Lata, Sarvaratnaprabhavati, Dha- Vikalpini, Sabta, Hradayonmalini, Ni- Vistarini, Prasanna, (or Praoanca)
This epic on Paulastya Vadha is sweet and suitable for reciting as well as singing. It is set to the seven musical notes which are generally known as Jati: according to Sandilya: Sarvagitasamadhano jatirityabhidhiyate. They are Sadji Caivatha Naisadi Dhaivati Pancami Tatha Madhyami Caiva Gandhari Saptami Tvarsabhi Mata. The epic employs vira, bibhatsa, adbhuta, santa and karuna rasas. The dramatic episodes are composed in gandharva style. The rhythm for dance steps is present in the form of Padstha. The svara on notes denotes the beat of the percussion instruments like mrdanga. It is known as avadhana sthana-murchana. Sandilya puts it in the throat where prana resides. Murcchana comes when the seven notes are used in their full form.
Rama’s Experience (mahanubhavam) of listening to the Ramayana 1.4.30
The experience of listening to this epic is called mahanubhavam because it is especially rich in words, meaning, and rhetoric, sung in marga style, not a desi or prakrta.