Panini and Musical Instruments

In Astadhyayi, in which the author, Panini shows a full acquaintance of the various branches of the musical art. Besides referring to vocalists and instrumentalists, the Astadhyayi also mentions orchestral bonds including singers to the accompaniment of Vina, one of the most popular instruments an ancient Indian music. Panini seems to have been well acquainted with the various branches of the musical art. Besides referring to vocalists and Instrumentalists, the Astadhyayi also mentions orchestral bands including signers to the accompaniment of Vina, one of the most popular instruments in ancient Indian music.

143 In Panini's days music was regarded as an art (Silpa) silpam Astadhyayi (IV 4.55) The affix 3' comes in the sense of 'that is whose art', after a word denoting art, in the first case in construction. Thus yesangi ficuuza HI: 1-a drummer -' an expert in playing on the Mrdanga' Of the percussion and righting instruments mentioned is made of Madduka a small tabour and Jharjhara madukajharjharadananyatasyam madukavadanam silpamasya madukah | Astadhyayi (IV 4.56) maddukikah | jhajharah | jharjharikah | The affix '30' comes optionally in the sense of 'this is whose art'. Panigha and Talagha were the time keepers in art. panigha-taladho-silpini | Astadhyayi (III.2.55) From these sutras it is clear that Vocal music, instrumental music, playing on cymbals- all came under the common name of silpa. Silpa comprised nrtya (dance), Gita (song), Vaditra (Instrumental music), and sometimes also Natya (stage-acting). The Astadhyayi refers to all of them, eg. Song is referred to as giti (III.3.95), and geya (III.4.68), a songster as gathika and gayani a dancer as nartaka (III, 1.145), a vocal singer as gathaka and gathika (III, 1.146) as follows:

- stha - ga pa paco- bhave | Astadhyayi (III. 3. 95) 144 After the roots 'stha ' ( to stand), 'ga ' (to sing), 'pa ' (to drink) and ' pac '(to cook) - the affix 'kin ' is employed, when a word in the feminine gender, dexterity a 'mere action' is to be expressed. (giti - a song ) bhavya-geya pravacaniyopasthaniya janyaplavyapatya va | Astadhyayi (III. 4. 68 ) The words, ´ bhavya ' 'geya ', 'pravacaniya ', 'upasthaniya ', 'janya ', 'aplavya ' and 'apatya ' may optionally be used to denote the agent here. geya a singer, song or singing. silpini svun | (nrtti - khani - rajibhya eva | ) Astadhyayi (III . 1. 145 ) The affix svan (aka ) comes after a verb, when the agent so expressed denotes an artist. Dexerity in action is called 'Silpa'. This affix should be confined to the verbs 'nrt - khan - ranja ' to dance, to dig and to dye respectively. gasthakan Astadhyayi (III. 1. 146) The affix thakan (thaka ) comes after the verb gai 'to sing' when the agent so expressed denotes an artist. gaih +thakan = gathakah || gathika Panini refers to dance as nrtya in na padabhyanacamanayasapahimuharaci- nrti - vada-vasah| (I .3, 89 ) and in so'sici krta-cuta-cchada-trda-nrtah | (VII, 2.57) and also refers to a player on an instrument as Parivadaka ninda - himsa- klisa- khada - vibasa-pariksipa parisr-parivadi - vyabhasa sutro vum | (III, 2.146) . -

145 Stage acting is mentioned as Natya chandogaukthika- yajnika c: (IV.3.129) Panini's reference to a treatise called the natasutra parasartham-silalibhyam - bhiksu - nata- sutrayoh | ( III. 3. 110 ) shows that the theoretical side of the dramatic art was also studied. The idea of having a concert of different instrumentalists was also known to Panini. The band was collectively known as turya, and individual members were Turyanga dvandvasca prani- turya - senanganam | (II.4.2). For example the set of players on Mrdanga and Panava was referred to as Mardangika - panavika. Panini explains Sammada and Pramada as festivity pramada - sammadau harse | (III.3.68) Amongst stringed instruments the lyre (Vina) is mentioned; the term upavinyati, "sings with the lyre' paints to the popular practice at combining vocal and instrumental music. Singing without lyre was denoted by the expression apavinam sphiga-puta-vina'njo'dhva - kuksi-sira - nama ca | (VI.2.187). The musical notes produced from a lyre, namely, nikuvana or nikvana (III.3.65). The dardurika seems to have been player on a drum made of an earthern jar sabda-darduram karoti | (IV. 4.34).