The Positive Sciences of the Ancient Hindus c6.26

c6.26

*Śrutis and Svaras.*—We have already seen that the distinguishable pitches are called Śrutis, and they are proportioned to the *vega* (momentum) of the *kampa-santāna* (vibration). Now the ratio of a note to its octave (in respect of pitch) is given as 1:2; we may therefore conclude that the *vega* of the vibration in the latter case was considered to be twice as great as in the former. An indefinite number of Śrutis could be interposed between a note and its octave (आनन्त्यं हि श्रुतीनां च सूचयन्ति विपश्चितः यथा ध्वनिविशेषाणामानं गगनोदरे । संगीतरत्नाकर । *cf.* संगीतपारिजात । केशाग्रव्यवधानेन बह्व्योऽपि श्रुतयः स्मृताः—संगीतपारिजात, Śloka 40). Twenty-two such are named and recognised for musical purposes. But a Śruti as such cannot constitute a musical tone (Svara). A Śruti is a simple (unmixed) and fundamental tone of a certain pitch, whereas an ordinary musical tone (Svara) is really composed of a fundamental tone (Śruti) and certain partial tones (harmonics, Anurananas, अनुरणन). The musical tones (Svaras), vocal or instrumental, are therefore of the nature of what we call clangs, because, either accompanying or following the Śrutis or simple fundamental tones (ह्रस्त्रादिमात्र), are always found certain partial tones (अनुरणन). व्यवहारे त्वसौ त्रेधा हृदि मन्द्रोऽभिधीयते । कण्ठे मध्यो मूर्ध्निंतारो द्विगुणश्चोत्तरोत्तरः (संगीतरत्नाकर) हृदिमन्द्रोगलेमध्यो मूर्ध्नि तार इति क्रमात् । द्विगुणः पूर्वपूर्वस्मात् —Dâmodara, Sangîtadarpaṇa, Chap. I., Śloka 49. श्रुत्यनन्तरभावी यः स्निग्धोऽनुरणनात्मकः । स स्वरः उच्यते—Sangîta-ratnâkara. स स्वरो यः श्रुतिस्थाने स्वनन् हृदयरञ्जकः (संगीतदामोदर) द्वाविंशतिविधो मन्द्रोध्वनिः सञ्जायते