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{{Short description|Tamil heptatonic scale}}
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{{More citations needed|date=March 2023}}{{Cleanup rewrite|date=March 2023}}
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'''''Pann''''' (]:பண்) is the melolic mode used by the ] in ] since the ancient times. The ancient ''panns'' over centuries evolved first into a ] scale and later into the seven note Carnatic ]. But from the earliest times, Tamil Music is ] and known as Ezhisai (ஏழிசை).


{{Use dmy dates|date=August 2020}}
==''Panns'' in literature==
{{Use Indian English|date=August 2020}}
There are several references to music and ''Panns'' in the ancient pre-Sangam and ] starting from the earliest known work ] (c.100 CE). Among Sangam literature, '']'' refers to women singing ''sevvazhi pann'' to invoke the mercy of God during childbirth. In '']'', the five ] of the Sangam literature had each an associated ''Pann'', each describing the mood of the song associated with that landscape. Among the numerous ''panns'' that find mention in the ancient Tamil literature are, ''Ambal Pann'', which is suitable to be played on the flute, ''sevvazhi pann'' on the ''Yazh'' (lute), ''Nottiram'' and ''Sevvazhi'' expressing pathos, the captivating ''Kurinji pann'' and the invigorating ''Murudappann''.


'''''PaN''''' ({{langx|ta|பண்}}) is the melodic mode used by the ] in ] since the ancient times. The ancient ''pans'' over centuries evolved first into a ] scale. But from the earliest times, Tamil Music is ] and known as ''ēḻisai'' (ஏழிசை).<ref>Adiyarkunallar's commentary to the ''Aychiyarkkuravai'', the seventh canto of the second book of ] gives the number of Srutis and how they were allotted among Seven notes. {{Harvnb|Rowell|2000|pp=138–144}}</ref>
The ] was classified into five regions to describe the mood of the poem and to describe the intangibles of human emotions. While describing life and romance, the poets employed the background of the natural landscape and used the ''pann'' specific to that landscape to provide the mood. The ''neithal'' (seaside) landscape, which is employed to convey the grief of separation of lovers had the associated ''sevvazhi pann'' expressing pathos. '']'' mentions Viraliyar singing ''Kurinjipann'' when offering worship to the deities of the mountainous regions. It also refers to Virali singing ''Marudappann'' before singing the eulogies of kings. Malaippadukadam also refers to the people trying to overcome their fatigue by singing ''Marudappann'' after working in the fields. There is a very interesting reference to Panns and birds/insects in '']''. It says that the beetles liked to listen to ''Kurinjipann'' played on Vilyazh thinking it to be the voice of its own kith and kin, while they hated to listen to ''Palaipann'' played on flute. There are also references to the Panar taking delight in mastering the ''Naivalam pann''.


==''PaNs'' in literature==
==Evolution of ''Panns''==
There are several references to music and ''PaNs'' in the ancient pre-Sangam and ] starting from the earliest known work '']'' (500 BCE). Among Sangam literature, '']'' refers to women singing ''sevvaḻippaN'' to invoke the mercy of God during childbirth. In '']'', the five ] of the Sangam literature had each an associated ''PaN'', each describing the mood of the song associated with that landscape. Among the numerous ''paNs'' that find mention in the ancient Tamil literature are, ''Ambal PaN'', which is suitable to be played on the flute, ''sevvaḻippaN'' on the ''yāḻ'' (lute), ''Nottiram'' and ''Sevvaḻi'' expressing pathos, the captivating ''KuriñcippaN'' and the invigorating ''MarudappaN''.


The ] was classified into five regions to describe the mood of the poem and to describe the intangibles of human emotions. While describing life and romance, the poets employed the background of the natural landscape and used the ''paN'' specific to that landscape to provide the mood. The ] (seaside) landscape, which is employed to convey the grief of separation of lovers had the associated ''sevvaḻippaN'' expressing pathos.
The post-Sangam period, between the third and the fifth centuries CE, Tamil music evolved to a higher sophistication. ], written around the fifth century CE, describes music based on logical, systematic and scientific calculations in the arrangements of the dancers on the stage to represent the notes and ''panns''. ''Cilappatikaram'' contains several chapters dedicated to music and dance, of which the most famous is the ''kanal vari'' which is a duet between the hero ] and his lady-love ]. ''Cilappatikaram'' contains musical terminology such as, ''azhaku'' and ''matthirai'' referring to the musical pitch and the smallest fraction of an audible sound distinguishable by the human ear. From these evolved the scales.

'']'' mentions ''ViRaliyar'' singing ''KuriñcipaN'' when offering worship to the deities of the mountainous regions. It also refers to ''ViRali'' singing ''MarudappaN'' before singing the eulogies of kings. '']'' also refers to the people trying to overcome their fatigue by singing ''MarudappaN'' after working in the fields. There is a very interesting reference to ''paNs'' and birds/insects in '']''. It says that the beetles liked to listen to ''KuriñcipaN'' played on ''Vilyaḻ'' thinking it to be the voice of its own kith and kin, while they hated to laNen to ''PālaipaN'' played on the flute. There are also references to the ''pāNar'' taking delight in mastering the ''NaivaLam paN''.

==Evolution of ''PaNs''==

In the post-Sangam period, between the third and the fifth centuries CE, Tamil music evolved to a higher sophistication. ], written around the fifth century CE, describes music based on logical, systematic and scientific calculations in the arrangements of the dancers on the stage to represent the notes and ''panns''. ''Cilappatikāram'' contains several chapters dedicated to music and dance, of which the most famous is the ''kanal vari'' which is a duet between the hero ] and his lady-love ]. ''Cilappatikāram'' contains musical terminology such as, ''alaku'' and ''māttirai'' referring to the musical pitch and the smallest fraction of an audible sound distinguishable by the human ear. From these evolved the scales.


===Development of scales=== ===Development of scales===
One of the first scales employed by the ancient Tamils was the ''Mullaippann'', a ] scale comprising of the notes ''sa ri ga pa da'' equivalent to C, D, E, G and A in the western notations. These fully ] ], constitutes the '']'' ''mohanam'' in the ] style. These scales can also be found in many eastern music systems such as the ]. One of the first scales employed by the ancient Tamils was the ''MullaippaN'', a ] scale composed of the notes ''sa ri ga pa da'' equivalent to C, D, E, G and A in the western notations. These fully ] ], constitutes the '']'' '']'' in the ] style.


''Mullaippann'' further evolved into ''Sempaalai'', a scale based on seven notes by the addition of two more notes, ''ma'' and ''ni'' to the pentatonic scale. ''Sempaalai pann'' corresponds to the ] ] ]. In ancient Tamil, the seven notes were termed as ''kural'', ''tuttam'', ''kaikkilai'', ''uzhai'', ''ili'', ''vilari'' and ''taaram''. The seven basic notes are then developed into twelve swaras corresponding to the twelve houses of the zodiac. ''MullaippaN'' further evolved into ''sempālai'', a scale based on seven notes by the addition of two more notes, ''ma'' and ''ni'' to the pentatonic scale. ''SempālaippaN'' corresponds to the Carnatic raga ]. In ancient Tamil, the seven notes were termed {{transl|ta|kural}}, {{transl|ta|tuttam}}, {{transl|ta|kaikkiLai}}, {{transl|ta|uḻai}}, {{transl|ta|iLi}}, {{transl|ta|vilari}} and {{transl|ta|tāram}}. The seven basic notes are then developed into twelve swaras corresponding to the twelve houses of the zodiac.


The ancient Tamils also derived new ''panns'' by the process of modal shift of tonic and by the process of reallocating the pitch and beat of the notes. ''Cilappatikaram'' has an example of this in the chapter ''Arangetrukadai'', where the ''Pann Mercharupalai'' is changed to derive a new ''Pann''. By the model shift of the tonic (பண்ணுப்பெயர்த்தல்) the ancient Tamils devised the seven major ''palais''. Using the process of the cycle of fifth (called ''aaya palai'') or the cycle of fourth, five semitones were developed. For example, if the cycle is started with ''kural'' (''sa''), the fifth note will yield ''iLi'' (''pa''), the ''sa''-''pa'' relationship. In the cycle of fourth, ''kural'' (''sa'') will give ''uzhai'' (''ma''), the ''sa''-''ma'' relationship. These five semitones were added to the original seven notes giving 12 notes of the ancient Tamil musical octave. Among the 12 notes, the flats were called ''kuRai'' (குறை) and the sharps were called ''nirai'' (நிறை). The ancient Tamils also derived new ''paNs'' by the process of modal shift of tonic and by the process of reallocating the pitch and beat of the notes. ''Cilappatikāram'' has an example of this in the chapter ''ArangēRRukkādai'', where the ''PaN MeRcarupalai'' is changed to derive a new ''Pann''. By the model shift of the tonic (பண்ணுப்பெயர்த்தல் - ''PaNNuppeyarttal'') the ancient Tamils devised the seven major ''palais''. Using the process of the cycle of fifth (called ''āya palai'') or the cycle of fourth, five semitones were developed. For example, if the cycle is started with ''kural'' (''sa''), the fifth note will yield ''iLi'' (''pa''), the ''sa''-''pa'' relationship. In the cycle of fourth, ''kural'' (''sa'') will give ''uḻai'' (''ma''), the ''sa''-''ma'' relationship. These five semitones were added to the original seven notes giving 12 notes of the ancient Tamil musical octave. Among the 12 notes, the flats were called ''kuRai'' (குறை) and the sharps were called ''niRai'' (நிறை).


The seven major ''palais'' or parent scales of the music of the ancient Tamils are: ''Sempalai'' (corresponding to the present ''Harikambhoji''), ''Padumalai Palai'' (''Natabhairavi''), ''Sevvazhi Palai'' (''Hanumatodi''), ''Arum Palai'' (''Dheera Sankarabharanam''), ''Kodi Palai'' (''Kharaharapriya''), ''Vilari Palai'' (''Hanumatodi''), and ''Merchem Palai'' (''Mecha Kalyani''). The seven major ''palais'' or parent scales of the music of the ancient Tamils are: ''Sempalaipann'' (corresponding to the present ''Shankarabaranam''), ''Padumalai palaipann'' ('']''), ''Sevvazhipalaipann'' ('']''), ''Arum Palai'' ('']''), ''Kodi Palai'' ('']''), ''Vilari Palai'' (''Natabhairavi''), and ''MeRcem Palai'' ('']'').


The four original ''paNs'' of ''marutappaN'', ''kuriñcippaN'', ''sevvaḻi'' and ''saDari'' thus evolved into 103 ''paNs'' with varying characterisations. In all of these ''PaNs'', ''Uyir SurangaL'' (''Jīvasvarams'': Life Notes) exist. The life note of a ''PaN'' is embellished according to the notes that appear immediately before and after. This is called ''Alankāram'' ''(Gamakam)''. Taking into consideration all these special notes, ''PaN Isai'' is different from '']''. Carnatic Music as two variations of each of the variables; Ri, Ga, Ma, Dha and Ni. ''PaN Isai'' has 4 variations of each of the 5 variable. Plus the 2 constants; Sa and Pa, there are 22 variations of the 7 basic notes. The ancient name for ''Rāgam'' is ''Niram''. '']'' was called ''Thāi Niram'' and '']'' born from there were call ''Sēi Niram''. The ancient name for '']'' is ''PāNi''. For example, ''Rūpaka'' ''Tālam'' was ''PāNi MūnDRottu''. Before Sa, Ri, Ga... Tamils used the 12 Tamil Vowels. Looking at a keyboard, they would've used the 5 ''KuRil'' (Short Sounds) for the black keys and the 7 ''NeDil'' (Long Sounds) for the white keys.
The four original ''panns'' of ''maruthappann'', ''kurinchippann'', ''sevvazhi'' and ''sadari'' thus evolved into 103 ''panns'' with varying characterisations.


Some of the ''panns'' and their equivalent Carnatic ]s were: Some of the ''paNs'' and their equivalent Carnatic ]s were:


* ''Panchamam'' – ''Ahiri'' * ''Pañcamam'' – '']''
* ''Pazham Panchuram'' - ''Sankaraparanam'' * ''Paḻam Pañcuram'' - ''SankarābharaNam''
* ''Meharahkkurinchi'' - ''Neelampari'' * ''Mēgarāgakkuriñci'' - ''Neelambari''
* ''Pazhanthakka Ragam'' - ''Aarabi'' * ''Paḻantakka Rāgam'' - '']''
* ''Kurinchi'' - ''Malahari'' * ''Kuriñci'' - '']''
* ''Natta Ragam'' – ''Panthuvarali'' * ''NāTTa Rāgam'' – '']''
* ''Inthalam'' - ''Nathanamakriya'' * ''Intalam'' - ''Nadanamakriya''
* ''Thakkesi'' - ''Kambhoji'' * ''Takkēsi'' - '']''
* ''Kausikam'' - ''Bairavi'' * ''Kausikam'' - '']''
* ''Nattappadai'' – ''Gambiranattai'' * ''NāTTappadai'' – ''GambhīranāTTai''
* ''Gāndhāra Pañcamam'' – ''Kedara Gowlai''


==''Panns'' in Saivite hymns== ==''Panns'' in Saivite hymns==


After the Sangam perid and during the occupation of the Tamil country by ], Tamil music was dormant for a period of a few centuries. With the advent of the ] saints such as ] and ] (7th century CE) who used the ancient ''panns'' in their hymns (]), Tamil music experienced a revival. Only through these Tevarams and the hymns of ] ] we can still experience the ancient traditions of the Tamil ''panns''. Sambanthar used the following seven ''panns'': ''nattapaadai'', ''Thakka ragam'', ''Pazhanthakka ragam'', ''Thakkesi'', ''Kurinji'', ''Viyazhak kurinji'', and ''Meharahakkurinji''. After the ] and during the occupation of the Tamil country by ], Tamil music was dormant for a period of a few centuries. With the advent of the ] saints ] (100 AD), ] (900 AD), ] and ] (7th century CE) who used the ancient ''panns'' in their hymns (]), Tamil music experienced a revival. Only through these ]s, hymns by ], hymn by ], ], ] and the hymns of ] ] we can still experience the ancient traditions of the Tamil ''panns''. Sambanthar used the following seven ''panns'': ''nattapaadai'', ''Thakka ragam'', ''Paḻanthakka ragam'', ''Thakkesi'', ''Kurinji'', ''Viyazhak kurinji'', and ''Meharahakkurinji''. Manikkavacagar used Mulai Pann (Mohana Raagam) for the majority of his Thiruvasagam and Thirukkovaiyar. There are a few of his hymns where he used Bowli, Megaragakkurinji and Kalyaani. Sundaramoorthi SwamigaL wise widely influenced by Thirunyaanasambandhar SwamigaL and Thirunaavukkarasar 'Appar' SwamigaL, who used PaN Koli quite often. In actual, only Thirunaavukkarasar SwamigaL sang the Dhehvaaram, which made-up the 4th, 5th and 6th ThirumuRaigaL. Thirunyaanasambandhar SwamigaL wrote the ThirukaDaikaapu, which makes up the 1st, 2nd and 3rd ThirumuRaigaL. Thiru Sundharamoorthi SwamigaL wrote the ThirupaaTTu, which makes up the 7th ThirumuRai. Thiru MaaNikkavaasagar's Thiruvaasagam and Thirukkohvaiyaar makes up the 8th ThirumuRai. There 12 ThirumuRais. Thirumoolar's Thirumandhiram is the 10th ThirumuRai and SekkiZHaar's Thiru ThoNDar PuraaNam, or Periya PuraaNam is the 12th ThirumuRai. The ThirumuRais are the Devotional works of Saivaism and the 14 SaathirangaL (Saathirais) are the philosophical works of Saivaism, with ThiruvaLuvar's ThirkkuRaL accepted as Neethi nool or Saathiram (Singular form of SaathirangaL).


==See also== ==See also==
*] *]


==References==
{{Reflist}}
*{{Citation | last=Rowell | first=Lewis | title=Scale and Mode in the Music of the Early Tamils of South India | journal=Music Theory Spectrum | volume=22 |pages=135–156 | year=2000 | issue=2 | doi=10.1525/mts.2000.22.2.02a00010 | jstor=745957}}
*{{Citation | last=Varadarajan | first=Mu. | title=History of Tamil Literature | publisher=Sahitya Akademi | place=Madras | year=1988
| url = https://books.google.com/books?id=13sOAAAAYAAJ}}, translated from Tamil by E.Sa Visswanathan.


] ]
] ]
]



]

Latest revision as of 19:37, 29 November 2024

Tamil heptatonic scale
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PaN (Tamil: பண்) is the melodic mode used by the Tamil people in their music since the ancient times. The ancient pans over centuries evolved first into a pentatonic scale. But from the earliest times, Tamil Music is heptatonic and known as ēḻisai (ஏழிசை).

PaNs in literature

There are several references to music and PaNs in the ancient pre-Sangam and Sangam literature starting from the earliest known work Tolkāppiyam (500 BCE). Among Sangam literature, Maturaikkañci refers to women singing sevvaḻippaN to invoke the mercy of God during childbirth. In Tolkāppiyam, the five landscapes of the Sangam literature had each an associated PaN, each describing the mood of the song associated with that landscape. Among the numerous paNs that find mention in the ancient Tamil literature are, Ambal PaN, which is suitable to be played on the flute, sevvaḻippaN on the yāḻ (lute), Nottiram and Sevvaḻi expressing pathos, the captivating KuriñcippaN and the invigorating MarudappaN.

The Sangam landscape was classified into five regions to describe the mood of the poem and to describe the intangibles of human emotions. While describing life and romance, the poets employed the background of the natural landscape and used the paN specific to that landscape to provide the mood. The Neital (seaside) landscape, which is employed to convey the grief of separation of lovers had the associated sevvaḻippaN expressing pathos.

Malaipaṭukaṭām mentions ViRaliyar singing KuriñcipaN when offering worship to the deities of the mountainous regions. It also refers to ViRali singing MarudappaN before singing the eulogies of kings. Malaipaṭukaṭām also refers to the people trying to overcome their fatigue by singing MarudappaN after working in the fields. There is a very interesting reference to paNs and birds/insects in Perumpāṇāṟṟuppaṭai. It says that the beetles liked to listen to KuriñcipaN played on Vilyaḻ thinking it to be the voice of its own kith and kin, while they hated to laNen to PālaipaN played on the flute. There are also references to the pāNar taking delight in mastering the NaivaLam paN.

Evolution of PaNs

In the post-Sangam period, between the third and the fifth centuries CE, Tamil music evolved to a higher sophistication. Cilappatikāram, written around the fifth century CE, describes music based on logical, systematic and scientific calculations in the arrangements of the dancers on the stage to represent the notes and panns. Cilappatikāram contains several chapters dedicated to music and dance, of which the most famous is the kanal vari which is a duet between the hero Kōvalan and his lady-love Mādavi. Cilappatikāram contains musical terminology such as, alaku and māttirai referring to the musical pitch and the smallest fraction of an audible sound distinguishable by the human ear. From these evolved the scales.

Development of scales

One of the first scales employed by the ancient Tamils was the MullaippaN, a pentatonic scale composed of the notes sa ri ga pa da equivalent to C, D, E, G and A in the western notations. These fully harmonic scales, constitutes the raga Mohanam in the Carnatic music style.

MullaippaN further evolved into sempālai, a scale based on seven notes by the addition of two more notes, ma and ni to the pentatonic scale. SempālaippaN corresponds to the Carnatic raga Harikambhoji. In ancient Tamil, the seven notes were termed kural, tuttam, kaikkiLai, uḻai, iLi, vilari and tāram. The seven basic notes are then developed into twelve swaras corresponding to the twelve houses of the zodiac.

The ancient Tamils also derived new paNs by the process of modal shift of tonic and by the process of reallocating the pitch and beat of the notes. Cilappatikāram has an example of this in the chapter ArangēRRukkādai, where the PaN MeRcarupalai is changed to derive a new Pann. By the model shift of the tonic (பண்ணுப்பெயர்த்தல் - PaNNuppeyarttal) the ancient Tamils devised the seven major palais. Using the process of the cycle of fifth (called āya palai) or the cycle of fourth, five semitones were developed. For example, if the cycle is started with kural (sa), the fifth note will yield iLi (pa), the sa-pa relationship. In the cycle of fourth, kural (sa) will give uḻai (ma), the sa-ma relationship. These five semitones were added to the original seven notes giving 12 notes of the ancient Tamil musical octave. Among the 12 notes, the flats were called kuRai (குறை) and the sharps were called niRai (நிறை).

The seven major palais or parent scales of the music of the ancient Tamils are: Sempalaipann (corresponding to the present Shankarabaranam), Padumalai palaipann (Karaharapriya), Sevvazhipalaipann (Hanumathodi), Arum Palai (Kalyani), Kodi Palai (Harikambhoji ), Vilari Palai (Natabhairavi), and MeRcem Palai (Mechakalyani).

The four original paNs of marutappaN, kuriñcippaN, sevvaḻi and saDari thus evolved into 103 paNs with varying characterisations. In all of these PaNs, Uyir SurangaL (Jīvasvarams: Life Notes) exist. The life note of a PaN is embellished according to the notes that appear immediately before and after. This is called Alankāram (Gamakam). Taking into consideration all these special notes, PaN Isai is different from Carnatic Music. Carnatic Music as two variations of each of the variables; Ri, Ga, Ma, Dha and Ni. PaN Isai has 4 variations of each of the 5 variable. Plus the 2 constants; Sa and Pa, there are 22 variations of the 7 basic notes. The ancient name for Rāgam is Niram. Mēlakarta was called Thāi Niram and Rāgams born from there were call Sēi Niram. The ancient name for TāLam is PāNi. For example, Rūpaka Tālam was PāNi MūnDRottu. Before Sa, Ri, Ga... Tamils used the 12 Tamil Vowels. Looking at a keyboard, they would've used the 5 KuRil (Short Sounds) for the black keys and the 7 NeDil (Long Sounds) for the white keys.

Some of the paNs and their equivalent Carnatic ragas were:

  • PañcamamAhiri
  • Paḻam Pañcuram - SankarābharaNam
  • Mēgarāgakkuriñci - Neelambari
  • Paḻantakka Rāgam - Arabhi
  • Kuriñci - Malahari
  • NāTTa RāgamPanthuvaraali
  • Intalam - Nadanamakriya
  • Takkēsi - Kambhoji
  • Kausikam - Bhairavi
  • NāTTappadaiGambhīranāTTai
  • Gāndhāra PañcamamKedara Gowlai

Panns in Saivite hymns

After the Sangam period and during the occupation of the Tamil country by Kalabhras, Tamil music was dormant for a period of a few centuries. With the advent of the Saivite saints Manikkavacakar (100 AD), Sundarar (900 AD), Thirunavukkarasar and Thirugnana Sambanthar (7th century CE) who used the ancient panns in their hymns (Tevaram), Tamil music experienced a revival. Only through these Tirumurais, hymns by Seerkaazhi Muthuthaandavar, hymn by Marimutha Pillai, Arunagirinathar, Ramalinga Swamigal and the hymns of Vaishnavite Alvars we can still experience the ancient traditions of the Tamil panns. Sambanthar used the following seven panns: nattapaadai, Thakka ragam, Paḻanthakka ragam, Thakkesi, Kurinji, Viyazhak kurinji, and Meharahakkurinji. Manikkavacagar used Mulai Pann (Mohana Raagam) for the majority of his Thiruvasagam and Thirukkovaiyar. There are a few of his hymns where he used Bowli, Megaragakkurinji and Kalyaani. Sundaramoorthi SwamigaL wise widely influenced by Thirunyaanasambandhar SwamigaL and Thirunaavukkarasar 'Appar' SwamigaL, who used PaN Koli quite often. In actual, only Thirunaavukkarasar SwamigaL sang the Dhehvaaram, which made-up the 4th, 5th and 6th ThirumuRaigaL. Thirunyaanasambandhar SwamigaL wrote the ThirukaDaikaapu, which makes up the 1st, 2nd and 3rd ThirumuRaigaL. Thiru Sundharamoorthi SwamigaL wrote the ThirupaaTTu, which makes up the 7th ThirumuRai. Thiru MaaNikkavaasagar's Thiruvaasagam and Thirukkohvaiyaar makes up the 8th ThirumuRai. There 12 ThirumuRais. Thirumoolar's Thirumandhiram is the 10th ThirumuRai and SekkiZHaar's Thiru ThoNDar PuraaNam, or Periya PuraaNam is the 12th ThirumuRai. The ThirumuRais are the Devotional works of Saivaism and the 14 SaathirangaL (Saathirais) are the philosophical works of Saivaism, with ThiruvaLuvar's ThirkkuRaL accepted as Neethi nool or Saathiram (Singular form of SaathirangaL).

See also

References

  1. Adiyarkunallar's commentary to the Aychiyarkkuravai, the seventh canto of the second book of Cilappatikaram gives the number of Srutis and how they were allotted among Seven notes. Rowell 2000, pp. 138–144
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