HI EVERYBODY THIS IS JAGANNATHAN IYER VIOLINIST AND ASTROLOGER

HI EVERYBODY THIS IS JAGANNATHAN IYER VIOLINIST AND ASTROLOGER

THIS IS A RESEARCH WORK IN MUSIC AND ASTROLOGY-BASED ON THE PRINCIPLES OF VIBRATIONS,HARMONY,FREQUENCIES,INTER-RELATIONS OF SRUTIS,NAADI-AMSA ETC.

A very important site for music lovers,this site is reserved by......
R.JAGANNATHAN IYER (VIOLINIST) FROM HYDERABAD(INDIA).

MUSIC IS THE UNIVERSAL LANGUAGE OF MANKIND AND MAN WITHOUT THE SENSE OF MUSIC, IS BUT AN ANIMAL ON TWO FEET.-- (AS STATED IN THE SANGEETA-DARPANA)

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WHO AM I ?

ASTROLOGER AND A VIOLINIST

R. JAGANNATHAN C\o Dr. P. Kishan, 5-9-22/50, Adarsh Nagar Hyderabad - 500 063 Ph : ® : 040 - 233008 (O) : 040 - 232073-80 E-Mail : [email protected] [email protected] [email protected] Qualification : B.Com., B.Mus. Discipline of Art: Instrumental Music, Violin (Hindustani) Professional : · Initiated into the art of Violin-playing at the age of seven, by my father in the Carnatic style. Later became a disciple of Mrs. Shyamala. V.Daithankar in Hindusthani (Vocal Style). Having been introduced to this new style, I bacame a worthy disciple of world renowned violin virtuoso Dr. (Mrs.) N.Rajam (B.H.U.) to learn to play the Violin in the Gayaki-Ang. · Currently under the guidance and tutelage of Shri V.U.Rajurkar and Mrs. Malini Rajurkar, both renowned vocal artists of the famous Gwalior Gharana at Hyderabad. I have had the unique chance to learn rare and difficult vocal compositions from Pt. V.U. Rajurkar in ragas like Purva Kalyan, Bilaskhani, to name a few. · I have been trained to handle the Violin with a soft touch to produce the subtle nuances by Shri Akella Mallikarjuna Sarma, Retd. Principal, Govt. Music College, Secunderabad. · Employed with ALL INDIA RADIO, HYDERABAD as Staff Artist (Hindustani) since Feb 1990, has performed in many places in India featuring as soloist and jugalbandi artist (at times with carnatic artists also) · Have also given LECTURE-DEMONSTRATION PROGRAMMES on Violin technique at various places. · Doing my specialization in aesthetic and traditional aspects on Indian classical music, I am continuing with my extensive research work on the "Antiquity of Indian Music" and "Evolution of Indian Music" especially SRUTIS based on the principles of harmonics and sub-harmonics. ALSO : Research work on " The hidden links between Indian Classical Music, Western classical Music and "NAADI-ASTROLOGY". Achievements : · Awarded "Sur-Mani" by the Sur-Sringar Samsad, Mumbai. · Played Jugalbandi concerts with Shri Peri Sriramamoorthy (Carmatic Violin) and Shri. R. Nagaraj (Sitar), disciple of Sri. Shahid Parvez. · Also accompanied Smt. Malini Rajurkar, on Violin for Akashvani Sangeet Sammelan concert at Lucknow in 1996. · Have produced musical features "Bhava-Rasa" and Gharana based Sangeetha Lahari" for regular broadcasts for ALL INDIA RADIO, HYDERABAD. Personal : Date of Birth : 13-08-1966 Father's Name : Sri S. Ramamoorthy Iyer Marital Status : MARRIED
Hobbies : Travel, Sports, Reading,Astrology.

===============*************============*************============************====
TRADITIONAL AND AESTHETIC ASPECTS OF INDIAN CLASSICAL MUSIC

(HINDUSTANI AND CARNATIC)

Music lovers world over are well versed with phrases like "Music is Divine", "Music needs no language", "Music sees no
religious barriers", "Music is universal", "Music emanates Peace, Life etc, etc.

I am making an attempt to go into the intricacies of the Traditional and Aesthetic aspects of Indian Classical Music & to give a
detailed picture of the universal sound known as "Naada", "Sound" plays a very important role in human life especially in
expressions, It is well expressed by the famous French researcher of Indian Classical Music, the great Alain Danielou in his
book, " A study of Indian Classical Music" thus:-

"NASO-ASTHI PRATHYAYO LOKE, YAHA SHABDAANU GAMAD DATHE, ANUVIDDHAM, IVAGYAANAM
SARVE SHABDENA BHAASATE. VAAGEVA VISHWAA BHUWANAANI JAGNYE, SABHURITHI
VYAAHARATH BHOOMIMA SRUJAT VEDA SHABDEBHYA EVADOU NIRMAMA SA MAHESHWARAHA".

" In this universe there is no from of knowledge which is not perceived through sound. Knowledge is pierced through by sound,
and thus, all that is created is but the result of sound"

Prof. ALAIN DANIELOU also makes another emphatic comment on the importance of sound quoting a Sloka from
Sangeeta-Bhashya:--

"PASHUHU SHISHUR MRIGOW VAAPI NAADENA PARITUSHYATE, ATHO NAADASYA MAAHAATMYAM
VYAAKHYAATUM KENA SHAKYATE", (Animals, tamed or wild, even children are charmed by sound; who can
describe its marvels.).

We, the music lovers of students of music, are often made to believe certain unacceptable justifications by the traditional Pundits of music, owing to their legacies, traditions, schools of thought etc. I, being a violinist by profession, could not stop myself from analyzing the intricacies of sound in its three forms viz., NAADA, SWARA AND SRUTHI.

Our ancient masters always talked about two varieties of sound:-

a.AAHATHA ? which means struck sound and
b.ANAAHATHA ? which means unstruck sound

They also believed in ?Naada?, the profound sound which covers all matters vibrating or non-vibrating in space. Having spoken of Swara, Sruthi and Naada, I would like to stress upon the need to understand that these three are always complementary and co-existent. Swara in general means a musical note which would have a definite number of oscillations, wave length and
amplitude, On the other hand, Sruthi cannot be given a particular wavelength or amplitude just for the reason it is very much micro in nature. But we can say that it would have only a particular oscillation and not a range of oscillations, Hence Sruthi is an atomic sub-division of Swara.

While on the subject of Sruthi and Swara, let me make one thing absolutely clear:--.

"SWARA IS ALWAYS OSCILLATING. Hence it is unstable. SRUTHI IS NEVER OSCILLATING., it is very minute in nature and absolutely stable. Here we can say that, Sruthi being the smallest division of Swara, enables us to not only identify a particular note or Swara, but also the duration of the struck note. There are twelve Swaras and sixteen Swarasthaanas. Sruthi is always considered at the mid-point of a Swara and Naada is such a Swara, which is so complete in nature that it sustains for a very long duration, without being disurbed by any of the sub-tones and their sub-tones. Hence, "Naada" draws maximum attention in music, especially, when the music is in a slow tempo or laya or rhythm.

So, we can say that sound can be subdivided into non-musical notes, musical notes, intervals of notes, escalation and decaying of notes and last but not the least, the duration for which it remains struck.

Within the 16 Swara-sthaanas of 12 Swaras are 22 musical Sruthis. Out of these Sruthis, four Sruthis are each assigned for Shadja, Madhyama and Panchama, two each for Gaandhaara and Nishaada, three each for Rishabha and Dhaivata. This division of Sruits is clearly described in the following Sloka:--

"Chatush, chatush, chatushchaiva,

shadja, madhyama, panchama,

dwai, dwai, nishaada-gaandhaarou,

thrisri rishabha-dhaivatashcha"

THE NATURE OF SOUND

Sukhini Sukhanidhaanam Dukhitaanaam vinodaha

Shravana Hrudaya Hari Manmathasyaagradootaha

Aatichatura sugamyo vallabhaha kaamininaam

Jayati Jayati Naadaha Panchamashchopachedaha

"SOUND {NAADA} is the treasure of happiness for the happy, the distraction of those who suffer, the winner of the hearts of healers, the first messenger of the God of Love. It is the clever and easily obtained beloved of passionate women. May it ever, ever, be honoured. It is the fifth approach to the Eternal Wisdom, the VEDA. "(SANGEETA- BHAASHYA)

Sound is said to be of two kinds. One a vibration of ether, the other a vibration of the air. The vibration of ether, remains unperceived by the physical sense and is considered the principle underlying all manifestation, the basis of all substance. It corresponds to what PYTHAGORAS called the "Music of the spheres" and follows permanent numerical patterns which lie at the very root of the world?s existence. This kind of vibration is not due to any physical shock, unlike audible sounds. It is
therefore called Anaahata, "Unstruck". The other kind of sound is an "impermanent" vibration in the air, an image of ETHER vibration of the same frequency. (Yatpinde ? TadBramhaande) It is audible and is always produced by a shock. It is therefore called Aahata or "Struck".

The Sangeeta-Makaranda mentions the same. These two aspects are described in great detail in "Naarada-Purana". "Sound produced from ether is known as "unstruck". In this unstruck sound the Gods delight. The Yogis, the Great Spirits, projecting their minds by an effort of the mind into this unstruck sound, depart, attaining LIBERATION"

"Struck sound is said to give pleasure, unstruck sound gives liberation". But this unstruck sound having no relation with human enjoyment does not interest ordinary men. Not all audible vibrations are musical sounds. The sounds used in music are those whose mutual relations form an image of the basic mathematical laws of the universe. Thus musical sounds reproduce the first creation of the primordial intellect. This creation is at the same time a rhythm and a thought. In correspondence with this, the main characteristic of musical sounds, is that, although they form simple physical relations, yet at the same time they convey ideas. {they are expressions.} That is why the sound of music is called "NAADA", intelligible sound, and is said to result from the union of physical breath with the fire of intellect.

?the syllable "Naa" means breath, "Da" the fire (of intellect). In musical sound three main elements are usually considered ?
intensity, pitch and timbre, Intensity is the relative strength of the sound ? whether soft or vigorous.

Pitch is defined by the interval of the number of vibrations (shruthis)

Timbre is the resonance of harmonies which differentiates the sound of various instruments of voices. Timbers are classified into
five main categories:-

"Those of the struck sounds are produced by:

   1.nails (strings)
   2.wind(flutes)
   3.leather (drums)
   4.metal (percussion instruments) or
   5.from the body (voice)

"From sound is evolved Sruti microtone. Microtones adorn Swara. Swaras give shape to Geeta. Sangeeta is the finished product, a fit offering to the Gods. Such is the origin and function of Indian Music", says Prof. Rangaramanuja Iyengar, in his treatise on "Sangeeta Ratnakara".

"Sangeetam", in turn, has an indefinable mysterious charm. It can please, captivate, intoxicate, hypnotise. The nature and intensity of its appeal depend upon its texture, quality and definite objective. On one hand, Sangeetam can titillate and stir the emotions, on the other, it can still the mind and irrigate it with a soothing, ethereal calm, so that it functions as a springboard for sublime contemplation touching various levels of consciousness. Thus music is the favourite of all celestial beings.

What is "Sruti"?

By tradition, the flute is said to produce Swaras of one, two, three and four srutis. Bharatamuni's Natya-Sastra gives five more, to bring the total to nine. Matanga says in his treatise, "Brihaddeshi": "Only a sensitive ear can discern the minute pitch indicated by one Sruti". "Those who understand Sruti believe that it is an audible sound of the lowest vibration adding to the individuality
of a Swara", says Viswavasu (This is very much debatable).

Some who are skilled in elucidation of the nature of Sruti, state an octave harbours twenty two Srutis. Others say that there are sixty-six Srutis. Some are of the opinion that there are Srutis as infinite as the sounds vibrating in the atmosphere (Kohala).

I am of the opinion that since we consider twelve Swaras or musical notes, within an octave, then each of these Swaras can have independent manifestations and hence there would be seven Srutis for each, of which three Srutis would precede and an equal number succeed. Thus, the fourth would be the Sruti for any note, (when the relationship between notes are not to be considered.)

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The curved lines in the figure indicate Srutis preceding and succeeding (in equal numbers) the main note or Swara.Sruti is the finest tangible streak of musical sound heard by a very sensitive ear trained in melodic values

Musicians world over have expressed their views on the complicated science of "sound". Referring to the ancient texts and having to decipher many times the same verses, and everytime arriving at a new meaning to those, none of the experts have been able to throw any light on the most important aspects of Indian classical music "RAGA". Why I wish to suddenly jump to the subject of Raga, from that of Sruti, Swara and Naada. It was an interesting exercise for me, when a music fanatic, once posed a query to me thus: "If Ragas and their existence is eternal, then which could be taken as the first Raga in creation and why? For many reasons, musicians won?t touch such a sensitive subject, as it would generally put them on the Anvil of music-critics and fanatics, for any semblance of deviation from original beliefs. You pick up any ancient or modern text book on music, you would always hear of "Saama-Veda " being the very reason for the existence of music. Our ancients practiced "HYMNS" in musical tones or Swaras; especially "Saama-Veda" is given full credit for enlightening people with "Divine Music".

As history goes Rigveda has always been considered to be the beginning of vedic culture. Then followed Yajurveda, Saama-veda and finally came Atharva-Veda.

When on the subject of Vedas and hymns, it is well known that the Vedas were chanted, by the masters and students in tandem and usually comprised of only three of the "Musical" notes or Swaras. These were called Udaatta, Anudatta and Swarita. Now, the biggest hassle for the masters of music has been to explain with some clarity, what are Udaatta, Anudaatta and Swarita.
Whenever, we are speaking of Musical Notes or Swaras, we must bear it in our mind that we are intentionally or unintentionally bringing the Octave or "Saptak" {please observe the anamoly in the terms, here itself} into play. While the word Octave means a group of notes which are eight in number, {Octave- eight} a Saptak means a group of seven. Another expression used for an Octave is "Sthaayi". This not necessarily seven or eight, but it is precisely 16 in number, where in Shuddha and
Vakra or Vikruta Swaras are clubbed in an Octave. Later on, I would again clearly state, why the difference in the terms used for Octave, Saptak and Sthaayi, is to be treated with greater care.Whenever, some student asks about the Vedic hymns being sung "monotonously" in 3 notes only, the teacher is often unable to answer and hence the dillemma continues. There has not
been sufficient attempts to suggest as to which of the seven notes are to be "addressed" by the names of Udaatta, Anudaatha and Swarita.

If you, for instance, say that "Shadja" or "Sa" is to be take as Swarita, then we can easily Re (Rishabha or Ri) asAnudaatta and ga or Gaandhaara as Udattaa. This could be explained in the form of a diagram as follows:-

This being a sound oscillation, it has to begin from silence of sound reach its peak and slowly ?decay? to reach its original dormant state. Here, I can state that instead of calling these two situations as a) Silence and b) Soundful, I would prefer to use the terms Anaahata and Aahata, or simply the Unstruck and struck sound. So, if we closely observe the names depicting the Swaras, Ri and Ga, we can make out a clear pattern and uniformity in the ascension and descension of the notes, in wave form. We also have to bear in mind that Sa or Shadja, itself is a combination of a number of oscillation and hence we should not be misled by a single stroke or line, representing "Shadja" {Shat-Janyam or that Janmam} which means, "giving birth to six others". After taking due care and going through lots of practical analysis, I have come to this conclusion.

"Shadja or shadjam is a combination or compression of 6 Swaras or notes." What is believed.

Instead: "Six Swaras are born, as soon as Shadja itself is struck". So, Shadja plus six other Swaras combine to give us the Saptak".

Let me demonstrate and substantiate my contention by taking you into the depths of sound. Whenever, any sound is emitted, by whatever method or means, we must know that such a sound has a definite dimension. Also, it is heard for the same duration by people in and around the place, from where the source of the sound is activated. Suppose, we hold that sound for a longer duration then, the first thing we will observe is that there are a number of other ?vibrations? or to be precise sub-tonics or Anu-swaras, which accompany the note Sa or Shadja itself. Here, I would like to stress upon the necessity to know that for any emission of sound to be called a Swara, it must be long enough in sustenance for it to be ?measured? uniformly by one and all. Small beeps of sound or sharp and short spurt of sound (similar to the report of a gunshot) cannot be termed as Swara or a musical note. Any sound when already in a struck state can be easily given a number of sub-divisons or intervals. {which would always be odd in number}. These are known as Srutis or subtonics of the Swara. In case of shadja we can say that the fourth such sub-tone is to be called as pure or perfect Shadja. The first three sub-divisions are in actuality the final three Srutis of a note or Swara which is definitely lesser and lower than Shadja. (lesser does not mean oscillations, but lower on the Octave.
Hence, if the octave starts from ?Sa? itself, then obviously the three preceding Srutis belong to the lower Octave, than the one we are exploring). On the higher side, the other three (succeeding) are complementary to the preceding Sruits and they belong to the same Octave as shadja itself.

If you observe the diagram, it would be clear that there is always the
possibility of subdivisions of Sruits coming into existence on their own. Instead of taking the exact line/points as individual Srutis, we can assume a number of Srutis in the intervals between them coming back to the point of Shadja giving birth to the other six notes, I must impress upon all musicians and students to understand the Cycle of fifths or harmonics as explained very beautifully by Prof. Alain Danielou. But, being a musician by profession, I wish to throw some more light on the silent subject of Raga?s Evolution, I would like to bring in the following points for one and all to understand this great subject very clearly, with the help of charts and subsequent Slokas or hymns as well. But, before doing so, let me talk about the Cycle of fifths. In Indian classical music, we call these:-- Vaadi and Samvaadi. To begin with, i.e., if Sa, Re, Ga, Ma, Pa, Dha, Ni, being the seven, notes are to be continuously written in 3 or 4 Octaves then we can pair-up notes which are harmonic or synchronous to each other and complement each other. This is where a trained ear of a musician is of great help. For, a lay man, or a person without much musical acumen, cannot really identify interval relationship between notes, unless he is given audio-examples for each pair of such harmonic notes. So, if you arrange the seven notes in a linear scale, we can simply arrive at the following conclusions, which are duly substantiated with the charts and graphical analysis explained in the next few pages.

Diagram:

And so on, which gives these pairs:

From here on the "decibel" difference comes into play. So, our
ancients had to lean on to the adjustment of such a minute difference arising out of Vadi-Samvaadi relationship between notes.This they did by lowering the Octave level (refer; Graama-Moorchhanaa). In the Vedic times, there used to be three Graamas or notes taken as the basic note for synchronous chanting of the Mantras. This was done, to facilitate the master and the pupil to chant evenly in voice. Although each individual may possess different pitch of voice, (deep throated/ set) for masculine and Bass oriented voices, the lower Octave Madhyama (Shuddha), for normal voices Aadhaara Shadja, for (high/shrill) children and females, Panchama are taken as basic notes or "Graama", thus facilitating everybody to chant Mantras in HARMONY. But, the Graamas in vogue were Shadja, Gaandhaara and Panchama-Graama. Each of these are called Swarita notes.
Now, if we draw three separate charts, we can conclude thus:

Now, if we consider any of three combinations of Swarita, Udaatta and Anudaatta have the same ratio and relationships, ie.,

refer: Raga Maarva

Swarita Anudaatta Udaatta

Notes Notes Notes

Are in fact the same ratio-depicted by different names. Therefore, we can understand Vedic mantras allowed people to chart from different Swarita notes So, that, each person would be able to chant the mantras without having to adjust their respective pitches with that of the Master. This practice continued until the time, when vocal music was considered as the primordial form of music.

Then came a time when, music became heavily dependent on instruments, especially, Veena. It was considered to facilitate students of music to know about the placement of musical notes or Swaras, judging by means of distance.

This was primarily the reason for people to bring a different Graama known as Madhyama Graama instead of Gaandhara graama. The reason behind this major change was the fact, that musicians found it very difficult to recognize or identify those of the sub-harmonics, which were too shrill and out of audibility range of the musicians. As is clearly evident that every sub-tone or Harmonic note is brought to existence by the prime note on to the next Octave.

So, if we have audibility range reaching four Octaves, then Shadja of first Octave would generate Panchama as Harmonic on the second Octave. This would lead to Rishabha on the next Octave and then dhaivata, gandhara, Nishaada and so on. But, the last sub-harmonic is the most important which is Teevra-Madhyama or Prati-Madhyama, brought borth by the preceding Nishaada. Since, Shadja is Harmonic to Shuddha Madhyama on the audible lower Octaves, it was conveniently said that the last harmonic or Sub-harmonic has to be Shuddha or Komala Madhyama and hence the first Raga or full scale to be given real cognizance was taken as "Dheerasankarabharanam" or Bilaawal. But, in reality the Raga which is created as a result of self-generation of Harmonics and Sub-Harmonics of Shadja was Mechakalyani or Kalyan or Yaman as it is today known.
(This is always going to be debated).

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THE CONCEPT OF MANIFESTATIONS OF LIFE FORMS

IN ASTROLOGY, MUSIC AND OTHER ARTS

BASED ON THE PRINCIPLES OF ORIGINALS AND REPRODUCTIONS

(MUSICAL NOTES, NAADI-AMSA AND VIBRATIONS.)

ART forms of all variety follow a definite pattern of mathematical principles. This concept holds true only upto the stage of an Artists execution of an art, when in the formative years Once the artist is on a platform, where from he can begin to execute his art with a touch of non-challance, the wide gap between the "Originals and Reproductions" comes to the obvious stage. Over a period of time, the artists become so much akin to their tools of exhibiting their art, that they make it look quite simple and popular. They also make it look as though every attempt is a new one.

Whether it is a musician, a painter,, a sculptor, Astrologer or an artist of many other performing fields, the psyche of the phrase, lashes, cutting of the stones, body language etc., first appear as a 'concept of origination' in the artists' thoughts. Regular practice and constant self-analysis, would then lead the artist to a stage, wherefrom he starts to polish them with embellishments, ornamentation and refinement. The finished product thus becomes his/her original concept. But to the person who receives these "Transmissions", it is more often than not 'coloured' or altered in a minor or major way. Imagination of the artist and the audience or spectators are never the same. They are identical only in patches, when the duration of the execution/exhibition is longer in nature.

Arts of all forms have two concepts which can remain individual and general at the same time viz., (a) Traditional (b) Aesthetic. The three forms of art that I am going to deal with in my "Dissertation" are 1. Classical Music (Indian and Western), 2. Naadi Astrology (Ancient Indian technique of using thumb impressions of life forms.) and 3. The most important: Understanding the relationship between vibrations, frequencies & origin of each manifestation (life forms & son).

Since, we are dealing with 'the Theme of: " Originals and Reproductions in Arts" I must make it very clear that this topic of mine, is an attempt to decipher the "Hidden links between Indian Classical Music, Western Classical Music and the ancient Indian Science and Art of Naadi-Astrology"-based on the principles of Harmonics sub-Harmonics & Modulation of frequencies vibrations and Manifestations of all life forms.

How is it connected with the theme of 'Originals and Reproductions'? First of all let me state clearly about the concept used in Music for thousands of years As it is universally known that there are 'seven' musical notes for all forms of music, we can hold this factor to the original, with no historical data on when this was established. But going by the Indian History of Music , the Antiquity is established upto the birth period of 'SAAMA-VEDA". Among the four "Vedas" (Originals to remain ever-permanent) the (Classification) and nomenclature of Musical expressions are attributed to "SAAMA-VEDA", "SAAMA-VEDA" gave mankind the "Gaandharva Veda" In Gaandhara-Veda" Vocal Music" of Ancient India developed for a long, long time, Here, one must emphasise on the facts that are rarely made known to the students of Indian Music. 'Gaandharvas' knew the ins and outs of the articulate sound called "NAADA" and Vocal Music. On the other hand 'kinnaras' are known to have acquired the complete knowledge of conventional instruments of Music. (Wind, string and Percussion).

Wherever we try to understand an artists' depiction of Indian Classical Music, the starting, point for anybody becomes: "How does the Tradition go?" so, we are subjected to patterns of musical expressions, which are based on an earlier (read as already executed) manifestation of "sound", to which names are attributed such as 'Raga', Thaala, 'Laya', Composition's, 'Bhaava' (expressions) 'Rasa"(Emotions) and finally the 'style' (Baava).

All these concepts are based on and is a result of continuous attempts of the artist, to execute the aborementioned 'components' of a complete Musical expression. This leads to the artists lean towards vigorous practice sessions of his art and repetitions of the same expressions to the point of reaching a personal level of satisfaction, reach perfection in the Art.

Likewise, in the ancient Indian Science of NAADI ASTROLOGY, each manifestation of all life forms is recorded in a unique system of data Bank. There are 1800 Nadi-Smsas in all which have individual names and nature, Each Naadi Amsa is assigned to a 'soul' or living 'element', with a permntation and combination of other elements of time and space changing in their values constantly.

What really is this 'NAADI-AMSA'?

In the Zodiac system of Astrology, the Universe is divided into a total of Twelve houses or signs, occupying 30 Deg of space each. In turn each of the Zodiac signs or 'houses' as they are called in Astrology are further divided into one degree each. Thus we have 30Deg each for the twelve houses, to give us a total of 360, in space. Each degree is sub-divided into 5 'Naadi-Amsas? of 12 minutes each. Hence, we can conclude that there are 150 Naadi-Amsas for one Zodiac sign, (Here, we can have an apporximate measure of time, to understand the Degree of space; by observing the sun's motion in space, which is the central figure of our solar system, sun, is in one sign of the Zodiac, in continuous transic, for an average, of 30 days'. Thus the time taken by sum to move one Degree can be taken to be one Day, tentatively.) So if in one Day the sun moves on to another Degree, the Naadi-Amsa comes into existence at the speed of the following mathematical calculation:-

1 Day = 24 hours

24 hrs = 24X60 minutes

= 1440 minutes

1 Degree of space = 1 Day of sun's transit

1 Deg = 60 minutes of space or

1 Deg. = 12X5 minutes or 5 Naadi-Amsas

And furthermore, (One Degree being = 5 Naadi-Amsas), One Zodiac sign will thus have 150 Naadi-Amsas.

Before I continue with these technicalities of Naadi-Astrology, let me, tempararily bring to the obvious the main connection and principles underlying the connectivity between the Musical Notes and Naadi-Amsa.

It is also universally known that a musical octave comprises of 12 Notes (seven called flat notes and 5 are sharp notes). Among these 12 notes are, what we call as "Srutis", or intervals of a Note, These Srutis are 22 in number. The Division of these 22 Srutis are given below in detail:

1. Shadja - No. of Srutis 4 a. TEEVRAA - 240 cycles

b. Kumudvali

c. Mandaa - 254/17 cycles

d. Chhandovati

2. Rishabha - No. of Srutis 3 a. Dayaanati - 270

b. Ranjani

c. Raika - 288

3. Gaandhaara - No. of Srutis 2 a. Raudri - 301 17/43

b. Krodhaa

4. Madhyama - No. of Srutis 4 a. Vajrika - 320

b. Prasaarini

c. Preeti - 338 14/17

d. Maarjani

5. Panchama - No. of Srutis a. Kshiti - 360

b. Rakta

c. Sandeepani - 391 3/17

d. Aalaapini -

6. Dhainata - No. of Srutis 3 a. Madanti - 405

b. Rohini

c.Ramya - 432

7. Nishaada - No. of Srutis 2 a. Ugra - 452 4/43

b. Kshobhini

of if one just visualizes the numerical expressions for the Octave progression, it will be thus:

4 - 3 - 2 - 4 - 4- - 3 - 2

Sa Re Ga Ma Pa Dha Ni

Hence, these numbers become 'Originals' and 'Reproductions' for every manifestation in Music, of these the 1st Sruti will be having an exact replica (but not the same) on the 23rd Sruti.

As per Bharata-Muni's Natya Sastra, Shadja is on the 4th Sruti, Rishabha is on the 7th, Gandhara is on the Ninth, Madhyama on 13th, Panchama on the 17th, Dhainata on the 20th and Nishaada on the 22nd sruti, respectivdly.

But, the modern times scholars have very conveniently placed the notes thus: Sa - on 1^st, Ri ? on fifth, Ga on 8^th, Ma ? on 10^th, Pa - on 14th, Dha - on 18th and Ni - on 21st. This division of srutis is explained in the sloka:-

"Vedaa-chalaanka- Srutishu,

Trayodasyaam Srutow Tathaa.

Shadja-adeenaama Stithi hi Proktaa

Shudhaa-Khyaa Bharataa-dibhi hi,

Hindustaneeya-Sangeeta Sruti-krama

Viparyayaha.

Ete shuddha-swaraaha Sapta

Swarwaadhya - Sruti Sanstitha haa".

(Pandit Vishnu Narayan Bhaatkhande)

Significant among these numerical expressions of the Srutis are the numbers 1, 3, 5, 7, 9, 11, 13 and so on.

Among these 1, 5 and 9 will have indentical characteristics, for Swaras or Notes

2 6 10

3 7 11

4 8 12 ( When we are talking of the notes as well.)

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Example: Srutis : 1st (240 cycles), 5th (270), 9th (320)

This principle corresponds with Astrological principles in the following manner

Sa Pa Ri (Upper octave)

1 5 9

Aries/Mesha Leo/Simha Sagitarrius/Dhanusha

have identical and similar characteristics. Likewise,

2 6 10

Ri Dha Ga (Upper Octave)

Taurus/Vrishabha virgo/Kanya Capricorn/Makara

3 7 11

Ga Ni Ma (Teevra) Upper Octave

Gemini/Mithuna Tula/Libra Aquarius/Kumbha

4 8 12

Madhyama Shadja Panchama

(Shuddha) (Upper Octave) (Upper Octave)

Cancer/Karka Scorpio/Vrishchika Pisces/Meena

(Why we must stop here and not continue with the 'rogression' of suraras or notes, is well explained in my dissertation, else where alongwith diagrams and graphs, when unfolding the science of Harmonics of Swaras and their comign into being in the very beginning.)

So, if I draw the Astrological chart in the following manner:

(Which represents the zodiac)

Pisces/Meena
Upper Octave
Panchama
12
Aries/Mesha
Shadja
1
Taurus/Vrishabha
Rishabha
2
Gemini/Mithuna
Gaandhara
3

Aquarius/Kumbha
Upper Octave
Teevra Madhyama
11
The Zodiac Signs or Houses (of 30 Degrees each Totalling 360 Degrees) Cancer/Karka
Shuddha-Madhyama
4

Capricorn/Makara
Upper Octave
Gaandhaara
10
Leo/Simha
Panchama
5

Sagittarius/Dhanush
Upper Octave
Rishabha
9
Scorpio/Vrishchika
Upper Octave
Shadja
8
Libra/Tula
7
Virgo/Kanya
Dhaivata
6

On the other hand, as the tradition goes in Indian Naadi-Astrology, lunar year cycles are established on a repetitive, continuous progression ( In relation earth and sun's transitory motions). These are also named and bear equivalence to one Navemsa, e.e., the ninth division of one Zodiac sign of 30 one Navaamsa thus comes to the value of:

30/9 = 3 20. (As 60 make 1)

( is Degree and " ' " being minutes )

Navaamsas are also given names, so every data has an original identity, But once these cross the number 'nine' (9) then a fresh 'name' should be assigned to them (This aspect has remained untouched and not contemplated by previous greats in the field of Indian Astrology), Since, there are 108 Navamsas in 'Continuous' expression of 'space' and 'time' conbination, in the Zodiac, the same ratio of 1,5 and 9, 2, 6 and 10, 3, 7 and 11, 4, 8 and 12, must be attached to a total of 108 expressions. If we expand it a little further, we can say that the 27 stars in the Zodiac (Named " The Nakshatras").

Having already spoken about the hidden links between the aesthetics and traditions of Indian Classical Music, Western Classical Music and NAADI-ASTROLOGY, I would like to elaborate on my theory systematically. As I have stated earlier, we are aware of only ?unsure? varieties of abstract sciences and arts being linked with each other. What one must try to understand is the fact that these three forms of abstract sciences often lead us to an ambiguous situation. So, my contention and the theory of this kind of a link, starts at the very root of everything i.e. CREATION. As per the Indian traditions, all that is created is but the result of sound, about which I have already explained in the beginning with the help of the HYMN: --NA SO ASTHI ------ SA MAHESHWARA. How did all this start and what link does a Musical or for that matter sound Vibration has to do with ASTROLOGICAL Calculations? {Let me very carefully call these ?Vibrations?, here onwards}. First of all let me elaborate on the very first ?Vibration? of sound that has taken shape in this vast and immeasurable dimension of Space and Time. In ancient Indian traditions there are a number of beliefs and quite rightly, there are chances of a scholar getting confused about these things. Going by the history of man?s evolution we can certainly get a few of these queries answered. For example: - Saint THYAAGARAJA SWAMY of South Indian tradition of VAGGEYAKAARAS {Composers}, has in a number of his compositions dealt in a very subtle way, with the vibrations and the process of evolution, of mankind. The most important composition is, his masterpiece in the RAAGA JAGANMOHINI ?SHOBHILLU-SAPTASWARA?, where in the Saint says that the seven notes of music or the SAPTASWARAS, are synonymous with the KUNDALINI-CHAKRAS or points of nerve-junctions, inside the human body. They have a definite relationship with the creator, the elements used in the evolution of mankind and all that is prevalent within space and time. In the composition the Composer goes on to add that the seven musical notes are a gift of the SAAMA-VEDA and the heart of the GAAYATRI-MANTRA or HYMN {such a phenomenon}.

Coming back to the first vibration of creation itself, I have to bring in the topic of the process of musical vibrations that were first registered as something other than the Vocal-Chord rendered vibrations. It is quite strange but true that man has evolved in a phased manner. Firstly, I would like to throw some light upon the facts about the reason man had to communicate in a certain way to drive his point at times when languages were not quite ?grammatically? established. One had to heavily rely on signs and sometimes on objects to reach the listener for him to make out the meaning of the speaker. This way man could not always narrate his feelings to others without many failures and confusions. Hence, he started to establish a classified way of speech and slowly some order was established. But, when I am dealing with musical vibrations, I must state clearly the necessity to go into the depths of all that is going to follow. The first question that comes to the Traditional ?Pundits? and other scholars of music and allied arts is: - ? Did Vocal Music come first or the Instrumental music?? It is very tricky for people to answer that. But, I have gone through various texts and scriptures, to find reliable evidence to very boldly state, that Vocal music preceded the instrumental variety. I have also analyzed the various other possibilities before I arrived at this conclusion. In one of my pursuits I have come across the factual evidence that the first Instrument that could evolve on its own was none other than ? The Harpsichord? or the ?HARP?. How did I arrive at this? Well, it all started at the time when I was looking for some kind of real evidence to support my contentions regarding the theory I am trying to explain. The first protective gear that man could find to fight for his survival, when he was regularly threatened by Wild Beasts of the jungles was to use sharp-edged things like a spear, wood-knife etc. And also as there were no laws or social bindings of any kind for him to think twice to kill another being, man learnt by experience that he could thwart the scare of other more powerful animals and by coming to know of newer techniques for attack and defending himself. In this way he learnt to make various instruments with the help of which he could protect himself from a distance too. This gave birth to his long-standing ?friend? in his Armor known as the ?BOW? or DHANUSHA in the Indian tradition. As we are all aware that a Bow consists of a bent or curved Bamboo which has the two ends tied up with a rope or twine. The use of a bow is further done with the help of an arrow, which is released by stretching the rope to its maximum and letting the opposite force to send the arrow {generally made of a sharp-edged stick}, darting towards the prey. The very release of this arrow produced the first kind of vibration of sound which man was never aware of until then and this was something which was not in anyway close to the ?sounds? made by the Vocal-chord. Thus he started to observe and utilize such a vibration very deftly and closely followed the difference in vibrations and frequencies of the emitted sound. Due to the different lengths of the rope or twine used for different Bows, man first understood how to place sounds of different frequencies with respect to the lengths of the rope or twine used in a bow. This phenomenon followed only one principle and which was: -

"The longer the rope, clearer and longer the frequencies {and thus more vibrations} Further, the shorter the length of the rope the lesser the no: of oscillations. Thus the low frequencies". Hence, the bow started to take the shape of a very appropriate instrument where man could hear all the frequencies in a defined and measurable scale. And what followed was the fact that man could easily build his first Musical instrument known as the Harp. If you observe the Harp, then you can see that it is ANUDAATTA in the shape of a huge bow, to which a number of strings are attached at a particular tension or each string to produce a precise note or SWARA. To further my theory in this direction I have found astonishing evidence in support of my claim. It is explained in ancient Indian texts and scriptures that Lord Shiva when in perfect union with SHAKTI, actually struck the Bow-like ZODIAC into action, with the help of an imaginary Equinox, which is in fact the straight and diagonal line starting from 0 Degrees to 180 Degrees in the ZODIAC. { Ref : - Sri ADI SANKARAACHAARYA?S ?SOUNDARYA-LAHIRI?}. For this very reason the point from where this kind of a sound vibration started, was termed as ?DHANUSH? or simply, a BOW. And to further imply the power of the creator this very point is also known as MOOLA or ROOT and it very appropriately concurs with the MOOLAADHAARA-CHAKRA or the ROOT-CHAKRA of the KUNDALINI or the serpent-like evolutionary Power of creation. Then the seven points of this KUNDALINI correlates perfectly with that of SHADJA, RISHABHA, GAANDHAARA, MADHYAMA, PANCHAMA, DHAIVATA AND NISHAADA. Here onwards the theory becomes more complicated for ordinary music-lovers or musicians. I have to stress that one can reach this kind of understanding of the sound vibrations only after regular practice of any art form, for many years together.

I would like to illustrate this with the help of charts that follow: --

1. SHADJA ç ============================è SAHASRAARA
COMPLETE POWER {OR A STATE OF SAMAADHI}
2. RISHABHAç ==========================è AAGNAA?THE
{SECOND IN IMPORTANCE to SHADJA}
3. GAANDHAARAç ======================è VISUDDHI?OF THE
{CELESTIAL SPEECH}
4. MADHYAMA ç ========================è ANAAHTA?THE
{CENTRAL PART of THE COSMOS}
5. PANCHAMAç =========================è
SWAADHISHTHAANA?{FIFTH HARMONIC?MEDIA CHANGES FROM THIS POINT}
6. DHAIVATAç ==========================è MANIPURA?FIRE
ELEMENT?DECEIPTFUL {MAAYAA?}
7. NISHAADA ç ==========================è MOOLAADHAARA ?
?THE SEATED? ROOT. {AT ABSOLUTE REST OR GROUNDED}

One can easily visualize the various subtleties brought forth here and understand the importance of sound energy. In this world of advanced state for mankind, when everybody elaborates on the importance of light energy, Cosmic energy, Reiki, ?OJAS etc. I strongly feel that the scholars around the world should try and incorporate into their quests of knowledge, the importance of Primordial sound or AUM or the creative energy itself. As has been repeatedly explained in a number of texts of Ancient Indian Civilization, that there was only the NIRGUNA-BRAHMA that was before anything was created. This NIRGUNA-BRAHMA was only aware of its immense creative power and hence it developed the longing to create something. What could it create for a beginning? It chose to create an image of itself, but in a formed shape and size. This was known as SAGUNA-BRAHMA' or that creative power which had dimensions. At this juncture even SAGUNA-BRAHMA wasn?t aware of its creative energy or power. Once the NIRGUNA-BRAHMA asked the SAGUNA-BRAHMA about the latter's coming into existence, to which it replied that YOU created ME. This has been recorded as the first instance of a Duality or DWAYITA, in ancient Indian texts. So the creative energy or NIRGUNA-BRAHMA created its own image and thus gave birth to all dualities in this Universe. From here onwards the process of evolution becomes very closely linked to my theories and its chronology even more important. At the very beginning of my proposed thesis I have quoted the SLOKA or Hymn from the VAAKYA-PADYA and MANUSMRITI, which tells us about the importance of UTTERANCE or the Primordial sound. Here, many a scholar would ask if it is already presumed that the creative power or energy was Formless, then how could it produce the sound? It is absolutely clear that this kind of a sound couldn't have been produced or executed with the help of anything to do with forms or shapes. Hence, it took Lord Shiva to unite with SHAKTI or the 'Awakened' KUNDALINI and thus began the process of creation in one Stroke or TWANG, like that of an enormous Bow or the imaginary ?Diagonal? of the Zodiac. I would like to clarify here that though we did not come to know of the existence of TIME and SPACE to be pre-eternally present, the creative energy had always marveled at the joy it would get on the execution of the job of such magnitude. Hence, Lord Shiva started the continuous phenomena of the Neither cyclic, nor linear kind of a dimension within which there was a perfect balance of all that will repeatedly be created and destroyed at the will of the Ever-pervading, ?Omnipotent? and Omnipresent. Since the bow was stretched to the point of its maximum i.e. MOOLAADHAARA or if clearly understood as the MOOLAA constellation of the innumerable Stars that would come into existence on such a TWANG of the diagonal of the Zodiac. We have {after many great scholars of physical sciences have proved and said} understood that scientific law always follows the rules of motion, which will certainly have a perfect definition.

The very fact that, the striking of a String which is fastened to the two ends of a BOW, will vibrate in a way, so as to enable it to rotate on an axis created by the force used for such a beginning and follow the rules of a PENDULUM. So, invariably the structure that is thus brought into existence, is always going to be in the shape of a WAVE and also almost like the RUGBY ball. Very recently, when I was introduced to the Meditative technique of MER-KA-BA {which the Sufis called the MURAAQABAAH}, I could very easily visualize the immaculate nature of the creation, on being told that the MER-KA-BA was nothing but the spinning of the Zodiac in the manner explained above. Only the process is explained in the MER-KA-BA as a Field of energy {Magnetic in nature} that encompasses every component of the entire Universe in the form of Two- TETRA-HEDRONS, one inverted and locked into the other very conveniently, to enable the laws of Physics and META-PHYSICS become self-explanatory. The only difference that I could see in these two traditions of MER-KA-BA and the KUNDALINI-YOGA is, that the former depicts the whole process in a diagrammatic visualization of three TETRA-HEDRONS and not TWO. Hence making it even easier for people who are taught or made aware of an already existing field of energy encompassing all creations independently.

As far as music is concerned, Classical Indian and Western Classical music has always followed a set pattern of Aesthetics and Traditions. Whereas, in Astrology, it is very difficult to explain the intricacies of in simple terms the intricacies of life Manifestations, Vibrations and the relevant Frequencies. As has been repeatedly explained in this dissertation, Astrology deals with more subtle variations as it not only details the aspects of current Life of the Native whose Horoscope is being scrutinized, but also the past and future lives {PAST BIRTH and NEXT BIRTH}. Here the Vibrations are divided into a relative degree, minute and second classification. As we come to understand the life of a person analyzing the horoscope of the native, we have to deal with not only ?What will happen in this life for the native, but also for the past life {JANMA-PUNAR JANMA} and future life. I have found out the subtle differences in these three Sciences and Arts, by always trying to inter-relate the Vibrations in its required form for the three subjects in question. For this I have decided to chalk out the Theory into Ten main branches of analysis: --
1. The importance of the numbers 3, 5, 7, 9 and 12
2. The importance of all these dealing with the cycles of such numbers in a ?Spiral? forms.
3. The movement of all beings in Clock-wise direction.
4. The importance of ?Originals? and ?Reproductions?
5. The Subjective analysis of all that moves and appears to be still.
6. The Birth and Death of all Waves, Vibrations and Manifestations.
7. The importance of the numbers 108, 1008, 1800, 1,80,000.
8. The importance of ?VE and +VE in these sciences.
9. The importance of ROOT and PEAK in these sciences.
10. The importance of ?BEING? and ?NOTBEING?.

The numbers 3, 5, 7, 9 and 12 are featured in all the three sciences and arts we are dealing with here.
Whether it is Music, Astrology or KUNDALINI, the numeric THREE?(3) is very basic.
The basic three musical notes are explained as the THREE GRAAMAS in music, viz. SHAJA GRAAMA, MADHYAMA GRAAMA and PANCHAMA GRAAMA. {Please note: that GAANDHAARA GRAAMA was in vogue earlier, but as I have come to understand, GAANDHAARA is not a NOTE which is a direct derivative of the basic note SHADJA and hence cannot be assigned a GRAAMA.
The Primordial SOUND known as NAADA-BRAHMA or AUM or HOOK
The Three WORLD {JANMALOKA, PARLOKA and THE TRANSCENDENTAL LOKA} or PLANES
The Three STHAAYEES or OCTAVES {within the range of AUDIBILITY}
The Three states of MIND {CONSCIOUS, SUB-CONSCIOUS and UNCONSCIOUS}
The Three stages of the creation (Within the body, out of the body and back to its original state)
The Generation, Operation and Destruction of all, that is created. {BRAHMA, VISHNU AND MAHESWARA.}
Likewise the number FIVE is featured everywhere in these three subjects: --
FIVE elements of creation and the FIVE senses,
FIVE +VE signs of the ZODIAC,
FIVE octaves of a MUSICAL SCALE,
FIVE JANMAS or BIRTHS for one Manifestation,
FIVE VIKRUTA or SHARP notes of the Musical Octave,
FIVE NAADI-AMSAS of one DEGREE in the ZODIACAL space,
The importance of the FIFTH DASA of the VIMSHOTTARI system in INDIAN ASTROLOGY,
The fifth Harmonic notes {of three PRIMORDIAL sounds},
The five YOGAS or states of the mind {DHARMA, JAPA, TAPA, GRAAMA and BHAKTHI} are all being analyzed here in this dissertation.

There are Seven HRISHIS called the SAPTAHRISHIS the SEVEN STARS in SPACE,
SEVEN pure notes of the Musical octave,
Seven colors of the VIBGYOR,
The Seven CHAKRAS or points in KUNDALINI,
The seven Planets {RAHU and KETU are CHHAAYAA-GRAHAS},
The seven outlets of the Human body are all to be analyzed,
Then the importance of the numeric ?NINE? (9) has a very special place in these three fields: --
Firstly, the Nine planets or NAVAGRAHAS, 7planets plus the TWO CHHAAYAA-GRAHAS i.e. RAHU and KETHU Sun, Mercury, Venus, Earth, Mars, Jupiter, Saturn, Uranus, Neptune and Pluto, {Out of these the planets that effect us are the first SEVEN?EARTH cannot effect itself, hence MOON takes its place}, while the rest of them are considered less effective due to their being too far from the earth.

Then the NAVAAMSAS or the ninth division of the Degree of space, further sub-divided into 12 signs or houses {ARIES, TAURUS, GEMINI, CANCER, LEO, VIRGO, LIBRA, SCORPIO, SAGGITARIUS, CAPRICORN, AQUARIUS and PISCES. These are the most important divisions of a person?s horoscope to determine the life, longevity, the good and the bad of the native's entire life, yearly, monthly, weekly and daily. Apart from this there is the technique of using NAVA-NAVAAMSA or the subdivision of the ninth division of the Zodiac signs.
The nine combinations of a Musical scale of flat notes or SHUDDHA- SWARA, lead us to the TEN THAATS or MOTHER RAAGAS, namely BILAAWAL, BHAIRAV, MAARWAA, ASAVARI, KHAMAAJ, KALYAAN, POORVI, THODI, KAAFI and BHIARAVI.
So, the main RAAGA being BILAAWAL and its Derivatives are: --
1. ASAAVARI
2. MAARWAA
3. BHAIRAV
4. THODI
5. POORVI
6. KHAMAAJ
7. KAAFI
8. KALYAAN
9. BHAIRAVI
10.KALYAN

TThus, we can understand the importance of the first five NINE RAAGAS created as a result of self-regeneration of RAAGAS, based on the principles of HARMONY, MOORCHHANAA, SWAYAMBHUVA-SWARAS, the "CYCLE OF FIFTHS" and the shifting of the TONIC. While on the subject of the numeric nine, I would like to emphasize that the beginning of all creations as per the VEDIC Astrology, is from the NINTH house or sign, known as DHANUSA and from the star constellation of MOOLAADHAARA (MOOLA meaning the ROOT).

Having spoken of the numeric nine let me take all the readers of this conceptual Hypothesis to the world of the most fascinating and significant numeric: 12 or TWELVE.
There are TWELVE houses of the ZODIAC,
TWELVE notes of musical scale,
TWELVE BIRTHS or JANMAS for a particular life form {shall be explained in detail,
TWELVE minutes of a degree in space make one NAADIAMSA, {Five NAADIAMSAS make one degree}
TWELVE hours of Day and night each,
TWELVE hundred PRAANAS in a day and the same number in the night,
TWELVE cycles of LUNAR years resulting in 60 year cycles,
TWELVE DASAAMSAS or tenth subdivision of a ZODIAC sign resulting in a total of 120 {Maximum age of a person assigned 120 years}. So, the actual age of a person is divided into TWO halves of sixty years each and further into AAYUS of 8, 32, 54, 60, 72, and 120. Of these, FIVE are AKAALA MRITYUS, and one KAALA MRITYU.

But as soon as a person crosses the age of 60 years in INDIAN tradition, the ending of the first half of that person?s age is celebrated with great pomp known as ?SHASHTIAABDAPOORTHI?. And if he does live on for a double of this i.e. 120 years, then they say that the native has lived for a SAMPOORNA AAYU. So, my contention is that an individual can live for a CYCLE of LUNAR years rightly named and that follow a set pattern of MULTIPLES of FIVE and TWELVE, leading to a SIXTY always. Since every person is assigned a particular combination of, LAGNA, NAKSHATRA, PAADA, YEAR (LUNAR CYCLE) and also A PARTICULAR NAADI-AMSA, I have to emphasis on the facts underlying these principles in a clearer manner.
What is to follow now is a theory, which has not been touched by anybody for the purpose of a complete research work in either ASTROLOGY or MUSIC: --
What has been the work of various SAGES of INDIA, is that they have Classified and Assigned the 1800 NAADIAMSAS into a very compact and impeccable style of groupings so as to make it very convenient for any NAADI-READER. (Generally the person who chalks out a native's Palm Leaf, is called NAADI-READER). To facilitate the reader to reach the correct leaf assigned to only one leaf is derived from a bunch of such leaves for a person in a particular cycle of a SIXTY YEARS. Why are there only 1800 NAADIAMSAS for the entire population for all times and for the entire world? As we already know through the basics of Astrology, any person can be born at a place and time, which will very uniquely be only his place, date and time of birth. In Indian traditions life forms as HUMANS are divided into FOUR VARNAS or sub-sects viz. BRAHMINS, KSHATRIYAS, KSHUDRAS and VAISHYAAS. When we consider this aspect, we can understand that the same can and probably will hold good for all the created HUMAN BEINGS, regardless of where they are born, each will fall under one of these four VARNAS only. So, 12 houses of the zodiac are assigned 30 Degrees each, leading to a total of 150 NAADIAMSAS. Significantly these are further divided into 75 for male births and the other 75 for female births (In the reverse order.). The Zodiac is also divided into 27 STARS or NAKSHATRAS (each of which have FOUR quarters or PAADAS). These are not necessary termed as QUARTERS but as combinations of NAVAAMSAS or the ninth division of a ZODIAC sign i.e. 30 Degrees divided by 9 gives 13 minutes and 20 seconds. Each of these NAVAAMSAS are nothing but one of the aforesaid VARNAS. So, as any person born at any place and time in this world will have a NAKSHATRA, LAGNA, RAASI, QUARTER or PAADA (which will give him the VARNA) and NAADIAMSA, this NAADIAMSA will always have a particular name. However two persons may have the same DATA, one of the above given details will certainly change from one individual to another.

So we have a situation wherein one person can have the same DATA to all detail given but he may not be the same as another at any time, in a particular cycle of SIXTY years. The moment this cycle changes, the NAADIAMSAS names also should change for that new cycle of the LUNA, which not all the NAADI-GRANTHAS have considered.

This is understood, by the very nature of creation for all VIBRATIONS in the form of a SPIRAL. So, if SWAYAMBHUVA-MANU (SELF GENERATED) is the result of the NIRGUNA or the FORMLESS creating its own image into a dimensional creation, then this MYTHOLOGICAL character shall have been born at the onset of the NAADI-AMSAS and the first LUNAR cycle of SIXTY years.

Pisces/Meena Upper Octave Panchama 12	Aries/Mesha Shadja 1	Taurus/Vrishabha Rishabha 2	Gemini/Mithuna Gaandhara 3
Aquarius/Kumbha Upper Octave Teevra Madhyama 11	*The Zodiac Signs or Houses (of 30 Degrees each Totalling 360 Degrees)*		Cancer/Karka Shuddha-Madhyama 4
Capricorn/Makara Upper Octave Gaandhaara 10			Leo/Simha Panchama 5
Sagittarius/Dhanush Upper Octave Rishabha 9	Scorpio/Vrishchika Upper Octave Shadja 8	Libra/Tula 7	Virgo/Kanya Dhaivata 6