સંગીતમાં 'શબ્દ' નો વિમર્શ (Discussion on 'Shabd' in Music)
By Madhusudan Dhanki
Summary
The article “Sangeetma 'Shabd' no Vimarsh” (Discussion on 'Shabd' in Music) by Madhusudan Gandhi examines the multiple meanings of **shabd** (sound) in Indian musical and philosophical contexts. Starting from the premise that Indian classical music is fundamentally a study of sound, the author reviews the terminology—*nāda* (tone), *dhvani* (resonance), *shruti* (microtone), *svara* (note), *laya* (rhythm) and *tāl* (meter)—and explains how Indian theorists developed them. He traces the concept back to Vedic literature, noting that Upanishadic texts describe “Om” as a primordial vibration and that later treatises equate sound with the supreme principle (*nada‑brahma*). The article outlines the classification of sound into audible (*āhata*) and inaudible (*anāhata*) categories and relates these to musical theory. Drawing on works by Bharata, Matanga and Śārṅgadeva, Gandhi describes how Indian music organised pitch using 22 microtones and seven primary notes and how melodic frameworks (*rāga*) and rhythmic cycles emerged from this foundation. He summarises debates over whether *shabd* is merely a sensory phenomenon or a metaphysical principle and shows that medieval Jain scholars contributed to these discussions. The essay also explores the spiritual dimension of sound. Gandhi argues that disciplined musical practice can induce meditative states and that Indian devotional traditions regard *shabd* as a bridge between the material and the divine. By analysing textual sources and musical examples, the article portrays sound as both a technical element of music and a vehicle for spiritual realisation.
Conclusion
Gandhi concludes that Indian music treats **shabd** as a concept with technical and metaphysical dimensions. On one level it denotes the sonic elements—microtones, notes, rhythms and melodies—that musicians manipulate to create rāgas and tālas. On another it refers to the cosmic vibration (*nada‑brahma*) experienced through meditative listening and singing. The article shows that appreciating **shabd** requires integrating linguistic, philosophical and musical perspectives, and it invites readers to explore the rich Indian understanding of sound as a path to aesthetic enjoyment and spiritual insight.