Abstract

Indian music assigns various labels to the musical frequencies, namely, Shadaj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad. Further, some of these musical notes are subdivided into Suddha and Vikrut forms, creating an impression about their characters being pure and impure. Although, the primary function of nomenclating a musical sound is to ensure that there is no ambiguity concerning the musical frequency that is being referred to, it is equally important that the label assigned does not create misconceptions in the musical minds. On one hand, one finds references that claim the sound being the best possible means to meditate and attain liberation i.e., Naad Yoga and on the other hand, the same sound is being tagged as impure. The article is an attempt to highlight the grey areas that are perceivable in the labels assigned to musical sounds, namely Suddha and Vikrut (Pure and Impure/ Superior and inferior).