Bhimkund

 Bhimkund (also known as Neelkund) is a natural water tank and a holy place in Madhya Pradesh, India. It is located near Bajna village in Chhatarpur district, Madhya Pradesh. It is 77 km from Chhatarpur.

Bhimkund is a natural water source and a holy place that dates from the era of the Mahabharata. 

The water of the kund (tank) is clean and transparent so one can clearly see fish swimming in the water. 

The kund lies in a cave, about 3 metres from the mouth.

The pool is a deep indigo blue which contrasts with the red stone walls.

A story from the Mahabharata links Bhimkund with the Pandavas. Weary under the scorching Surya, Draupadi fainted of thirst. Bhim, the strongest of the five brothers, hit the ground with his gada water surged out and the pool came into being.

The roof of the cave has a small opening just above the kund; this is the place Bhim is said to have hit with his gada.

The pool is also known as Neel Kund (blue pool) and Narada Kund (Njaya pool)

Three gunas

  Three gunas or qualities: The mind has one of three qualities (three gunas) that predominate. These three qualities are related to the mind in general, as well as to specific thought patterns:

Tamas, static, stable, inert: Negative aspects include heaviness, vice, ignorance, dullness, stagnation, or stupor. Positive aspects include stability and reliability.

Rajas, or active, stirring, moving: Impelled towards activity, which may be a negative, disturbing, distracted form of energy, or a positive activity to overcome inertia.

Sattva Illumined, light, spiritual: As the veil of the other two is gradually lifted, there comes virtue, higher wisdom, desirelessness, and mastery.

Cultivate a Sattvic or illumined mind, while allowing 

Tamas to bring stability, and Rajas to bring positive action.

What to do:

Cultivate  Sattvic or Illuminated state of mind, rather than a mind filled with Inertia or Negative Activity. 

The three gunas are said to be the building blocks of the universe, 

at the same time are qualities of grosser levels of reality. 

For example, one might eat more Sattvic food as an aid to meditation, or create a Sattvic environment. (Here, we are talking about cultivating Sattvic thought patterns.)

Notice which of the three is predominant:

simply notice the state of mind in a common sense sort of way. The mind and its thoughts might be filled with a heaviness (tamas), filled with distracting activity (rajas), or it might be filled with illumination or spiritual lightness (sattvas).

If heavy or inert: If the mind is heavy or inert, bring activity so that we can approach the illuminated, clear state of mind.

If overactive or noisy: If the mind is overly active or noisy, in negative ways, then allow that to pass, to transform into a clarity and illumination.

If clear or illumined: If the mind is in a clear, illumined, or Sattvic state, gently maintain that state of mind.

Cultivate sattvic thoughts and emotions: 

cultivate individual thoughts and emotions that are Sattvic in nature, that are spiritual, clear, or illumined. 

To do that, label the Tamasic and Rajasic thoughts so that these can be transformed into Sattvic thoughts. 

It is not a matter of repressing the Tamasic or Rajasic thoughts, but of positively emphasizing the Sattvic.

For example, if Tamas is predominant, then thoughts might be heavy or negative. However, when Sattvas is dominant, then Tamas provides stability, which is useful.

If Rajas is dominant, then thoughts might be anxious or racing. However, if Sattvas is dominant, Rajas is the force that brings the useful thoughts into positive action, while Tamas has a stabilizing effect.

It's not good or bad: When considering which of the Gunas are strongest in a given thought or thought process, it can seem as if Sattvas is "good" and that Tamas and Rajas are "bad". This is not the case. 

What is important is that balance of the Gunas and which one is dominant. In addition to the possible negative aspects, Rajas is also the positive impelling force to take actions, and Tamas is a stabilizing force. Both are useful.

Allow sattvas to be dominant: For meditation, Sattvas is the Guna that the student wants to be dominant, allowing Rajas and Tamas to have little influence

Nirvana satakam

  Sankara ten verses

Dasa Sloki or Nirvana Dasakam of

Adhi Sankara Bhagawat Pada

Translated by P.R.Ramachander

(These ten verses of philosophy is the essence of the thoughts of Sankara, the philosopher. 

There are two stories about its origin. One says that when Adhi Sankara approached Sage Govinda Pada and requested him to make him his disciple, then it seems Govinda Pada asked the young boy, “Who are you?” and this is his reply.

 Another story tells that when Sankara said that he is about to leave this earth, his disciples wanted to tell them all his teachings in a summary form and this is the reply.

. 1

I  not earth, I am not water.

I am not light, I am not wind,

I am not ether, I am not sense organs,

Nor am I a combination of these,

Because they don’t always exist.

I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

2

I am not the caste, I am not the caste rules,

I am not stages of life,

I am not rules , I am not the just conduct,

I am not meditation, I am not yogic practice,

For the concept of I and me destroy all these.

I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

3

Neither the mother nor the father.

Neither the celestial gods nor the earth,

Neither the Vedas ,nor the fire sacrifice,

Nor the holy waters, they say, exist in sleep.

But there is no void in sleep, either.

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

. 4

Neither the Sankhya principle,

Nor the doctrine of Shaiva,

Not the principle of pancha rathra,

Nor the doctrine of Jainas,

Nor the principle of Meemasa,

Are Unique experiences,

For the soul is the purest known truth.,

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

. 5

Neither white nor black,

Neither red nor yellow,

Neither large nor thin,

Neither short , nor tall,

And neither with a form is the soul,

For this soul is the form of the light,

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

. 6

Neither the state of waking,

Nor the state of dream,

Nor the state of deep sleep is for me,

Neither the earthy feelings,

Nor the glorified feelings of dreams,

Nor the feeling of wakefulness in sleep am I,

For these are the souls of avidya,

And I am the fourth , the thureeya, which is beyond these,

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

. 7

Neither the origin of knowledge,

Nor the books of knowledge,

Neither he disciple nor the teacher,

Neither you, nor me and nor this world am I,

For this is not tolerated by innate realization,

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

8

Neither above , nor below,

Neither inside nor outside,

Neither the middle , nor the across,

Neither the east nor the west am I,

For like the all pervading ether,

I am spread everywhere,

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

. 9

Being all pervasive and goal oriented,

Being dependent on its own nature,

Than depending on any out side thing,

This world is trivial as it is different from self.

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

10

It is not even one and how can it be two,

Neither is it unique and nor not unique,

Neither is it a vacuum nor something different from it,

For it is the essence of non dual reality

So how can I tell about what is established by all philosophy?

 

॥ निर्वाण षटकम्॥

मनो बुद्ध्यहंकारचित्तानि नाहम् न च श्रोत्र जिह्वे न च घ्राण नेत्रे

न च व्योम भूमिर् न तेजॊ न वायु: चिदानन्द रूप: शिवोऽहम् शिवॊऽहम् ॥

न च प्राण संज्ञो न वै पञ्चवायु: न वा सप्तधातुर् न वा पञ्चकोश:

न वाक्पाणिपादौ न चोपस्थपायू चिदानन्द रूप: शिवोऽहम् शिवॊऽहम् ॥

न मे द्वेष रागौ न मे लोभ मोहौ मदो नैव मे नैव मात्सर्य भाव:

न धर्मो न चार्थो न कामो ना मोक्ष: चिदानन्द रूप: शिवोऽहम् शिवॊऽहम् ॥

न पुण्यं न पापं न सौख्यं न दु:खम् न मन्त्रो न तीर्थं न वेदा: न यज्ञा:

अहं भोजनं नैव भोज्यं न भोक्ता चिदानन्द रूप: शिवोऽहम् शिवॊऽहम् ॥

न मृत्युर् न शंका न मे जातिभेद: पिता नैव मे नैव माता न जन्म

न बन्धुर् न मित्रं गुरुर्नैव शिष्य: चिदानन्द रूप: शिवोऽहम् शिवॊऽहम् ॥

अहं निर्विकल्पॊ निराकार रूपॊ विभुत्वाच्च सर्वत्र सर्वेन्द्रियाणाम्

न चासंगतं नैव मुक्तिर् न मेय: चिदानन्द रूप: शिवोऽहम् शिवॊऽहम् 

Meaning:

1) I am not mind, nor intellect, nor ego, nor the reflections of inner self. I am not the five senses. I am beyond that. I am not the ether, nor the earth, nor the fire, nor the wind (i.e. the five elements). I am indeed, That eternal knowing and bliss, Shiva, love and pure consciousness.

2) Neither can I be termed as energy (Praana), nor five types of breath (Vaayu), nor the seven material essences (dhaatu), nor the five coverings (panca-kosha). Neither am I the five instruments of elimination, procreation, motion, grasping, or speaking. I am indeed, That eternal knowing and bliss, Shiva, love and pure consciousness.

3) I have no hatred or dislike, nor affiliation or liking, nor greed, nor delusion, nor pride or haughtiness, nor feelings of envy or jealousy. I have no duty (dharma), nor any money, nor any desire (refer: kama), nor even liberation (refer: moksha). I am indeed, That eternal knowing and bliss, Shiva, love and pure consciousness.

4) I have neither virtue (punya), nor vice (paapa). I do not commit sins or good deeds, nor have happiness or sorrow, pain or pleasure. I do not need mantras, holy places, scriptures, rituals or sacrifices (yajna). I am none of the triad of the observer or one who experiences, the process of observing or experiencing, or any object being observed or experienced. I am indeed, That eternal knowing and bliss, Shiva, love and pure consciousness.

5) I do not have fear of death, as I do not have death. I have no separation from my true self, no doubt about my existence, nor have I discrimination on the basis of birth. I have no father or mother, nor did I have a birth. I am not the relative, nor the friend, nor the guru, nor the disciple. I am indeed, That eternal knowing and bliss, Shiva, love and pure consciousness.

6) I am all pervasive. I am without any attributes, and without any form. I have neither attachment to the world, nor to liberation. I have no wishes for anything because I am everything, everywhere, every time, always in equilibrium. I am indeed, That eternal knowing and bliss, Shiva, love and pure consciousness.

Ragas -Therapeutic Applications

 

Blog Ragas in Carnatic Music and Their Health Benefits

(Dr. Balaji Kirushnan shares the health benefits of music as his tribute to music lovers.)

Music therapy is an established health profession in which music is used as a therapeutic treatment to address the physical, emotional, cognitive and social needs of individuals. 

Carnatic music is deeply rooted in the cultural system of India. The role of Carnatic music in aiding and curing diseases is well-known. 

Ragas are a fundamental concept in Carnatic music. It means colour in Sanskrit. 

Ragas are combinations of various notes or swaras, which give a particular sequence. 

All compositions that we hear in a concert have various ragas, which give colour to the listeners and lighten their mood.

There are 72 melakartha ragas or parent ragas and more than a 100 janya ragas which are derived from them. 

Ragas can also be classified based on the time of the day i.e. 

morning ragas~Bhoopalam and Bowli, afternoon ragas ~ Bhimpalasi and Brindavani Sarang, 

evening ragas ~Hamir Kalyani and Durga 

night ragas ~Kurunji and Nilambari 

Ragas are known to stimulate certain areas of the brain to release endorphins, the happiness hormones, which elevate a person’s mood. 

A feeling of sadness is invoked by ragas like Shubhapanthuvarali and Sivaranjani

ragas like Mohanam and Kadanakuthukalam invoke happiness.

(Indian Journal of Surgery 2012 study )

-exposure to the raga Ananda Bhairavi showed a positive effect in postoperative pain management. 

(This was evidenced by a reduction of 50% in the analgesic requirement for those who listened to the raga postoperatively for three days.)

Depression remedy

Kalyanavasantam

Shankarabharanam

( study by Dr Subramanian, )

The other diseases in which ragas and music therapy have been helpful are listed below:

Acidity: Raga Puriya Dhanashri is known to have positive effects in treating acidity and it also promotes a happy disposition.

Diabetes and Hypertension: Raga Bageshri calms the mind and promotes mental strength. This raga has been found to help control hypertension.

Easing Tension: Raga Darbari has been proven to be effective in reducing the stress levels of individuals. Its composition is attributed to Tansen, who composed it to calm Emperor Akbar after a stressful day.

BP Reduction: Raga Todi is effective in bringing down high blood pressure levels. Raga Ahir-Bhairav also does the same.

Hypotension: Raga Malkauns is helpful in treating patients who have very low blood pressure levels.

Tuberculosis, cancer, cold, sinusitis and toothache: Raga Bhairavi has been known to help patients suffering from these diseases.

Asthma and Sun-Stroke: Raga Malhar has shown good results in treating asthma patients.

Cold and Headache: A persistent headache and cold are effectively controlled by Raga Todi.

Blood Purification: Ragas Hindolam and Marva help cleanse the blood

—————————————-—————————————-—————————————-

 Ragas -Therapeutic Applications

(1B S Archana, 2Prashantha H S)

Abstract: Carnatic music, one of India's most profound classical traditions, has been historically linked to emotional well-being and therapeutic applications. Recent research highlights its potential role in music therapy, particularly in reducing stress, enhancing mental clarity, and promoting relaxation. 

This study explores the scientific basis of Carnatic music therapy, focusing on the emotional and physiological effects of specific ragas. 

Through computational analysis it is found that different raga structures interact with neural and psychological processes. 

certain ragas have measurable benefits in mental health applications, (paving the way for AI-driven personalized music therapy solutions.)

1. Introduction

Music has long been recognized as a powerful tool for healing and emotional well-being. Across cultures, various musical forms have been used to enhance mental health, reduce stress, and promote relaxation. 

Carnatic music, one of the two main branches of Indian classical music, is known for its complex ragas, intricate rhythms, and devotional compositions. 

In Carnatic music, ragas (melodic frameworks) are believed to have the power to evoke specific emotional and physical responses. 

Carnatic music is a rich and complex system of melodies, rhythms, and expressions, but at its core, it’s about connecting with emotions and traditions through sound. 

Musicians follow rules but also have the freedom to express themselves, creating something beautiful and unique each time they perform.

Literature 

 Music Therapy in Indian Tradition

Indian classical music has historically been associated with meditation, healing, and emotional balance. The ancient texts, such as the Sama Veda, emphasize the role of sound and melody in balancing the mind and body. Traditional Ayurvedic practices also acknowledge the therapeutic power of sound vibrations in balancing the body's doshas (vital energies).

Ragas and Emotions

ragas in Indian classical music are not just melodic structures but are imbued with emotional and psychological significance. Each raga is associated with a particular rasa (emotion) and is believed to have the power to influence mood and health. Several studies have demonstrated the positive effects of Carnatic ragas in treating conditions like insomnia, anxiety, and depression.

Carnatic Music for Modern Wellness

Contemporary studies suggest that the repetitive patterns, rhythm, and scale of certain ragas in Carnatic music align with brainwave patterns associated with relaxation and focus.

Ragas Used for Wellness: 

In Carnatic music, specific ragas are believed to have therapeutic qualities, each influencing the listener in unique ways.

some of the ragas that are commonly used for wellness purposes:

1. Raga Hamsadhwani

Emotional Effects: Hamsadhwani, evokes positive energy, promotes mental clarity, and reduces anxiety. Its bright and uplifting nature makes it suitable for morning meditation and starting the day with focus.

 Therapeutic Application: Used in treatments for depression and anxiety, Hamsadhwani has been shown to enhance concentration and mood.

2. Raga Shankarabharanam

 Emotional Effects: Shankarabharanam, a major scale raga, is associated with joy and tranquility. It is known for bringing a sense of peace and well-being to the listener.

 Therapeutic Application: This raga is often used to reduce stress and promote relaxation. It is recommended for patients dealing with high levels of stress or chronic anxiety.

3. Raga Kalyani

 Emotional Effects: Kalyani is a highly positive and auspicious raga that is believed to bring mental strength and emotional balance. It is often used in devotional compositions, which adds a spiritual dimension to its therapeutic application.

 Therapeutic Application: Studies have suggested that Kalyani can help in overcoming sadness and grief. It is often played in settings meant to promote emotional healing and optimism.

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4. Raga Charukesi

 Emotional Effects: Charukesi is a raga known to evoke deep emotions such as pathos, compassion, and longing. It helps in emotional release, which can be beneficial for those dealing with bottled-up emotions.

 Therapeutic Application: This raga is used in therapy for emotional catharsis, helping individuals’ process grief, sadness, and other pent-up feelings. It has also been noted to help with insomnia and emotional instability.

5. Raga Bhoopalam

 Emotional Effects: Bhoopalam, a morning raga, is associated with serenity and mental focus. It is said to prepare the mind for the day ahead, helping with clarity and mindfulness.

 Therapeutic Application: It is often used in the treatment of sleep disorders and for improving focus in meditation practices. Bhoopalam is particularly effective in quieting an overactive mind

6. Raga Neelambari

 Emotional Effects: Known for its lullaby-like quality, Neelambari induces a deep sense of calm and is associated with promoting good sleep.

 Therapeutic Application: Neelambari is commonly used to treat insomnia and restlessness. It helps induce sleep and reduces mental agitation.

7. Raga Bilahari

Emotional Effects: Bilahari evokes joy, energy, and enthusiasm. It is uplifting and refreshing, making

it an excellent choice for combating fatigue and low energy levels.

 Therapeutic Application: Bilahari is used to enhance mental vitality and is often recommended for

those suffering from lethargy or emotional fatigue.

3. Methodology

Figure 1: Flow Diagram of the Time and frequency domain analysis

The figure 1 depicts the flow diagram of the time and frequency domain analysis

Flow Diagram Steps & Explanation

1️. Input: Audio Signal (Raga Performance) → captures the musical signal of the performed raga.

2️. Preprocessing (Noise Removal, Normalization) → cleans the signal by removing background noise and normalizing amplitude.

3️. Time Domain Analysis (Waveform, Envelope Extraction) → Extracts time-based features like amplitude envelope and temporal dynamics.

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4️. Frequency Domain Analysis (FFT, Spectrogram) → Converts signal to the frequency domain for pitch analysis.

5️. Feature Extraction (Pitch, Timbre, and Harmonics) → Extracts key characteristics that define ragas.

6️. Raga Classification (ML/DL Models) → Applies Machine Learning (ML) or Deep Learning (DL) for raga recognition.

7️. Output: Identified Raga & Time-Frequency Characteristics → the final identified raga with its unique spectral and temporal features.

 4. Detail Analysis of Ragas

Table 1: Ragas with Carnatic and western notation

Raga Carnatic Notation

Hamsadhwani Arohana : S R2 G3 P N3 S Avarohana: S N3 P G3 R2 S

Western Notation

Ascending : C D E G B C Descending: C B G E D C

Description

Uses five notes, making it a pentatonic scale

           Shankarabharanam

 Arohana :SR2G3M1PD2 N3 S

Avarohana: S N3 D2 P M1 G3 R2 S

  Ascending : C D E F G A BC

Descending: C B A G F E DC

   Corresponds to the Ionian mode (major scale) in Western music.

   Kalyani

  Arohana :SR2G3M2PD2 N3 S

Avarohana: S N3 D2 P M2 G3 R2 S

   Ascending :CDEF#G A BC

Descending: C B A G F# E DC

    Uses a sharp fourth note (M2) and corresponds to the Lydian mode in Western music

   Charukesi

 Arohana :SR2G3M1PD1 N2 S

Avarohana: S N2 D1 P M1 G3 R2 S

 Ascending:CDEFGA♭ B♭ C

Descending: C B♭ A♭ G F E DC

    Similar to the Phrygian dominant scale in Western music with its use of the flattened 6th and 7th degrees.

   Bhoopalam

Arohana : S R1 G3 P D1 S Avarohana: S D1 P G3 R1 S

Ascending : C D♭ E G A♭ C

Descending: C A♭ G E D♭ C

   Has a pentatonic structure and uses a flattened second (R1) and a flattened fifth (D1).

   Raga Neelambari

  Arohana :SR2G3M1PD2 N2 S

Avarohana: S N2 D2 P M1 G3 R2 S

  Ascending :CDEFGA♭ B♭ C

Descending: C B♭ A♭ G F E DC

     Similar to the natural minor scale (Aeolian mode) in Western music, with its minor 6th and 7th.

   Bilahari

 Arohana : S R2 G3 P D2 S Avarohana: S N3 D2 P M1 G3 R2 S

  Ascending :CDEGAC Descending: C B A G F E DC

   It is a pentatonic raga on the ascending scale and follows the Ionian mode (major scale) with the full scale on the descending side.

  Table 1 shows the notations (Western and Carnatic) for the ragas mentioned in the detailed study. These notations follow the standard Carnatic music format of using Swaras (notes) and represent the Arohana (ascending scale) and Avarohana (descending scale) of each raga.

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Here are the time domain and frequency domain plots for the Hamsadhwani raga:

 Time Domain: The signal shows the sum of sine waves corresponding to the notes in the Hamsadhwani raga (S, R2, G3, P, N3, S). You can see the waveforms representing the combined effect

of these notes over time.

 Frequency Domain: The frequency plot (FFT) shows the prominent frequencies corresponding to the

musical notes used in the raga. Peaks occur at the frequencies of the individual notes in the Hamsadhwani scale.

Carnatic music, when explained using engineering terminology, can be likened to a complex system governed by precise rules and mathematical principles, much like the concepts found in engineering domains such as signal processing, control systems, and acoustics.

From the study it is observed that,

1. Scientific Basis of Music Therapy

o The analysis demonstrated that certain ragas align with brainwave patterns associated with

relaxation, focus, and emotional healing.

o Studies indicate that specific melodic structures influence neurotransmitter activity, reducing

stress hormones such as cortisol and enhancing dopamine release. 2. Computational Insights

o Time and frequency domain analysis of ragas provided a deeper understanding of their structural properties.

o Machine learning techniques were used for raga identification and classification, offering an avenue for automated music therapy applications.

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3. Therapeutic Applications of Ragas

o Raga Hamsadhwani: Enhances concentration and mood, effective for anxiety management.

o Raga Shankarabharanam: Promotes stress relief and inner peace, ideal for meditative practices. o Raga Kalyani: Supports emotional healing and overcoming grief.

o Raga Charukesi: Facilitates emotional catharsis, beneficial for psychological therapy.

o Raga Bhoopalam: Induces mental clarity and aids in meditative focus.

o Raga Neelambari: Promotes better sleep and reduces insomnia.

o Raga Bilahari: Uplifts mood, combating emotional fatigue.

6. Conclusions and future directions

The study explored the therapeutic impact of Carnatic music, particularly the influence of specific ragas on mental and emotional well-being. Through an interdisciplinary approach combining music therapy principles, signal processing techniques, and computational analysis, the study identified the potential of seven key ragas in promoting relaxation, emotional balance, and cognitive enhancement.

Future Directions

o Integration of AI and Deep Learning for real-time emotion-based raga recommendations.

o Development of personalized music therapy applications leveraging biofeedback mechanisms. o Clinical trials to assess the effectiveness of Carnatic music in psychiatric treatment and stress

management.

This research underscores the scientific significance of Carnatic music in wellness applications, bridging the gap between traditional music therapy and modern computational techniques. Future advancements in music informatics and AI-driven analysis could further revolutionize the field of personalized music therapy.

7. References

1. P. Chanda and D. Levitin, "The Neurochemistry of Music," Trends in Cognitive Sciences, vol. 17, no. 4, pp. 179-193, 2013.

2. S. Koelsch, "A Neuroscientific Perspective on Music Therapy," Annals of the New York Academy of Sciences, vol. 1169, no. 1, pp. 374-384, 2009.

3. M. Sairam and K. Kumaran, "The Emotional and Therapeutic Significance of Ragas in Indian Classical Music," Indian Journal of Psychiatry, vol. 50, no. 2, pp. 132-136, 2008.

4. B. Patil, "Carnatic Music and Stress Reduction: A Review of Empirical Studies," International Journal of Music Therapy, vol. 12, no. 1, pp. 42-56, 2019.

5. T. Sundararajan, "The Acoustic Properties of Carnatic Ragas and Their Psychological Impact," Journal of Sound and Vibration, vol. 333, no. 6, pp. 1585-1598, 2015.

6. R. Sharma and A. Gupta, "Automated Raga Recognition Using Machine Learning," IEEE Transactions on Audio, Speech, and Language Processing, vol. 27, no. 3, pp. 556-568, 2019.

7. V. Rao, "A Computational Approach to Music Therapy: Signal Processing of Indian Ragas," Journal of Music Technology Research, vol. 10, no. 4, pp. 72-89, 2020.

8. A. Bose and S. Kumar, "The Effect of Raga Kalyani on Heart Rate Variability and Stress Reduction," Journal of Complementary Medicine, vol. 8, no. 2, pp. 89-97, 2018.

9. N. Patel, "The Science of Nada Yoga: Sound Therapy in Indian Classical Music," Proceedings of the International Conference on Music Therapy, pp. 112-120, 2021.

10. K. Iyengar, "Meditation and Music: A Synthesis of Carnatic Ragas and Mindfulness," Journal of Indian Musicology, vol. 15, no. 1, pp. 48-59, 2017.

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Madras United Club

  Madras United Club begins with Buchi Babu Naidu, the revered pioneer of Indian cricket and widely regarded as the Father of Madras Cricket. 

Recognizing the absence of organized clubs to foster teams and facilitate competitive matches, Naidu rallied young individuals from affluent Madras families and emphasized the need for a dedicated club. 

Taking matters into his own hands, he secured a site on the Esplanade and personally funded the leveling of the ground, transforming it into an ideal cricket venue. 

This momentous occasion took place in 1888 and marked the birth of Indian cricket in the city, with Naidu christening it the Madras United Cricket Club (MUCC), which would later be known as the Madras United Club or MUC.

மங்களாம்பிகை

 மங்களம் தரும் மங்களாம்பிகை :

மகாப்பிரளய காலத்தில் உலகைக் காக்க இறைவனுடன் ஓடம் ஏறி வந்ததால், இத்தலத்தில் உள்ள இறைவியை லோகநாயகி என்று அழைக்கின்றனர். சகல மங்களங்களையும் தருவதால் மங்களாம்பிகை என்றும், மங்களேஸ்வரி என்றும் அழைக்கப்படுகிறார்.

கும்பகோணத்தில் சோமநாதன் என்பவர் தனது மனைவி, மகன் மற்றும் மகளுடன் வாழ்ந்து வந்தார். ஒரு நாள் இவரது வீட்டுக்கு வந்த ஜோதிடர் ஒருவர், ‘உங்கள் மகள் மங்களா 16-வது வயதில் விதவையாகி விடுவாள்’ எனக் கூறினார். அதைக்கேட்டு சோமநாதன் வருந்தினார்.

சிறிது காலத்தில் தஞ்சைக்கு அருகே உள்ள திட்டையில் உள்ள ஒருவருக்கும், மங்களாவிற்கும் திருமணம் நடைபெற்றது. திட்டைக்கு வந்த நாள் முதல் மங்களா, தனது கணவன் நீண்டநாட்கள் வாழ வேண்டும் என திட்டையில் உள்ள லோகநாயகி அம்மனை வணங்கி வந்தாள். பவுர்ணமி தினத்தன்று எமன் மங்களாவின், கணவனின் உயிரை பறிக்க நெருங்கினான். 

இதனை அறிந்து அலறித் துடித்த மங்களா, லோகநாயகி அம்மனை சரணடைந்து, ‘எமனிடம் இருந்து என் கணவனின் உயிரை காப்பாற்றி, எனக்கு மாங்கல்ய பிச்சை கொடு’ என கண்ணீர் மல்க வேண்டினாள். அவளது பிரார்த்தனைக்கு மனம் இரங்கிய லோகநாயகி, மங்களாவின் கையில் விபூதியை கொடுத்து ‘இதை எமன் மீது இடு. உன் கணவன் நீண்ட ஆயுளுடன் இருப்பான். நீயும் நீண்ட நாட்கள் தீர்க்க சுமங்கலியாக வாழ்வாயாக’ என ஆசி கூறி மறைந்தார். மங்களாவும், இறைவியின் ஆணைப்படியே செய்தாள். எமன் மறைந்தான். 

பின்னர் மங்களா நீண்ட நாட்கள் தீர்க்க சுமங்கலியாக வாழ்ந்தாள். மாங்கல்ய பிச்சை கொடுத்ததால் இத்தலத்தில் அன்னை மங்களாம்பிகா, மங்களேஸ்வரி என அழைக்கப்படுகிறார்.

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Suicide

 suicide 

Daily wage earners accounted for 26% of suicide victims, the largest group in the suicide data.

suicide rates are generally higher among males compared to females in India. Males have higher suicide rates in middle and older ages while the age group of 15–29 years has the highest suicide rate among females. 

On average, higher male and female suicide rates are observed in states with: higher levels of development, higher levels of agricultural employment, higher levels of literacy, and higher proportions of people identifying with Hinduism. 

Higher male suicide rates are also observed in states with higher levels of unemployment

the process of modernization and rapid social change with an increasing gap between expectations and reality might be contributing towards higher suicide risk in more developed parts of India. 

Also, ancient sanctions towards religious suicide are possibly still influencing modern Hindu suicides. 

Regarding high female suicide rates among the younger age-group, the ongoing clash between traditional values and modern ways of living concerning issues such as age of marriage, and the value of individual decision making, along with patriarchal norms and sexual violence against women might be contributing factors. 

Regarding high male suicide rates among middle age groups, because males play the traditional role of—"breadwinners"—in India and failure to provide for the family during the middle age, for example, due to loss of employment, might result in higher suicide rates

hanging is the primary method of suicide in India and has shown increasing trends among both males and females between 2001-2021.

Prevention

ban on lethal pesticides must be prioritised to lower insecticide poisoning suicide rates. Also, responsible reporting of suicide by hanging in the media and limiting fictional portrayals of this method may be useful areas for prevention.

States with the largest increase in suicide in 2020 included Bihar, Jharkhand, Arunachal Pradesh, Uttarakhand, Punjab, and Himachal Pradesh.

out of the total 139,000 total suicides in India, 93,061 were young adults. This indicates that they are the most vulnerable age groups.

In the year 2021, Delhi City(2,760) recorded the highest number of deaths by suicide among the four metropolitan cities, followed by Chennai (2,699), Bengaluru (2,292) and Mumbai (1,436). These four cities together reported almost 35.5% of the total suicides reported from the 53 mega cities

36.6% of the world's total number of female suicides take place in India.

Domestic violence was found to be a major risk factor for suicide

 the proportion of female victims were more in "marriage-related issues" (specifically in "dowry-related issues")

A large proportion of suicides occur in relation to psychiatric illnesses such as depression, substance use and psychosis.

Farmer's suicide in India

in 2019, 10,281 people involved in the farming sector died by suicide. 5,957 were farmers/cultivators and 4,324 were agricultural labourers. Out of the 5,957 farmers/cultivators suicides, a total of 5,563 were male

At least one student commits suicide every hour in India. The year 2019 recorded the highest number of deaths by suicide (10,335) in the last 25 years. From 1995 to 2019, India lost more than 170,000 students to suicide. Despite being one of the most advanced states in India, Maharashtra had the highest number of student suicides. In 2019, Maharashtra, Tamil Nadu, Madhya Pradesh, Karnataka and Uttar Pradesh accounted for 44% of the total student suicides.

Many suicides are attributed to the intense pressure and harsh regimen of students in cram schools (or coaching institutes). In the five years from 2011 to 2016, 57 students in Kota, dubbed the "coaching capital" of the country, died by suicide.[45] Coaching institutes offer coaching to high school students and high school graduates for various hyper-competitive college entrance exams, most commonly the JEE or NEET.In 2023 ,26 cases of suicides were reported in Kota, Rajasthan which was one of the highest ever in history.

Deaths due to suicide in Tamil Nadu have doubled in the last two decades, says a report accumulated till 2014 by Sneha, a non-governmental organization that works towards minimizing such deaths.