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Thats just like asking ,’How can you handle such a huge responsibility of voicing for gender equality at such a tender age, as a teenager?’ XDVoicing for gender equality and practising those principles which condemn the use of discriminative remarks on the basis of gender, is a habit that should be cultivated from a young age itself.Bigger the habit to speak against any misogyny, any misandry, or any homophobia, bigger is the chance that we teenagers, till we grow up, will not only say :‘We need to see a change’but also,‘We need to be a part of the change’and‘We need to bring a change’to‘We have finally made a change…’And when we grow up, this habit will be continued. Because the habits cultivated at a young age, are the habits that are continued…Or maybe the question may even be trying to say ‘Being a Feminist, MRA, as well as a supporter of the LGBTQ community at such a young age, don’t you think that simply calling yourself an egalitarian instead of so many terms, will be much more easy?’Well I think that there are certain walls standing in the way to freedom of all the three genders, which, if wished to be removed, have to be emphasised upon, specifically.Why I’m stressing on the part ‘emphasised upon, specifically’, is that for different people, equality holds different meanings.First and foremost let me take the example of the most famous egalitarian space here which doesn’t accept content regarding the Transgenders, saying that ‘There are many spaces for Transgender Rights, but just not this one.’God forbade, if LGBTQ Rights’ Activists won’t emphasise on Transgender Rights (Without violating the concept of Equality), the meaning of Gender Equality will only sum up to ‘Equality between men and women’.Another example- A woman might call herself an equality seeker, once even been a contributor in spaces like ‘Hear Him’, But when her own principles have to come to practise, she says :What say Satyawati Singh ?One more example (I’ve come accross it)- I once saw here a man who literally said ‘I am not sexist, I believe in equal rights to all the genders, but when a girl is raped, you can’t oppose the people who blame her. She had been careless.’Also, I had come across one man who says ‘I believe in equal rights for women. BUT STOP EATING OUR JOBS! DO COOKING, DANCING, INSTRUMENTS BUT STOP EATING OUR JOBS!’ Yes this did happen😂😂Equality for different people have different meanings, different, disgusting, biased meanings. The word is taken by people as a joke (Proved by the above three examples).Now please don’t assume that I’m telling you to eradicate the word ‘Equality’😂. No.My only point is, to make people understand ‘Gender Equality’, we need to emphasise on those certain areas where we’re going wrong in the name of Equality.The Indian Laws are very much not in favour of the men of our country. We’re going wrong here in the name of providing Equality.In the modern world so many men shamelessly claim ‘Our eyes, we’ll stare’ (At women, even if they feel uncomfortable) in the name of EqUaL riGhtS and EqUaLity. (No this is not outdated. I have come accross this a hundred times, and even yesterday too).The vice-versa of the above example is prevalent too.Feminists and MRAs, since they emphasise on these things (And a lot more things. A lot more) for the concerned gender, they make people actually understand what they’re doing wrong with the concerned gender in the name of providing Equal Rights/Equality to the other gender.(No, bashing the other gender isn’t included within the definition of either of these movements. There are rotten insects in every movement, and so are there in these too. The rotten insects aren’t meant to be included in these, or for that matter, any movement.)And the LGBTQ aren’t even given any proper respect (in general). So the LGBTQ Rights’ Activism is the most important need of the hour at this moment.These are the reasons I like to call myself a Feminist, MRA, as well as an LGBTQ Rights’ Activist.Again, I repeat, I am not saying ‘Egalitarianism is bad bad’. All I am saying is, different people believe in different principles in the name of Equality, so to make them understand what actually is Equality, there needs to be emphasis on certain areas where we’re going wrong in the name of Equality, and the above three mentioned movements do just that. They emphasise, and they improvise.Now, for the people, who in the comment section will lash out at me, especially at Feminism, saying that ‘Feminists these days are all evil. They want superiority, not equality.’Tell me one thing, aren’t you the same people who shout your throats out when the society is generalised? Or when men are generalised?But you keep generalising Feminists. Why such hypocrisy??(Now please don’t say that I am supporting those who generalise men. My father is a man, my brothers are men, hence I know how to respect men. I am just pointing out the hypocrisy of the Anti-Feminists/Anti-Meninists)Thank you for the A2A Ma’am😊I hope I could give you a satisfactory answer :)

At government levelStart focusing on manufacturing as a concept and thought in Indian young minds through education. Most of our education is based on poor research, insufficient focus on generating a curiosity to build something.Focus on upcoming innovative sectors such as renewable energy. How do you promote it? The private sector can set up businesses of electric vehicles (EVs). The government should promote it using favorable policies compared to conventional automobiles. Shanghai city in China has adopted an excellent model to convert over 1 million vehicles to EVs in their city. What China's Shifting Subsidies Could Mean For Its Electric Vehicle IndustryPromote studies, research, and discussion which allows people to set up something to manufacture. Chinese started with toys, plates, cups, and utensils. That is the basics. The Indian government has adopted this method late and that too is very slow. India could develop a gallium nitride fabrication facility if the government is willing to invest.Look at all sectors (except healthcare and education) as a business opportunity. The Indian government has done a good job in liberalizing many sectors. But it is still very slow compared to other countries. Why is it that we have to rely on soldiers to do everything?Why can’t we have private military corporations in India, with the permits to carry military-grade firearms under a regulatory enforcement agency which ensures that these people don’t go against the national interests?Such companies would be able to secure Indian and client interests overseas, boost production of defense goods in India through their demand and also create more jobs.The government needs to stop pretending to be a socialist, neutral, austere “Gandhi” entity. Will not allow the budding of newer industries or encourage youth to take to new industries.Promoting the electric vehicle revolution in India means the government has to have a tax bias or a registration fee bias for EVs versus conventional automobiles.What about giving concessions to petrol pumps to have charging stations for EVs all over India?What about fining petrol pumps that refuse to do so?These things need to be enforced first for people to slowly adapt.Promoting AI and machine learning as well as the Internet of Things industry in India means that the government has to amend national security regulations in a way where they can create demand for such applications within without violating any law.All governments world over when they start investing in new ventures or technologies show a visible bias towards them, even among its own companies. But no. Not the Gandhian, socialist, rural wannabe Indian government.At industry and private levelThere has to be willpower in the Indian industry houses to invest in new technologies rather than having a “kirana store” mentality of selling the candy now and thinking about everything else later. Most Indian business houses have a kirana store mentality, and no one can deny it. This is why we don’t have a Samsung, CISCO, Huawei or LG in India: No long-term business interests in any one particular area, instead of using each stream as a means to circulate dubious money. Huawei didn’t become a giant by running everything from salt to steel. It focused on and mastered one sector first before expanding into forwarding and backward integration of the communication industry.The service sector has had its moments; time to focus on clean manufacturing. While the government can only encourage it with policies, which it already is doing, there has to be initiative taken by Indian businesses to come up and step up to the challenges presented.Also, promoting newer industries such as semiconductor manufacturing, electric vehicles, 3D printing, etc will need to show some form of bias from the government in their favor.We need to move beyond the “me-too” app-based industry and discuss start-ups looking at disrupting the manufacturing landscape.Example: 3D printing and new industriesThis is one of the fastest-growing disruptive segments in the world in addition to artificial intelligence and machine learning. It is one sector that can change the way and the capacity in which Indian manufactures.However, despite it disrupting numerous industries, no businessman thinks of it as a potential investment beyond “Kal tak kitna degi” (How much will I get by tomorrow).3D Printing is the next big thing along with Electric vehicles and Indian businesses are sleepingProsthetic parts for differently-abled people, to not only gain early dominance of this market but also make it cheaper and available in large volumes; which could later be taken international and a huge potential market. Mass production = cheaper unit cost = better distribution = capturing early markets and reaching out to greater people.Investing in R&D such as 3D printing of organs has already been taking place in the US and China. Yes, China is doing it while India cannot think beyond delivery apps as “innovations”. This drastically brings down the cost of organ transplant and also destroy the organ trafficking market. It is a new and expensive venture since the raw material is usually taken from the donors itself. But this is an area that has N number of expansion possibilities and ensuring an early market lead for literally millions of Indians. Chinese firms would pour billions into this, just looking at the potential.The Indian government has eased industrial license requirements for firearms and defense production. Why not consider investing in 3D printing of guns and rifle barrels for your forces and export markets?It is a time-consuming process, but do you know what happens once it is successful?You can mass-produce smaller weapons at the beck-and-call of your armed forces as well as that of your client countries' needs.This means that now your troops don’t have to wait for some bloody tender stuck in delays and die on the border. It also means that domestic companies recover their investments with just a handful of contracts.When the government is encouraging exports in defense, then why aren’t the industries taking it up?Has any company even looked into regenerative therapy research? Why only wait for the USA to look at cellular regeneration experiments? India has quite a large number of “biotech” companies, which are doing virtually nothing in this area.Why is all that capital not being put into R&D here? Why does the owner have to consider looking at buying a new line of luxury hotels with that reserve, instead of R&D in his area of expertise?Does he even understand what a breakthrough in such an area would mean for his company and Indian pharmaceutical and biotechnology industry in India?India has recently been talking about drone technology in every tech forum. How many drones are produced in India? How much of R&D is being done in the drone sector for agricultural, civil and utility industries? The UAV regulations in India recently cleared by the government, are a joke, where drones can only be used as amusement tools and a permit is needed for every single flight beyond a single, useless category.Everyone talks about drones but no one talks about 3D printing them in the country.Everyone talks about drones being used for blah-blah applications but no PSU bank in the country mandates a technological investment clause in their farmer loan authorization, stating that a farmer MUST invest in UAV technology using a component of the loan money obtained. Why? How and why would a farmer look at new technologies when he could simply use that money to have an extravagant wedding for his son or daughter, knowing that next year, the government will anyway waive off his loan?Everyone talks about how mines are unsafe. We recently have had a terrible illegal mining accident in Meghalaya where 15 young workers are stuck for over a month. No one ever thought of manufacturing flexible unmanned autonomous instruments that could wriggle into crevices and find out how these men are managing inside for all this time. Mining accidents are not new and yet only after 1 month, has a company called Planys Technologies has joined the foray. Until now, the Navy, NDRF, state police and everyone else was involved but there is no output.IT SECTORPeople in India talk about how big the Indian IT sector is.A recent study showed that 90% of our IT engineers are unable to code. This is appalling for a country that boasts about its IT prowess.The truth is, IT in India is still associate with back-end maintenance and tech support instead of Machine Learning, Artificial Intelligence, self-learning, etc.India is still nowhere when it comes to things such as quantum computing. This is a fact.What about R&D in technologies such as using quartz crystals as a method of mass storage of information? Nope, nothing is done in this area by any of the so-called ‘tech giants’ in the country which still have a “Kirana store” mentality.Biocomputers? Is it even something beyond suit-boot conferences and chai-pakora events for executives of established businesses in India?Why is it that CSIR is not allowed to borrow R&D funds from private corporations for specifically-targeted researches?Nanotechnology is still only a topic of books in India while countries such as Israel are leagues ahead in R&D in this area.India claims to be a leader in textiles right..?What is India? Inc. doing on wearable R&D?Any patent filed with regards to visual variable camouflaging technologies for the military forces?Any patent filed for protective clothing that can withstand a point-blank shot from an AK-47 bullet, Class A industrial fire or something similar? Nothing.This is again proof that we still don’t have entrepreneurial spirit even now.As of today, there is only one thing that India does beyond what others can ever do; and it is having a world-class luxurious cuisine, rich with diverse ingredients. Not technology but the sheer variety and the ways of making them.In agriculture technology, India is miserably behind with 0 investments from large business houses. The government also does little to force farmers in adopting new technology. Why would any farmer repay any loan if they don’t have conditional loan disbursements?We are growing as a country but we are growing organically - in areas where we are already fine and there is no scope of evolution.It takes more than just money to create an entrepreneurial revolution in India - it takes a grander vision of Indian society to make India a superpower.A combination of a lethargic bureaucrat-politician team; short-sighted-but-cash-rich business houses or for that matter that lazy PSU bank focused on deadbeat products and burdened by socialist mandates from the 50s era just won’t cut it.India has miles to go, but before that, people and business houses, in particular, need to have a serious ambition in their line of work.

Anup Jalan has done an excellent job but I think this is a subject that deserves more attention since many reduce a raga to a set of melodic rules so I have attempted to add to Anup's overview.This is a very good description, I think, that helps one communicate what a Raag is from Deepak Raja's blog:A Raga is a partially pre-composed matrix of melodic contours, tight enough to remain recognizable and loose enough to provide substantial creative freedom.Each Raga justifies itself as performance material because it makes a distinctive emotional statement. It can be described as a psycho acoustic hypothesis which relates qualifying melodic patterns to the associated quality of emotional responses.At each rendition, a musician works on this hypothesis and deploys his creativity in an attempt to maximize the probability of communicating the associated emotional idea.Raga-s are not “composed” by any particular musician. Their origins are mostly indeterminate. They evolve over a period of time from a variety of source melodies as plausible triggers for well-defined categories of emotional responses. It is estimated that the melodic grammar of about a 1500 Ragas has been documented. The music-scape of each generation sees some Raga-s coming into circulation, and some going out of fashion. The core of commonly performed ragas remains around 200.What is a Raga? There are at least 3 dimensions to answering this question (maybe more) and but most of the discussion only happens around the first two categories.1) Raga Melodic Rules & RegulationsThis is the aroh/avroh, vadi-samvadi, pakad, chalan, vistaar and other melodic development guidelines. Understanding the key phrases to emphasize, phrases/notes to avoid, determining which swar to rest and pause on. I think also things like sthai-manjha-antara which helps to define melodic behavior in the different tetra chords and also encapsulate the raga rules in real-time in a frequently repeated melodic structure that provides a foundation for improvisation. Most of us learn these fixed compositions when we are introduced to a new raga. This is the seed, not the tree and it is very important in driving your understanding of the raga so take great care with these. This is why good teachers will always teach you a gat/bandish first before ever delving into alap.2) Raga Presentation StructureThis is the actual performance presentation which usually means things like alap, jod, jhalla and then vilambit (slow) and drut (fast) gats. All of these core elements can have much finer granularity as seen in the discussion so far. To some extent, this can get pretty formulaic/mechanical and few artists have the will to do ONLY what the Raga dictates.e.g. Deepak Raja describes Kishori Amonkar’s approach in presenting a raga which typically happens in the vilambit bandish part of a Kishori performance or raga presentation :An important feature of her music -- which partly explains her awesome influence -- is her fastidious organisation of musical material. She is one of the very few vocalists who sings her alap-s in four distinct phases -- sthayi, antara, sanchari and abhog. All improvisatory movements are neatly in their place with never a blurred separation between them. This feature of her music imparts an unusual transparency to her aesthetic intent.But if you hear Kishori talk about a raga she talks about a living relationship to something, that for her is alive and giving her feedback and interacting with her. She has mentioned often how Bhoop unveils different aspects of itself to her when she pays attention.Kishori actually felt the focus on rigid performance format is detrimental to really bringing Raga to life as described in this interview in The Hindu:Kishori summed up a profound concept in simple words.She said: “We have given an entertainment value to our music. Singing, practicing and performing, all are different. These are the three aspects of music. I give importance to singing. It is like talking to your soul. It is an inner communion which you are trying to communicate … in the (entertainment and performance) process, naturally it will diminish in value.“I believe that Indian music is nothing but the expression of a feeling. If I say, ‘I love you,’ can you measure it? You just have to feel that vibration. We have limited our music to formats. In North India, every raga is sung in a typical form. First alaap, then vistaar, then you put words into the alaap; words in the thana, then dhrutha … We repeat the entire repertoire. I don’t think one needs to sing dhrutha here. Dhrutha conveys an entirely different feeling. You sing it when you are restless or have an intense feeling. But we don’t do that. Apologetically, I accept these faults. You do the same in Carnatic music. In a performance you give a break, you give some time for the violin, some time for the mridangam. It (performance structure) is a break from the emotion.”How does one break away from the routine formula (of concert performance structure)[/i, to resurrect this other music hidden behind a form that has a set formula, a set pattern? “You should learn these formats when you are a student. It’s high time that I took the plunge and followed that feeling and experienced it myself. I pray to God to give me the strength to go to that level, which is abstract.”3) Raga Rasa & Emotional & Aesthetic IntentHaving some mastery of 1) and 2) is critical to even beginning to approach the third dimension where a raga really comes to life. In 2015, Computers can be programmed to produce raga-like music formulations using coding from section 1) and 2) from above, but there is usually something missing for most of us, and this is also why some performances are just plain unsatisfying, even when they sort-of have the right notes.This is the part of what a raga is, that there is greatest amount of vagueness on, and even many “top-rank” artists sound incoherent when they talk about this. (It is really hard to talk about this except in really dry scholarly arcane language or even worse, sounding like some new-age stoner [i](like me?) talking about contacting spirits). But this is also where the real artistry is in IMO, and in most cases it is instinctive and based on the artist reaching “flow states” where everything (section 1 and 2 elements from above) start to really make sense. Most real artists cannot tell you how to create emotional impact but they know when they are making this happen and are aware it is happening.I have taken great liberty in copying excerpts from this link (PadminiRao.com-Online Music) to show how difficult it is to talk about Rasa, but this is the issue on which, IMO the great artists dwell and THE place where one really discovers and understands what a raga is. The link is worth reading in full.The Rasa Theory was expounded by Bharata muni in his treatise ‘Natya-Shastra’ [2nd BC- 4th AD] where we are told that we can produce the following rasas in the dramatic arts: Shringaara [erotic], Roudra [anger] Haasya [ comic], Bhibhatsa [ludicrous] Jugupsa [disgust], Vismaya or Adhbhuta [wonder], Karuna [pathos], Veera [valour] and Shaantha [tranquility].In music, one takes into account only four of these, namely: Shringaara, Veera, Karuna and Shaantha. So what notes do you play to create these?The great musicologist Sharangdeva [ 13th century] put forth his interpretation of the Rasa Theory in his magnum opus on music the Sangeet-Ratnakara. Sharangdeva, expounded the theory that each note carries its own emotional cloud around it.‘Sa-Ri veeradbhutey raudrey,dha bibhatsa bhayanakey; kaaryo ga-ni tu karunaa haasya shringaaryormapou’This theory’s validity was questionable however, because a ‘raga’ is a combination of notes and phrases, hence the element of ambiguity and in some cases sheer confusion would set in. One may assume that the mood of the raga would be dictated by the dominant notes in it, which would impart their emotional colour to the melody. E.g.: if madhyam was the dominant note it would probably be shringara rasa and so on. He tabulated the fact that it was of the utmost importance to choose the right tempo to convey the desired emotion. E.g : a composition depicting valour would obviously have to be in a fast tempo and conversely a composition full of tenderness and pathos would have to be in a slow tempo.Shri. V N Bhatkhande was of the opinion that a direct one-one correspondence of raga-rasa was not only difficult but impossible. It was too simplistic a way of looking at something as complex an abstract form like music in relation to an equally abstract and complex parameter like the mind and its emotional states. After all, if Sa-Ri evokes Veera Rasa and Ma-Pa- evokes Shringaara Rasa, then every raga should evoke these two aesthetic responses since these notes are present in almost all the ragas which is obviously not the case.The theory put forth was that, besides mere notes, laya and rhythm patterns, there are several other factors which combine and interplay to create the phenomenon of Raag-RasaFactors responsible for inducing Rasa:[1] the most important factor is the ‘Raaga-Time ‘theory. This is the mystical bond between melody and time in a 24 hour cycle when it is sung or played.[2] Consonance and Dissonance in Music:These are musical effects that produce opposite emotions - they come into play when 2 different notes are sung or played together. The drone provides the base notes of the musical scale. To quote Shri O Gosvami [The Story of Indian Music]-“The tanpura provides a dark background of infinite potentiality against which the music stands out as intricate embroidery”.Different note-combinations can lead to different effects of consonance and dissonance, which in turn cause different Rasaas to be induced.[a] Perfect Consonance: Sa-Pa; Sa-Ma[b] Imperfect Consonance: Sa-Ga;Sa-Dha[c] Perfect Dissonance: Sa- Re [komal/flat]; Sa-Ni; Teevra Ma-Pa; Pa- Dha][komal/flat][d] Imperfect Dissonance: Sa-Re;Sa-Ni [komal/flat]; Sa-Ga [komal/flat]The musicologist Shri G M Ranade has attempted to draw a co-relation between the tonal intervals and raasa as follows-Perfect Consonance- Veera rasaImperfect Consonance –Shringaara rasaPerfect Dissonance –Karuna RasaDepending on the prominence given to a specific note interval in the development of the raag , the desired rasa will be induced. Raagas like Marwa, Shree and Todi use the tonal intervals of perfect dissonance to create the phenomenon of tension and relief. The sense of the sublime is experienced from the interplay of conflict and serenity as it were. The combination of Shadaj and Shuddha Gandhaar imparts a tranquility which is the characteristic feature of the ‘sandhiprakaash’ ragas-melodies of dawn and dusk.The sparkling radiance of ragas like Durga, Khamaj, and Kedar are highlighted by the tonal intervals of perfect consonance.[3] Other factors like the artiste’s mood, the receptivity of the audience, the physical setting of the concert [the venue, ambience etc] are lesser but nonetheless important components playing their role in the overall effect of inducing Rasa.Padmini Rao sums it up nicely here:The theory of raga-rasa attempts to bring about a specific co-relation of music with emotional states. However, a recital is an outpouring of emotions and is highly subjective and spontaneous in nature. Each artiste interprets and presents the music according to his ideas, techniques , the school of music that he belongs to and his overall understanding of the musical idiom .The whole beauty of this great art is that it says so little and conveys so much. A gentle hint here, a whiff of a long forgotten memory and it thus evokes a pleasant emotion, leaving it to the listener to analyze his feelings. This degree of abstractness is further experienced in instrumental music which does not have lyrics to convey the meaning.To quote the poet Shelley:Music, when soft voices die,vibrates in the memoryThe most important aspect of rasa is that it lingers on long after the stimulus has been removed. We often ruminate over a concert for days and savour the joy of its memory. Thus, although the stimulus is transient, the rasa induced is not. The ultimate rasa is ‘Mahaarasa’ and is equated with ‘Aanand bhaava’ – or one of deep joy. When the artiste and the listener reach out together for a shared moment of joy and discovery, the result is the essence or rasa of music.As I said before, I think the problem is in trying to pin down what a raga is, just in terms of it's structural elements and in words alone. All the definitions about the elements that make a raga are all useful, and give you some sense of rules and a formal concert presentation of a raga, but none of it really touches the living thing.The only definition for raga that I find satisfying is "Ranjayati iti ragah" = That which colors the mind is raga. रंजयति इति रागः |(जो मन को प्रसन्न कर सकता है वही राग है )This could be further clarified as that sound which colors the mind, or organized sound that produces a definite emotional and perceptual impact and a sense that there is a living sonic presence which only exists while the sound form is active. IMO Raga is a living sonic presence and quite possibly a sentient being that interacts with humans through sound vibrations.As Krishnamurti said about describing living things: "The description is not the described" even when talking about a mountain. Saying a mountain is a large rock formation primarily composed of granite and ferrous oxide substrates is not quite the same as standing before a mountain and just taking it in. Even from the same spot it will look and feel different on most days.Also some historical and cultural perspective possibly provides further insight into what a raga is from Naren Schreiner.This is an explanation of the music from the Raga Spirit program:Thousands of years ago, beyond the scope of scholarly research, the rishis (seers) of ancient India created a society and culture wherein religion, art and science thrived in harmony, without any competition or need of comparison. Music was known to be a divine art interwoven with the sciences of sound, psychology and mathematics. It was partially intended for pleasure and entertainment, but primarily intended to assist in man’s quest for Self-realization.Music was known to be an expression of the original sound, Naad Brahma, scripturally referred to as the Word, Cosmic Vibration, or Aum. The rishisdiscovered the effect of physical sound on the body, emotions and consciousness. They deciphered various melodies and rhythms that could re-create the effects of the seasons and times of day on man. Ragaswere created to paint a sonic picture or rouse a certain emotion (rasa) or state of being (bhava) such as tranquility, love, happiness, courage.The human voice was recognized to be the original and perfect instrument of sound. When the need for verbal communication arrived and language was created, words merged with vocal sound; lyrical song was born and became a powerful form of expression. The word for musician became bhagavatar, one who sings the praises of the Supreme. In time, instruments were developed in order to accompany or mimic the myriad expressions of vocal music.These distant and lofty origins need not intimidate the modern listener. As the late Dr. Ananda Coomaraswamy wrote, “Indian music is essentially impersonal, reflecting an emotion and an experience which are deeper and wider and older than the emotion or wisdom of any single individual. Its sorrow is without tears, its joy without exultation and it is passionate without any loss of serenity.”Over the millennia, various mystics, seers, musicians and scientists have developed and expanded India’s music. Foreign rulers and the changes of civilization have made a tremendous impact. But India’s music has remained, in essence, unchanged. It is still unwritten, spontaneous and individualistic, concentrating on the variations of a raga melody rather than symphonic harmony. Its subtle hues are still made possible by an octave of twenty-two notes (shruti) rather than twelve notes of the Western scale, and by dozens of complex rhythmic cycles (tala). It still balances improvisation with structure—the musicians must invent new expressions within a rigid framework.As you listen to Indian music, realize that you are linked to an ancient coalition of science, art and spirituality. Seek to perceive the essence of theraga as it awakens within you some profound response. Feel the underlying rhythm that unites the pulse and breath of your body with the sway of Nature. Realize that a harmonizing flood of sound is pouring over your being—the calming tanpura drone, the raga of voice and instrument, the energizing tala of drums.Listen not only with your ear but also with your heart, mind and soul. This music is a bridge from modern life to ancient India, connecting the present time with the timeless. Allow your soul to reach for the yogic state wherein the listener, the music and the musician become one. Experience music as you never have before.Naren K. Schreiner is the Director of Sangita Yoga - The Yoga of Music, located near Encinitas, CA.