154

APPENDIX -I

Format of bio-data

1. Name :

2. Age, D.O.B. :

3. B/G :

4. Religion

5. Cast :

6. Father‘s Name :

7. Occupation :

8. Income :

9. Mother‘s Name :

10. Occupation :

11. Siblings :

12. Other Family members :

13. Address :

14. Town/Village :

Flat/Residence/House :

15. Whether any sick/disabled

members your family :

155

16. Whether any family members

are talented artists :

17. Any of your ancestors had

any talent :

18. Whether you like film music/

carnatic music why? :

Whether you have any training

in music/dace/Any other art

form apart from school training :

156

APPENDIX -II

MENTAL HEALTH PROFILE

Mental Health Profile developed by Vanajakumari and H, Sam

Sananda Raj, (1995) was used to measure the variable of mental health.

The test contains 40 items and it is divided into four subsets, each having

10 items. The first subsets measure Self-Esteem, second subset measures

Autonomy, third subset measures Emotional Stability, and the fourth

subset measures Social Competence.

Sl.No Item True False

1 I prefer to do thing which are novel and difficult

2 I can make up my mind and stick to it.

3 I am fully confident my abilities.

4 I often wish I were someone else

5 I am able to do thing as well as most other people.

6 I can usually take care of myself.

157

7 I search for words while introducing myself to others

8 I often feel that lack something that makes one successful.

9 I am easily upset failure

10 I feel I am failure in life.

11 I am responsible for my mistakes

12 I do not like others interfering with my work

13 I have my own option about everything.

14 I do many things because of the pressure from others

15 Before taking at a decision consider to side of the issues

16 My friend‘s opinion influence my decisions greatly

17 I do not like my parents always taking decisions for me.

18 I select my own thing.

19 I want to be self-sufficient in every respect

158

20 It is dangerous to be too independent

21 I am easily hurt by criticisms

22 I am moved into tears without reasons.

23 I feel nervous when I do or speak something in front of others

24 I find it different to concentrate on my work due to

rensions/worries-

25 I always feel lonely and sad

26 I react to others words/ actions immediately without second

thought

27 I feel fed up with this life

28 I do not feel greatly attached to anybody

29 I feel dangers lurking on my way

30 I get easily annoyed over silly things

31 I get along well with my classmates/ friends

159

32 My friends do not appreciate my abilities

33 I like to engage in group activities

34 I do not like to discuss my [ersonal problems even with my

close friends

35 My friends confide their personal matters with me

36 I feel isolated in social situations

37 I am embarrassed in the group of elders

38 I Others often take advantage of me

39 I cannot make others understand my viewpoints

40 I find very few people who are dependable and trustworthy

160

APPENDIX -III

STRESS TOLERANCE SCALE

Introduction

Certain statements related to life experience are given below. As

far as you are concerned. All these may not be true. Yet you are

requested to give your responses for all the statements thinking that you

have to face these situations. You have to put a ‗√‘ mark on any of the

five alternatives namely, A, B, C, D or E so as to indicate the extent of

your agreement with these statements. ‗A‘ stands for strongly agree, ‗B‘

for agree, ‗C‘ for undecided, ‗D‘ for disagree, and ‗E‘ for strongly

disagree. Please do not omit any item. Your response will be kept

confidentioal and will be used for research purposes only.

The stress tolerance scale developed by Resmy and Sananda Raj

(1999) was used for measuring the stress tolerance levels of the subjects.

The scale consists of 24 items having equal number of positive and

negative items. Both English and Malayalam versions are given in the

scale.

The items were selected after item analysis, such that items having

medium P values and highest correlation value were selected. The Phi-

coefficient ranged from 0.22 to 0.62 and the P values ranged from 0.26

to 0.72.

‗A‘ ‗B‘ ‗C‘

‗D‘ ‗E‘

161

Sl.No Item

1 I am able to withstand situations which deprive me

of my rights

A B C D E

2 I feel mentally depressed if any member of my

family becomes ill.

A B C D E

3 Life won‘t seem unbearable to me even if I have to

face financial crisis.

A B C D E

4 I am unable to tolerate the criticisms of others A B C D E

5 I find it difficult to controlled anger. A B C D E

6 I cannot tolerate situations wherein I am deprived A B C D E

7 I can face embarrassing situations. A B C D E

8 I don‘t feel it unbearable if I am left alone due to

communal reasons.

A B C D E

162

9 I can withstand any situations arising out or unstable

income.

A B C D E

10 I will not yield to emotional pressure A B C D E

11 I have the capacity to withstand frustration A B C D E

12 I cannot withstand a situation wherein I should

suppress my hospitality

A B C D E

13 I don‘t find it difficult to face unfavorable

situations.

A B C D E

14 I cannot tolerate situations when I fail to express my

anger.

A B C D E

15 I can face situations when I have to quarrel with my

close relatives

A B C D E

16 I accept it as challenge when I cannot adjust my

income with my expenses..

A B C D E

17 If anything is lost unexpectedly. I cannot withstand

it.

A B C D E

163

18 The feeling of insecurity often troubles me. A B C D E

19 Even if it is impossible, as far as I am concerned, I

fail to say ‗no‘.

A B C D E

20 The sense of loss does not depress me. A B C D E

21 I can face any difficult situation bravely. A B C D E

22 I cannot complete things which need priority. A B C D E

23 I cannot bear the sight of a motor cycle accident

which happens unexpectedly.

A B C D E

24 I cannot tolerate the feeling of loneliness while

among friends.

A B C D E

164

APPENDIX - IV

SPIRITUALITY SCALE

Introduction

The Statements given below are related to spirituality. You are

requested to indicate how far you agree of disagree with these, as per the

guidelines given below. Five response categories are given for each

statement. ‗A‘ stands for strongly agree. ‗B‘ agree, ‗C‘ undecided, ‗D‘

disagree and ‗E strongly disagree. Read each statement carefully and

then give your answer by putting a ‗ ‘ mark against your response.

Please do not omit any item. Your responses will be kept confidential

and will be used for research purpose only.

This scale was developed by Sreekumar and Dr. Sam Sananda Raj

(2002). The scale developers conceive spirituality as the personal,

subjective side of religious experience. It included a broad focus on the

immaterial features of life that are used to explain material life.

The scale was designed to measure spirituality of people belonging to

Hindu, Christian and Islam and also other religions.

The draft scale with 45 items was administrated to 300 subjects

belonging to Hindu, Christian and Islam religions. They were subjected

to item analysis using Mathew item Analysis Table (Mathew, 1982). The

final form includes 26 items. The P value of the items varied between

165

0.40 and 0.71 and Phi-coefficient varied between 0.29 and 0.78. Item

nos. 4, 5,7,10,14,16,19, 20, 21, 22 and 26 are negative and others are

positive items.

‗A‘ ‗B‘ ‗C‘

‗D‘ ‗E‘

Sl.No Item

1 I feel the presence of God A B C D E

2 Fate has a decisive role in my life A B C D E

3 I think that the soul is eternal A B C D E

4 I think it is not necessary to believe in God A B C D E

5 This Universe consist of only material things A B C D E

6 There is an extra sensory power in the world A B C D E

166

7 I do not give importance to spirituality in my life A B C D E

8 I think that God is present in every human being A B C D E

9 There are certain phenomena which can be

explained only through spiritual principles

A B C D E

10 I think that God is present in every human being A B C D E

11 I love God A B C D E

12 I often feel profound peace of mind A B C D E

13 Prayer uplifts my mind A B C D E

14 I think that spiritual experiences are more

imaginations

A B C D E

15 I think it is possible to communicate with God. A B C D E

16 I believe that we have no existence beyond this

material world

A B C D E

17 Spiritualistic view makes my life more meaningful. A B C D E

167

18 My mental strengenth is connected to my

spirituality

A B C D E

19 I do not think that healing by means of prayet/ faith

is possible.

A B C D E

20 I think there is no benefit in leading a spiritual life. A B C D E

21 I do not like to discuss spiritual topics A B C D E

22 Even in hard times, I do not rely on God. A B C D E

23 I believe that some people can predict the future

exactly

A B C D E

24 I think that the universe is controlled by a supreme

force.

A B C D E

25 We can broaden our views of life through spiritual

experiences.

A B C D E

26 I am not ready to sacrifice worldly pleasure for

spiritual; purposes.

A B C D E

168

APPENDIX - V

SOCIAL ANXIETY MEASURE

This test was developed for measuring the anxiety resulting from

the prospects or presence or interpersonal evaluation in real or imagined

social settings or what is called ‗social anxiety‘ (Sanand Raj 1995).

The term Social Anxiety as used in this scale implies the

experience of distress, discomfort, fear etc in social situations as the

deliberate avoidance of social situations and as fear of receiving negative

evaluation from others. It may be remembered that there are similar

terms such as public speaking anxiety, speaking anxiety, speech anxiety,

shyness, interpersonal anxiety, heterosexual anxiety, stage fright,

communication apprehension, embarrassment and audience anxiety. By

these terms are not synonymous with one another. As a matter of fact,

researchers in some of these areas have carried on their own lines of

work, especially for the development of tests to measure the concept.

Literature on measurement of ‗anxiety‘ indicates that there is no

systematic attempt made by psychometricians to construct and

standardized a tool for obtaining indices of social anxiety, covering

various areas of its manifestation.

Social anxiety measure was developed earlier in 1988 and the

revised version (Sananda Raj, 1995) was used in this study. There were

169

30 items in the present scale, covering a wide variety of social situations

involving anxiety. It may be mentioned here that there are equal number

of positive and negative statements (items) in this test.

Sl.No Item

64

A B C D E

65

66

67

68

69

70

71

170

72

73

74

75

76

77

78

79

80

81

82

83

84

85

86

87

88

89

90

91

171

92

93

172

APPENDIX - VI

kwKoX¯nse {]KÛcmb A²ym]Icn \n¶pw Bhiyamb

\nÀt±i§Ä tiJcn¡p¶Xn\v th­n X¿mdm¡nb tNmZymhen

1. bp.]n k-vIqÄ Ip«n-Isf kcfn hcniIÄ, P­ hcniIÄ

XpS§nb kwKoX¯nsâ BZy ]mT§Ä ]Tn¸n¡p¶p. Cu

coXnbn Ae¦mcw, Asæn KoXw hsc ]Tn¸n¨m aXntbm?

2. Ip«nIfn izmk \nb{´Ww D­mIm³ hyXykvXamb

Fs´¦nepw Hcp \nÀt±iw Xcm³ Ignbptam?

3. Ip«nIfn kv]ncn¨zmenän hfÀ¯nsbSp¡phm³ Ignbp¶

Fs´¦nepw \nÀt±iw ]dbmtam?

4. Ip«nIfn kmaqlyt_m[w hfcphm³ Fs´¦nepw amÀKw

\nÀt±in¡mtam?

5. ambmamfhKuf cmK¯nemWv Ip«nIsf kwKoX¯nsâ _me

]mT§Ä ]Tn¸n¡p¶Xv. CXn \n¶pw hyXykvXambn

GsX¦nepw cmKw D]tbmKn¨m ^eh¯mIptam?

6. t_m[\ F¶ Dr.koX cmP³ FgpXnb ]pkvXI¯nÂ

]dªncn¡p¶ {]Imcw taml\ cmK¯n kwKoX¯nsâ _me

]mT§Ä ]Tn¸n¡p¶¯nt\mSpÅ A`n{]mbw F´mWv?

7. Ip«nIfn kwKoXm`ncpNn D­mhm³ Fs´Ãmw ]cnioe\§Ä

sImSp¡phm³ Ignbpw?

8. Ip«nIfn tZiobmht_m[w hfÀ¶p hcphm³ GXp

Xc¯nepÅ IrXnIÄ {]tbmP\s¸Spw?

9. ap³]v kwKoXw A`ykn¨n«pÅ Ip«nIÄ¡v Fs´Ãmw

]cnioe\§Ä hyXykvXambn sImSp¡phm³ km[n¡pw?

10. Ip«nIfn XmfÚm\w hfÀ¶p hcphm³ Fs´Ãmw

]cnioe\§Ä sImSp¡Ww?

173

APPENDIX – VII

CHECKLIST FOR MEASURING MUSICAL INTEREST

Xmsg sImSp¯ncn¡p¶ tNmZy§Ä Hmtcm¶pw hmbn¨v Ahbv¡pÅ

D¯cw AsX (yes). ‗?‘ (Undecided). CÃ (no) F¶nhsb kqNn¸n¡p¶

y, u, n Chbn GsX¦nepsam¶n Hcp ASbmfan«v tcJs¸Sp¯pI.

y Asæn n F¶p]dbphm³ {]bmkapÅt¸mÄ am{Xta u F¶v

ASbmfs¸Sp¯phm³ ]mSpÅq F¶ Imcyw {]tXyIw {i²n¡pI.

1 kwKoXw tIÄ¡pt¼mÄ aäv Imcy§fnÂ

]qÀ®ambpw {i² sNep¯phm³ km[n¡mdpt­m?

2 {]IrXnbpambn CgpInt¨À¶ncn¡p¶ kwKoXw

BkzZn¡phm³ km[n¡mdpt­m?

3 lrZbanSn¸nsâ Xmfw {i²n¡mdpt­m?

4 BkzZn¨psIm­ncn¡p¶ Km\w s]s«¶v

\ne¨pt]mIpt¼mÄ hnImcm[o\\mImdpt­m?

5 Hcp IhnXbv¡v CuWw \evIm³ {ian¨n«pt­m?

6 hcnIfpsS BkzmZ\¯n\mWv kwKoXt¯¡mfpw

ap³Xq¡w sImSp¡p¶Xv?

7 AhcpsS PohnXssienIÄ \n§fpsS PohnXs¯

GsX¦nepw coXnbn kzm[o\n¨n«pt­m?

8 ]mTyhnjb¯n kwKoXs¯ DÄs¸Sp¯nbXv

\n§fn B\µw P\n¸n¡p¶pt­m?

9 ta¸dªXv aäpÅ hnjb§fn \n¶pw apàn

t\Sm\pÅ Hcp D]m[n am{XamWv?

10 kwKoX¯nepÅ I¼w CXc]mTyhnjb§sf

tZmjIcambn _m[n¡mdpt­m?

11 kwKoXt¯mSpÅ AanX Bkàn Fsâ

PohnXNcyIfn Xs¶ {]ISamb amä§Ä

hcp¯nbn«pt­m?

174

12 Hcp Km\¯nsâ CuWw B Km\¯nsâ hcnIÄ

Ffp¸w lrZnØam¡m³ klmbn¡mdpt­m?

13 kwKoX¯n ]co£ \S¯p¶Xnt\mSv

tbmPn¡p¶pt­m?

14 kwKoX]T\w aptJ\ D¯chmZnXzt_m[w, A¨S¡w

XpS§nb KpW§Ä Hmtcmcp¯cnepw D­mIpw F¶v

hnizkn¡p¶pt­m?

15 tdUntbm sSenhnj³ XpS§nbhbn hcp¶

kwKoX]cn]mSnIÄ tIÄ¡phm³ XmXv]cys¸Sp

¶pt­m?

16 Hcp Km\w thZnbn AhXcn¸n¡m³ In«p¶ Hcp

Ahkchpw ]mgm¡n¡fbmdnÃ?

17 CeIv{SnIv D]IcW§Ä

{]hÀ¯n¸n¡pt¼mgp­mIp¶ i_vZt¯mSv

\n§fpsS i_vZw tNÀ¡m³ {ian¡mdpt­m?

18 aäv ]mTyhnjb§fpsS ]T\`mcw aqew kwKoXw

th­ coXnbn BkzZn¡m³ Ahkchpw kabhpw

e`n¡mdnÃ?

19 a\ÊnepÅ kwKoXw aäpÅhcpsS ap¼nÂ

AhXcn¸n¡phm³ ]et¸mgpw PmfyX

tXm¶mdpt­m?

20 Hcp Km\w BkzZn¡p¶tXmsSm¸w AXnsâ _m¡v

{Ku­v ayqkn¡pw BkzZn¡mdpt­m?

21 {]IrXnbnse kq£va i_vZ\mZ§Ä tIÄ¡pIbpw

AXv A\pIcn¡m³ {ian¡pIbpw sN¿mdpt­m?

22 ]cnNnXKm\§Ä thKXIq«nbpw Ipd¨pw ]mSn

t\m¡nbn«pt­m?

23 Hcp Km\w tIÄ¡pt¼mÄ AXnsâ

CuW¯n\\pkcn¨v Xmfw sIm«p¶ ioew Dt­m?

24 Hcp Km\w thZnbn AhXcn¸n¡m³ e`n¨

Ahkc§fn AXv k`mI¼anÃmsX

175

AhXcn¸n¡m³ Ignªn«pt­m?

25 Itcms¡bpsS klmbt¯msS Km\§Ä

Be]n¡phm³ {ian¡mdpt­m?

26 hfsc Zqsc \n¶pÅ t\À¯ kwKoXw t]mepw Fsâ

{i²bnÂs¸Smdpt­m?

27 PohnX¯n C¶fw Hcp Km\w t]mepw ]Tn¡phm³

{ian¨n«nÃ?

28 kwKoX¯nsâ aqey§sf Xncn¨dnbphm³

{ian¡mdpt­m?

29 kwKoX¯n \n¶p­mIp¶

AanXhnImcm[o\Xaqew AXv XpSÀ¶v tIÄ¡m³

hnapJX {]ISn¸n¨n«pt­m?

30 In«p¶ Ahkc§fnseÃmw Km\w Be]n¡phmt\m

tIÄ¡phmt\m XmXv]cys¸Sp¶p?

31 kwKoXw D]cn]T\hnjbambn kzoIcn¡phm³

XmXv]cys¸Sp¶p?

32 kwKoXw Hcp ssZhoI IebmsW¶v

hnizkn¡p¶pt­m?

33 ]mSp¶h³ Cc«n {]mÀ°n¡p¶p F¶ {InkvXob

hN\t¯mSv tbmPn¡p¶p?

34 Cuizc³ t]mepw kwKoXs¯ Bcm[n¡p¶p­v

F¶v hnizkn¡p¶pt­m?

35 kwKoX¯neqsS Cuizckm£mXv¡mcw Ffp¸w

km[yamIpw F¶v Hmtcm aXØcpw hnizkn¡p¶p?

36 kwKoXw tIÄ¡pt¼mÄ AXn \n¶pw Hcp

ssZhoI]cnthjw A\p`hn¡mdpt­m?

37 tZi`ànKm\§Ä, tZiobKm\w Ch tIÄ¡pt¼mÄ

kncIfn cà{]hmlw IqSpIbpw cjv{S¯n\p

th­n lrZbw XpSn¡pIbpw Sn¿mdpt­m?

38 tZi`ànKm\§fpsSbpw tZiobKm\¯nsâbpw

FÃmw Bibw Adnbm³ {ian¨n«pt­m?

176

39 tZiobKm\w HmÀ¡kv{SbpsS AI¼SntbmsS

tIÄ¡m³ km[n¨n«pt­m?

40 kwKoXam[pcyw ]£narKmZnhr£eXmZnIÄ

t]mepw Xncn¨dnbp¶pt­m?

41 Hmtcm ssienbnepw cmK§fnepw DÅ Km\§Ä

hyXykvX aqUv D­m¡pw?

42 Hcp Km\w Asæn Hcp IhnXbv¡v CuWw

\ÂIp¶Xn\v ap¼v AhbpsS AÀ°¯n\v th­{X

{]m[m\yw \ÂIWw?

43 Hcp Km\s¯ kw_Ôn¨v AXnsâ kwKoX¯n\pw

kmlnXy¯n\pw Hcpt]mse {]m[m\yw sImSp¡Ww?

44 i_vZ¯nsâ D¨X BkzmZ\s¯ _m[n¡p¶ Hcp

LSIamWv?

45 kwKoXw am\knI ]ncnapdp¡w Ipd¡phm³

klmbn¡p¶p?

46 ]pXnb Hcp Km\w Hcp hyànsb

BImw£m`cnX\m¡pw?

47 a\Êns\ GIm{Kam¡m³ klmbn¡p¶ LSIamWv

kwKoXw?

48 kwKoXw A`ykn¡phm³ Ahkcw DÅhÀ

`mKyhm·mÀ F¶ {]kvXmh\tbmSv

tbmPn¡p¶pt­m?

49 kwKoX A`yk\¯n\v KpcpIpe k{¼Zmbw Gsd

{]tbmP\{]ZamWv?

50 \nc´c kwKoX{ihWw a\Êns\ ip²oIcn¡pIbpw

_p²nsb D±o]n¸n¡pIbpw sN¿pw F¶Xnt\mSv

tbmPn¡p¶pt­m?

177

APPENDIX - 8

“Practice make perfect” Anon.

PSYCHOLOGICAL VARIABLES FOR EXPERIMENTAL STUDY

RESULT OF PRE-TEST(EXPERIMENTAL GROUP)

Name Stress toleranc

e

Self esteem

Auto nomy

Emot Ional

Stabi lity

Social Compe

tena

Total Ment

al Helth

Spirituality

Social Anxity

Check list

1. Gopika Unnikrishnan

55 8 7 5 7 27 124 82 1

2. Krishnapriya Reji

76 10 8 8 8 34 104 68 1

3. Sania Biju 79 7 4 6 3 20 99 80 1

4. Sneha k. George

72 8 6 6 4 24 96 82 1

5. Sanigha M.S. 76 10 5 7 5 27 119 84 1

6. Reenu Cheriyan

73 9 6 5 6 26 121 84 1

7. Archana Suresh 86 8 7 5 8 28 128 66 1

8. Sandra Babu 94 8 7 8 8 31 127 74 1

9. Sana Soji 80 5 7 4 5 21 117 86 1

10. Afina P.A. 82 8 8 4 1 21 127 72 1

11. Devananda M.B.

88 10 5 8 10 33 112 66 1

12. Ann Anjal K.S. 84 5 3 7 5 20 110 82 1

13. Adheena Biju 72 8 8 4 2 22 100 70 1

14. K.S. Farzana 79 7 7 6 7 27 120 83 1

15. Aisha P.M. 69 9 7 5 6 27 113 103 1

16. Anjana Sudhakaran

66 7 6 1 4 18 93 80 1

17. Devika Ramesh 42 6 5 6 8 25 99 93 1

18. Aliya M.A. 92 10 6 6 8 30 110 80 1

19. Anusha Shajikumar

58 10 6 8 5 29 112 57 1

20. Alisha Tomy 70 8 7 6 9 30 121 57 1

21. Malavika Rajesh

60 9 7 10 7 33 114 54 1

22. Deena Davis 66 10 8 3 3 24 113 81 1

23. Aleena Manoj 68 8 7 7 6 28 121 57 1

24. Soyal Sunny 73 10 6 7 5 28 124 75 1

25. Sona Davis 59 10 6 8 5 29 124 56 1

APPENDIX VIII

178

26. Fathima P.H. 76 10 4 7 3 24 106 71 1

27. Ashna

Mukundan

56 8 7 3 3 21 95 62 1

28. Devika

Murali

74 6 6 5 9 26 106 60 1

29. Melgha Jose 83 9 8 6 8 31 107 70 1

30. Parvathy

P.M.

78 10 7 6 6 29 102 60 1

31. Elsa Joy 68 10 6 10 5 31 108 78 1

32. Aleena Antu 70 9 9 6 8 32 117 72 1

33. Sandra

Poulose

74 8 7 5 2 22 118 78 1

34. Nandana

Biju

80 3 5 1 5 14 108 103 1

35. Anna Martin 82 6 5 4 6 21 110 90 1

179

APPENDIX - IX

PSYCHOLOGICAL VARIABLESFOR EXPERIMENTAL STUDY

RESULT OF POST-TEST(EXPERIMENTAL GROUP)

Name Stress

toleranc

e

Self

esteem

Auto

nom

y

Emo

t

Iona

l

Stab

i

lity

Social

Comp

e

tena

Total

Menta

l Helth

Spirit

uality

Soc

ial

An

xity

Chec

k list

1. Gopika

Unnikrishnan

120 10 8 10 10 38 130 30 1

2. Krishnapriya

Reji

120 10 8 10 10 38 130 30 1

3. Sania Biju 84 9 8 9 8 34 118 50 1

4. Sneha k.

George

104 10 7 10 8 36 118 61 1

5. Sanigha M.S. 120 10 9 10 10 39 130 78 1

6. Reenu Cheriyan 120 10 9 10 10 39 130 47 1

7. Archana Suresh 115 10 8 10 6 34 129 41 1

8. Sandra Babu 104 10 10 10 6 36 130 38 1

9. Sana Soji 89 10 8 9 10 37 116 59 1

10. Afina P.A. 116 10 8 10 9 37 118 62 1

11. Devananda

M.B.

98 10 7 10 10 37 122 58 1

12. Ann Anjal K.S. 112 10 8 10 10 38 117 50 1

13. Adheena Biju 108 10 10 10 8 38 127 62 1

14. K.S. Farzana 114 10 9 10 10 39 126 50 1

15. Aisha P.M. 120 10 7 9 9 35 125 50 1

16. Anjana

Sudhakaran

92 8 8 7 9 32 104 62 1

17. Devika Ramesh 108 9 7 8 10 34 122 70 1

18. Aliya M.A. 96 10 8 7 9 34 116 38 1

19. Anusha

Shajikumar

120 10 8 10 10 38 130 42 1

20. Alisha Tomy 106 10 7 10 9 36 126 42 1

21. Malavika

Rajesh

116 10 9 9 9 37 130 30 1

22. Deena Davis 120 10 9 10 10 39 130 38 1

23. Aleena Manoj 114 10 9 9 10 38 127 38 1

24. Soyal Sunny 120 10 9 10 10 39 130 30 1

25. Sona Davis 120 10 8 10 10 38 130 30 1

26. Fathima P.H. 108 10 9 10 9 38 118 54 1

27. Ashna

Mukundan

104 10 8 10 8 36 114 50 1

180

28. Devika Murali 116 10 9 10 10 39 126 38 1

29. Melgha Jose 109 10 9 8 9 36 115 55 1

30. Parvathy P.M. 111 10 9 10 9 38 118 55 1

31. Elsa Joy 110 10 8 10 9 37 128 41 1

32. Aleena Antu 113 10 8 8 9 36 126 42 1

33. Sandra Poulose 105 10 7 7 8 35 122 46 1

34. Nandana Biju 92 10 9 9 9 37 114 62 1

35. Anna Martin 110 8 8 8 10 35 118 46 1

181

APPENDIX - X

PSYCHOLOGICAL VARIABLESFOR EXPERIMENTAL STUDY

RESULT OF (CONTROL GROUP)

Name Stres

s tole

rance

Self

esteem

Auto

No

my

EmotI

onal

Stabi

lity

Socia

l

Com

pe

tena

Total

Mental

Helth

Spiritualit

y

Social

Anxit

y

Chec

k list

1. Jenitta

Varghese

68 9 5 5 6 27 110 85 1

2. Kesiya Vinod 68 9 7 7 5 28 76 80 1

3. Nithya Das P. 80 8 6 6 4 23 92 82 1

4. Nikhitha

Ramesh

57 5 4 4 2 15 84 81 1

5. Sreeshma

Ajeesh P.A.

59 8 5 5 5 22 96 83 1

6. Beyatris C.

Benny

62 8 9 9 7 29 90 94 1

7. Meenu

Francis

62 7 4 4 5 20 118 83 1

8. Tressa Jose 67 8 8 8 5 27 105 86 1

9. Simran

Saheer

60 7 5 5 3 21 109 88 1

10. Anupriya

Sahadevan

64 9 5 5 3 25 97 92 1

11. Aneesh

Ajitkumar

90 8 9 9 8 31 110 53 1

12. Aleena Joy 59 9 4 4 5 24 118 82 1

13. Tesnamol

Jaison

76 5 5 5 3 20 106 99 2

14. J.Sangeetha 69 6 3 3 6 20 82 102 1

15. Navya

Kannan

62 6 3 3 6 23 77 94 1

16. DivyaMahade

van

84 7 3 3 6 24 97 100 1

17. Shani Sali 64 7 6 6 4 23 92 92 1

18. Beneetta

Baiju

73 5 3 3 4 19 77 99 1

19. Megha P.S. 66 6 4 4 3 16 92 91 1

20. Aysha Nidha

C.A.

72 7 8 8 6 27 102 96 1

182

21. Keerthana 64 4 6 3 4 17 94 80 2

22. Bhavya G. 71 5 4 4 5 18 98 76 1

23. Nandana A.M 80 2 6 3 4 15 103 99 1

24. Dessa Maria 89 6 6 4 6 22 100 69 1

25. Anna Maria 92 5 5 7 4 21 89 85 1

26. Anakha K.A 77 6 7 6 6 25 103 77 1

27. Athira K.L 95 6 4 7 5 22 97 65 1

28. Aiswarya

Rajesh

88 7 7 7 4 25 106 61 1

29. Anamika P.

Mani

93 7 6 6 8 27 101 70 1

30. Athulya M.A 59 4 6 2 4 16 88 60 1

31. Gopika G. 86 5 5 4 6 20 94 73 1

32. Meenakshi

K.G.

99 8 4 5 5 22 98 59 1

33. Ummuhani

K.M.

100 4 8 7 5 24 107 64 1

34. Aleena

Sebasti

89 5 5 6 5 21 99 70 1

35. Christy C.S. 104 7 6 8 7 28 100 82 1

183

APPENDIX - XI

Total Result of each group

Sl.No. S.E AUT. E.S.T S.C. M.H. S.T. S.P.R.T. S.A. C.L.

1 8 7 5 7 27 55 124 82 1

2 10 8 8 8 34 76 104 68 1

3 7 4 6 3 20 79 99 80 1

4 8 6 6 4 24 72 96 82 1

5 10 5 7 5 27 76 119 84 1

6 9 6 5 6 26 73 121 84 1

7 8 7 5 8 28 86 128 66 1

8 8 7 8 8 31 94 127 74 1

9 5 7 4 5 21 80 117 86 1

10 8 8 4 1 21 82 127 72 1

11 10 5 8 10 33 88 112 66 1

12 5 3 7 5 20 84 110 82 1

13 8 8 4 2 22 72 100 70 1

14 7 7 6 7 27 79 120 83 1

15 9 7 5 6 27 69 113 103 1

7 6 1 4 18 66 93 80 1 16

184

17 6 5 6 8 25 42 99 93 1

18 10 6 6 8 30 92 110 80 1

19 10 6 8 5 29 58 112 57 1

20 8 7 6 9 30 70 121 57 1

21 9 7 10 7 33 60 114 54 1

22 10 8 3 3 24 66 113 81 1

23 8 7 7 6 28 68 121 57 1

24 10 6 7 5 28 73 124 75 1

25 10 6 8 5 29 59 124 56 1

26 10 4 7 3 24 76 106 71 1

27 8 7 3 3 21 56 95 62 1

28 6 6 5 9 26 74 106 60 1

29 9 8 6 8 31 83 107 70 1

30 10 7 6 6 29 78 102 60 1

31 10 6 10 5 31 68 108 78 1

32 9 9 6 8 32 70 117 72 1

33 8 7 5 2 22 74 118 78 1

34 3 5 1 5 14 80 108 103 1

35 6 5 4 6 21 82 110 90 1

36 10 8 10 10 38 120 130 30 1

185

37 10 8 10 10 38 120 130 30 1

38 9 8 9 8 34 84 118 50 1

39 10 7 10 8 36 104 118 61 1

40 10 9 10 10 39 120 130 78 1

41 10 9 10 10 39 120 130 47 1

42 10 8 10 6 34 115 129 41 1

43 10 10 10 6 36 104 130 38 1

44 10 8 9 10 37 89 116 59 1

45 10 8 10 9 37 116 118 62 1

46 10 7 10 10 37 98 122 58 1

47 10 8 10 10 38 112 117 50 1

48 10 10 10 8 38 108 127 62 1

49 10 9 10 10 39 114 126 50 1

50 10 7 9 9 35 120 125 50 1

51 8 8 7 9 32 92 104 62 1

52 9 7 8 10 34 108 122 70 1

53 10 8 7 9 34 96 116 38 1

54 10 8 10 10 38 120 130 42 1

55 10 7 10 9 36 106 126 42 1

56 10 9 9 9 37 116 130 30 1

186

57 10 9 10 10 39 120 130 38 1

58 10 9 9 10 38 114 127 38 1

59 10 9 10 10 39 120 130 30 1

60 10 8 10 10 38 120 130 30 1

61 10 9 10 9 38 108 118 54 1

62 10 8 10 8 36 104 114 50 1

63 10 9 10 10 39 116 126 38 1

64 10 9 8 9 36 109 115 55 1

65 10 9 10 9 38 111 118 55 1

66 10 8 10 9 37 110 128 41 1

67 10 8 8 9 36 113 126 42 1

68 10 7 7 8 35 105 122 46 1

69 10 9 9 9 37 92 114 62 1

70 8 8 8 10 35 110 118 46 1

71 9 5 5 6 27 68 110 85 1

72 9 7 7 5 28 68 76 80 1

73 8 6 6 4 23 80 92 82 1

74 5 4 4 2 15 57 84 81 1

75 8 5 5 5 22 59 96 83 1

76 8 9 9 7 29 62 90 94 1

187

77 7 4 4 5 20 62 118 83 1

78 8 8 8 5 27 67 105 86 1

79 7 5 5 3 21 60 109 88 1

80 9 5 5 3 25 64 97 92 1

81 8 9 9 8 31 90 110 53 1

82 9 4 4 5 24 59 118 82 1

83 5 5 5 3 20 76 106 99 2

84 6 3 3 6 20 69 82 102 1

85 6 3 3 6 23 62 77 94 1

86 7 3 3 6 24 84 97 100 1

87 7 6 6 4 23 64 92 92 1

88 5 3 3 4 19 73 77 99 1

89 6 4 4 3 16 66 92 91 1

90 7 8 8 6 27 72 102 96 1

91 4 6 3 4 17 64 94 80 2

92 5 4 4 5 18 71 98 76 1

93 2 6 3 4 15 80 103 99 1

94 6 6 4 6 22 89 100 69 1

95 5 5 7 4 21 92 89 85 1

96 6 7 6 6 25 77 103 77 1

188

97 6 4 7 5 22 95 97 65 1

98 7 7 7 4 25 88 106 61 1

99 7 6 6 8 27 93 101 70 1

100 4 6 2 4 16 59 88 60 1

101 5 5 4 6 20 86 94 73 1

102 8 4 5 5 22 99 98 59 1

103 4 8 7 5 24 100 107 64 1

104 5 5 6 5 21 89 99 70 1

105 7 6 8 7 28 104 100 82 1

189

APPENDIX - XII

Sapta Svaras

First speed - one note per unit

X 1 2 3 x √ x √

II s r g m p d n s II

II s nd p m g r s II

Second speed - two notes per unit

x 1 2 3 x √ x √

II srgm pd ns sn dp mg rs II

Third speed - four notes per unit

x 1 2 3 x √ x √

II srgm pdns sndp mgrs I srgm pdns I sndp mgrsII

Fourth speed - eight notes per unit listen

x 1 2 3

II srgmpdns sndpmgrs srgmpdns sndpmgrs I

X √ x √

Isrgmpdns sndpmgrsIsrgmpdns sndpmgrs II

SARALI VARIŚĀS

x1 23 x√ x√ x 1 2 3 x √ x √

||s r –sr - | s r | g m || s r g m | p d | n s ||

||s n -s n -| s n | d p || s n d p | m g| r s ||

190

x 1 2 3 x √x√ x 1 2 3 x √ x √

||s r g s r g| s r || sr g m | p d | n s ||

||ṡ ndṡ n d | ṡ n || s n d p | m g | r s ||

x 12 3 x √ x√ x 1 23 x√ x √

||s rg ms r g m|| s r g m | pd | n s ||

||ṡ nd p ṡ n d p || ṡ n d p | m g | r s || etc….

JANTA VARISĀS

1 ||s s r r g g m m p p d d n n ṡṡ|| ṡṡ nn dd pp mm gg rr ss ||

2 ||s s r r g g m m|r r g g | m m p p ||

|| g g m m p p d d | m m p p| d d n n ||

|| p p d d n n ṡṡ|ṡṡ n n | d d p p ||

|| n n d d p p m m| d d p p | m m gg||

||pp mmg g rr ||m m g g | r r | s s ||

3 ||s s r r g g r r | s s r r | g g | m m ||

||r r g g m m g g | r r g g | m m p p||

||g g m m p p m m | g g m m|p p d d||

||m m p p d d p p |m m p p| d d n n ||

|| p p d d n n d d |p p d d | n n ṡṡ||

||ṡṡ n n d d n n || ṡṡ n n | d d p p ||

191

||n n d d p p d d | n n d d | p p m m|| d d p p | m m | p p || d d p p | m

m | g g || p p m m | g g | m m || p p m m | g g | r r || m m g g | r r |

gg|| m m g g | r r | s s ||

Gītam -1

SRĪ GANANATHA (LAMBŌDARA)

Rāgam: Malahari

Tāḷam: Rūpakam (Chathurasra Jāthi)

Composer: Purandaradasa

aro: s r1 m1 p d1 s ||

ava: s d1 p m1 g3 r1 s ||

Pallavi:

Srī Gananātha Sindūra varnakaruna Sāgara Kari Vadana

Lambōdara Lakumi-kara Ambā Sutha Amara Vinutha

Charaṇam 1:

Siddha Chārana Gana SēvithaSiddhi Vināyaka Tē Namo nama

Lambōdara Lakumi-kara Ambā Sutha Amara Vinutha

192

Charaṇam 2:

Sakala Vidyādi PūjithaSarvōthama Tē Namo nama

Lambōdara Lakumi-kara Ambā Sutha Amara Vinutha

Meaning: Pallavi: O leader of the pramada ganas, (―Srī Gananātha‖), you

are the clor of vermillion (―sindūra varna‖), and the ocean of compassion

(―karuna Sāgara‖). You have the visage (―vadana‖) of the mighty

elephant (―kari‖) and a protruding belly (―Lambōdara‖). You hold

goddess lakshmi (―lakumi‖) in your hand (―kara‖). O son of Parvathi

(―ambā sutha‖) you are worshipped by (―vinutha‖) the gods (―amara‖).

Charanam 1: You have all the holy men at your feet (―siddha charana‖)

and you are worshipped by the pramadha ganas who are the followers of

lord Siva (―gana sēvitha‖). You grant your devotees all their wishes

(―siddhi vināyaka‖) and I bow to you (―the namo ‖). Charanam 2: You

are the first (―adi‖) one to receive obeisance (―pūjitha‖) when setting

upon acquiring any kind of knowledge (―sakala vidhya‖). You are the

greatest one of all (―sarvōthama‖) and I pray to you.

Geetham-2

Rāgam: Suddha Sāvēri (29th mēla janyam)

Tāḷam: Triputa Tisra Jāthi

Ārōhanam : S R2 M1 PD2 S

193

Avarōhanam: S D2 PM1 R2 S

Sahityam: Ānalēkara Unni Pōladi Sakala Shāstrapuraana

Dhīnam Tāḷa Dhīnam Tāḷa Parigathu Rere Setu Vaaha Pariga Tamnam

Jataajoota

Meaning: (Adapted From: Perfecting Carnatic Music, Level 1 by

Chitraveena Ravikiran) Even as we watch ("aanalekara"), the water

(unni") stored in a tank leaks through another outlet (pooladi"). In the

same manner, my life has been wasted ("parigathu") without the

awareness ("dhīnam") of the ancient texts and scriptures (ṣāstrās and

purānās).

Kriti 1

Rāma nanu brōvaraa

Rāgam: Harikāmbōji

28 Harikāmbōji mēḷa

Ārōhanam: s r2 g3 m1 p d2 n2 s

Avarōhanam: s n2 d2 p m1 g3 r2

Tāḷam: Rūpakam

composer: Tyāgarāja

language: Telugu

194

Pallavi

Rāma nanu brōvara Vēmako Lōkabhi

Anupallavi

Cimalo Brahmalo Shiva Keshavadulalo Prēma Mīra Melugu Cunde

Birudu Vahincina Sīta

Caraṇam

Meppulakai Kannatāvu-Nāppu Badaga Virravigi

Tappu Panulu Leka Unde Tyāgarāja Vinuta Sita

Meaning:

O LOkAbhirAma! Won't you come and protect me? You are acclaimed

as the benefactor of all Creation from the tiny ant to the Trinity. Charmer

of mankind. You fascinate and lure us. Have you at any time found me

seeking money from any quarter whatsoever, to lead and indolent,

artificial life of pomp and luxury? Have I been roaming about, bloated

with haughtiness and indulging in sinister, unscrupulous acts? O

SItArAma worshipped by Tyāgarāja!

195

Kriti 2

Rāgam: Pūrvi kalyāni

53 Gamanashrama janya

aa: s r1 g3 m2 p d2 p s

av: s n3 d2 p m2 g3 r1 s

Tāḷam: Rūpakam

composer: Tyāgarāja

language: Telugu

Pallavi

Jnāna Mosaga Rāda Garuda Gamana Vāda

Anupallavi

Nī Namamuce Namadi Nirmalamainādi

Charaṇam

Paramatmudu Jīvatmudu Padinalugu Lokamulu Nara Kinnara

Kimpurusulu Nāradadi Munulu

Paripūrna Niskalanka Niravadhi Sukha Dāyaka Vara Tyāgarājarcita

Varamu Tanane

196

Meaning:

Lord! Should you not grant me wisdom and redeem me? O the rider on

Garuda! Are you cross with me? Constantly chanting your name has

made my mind pure and stainless. So can't you initiate me into the

ultimate advaitic doctrine so that I may realize and experience the unity

of the Supreme Paramaatmaa and the individual Jeevatma and identify

myself with the entire creation of the fourteen worlds, human beings and

celestials like Kinnaraas, Kimpurushaas, and sages like Naarada? O

Supreme and Perfect One. O the Impeccable one! Bestower of eternal

Bliss! The one prayed to by Tyāgarāja!

Kriti 3

Rāgam: Dhanyāsi

8 Hanumatōdi janya

Aa: s g2 m1 p n2 s

av: s n2 d1 p m1 g2 r1 s

Tāḷam: ādi

Composer: Tyāgarāja

Language: Telugu

197

Pallavi

Sangīta Jnānamu Bhakti Vina Sanmargamu Galade Manasa

Anupallavi

Bhrngi Natēsha Samīraja Ghataja Matanga Nāradadulu Pasincu

Anupallavi

Nyāya Anyāyamu Delusunu Jagamula Māyāmani Delusunu Durguna

Kāyajādī Sad-Ripūla Jayincu Kāryamu Delusunu Tyāgarājuniki

Meaning:

O Mind, mere knowledge of music without devotion can never lead to

the right path. Lord Nataraaja, Anjaneeya, sages like Brungi, Agastya,

Maatanga and Naarada worship you through music, saturated with

devotion. Is there a supreme mode of worship? Tyāgarāja knows how to

discriminate right and wrong. He is also aware that this world is unreal

and transient. He has found the way to conquer the six inward enemies

like lust, attachment, anger etc. Yet he is fully convinced that there is no

other way to salvation than knowledge of music integrated with

unalloyed devotion.

198

Kriti 4

Raagam: Jaganmōhini

15 Māyāmāḷava Gauḷa Janya

aa: s g3 m1 p n3 s

av: s n3 p m1 g3 r1 s

Tāḷam: Rūpakam

Composer: Tyāgarāja

Language: Telugu

Pallavi

Shōbhillu Saptasvara Sundarula Bhajimpāve Manasa

Anupallavi

Nābhi Hṛt-Kanṭa Rasana Nāsādulu Andu

Caraṇam

Dhara rksāmādulalo Vara Gāyatri Hṛdayamuna

Sura Bhūsura Mānasamuna Ṣubha Tyāgarājuni Eda

199

Ḉitta Svaram

S,, S,, p,, n, s n p m g, n p m g r s n. s, s, m g, p m n p,

S n G R S g r s g m p n S, S p S n p m n, n m

n p m g m, p s p m g r s, s, m, g r s S, n

p m M, G R S s g m p n S S n p m m g r s s n. p.

n. s g r s m g r s p m n p m g r s S n p m g r s

n. p. n. s g m p n S, , n p, n S n, S G R,

S M G, R S n p n S G R, S M G R S g m n m, p S n p m n s g r, s g m p n

(śobhillu)

Meaning:

O Mind! Praise the divine forms of the seven musical notes, which glow

in the navel, heart, neck, tongue and nose of the human body. (The seven

notes) which shine in the four Vedas and in the sublime Gayathri Mantra

as its essence.(The seven notes) which sparkle in the hearts of the

celestials, of worthy Bhusuras and of Tyāgarāja.

200

Kriti 5

Rāgam: Māyāmāḷava Gauḷa

15 Māyāmāḷava GauḷaMēḷa

Aa: S R1 G3 M1 P D1 N3 S

Av: S N3 D1 P M1 G3 R1 S

Tāḷam: Rūpaka

Composer: Swāti Tirunāl

Language: Sanskrit

Pallavi

Dēva Dēva Kalayāmi Tē Charanāmbuja Sēvanam

(Dēva)

Anupallavi

Bhuvanatraya Nāyaka Bhūri Karunaya Mamava

Bhavatāpamakhilam Vāraya Rama Kānta

(Dēva)

Ḉaraṇam 1

Parama Hamsaligeya Pavitratara Ghōra Duraita Ḉarita Dinamanu

Ṣravana Nirata-

201

Pari Jananikara Kamitartha Paripurana Lolupa Bhuri Manojnapanga

(Dēva)

Caraṇam 2

Varana Dussaharyi Varana Bahu Nipuna Puruhutamara Pujita Bhavya

Caranayuga

Viracaya Shubhamayi Vishadanabhijata Bharatisha Krtanuti

Parama Tusta Bhagavan

(Dēva)

Caraṇam 3

Jatarupa Nibhacela Janmarcitam Mamakhila Pataka Sancayamiha

Varaya Karunaya

Ditijāli Vidālana Dīnabandho Māmava Shrta Vibudha Sāla Shri

Padmanabha Shaure

(Dēva)

Meaning:

Oh, God of Gods ! I serve at your lotus feet. Oh, Mahavishnu !spouse of

Rema, Lord of three worlds, pray dispel all my worldly afflictions. You

are pure-hearted and revered by supreme ascetics. You listen to the

sufferings of the devotees; remove their sins and fufilll their desires

202

through your kindly glances.Your sacred feet, capable of preventing and

arresting the audacious opponents, are worshipped by Indra and other

celestials. May the God, so pleased by the glories sung by Brahma, as he

emerged from the God's navel, bless me with goodwill and well-being.

May the kindly God, who wears Pithambara, the yellow silk, shining like

blazing fire, annihilate all my afflictions accumulated through past

births. May the Valiant God, Padmanabha, who vanquished the

Asuravamsha in support of the cause of the oppressed and who remains

like a Kalpavruksha to those taking refuge in him, come and protect me

Kriti 6

Rāgam: Hamsadwani

29 Dhīra Śankarābharaṇam Janya

Aa: S R2 G3 P N3 S

Av: S N3 P G3 R2 S

Tāḷam: ādi

Composer: E.V. Raamakrishna Bhaagavatar

Pallavi

Vināyakaa! Ninnu Vinā Brocutakoo

Vērevaruraa? Vigna Rāja

203

Anupallavi

Anāta Rakshaka Nīve Kādaa

ādarinchi Nanu Brōvaraadaa

(Vināyaka)

Caraṇam

SarasīruhārunāYuga Carana

Satatamu Shrta Jana Sankata Harana

Parama Krpāsaagaravara Suguna

Pālitajana Gōpāladāsanuta

(Vināyaka)

Meaning:

Hey Vinayaka, without you who is there to look after,

Hey King of removing obstacles

Are you not the protector of orphans,

Can you not encourage me and look after me

He who has lotus like mien , he who is red . He who conducts eons,

He who always removes the sorrows of his devotees,

He who is the great ocean of mercy, He who blesses , He who is good,

Pleases protect every one, prays Gopaladasa.

204

Kriti 7

Rāgam: Jhinjōti

28 Harikāmbōji Janya

Aa: D2 S R2 G3 M1 P D2 N2

Av: D2 P M1 G3 R2 S N2 D2 P D2 S

Tāḷam: ādi

Composer: Sadāshiva Bruhmendrar

Pallavi

Sarvam Brahmamayam Re Re

Caraṇam 1

Kim Vacanīyam Kīma Vacanīyam Kim Racanīyam Kima Racanīyam

Caraṇam 2

Kim Pathanīyam Kima Pathaniyam Kim Bhajaniyam Kima Bhajaniyam

Caraṇam 3

Kim Boddhavyam Kima Boddhavyam Kim Bhoktavyam Kima

Bhoktavyam

205

Caraṇam 4

Sarvatra Sada Hamsa Dhyanam Kartavyam Bho Mukti Nidanam

Meaning: Contributed by S Balasubramanian

everything is Brahma Mayam; All is just the Almighty's presence.

1. What may be spoken and what may not be spoken, what can be

created and what may not be created (in relation to poetry or otherwise)

2. What may be studied and what not to be studied, what may be recited

and what may not be recited

3. What may be taught and what may not be taught; what may be

enjoyed and what may not be enjoyed - everything is HIS creation and

HIS work.

4. So, always immerse yourself in HIS dhyaanam and that will take you

towards 'salvation'

The short message of this song is do not enter into arguments and

discussions as to what is right and what is wrong; all that would be

meaningless and unnecessary. What is meaningful is 'Pray HIM' and

'Merge in HIM"

206

Sai bhajan:-

Govinda Bōlo Gopala Bōlo

Ram Ram Bōlo Hari Nam Bōlo

Allah maalik isa nanak

Zourashtra mahavir Buddha naam Bōlo

Ye naam saarey hain jeevan sahaare

Paramaanandhkey kholthe hain dvarey

Jo naam chaho vo naam Bōlo

Prem sey bolo bhav sey Bōlo

Meaning : Sing the glorious names of Govinda, Gopala, Rama, Hari,

Allah, Sai, Jesus, Nanak, Zoroaster, Mahavir, and Buddha. As

companions in life,they open our hearts to supreme bliss. Chant the name

you choose with love and devotion.

To develop spirituality and reduce social anxiety in students………

Meanings of some Ślōkās from the sixth chapter of Srimat Bhagavat

Gīta

―uddharetåtmanåtmånamnåtmånamavasådayet

åtmaiva hy-åtmano bandhur åtmaiva ripur åtmana˙‖ - 6.5

207

‗Raise yourself by yourself; don‘t let yourself down, for you alone are

your own friend, you alone are your own enemy‘.

Living beings must elevate themselves by the mind (atma) – they must

not degrade themselves. Certainly, the mind (atma) is the friend of the

living beings as well as their worst enemy,

―bandhuh åtmåtmanah tasya yenåtma evåtmanå jitah˙

anåtmanah tu śatrutve vartetåtmaiva śatruvat‖

For one who has subdued the mind, the mind is a friend. However, for

one who has not controlled the mind, the mind is the greatest enemy.

– 9th

adhyāya‘s 27th ślōka of Bhagavat Gīta –

―yatkarōshi yadashnāsi yajjuhoshi dadāsi yat

yattapasyasi kaunteya tatkurushva madarpanam // 9.27 //‖

Whatever you do, whatever you eat, whatever you offer in

sacrifice, whatever you give away, whatever you practice as

austerity, O Kaunteya, do it as an offering to Me. This verse

explains how through all activities of life one can constantly live

in the spirit of `devout offering' unto the Supreme. It is repeatedly

said in the Gīta that mental attitude is of utmost importance than

208

the mere physical act and this fact is generally overlooked by the

seekers.

12th Adhyāya‘s 18

th ślōka –

―samah shatrau cha mitrē cha tathā mānāpamānayoh

śītoshnasukhaduhkheshu samah sangavivarjitah // 12.18 //‖

Translation:-He who is the same to friend and foe, in honour and

dishonour, in cold and heat, in pleasure and pain, who is free from

attachment.

18th

adhyāya‘s 58th

ślōka of Bhagavat Gīta.

―macchittah sarvadurgāni matprasaadaat tarishyasi;

athachet twam ahaṅkārāt na śroshyasi vinangkshyasi // 18.58 //‖

Translation:-Fixing your mind on Me, you shall by My grace overcome

all obstacles; but if from egoism you will not hear Me, you shall perish.

Mentally renouncing all actions in Me and having Me as the highest

goal: Both the ego and egocentric anxieties for enjoying the rewards are

to be renounced and then actions are to be performed keeping The Lord

as the goal.

209

APPENDIX -XIII

Lyrics of poems for composing.

Poem-1

സഫലമീയാത്ര–എ³.എ³. കക്കാട്

ആÀ{Zമീധനുമാസരാവുകളിൄലാന്നിÂ

ആരിരവരുും ാകുമലേ സഖീ

ഞാനീജനലഴി ിടിൄചാട്ടുനി¡ൄട്ട

നീൄയ³അണിയത്തുരൄന്നനില്ക്കൂ ....

Poem – 2

Poem by Vayalar Ramavarmma

ത് ഭാരഗാ ുരവാരിÂരുറന്നു

­v aനുഷയ³വന്നു.

വിശവത് കൃരിവരുും െകയാൄട

വിരുന്നു നÂIm³ നിന്നു

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APPENDIX –XIV (a)

Teaching Note for the First Six Months

Date :- 20-7-2015

Class :- 5-7

Strength of the class :- 35 students

Duration of the period :- 30 Minutes

pitch of students‘ :- 6

Rāga and tāḷa :-MāyāmāḷavaGauḷaRāga, Ādi tāḷa

The Ārōhaṇa and Avarōhana

of the rāga :- srgmpdnṡ - ṡndpmgrs

The Name and serial number

of its Janaka rāga :-15th

mēḷakartha rāga

Equipment for teaching:-

1 Śruthi-box - having provision for different ṡruthīs.

2 A Laptop/computer.

3 Books dealing with the theory and history of Carnatic music

composers and books containing songs.

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4 Portraits of musicians and pictures of musical instruments.

5 A board black-board with adi tala lines drawn. By bisecting the

leghu portion of the board with another temporary line of

chalk, the same board may be used to write songs in Rūpaka,

Chāppu, Triputa, and Jhampa tāḷa in notation.

6 The black board can have the following particulars written on

it, Name of the song, Composer, Rāga, Tāḷa, Ārōhana-

Avarōhana, Mēḷakartha no.

e.g.

The lesson and procedure to be followed in teaching:-

Saptasvarās, variśās and alankārās are taught to the children in the

first six months. To increase their breathe control each svarās and notes

are sustained in the second pitch of the āditāḷa. Stopwatch must be used

to count the timings. The children are made familiar with the yoga and

they are made to practice prāṇāyāma as part of breathe control exercises.

I4 O O

X 1 2 3

s r g m

ṡ n d p

X √

P d

m g

X √

n ṡ

r s

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The children are asked to render ‗s r g m p d n s‘repeatedly

changing stress on each svarās, so as to develop their concentration.

APPENDIX – XIV(b)

Teaching Note for the Second Six Months

Date :- 22-1-2016

Class :- 5-7

Strength of the class :- 35 students

Duration of the period :- 30 Minutes

pitch of students‘ :- 6

Equipment for teaching:-

1 Śruthi-box - having provision for different śruthīs.

2 A Laptop/computer.

3 Books dealing with the theory and history of Carnatic music

composers and books containing songs.

4 Portraits of musicians and pictures of musical instruments.

5 A board black-board with adi tala lines drawn. By bisecting the

leghu portion of the board with another temporary line of

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chalk, the same board may be used to write songs in Rūpaka,

Chāppu, Triputa, and Jhampa tāḷa in notation.

6 The black board can have the following particulars written on

it, Name of the song, Composer, Rāga, Tāḷa, Ārōhana-

Avarōhana, Mēḷakartha no.

e.g.

The lesson and procedure to be followed in teaching :-

The exercises for increasing breath control and improving

concentration are continued. For creating and developing rhythm

consciousness (tālajnānam) instructions are given to the students hands.

When takita or takadhimi are uttered, first clap is to be given for ‗tha‘

and then given for ‗ki‘ thus changing alternatively. It should be similar to

‗s r g m p d n s‘giving hands in their respective order (first giving clap

for sa, then for ri… and so on).

To develop and improve concentration and Śruthi consciousness

the children are instructed to render sapthasvarās and gītās by changing

I4 O O

X 1 2 3

s r g m

ṡ n d p

X √

P d

m g

X √

n ṡ

r s

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the śruthi to 5, 5 ½ , 6, 6 ½, 7 respectively. The children are taught gīthās

after teaching them varisās and alankārās.

APPENDIX – XIV(c)

Teaching Note for the Third Six Months

Date :- 24-8-2016

Class :- 5-7

Strength of the class :- 35 students

Duration of the period :- 30 Minutes

Pitch of students‘ :- 6

Equipment for teaching:-

1 Śruthi-box - having provision for different śruthīs.

2 A Laptop/computer.

3 Books dealing with the theory and history of Carnatic music

composers and books containing songs.

4 Portraits of musicians and pictures of musical instruments.

5 A board black-board with adi tāḷa lines drawn. By bisecting the

leghu portion of the board with another temporary line of

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chalk, the same board may be used to write songs in Rūpaka,

Chāppu, Triputa, and Jhampa tāḷa in notation.

6 The black board can have the following particulars written on

it, Name of the song, Composer, Rāga, Tāḷa, Ārōhana-

Avarōhana, Mēḷakartha no.

e.g.

The lesson and procedure to be followed in teaching :-

In order to develop the positive qualities referred above and

to reduce the social anxiety, we must deliver lectures of selected

compositions, quoting and meanings from Bhagavat Gīta and other

scriptures.

In order to improve the quality of self esteem and humanism we have to

convey the meanings of some Ślōkās from the sixth chapter of Srīmat

Bhagavat Gīta rendered by Dr. M.Balamuraleekrishna, before giving

them opportunity to listen those renderings.

I4 O O

X 1 2 3

s r g m

ṡ n d p

X √

P d

m g

X √

n ṡ

r s

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The students are asked to listen to the Bhagavad Geeta rendering

by Dr. M. Balamuraleekrishna. The meanings of the ślōkās of Bhagavad

Gīta are explained to the children and train them to remember the

respective meanings of ślōkās as and when those are rendered by the

great musician. As each chapter is composed with a different music it

would be easy for the children to memorise the meanings.

To promote Spirituality – 9th

adhyāya‘s 27th

ślōkā of Bhagavat Gīta –

―yatkarōshiyadashnāsiyajjuhoshidadāsiyat……….

(Rendered by Dr. M.Balamuraleekrishna)

In order to curtail Social Anxiety:- we accord 12thAdhyāya‘s 18

th

ślōkā –

―samahshatrau cha mitrē cha………..

(Rendered by Dr. M.Balamuraleekrishna)

With the purpose of elimination egotism among children the

meanings of prominent kritis are explained to them. For example:

RamanannuBrovara, Tyāgarāja‘s kriti, Harikāmbōji rāga, Rūpaka tāḷa

Jnanamusagarada…Tyāgarāja‘s kriti, Pūrvikalyāni rāga, Ādi tāḷa

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Sangītha JnānamuBhakthivina…Tyāgarāja‘s kriti, Dhanyāsi rāga,

Āditāḷa ShobilluSapthaswara…Tyāgarāja‘s kriti, Jaganmohinirāga,

Rūpakatāḷa.

Deva devakalayamithe… Swathi Tirunal‘s kriti, MāyāmāḷavaGauḷa rāga,

Rūpakatāḷa

Analekara…(gītham)ŚuddhaSāvēri rāga, TrisraTriputaTāḷa

Vināyaka ninnu… etc.E.V Ramakrishna Bhagavathar‘s kriti,

Hamsadvani Rāga, Āditāḷa.

The devotional and theological aspects of these works are to be

conveyed to the students.

Instruct these children to the exercise ― Nādānusandhānam…‖

Let them sing this using akāram, ikāram, ukāram and makāram which

would be helpful in increasing the volume and the capacity to control

breathe.

The student should cultivate a habit of writing the lyrics themselves on

hearing a worthy song. To deniable those to develop this ability, a song

are played and they are asked to write the lyrics.

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Exercises for breathe control, Rhythm awareness (thalajnanam), Sound

awareness (swarajnanam), Pitch awareness? (Shruthi jnanam) are

continued. The learned lessons are to be revised.

Narrate stories and biographies of eminent musicians like

M.S.Subbulakshmi and Beethovan along with those of the ‗Musical

Trinity‘ TyāgarājaSwāmi, Muthuswāmi Dīkshithar and ShyāmaShāstri.

These will motivate the students.

To measure the aesthetic sense, they are instructed to listen the

renderings of Carnatic kritis by prominent singers like M.S.

Subbulakshmi, Bombay S. Jayashree, Sudha Raghunathan etc. by

playing their CDs. They are asked to prepare five questions on any of

those CDs so as to get apt answers.

A study tour is also planned to Kerala Kalamandalam, a deemed

University for Music, Kathakali, Dance and other arts. The purpose is to

make the students familiar with the music of Kathakali, Bharathanatyam,

Mohiniyāttam etc. They have to get experience of the Kathakali stories

in which music has prominent role. They must be given opportunities to

identify the rāgās of different padās of Kathakali, Mohiniyāttam etc.

They will get chances to mingle with the Music teachers of

Kalamandalam and clear their doubts.

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APPENDIX - XV

PECULIARITIES OF AGE GROUP 9-12

Human development is a lifelong process of physical, behavioral,

cognitive, and emotional growth and change. In the early stages of life—

from babyhood to childhood, childhood to adolescence, and adolescence

to adulthood— enormous changes take place. Throughout the process,

each person develops attitudes and values that guide choices,

relationships, and understanding.

Children‘s physical, emotional, and cognitive growth is more important.

Adults have a responsibility to help young people understand and accept

their evolving sexuality.

Each stage of development encompasses specific markers. The following

developmental guidelines apply to most children in this age group.

However, each child is an individual and may reach these stages of

development earlier or later than other children the same age. When

concerns arise about a specific child‘s development, parents or other

caregivers should consult a doctor or other child development

professional.

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COGNITIVE DEVELOPMENT

Most young people ages 9 to 12 will:

Move toward independence as they progress to middle/junior high

school

Continue developing skills in making decisions as they become

more independent

Begin to consider future careers and occupations

Shift their school focus from play-centered activities to academics

Begin to look to peers and media for information and advice

(friends greatly influence them.)

Develop increasing capability for social conscience and for

abstract thought, including understanding complex issues such as

poverty and war

Take on increased responsibility, such as family jobs and

babysitting

SOCIAL DEVELOPMENT

Most young people ages nine to 12 will:

Want to blend in and not stand out from their peers in any way,

particularly as to gender roles and sexuality

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Feel concern about outward appearance

Become self-conscious and self-centered

Have ambivalent, conflicting feelings about puberty and sexual

desire

Care greatly about relationships with peers, friendships, dating and

crushes, and give peers more importance than family

Relate to both same-gender and different-gender peers; may

develop sexual feelings for others as a new dimension within

relationships

Develop the capacity to understand the components of a caring,

loving relationship

Experience feelings of insecurity and begin to doubt self-concept

and previous self-confidence. Often experience a significant drop

in self-esteem.

Struggle with family relationships and desire privacy and

separation from family (They test limits and push for

independence.)

Experience mood swings, especially evident in family

relationships

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APPENDIX –XVI

Technical Terms

1 Excursions

Excursions to places of musical importance and interest would be

beneficial for students of music in developing their academic interests as

well as their creative aptitude towards music. Places, which were the

seats of music in the past or associated with prominent musicians and

composers, temples which contain musical stone pillars, sculptures of

concerts or celestial musicians, or images of playing musical instruments

are advisable spots that may induce liking for the art in them. So are

museums containing musical instruments of historical importance,

galleries with portraits of great musicians, composers, lakṣanakāras and

patrons, archives that possess noted specimens of music on tapes and

collections of music books and musical manuscripts, places containing

musical inscriptions, gramophone recordings, libraries with information

on music and musicians, famous concert halls, opera houses,

broadcasting stations and places where Saṛvavādyam, Kuravanci

nātakam or dance dramas are performed.

Teachers of music should also encourage students to attend children‘s

concerts that are well organised and performed, because the healthy

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attempts of less musically talented participants to reach the standards of

their gifted friends during the performances such as ‗singing, kummi,

kōlattam, ammanai and other indigenous games, the svarajñānam

exercise, musical compositions, periodical demonstrations of music and

so on‘ are sure to stimulate a deep liking towards musical studies.

Asking the students to provide the sruti accompaniment such as

Tamburu or Sruti box during music class, or asking the ones with ringing

voices and deep tāḷajñānam or the rhythm knowledge to lead the class

while revising old songs they learned, would improve their confidence in

themselves. Organising concerts by students on the occasion of

celebration of anniversaries of great composers will too boost their

morale as well as their interest in music. Stories of marvellous influence

of rāgas, of patronages lavished upon musicians in the past, of the

honours and titles bestowed upon Vidvāns, and the stories of musical

contests as well as anecdotes are sure to incite interest in children

towards music and learning it.

1 Breathing Exercise

Inculcation of proper breathing habits is a necessity in learning music.

To inhale and to exhale slowly while keeping one‘s head erect and chest

braced, and not to breathe in through the mouth is the right way, so that

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it would steadily fill the lungs without strain. Proper application of

breath control would ensure continuity and longevity of phrase, as well

as help one from not being out of breath in the middle of a word or in

any places which might spoil the flow of music.

A suggestive exercise would be to ask children to slowly inhale through

nose, exhale through mouth, and while they breathe out, they should be

asked to sing the note ‗ṣadja‘ with vowels a, e, i, o and u. This exercise

would help maintain healthy lungs and air passage, and also helps in

controlling breath, thereby enhancing the lung capacity to aid in

continuous singing, as well as help one realise the extent to which one

may hold his or her breath on a note.

Methods for the Development

2 Tāḷajñānam:- It deals with the understanding of time each note or

no note should hold for. Inability to understand the rhythm is more

a mistake than missing a note while singing. Therefore, proper

sense of rhythm should be nurtured in children who learn music,

or else the teacher may find it difficult to inculcate in them

rhythmic precision in the later stages of study. There are instances

of eminent musicians lacking tālajñānam which resulted in

awkwardness in one or the other form. The traditional music

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educational system insists on practicing the svara exercises (the

svarāvalīs, the janta svara, and the alankāra) in trikāla or the three

degrees of speed.

In a concert, the music presented is either rhythmical with compositions

set in a particular rhythm or tāla, or non-rhythmical with rāga ālāpana, or

with ślōkās, padyās and vruttams of specific rāgās, after the manner of

ālāpana. The teacher may first sing a composition in the class, followed

by the recital of ślōkā, padya or vruttam and the same shall be made

clear to his/her students than introducing them to a music which is not

set to any time and sung in a free manner. A person is said to possess

proper knowledge in tāḷajñānam if he/she has constancy in duration of

time between counts or the kāla pramāṇa śudha; if he/she adheres

regularly to the constituent sequences or angās of rhythm or tāḷa;

identifies the rhythmic patterns of unfamiliar songs pallavīs as well as

the ‗eduppu‘ of pallavīs and their intricate compositions; and keeps time

accurately when a mridangam player or a performer of any tāḷa

instrument performs a solo. The ‗laya jñānam‘ or the sense of harmony a

person exhibits in music is said to be proper when he/she is accurate in

calculating the time and gap even in a composition that advances slowly

or at the ‗ādi chakra kāla‘.

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Renowned musicians are so thorough with the rhythm and harmony,

that, they may even not count time when an expert mridangam player

gives a solo or ‗tani vinikai‘. It takes a long time for a musician to learn

to acquire accuracy in understanding time, without the influence of

rhythmic phrases played on mridangam, in even or odd, or rugged

rhythms or tāḷa, or the beginning series of rhythmic phrases on fractional

points on the count of tāḷa.

The students at first must be taught that the duration of time for each

countshould exactly be the same in the tāḷa. In the case of a count with

one-second duration, a ādi tāḷa āvarta should be completed in the

duration of eight seconds. The concept of kāla pramānaor uniform

duration may be taught to the students by pointing out its similarity with

that of the clock ticks. Once a student is familiar with long and short

notes, as well as the duration of the svarās, the following method shall be

incorporated for the development of tāḷajñānam by the class.

Method:

The first phase in developing one‘s sense of rhythm is to teach the

students to distinguish between shorter and longer notes, for which the

teacher may sing the phrases ‗s S s‘, ‗R r r‘ and ‗g g G‘ to the class,

allowing them to point out the longer and shorter notes in each of the

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phrases. The teacher should also point out the similarity of duration with

respective short or long note in each of the cases.

3 Śruti Jñānam

The term ṡruti refers to both key notes and quarter tone in music, but

‗Śruti Jñānam‘ denotes a musician‘s ability to sing accurately in a chosen

pitch. Such a person would not only be accurate in pitch, but also sings

in accordance with the note selected by him as the key note, or the

‗adhara shadja‘, and would be able to tune stringed instruments such as

Vīna, Violin, Tamburu or Gottuvādyam accurately.

Method:

The teacher may at first make the class to listen to the sruti before asking

each one of them to sing the note ‗sa‘. The class may be asked to sing the

note ‗pa‘ followed by the ‗tāra shadja‘ on the completion of first two

notes by the class. They may together sing ‗Sa-pa-ṡa-pa-Sa‘ at the end of

the class. This exercise helps the teacher to make the fact clear to the

students that pitches of other notes can only be defined after the ‗shadja‘

being properly learned and fixed in memory.

The second step in this method is to train the students on single notes.

The teacher may sin the notes like G M P R and ask students to join in

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singing each of the note while he/she may continue in solfa syllables or

to sing the notes in ‗akāram‘, which will help the students to learn to

blend or merge with a given note. The students may practice to sing

SPṠPS and SRGMPNṠ-ṠNPMGRS in Māyamāḷavagauḷa or

Śankarābaraṇam scale with ṛiṣaba, gāndhāra and madyama as key notes

respectively.

The teacher may proceed to sing a phrase like gmP in ‗akāram‘ in a sruti

and the students may be asked to sing the same phrase in a different

sruti, either higher or lower. The teacher may then sing a few phrases in

‗akāram‘ without sounding the sruti and the students may hum the key

note at the end, which can also be repeated by starting anew on different

pitch.

To test the class of their remembrance of key-note, the teacher may voice

the sruti for a small amount of time and should pause for a minute or

two, and ask the class to sing the key note ‗Sa‘. Once the class begins

song, the sruti may be stopped and the students may continue on the note

without it. By the end of the test, the teacher may again bring in sruti so

that it may be verified whether the students have maintained the pitch

with which they had started.

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The next step is to identify the higher pitch of an instrument by the

student. The teacher may choose a Tamburu for tuning, in the course of

which, as the Sārani and Anusārani are found to be nearly equal, the

teacher may pluck any two strings consecutively, and the students may

be asked to identify which of the two is higher in pitch. The teacher may

also sing a portion of an unfamiliar song in a new pitch, at the conclusion

of which, the students may be asked to hum the new sruti shadja or the

key note.

The students of higher classes may be given practice in tuning stringed

instruments like the Tamburu, Vīna, Violin and Gōttuvādyam under the

tutor‘s proper training. The method of ‗jalatarangam‘ can be used to

improve the students‘ śruti jñānam as they learn by doing and listening,

especially the timing.

4 Rāgajñānam

A person, if identifies different rāgās, sings or performs ālāpanās of

rāgās by bringing out the true emotion or bhāva inherent in it without

gliding off even a bit to combinations of another rāga, can be said to

possess proper grasp on ‗rāgajñānam‘. It requires years of musical

training, though a gifted few may grasp it quickly. A teacher can only

hope that the students may learn enough at least to identify common

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rāgās such as Tōdi, Śankarābaraṇam, Bhairavi, kāmbōji, Kalyāni,

Mōhana and so on.

To help the students differentiate between rāgās, the teacher may teach a

song in common rāga, such as in Mōhana for example, and introduce

more songs of the same rāga so that the class may realise the notes to be

same even though songs differ. The teacher may point out the exclusion

of the notes ‗ma‘ and ‗ni‘ in the rāga, and the succession of svarās in

accordance with the ‗ārōhana‘ and ‗avarōhana‘ karma, although the

‗viśeṣa sancārās‘ that a rāga admits are exceptional to this rule. The

teacher may repeat the experiment with other rāgās and late, he/she may

introduce new songs in rāgās familiar to them, thereby helping them

learn identify rāgās of new songs. The teacher may use or perform

ālāpanās of rāgās. The students may also be asked to determine the rāgās

of ‗sancārīs‘ given to them in printed or cyclostyled form, or in the form

of passages in ‗bāṣāmgarāgās‘ to mark the ‗anya svarās‘.

5 Sāhitya Jñānam

It is the ability for creative adage of suitable ‗mātu‘ or libretto whenever

a musical composition demands sāhitya or literature in it. A person with

sāhityajñānam sets music to any provided piece of literature, or is able to

provide appropriate lines for any piece of music at hand. A teacher of

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music may encourage students to provide simple words for musical

phrases he/she may give them, or to attempt composing musical phrases

for given simple lines, both of which would pave way for the

development of their sāhityajñānam.

The gifted students may be trained in the art of musical composition,

starting with forming simple phrases and sentences in familiar rāgas,

followed by writing ‗cittasvara‘ for ‗varṇa‘ and ‗sancārīs‘ in a set

number of āvartās.

6 Svarajñānam

It may be defined as the ability to sing precisely from any given musical

notations, along with being able to identify, recite or note down svarās of

any musical phrase or sentence, either sung, played or heard. Such a

person would be successful in recording the correct notation of even an

unfamiliar musical composition. An average student would take quite a

long time in getting thorough with svarajñānam, whereas the gifted ones

may pick up the knowledge faster and develop it with speed.

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APPENDIX – XVII

Yoga

11. Importance of Yoga Practice and its effectiveness on children.

Yoga (8) is one among the six systems in Indian philosophy which

means ‗to join‘ or ‗to yoke‘. Development and propagation of yoga is

generally attributed to sage Patanjali in the form of Rājayoga or the

Royal Yoga, which also is called as Classical Yoga. There are other

types of Yoga which may be practiced with Rājayoga or practiced

independently.

a. Origin and Definition of Yoga

Although definite claims on the origin of Yoga is hard to come by, yet

the historical evidences from Indus Valley Civilization point out at a

great maritime nation with wide exports around the world, and an urban

life with multi-story building, sewage systems, huge public baths with

water proof bitumen walls, bricks roads and so on also include,

especially among the ruins of Mohanjo Daro and Harappa, the terracotta

figures, soapstone seals and metal carvings which resembles Yogi-like

figures engraved on them, which proves that Yoga was part of the social

system of the time, and also points out at the fact that the vedic science

should have had its origin many decades or even centuries before.

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The evolution of Yoga may be marked historically as Vedic Yoga, Pre-

Classical Yoga, Classical Yoga and Post-Classical Yoga on the basis of

its respective chronology of a method in continuous motion subjected to

change or derivations in the course of time. A uniquely Indian technique

(9), Yoga helps a person to develop deep awareness of every vibration

and pulsation within the body, as well as in the mental and physical

level, so that one may master the internal and external forces at will. It

transforms one‘s life to truthfulness and the cosmic law while moving

the person away from the mundane and bound life, enabling him or her

to release mind from the clutches of sorrow and misery, and to be free

from finite matter, sense of isolation, illusion of time, space and

causation. In modern terms, Yoga resembles a holistic method which

brings forth its practitioner to the knowledge of life as a whole; of truth,

existence, knowledge and bliss.

Yoga helps one perceive subject and object in unison and provides

vehicle for true living in its entirety, as well as to journey into the true

depth hidden within a person. Self-enfoldment, self-improvement and

eradication of thought of otherness which cause ignorance, attachment

and untold misery are achieved with the practice of Yoga along with

inner strength, sharp intellect, controlled emotion, concentration and

234

efficiency. Yoga is the skill in action, which makes one take right

decision in the right way at the right time.

Physiologically, Yoga can increase the lung capacity and rate of

respiration, improve stress resistance, reduce girth and body weight,

decrease cholesterol and blood sugar thereby stabilising, restoring and

vitalising body‘s natural systems. It is an effective curative and

preventive practice against the physical and psychological problems

caused by modern life style. prāṇāyāma,the meditation technique in

Yoga, is of paramount importance, the breath control having paramount

importance in learning music, and therefore has a vital role in this

experimental study.

b. The Benefits of Yoga for Kids

Visi Tilak says that, ―by practicing yoga poses, children can learn how to

exercise, develop confidence and concentrate better‖. Children are prone

to encounter emotional, social and physical challenges or conflicts,

which may be dealt with ―dedicated and intentional yoga practice which

includes breathing technique, behavioural guidelines and physical

postures‖ (De collibus,pag.). De Collibus is of the opinion that children

who practice yoga learns to act and react to situations, self discovery and

inquisitiveness. Shana Meyerson of the Mini Yogis yoga studio in

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Southern California believes that yoga builds self esteem and self

respect, where ―a rare opportunity to experience and focus without

worrying about being wrong‖ is presented and therefore, it is a good

option to boost the morale of those children who shy away from physical

activities or group activities due to fear of failure, lack of athletic build

or so on; and runs her studio with the clear aim to introduce children to

the prospect and benefit of yoga. Christina Enneking of Happy Hearts

Yoga in Los Gatos in California also says that yoga introduces

cornerstone values such as non-harming, truthfulness, moderation,

cleanliness, gratitude and self-discipline, which help improve the overall

well being of children.

Physical flexibility is enhanced due to the improvement in physical

strength through muscle strain, and the awareness on the functioning of

one‘s own body increases. Balance, a key factor in maintaining physical

and psychological well being can be further refined and coordinated

through yoga. Balancing poses in yoga provides mental and physical

pose, which helps to attain mental clarity and stability. Even at the face

of difficulty or failure, a child learns to calm himself/herself, and to try

again in yoga, eventually leading to success and sense of

accomplishment. Experts and teachers of Yoga and occupational

therapists say that co-ordination is linked to balance to promote overall

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dexterity may be achieved in children through finger yoga and other

specialised techniques which help with gross and fine motor

coordination. The practice of yoga helps children to develop focus and

concentration, and enables them to experience self esteem and

confidence. Enneking states that Yoga provides building blocks for the

future, develops the sense of wonder and a strong self in them, which

eventually would turn out the right tool to find their space in this world

in a righteous way. The concentration, sense of calmness, relaxation,

deep connection with the inner self and an intimate relation with the

nature and the world are the end products of yoga practice by children.

c. Benefits of Yoga in School

The benefits of yoga on body, mind and soul are numerous. In the case

of the physic of a child or an adult, yoga assists in neuromuscular

development, development of vestibular system, motor development on

both the sides of the body, development of a strong and flexible body,

increasing the balance, body awareness and coordination, improving the

posture and alignment, and in the strengthening of the core. It reduces

injuries, improves performance, digestion, circulation and elimination,

strengthens the immune system and relaxes the body to attain better

sleep.

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On psychological level, Yoga is a wonderful tool to calm and clear the

mind, to make people realise to live in the present time, with relieved

stress or tension, increased concentration and attention, as well as

elevated thinking and memory capacity. Regular practice of yoga

stimulates auditory processing and responsiveness along with expanded

imagination and creativity, as well as one‘s ability to think before action.

The benefits of yoga practice over one‘s personality includes increased

confidence and self esteem, development in character and emotional

intelligence, enhanced social skills and interaction, discipline, self-

control, individuality, self-expression, and oneness with the nature.

In short, yoga is one among the techniques which definitely improves the

connection between body and mind to encourage a healthy life style and

an overall sense of well being. In children, yoga does the magic of

making them see the beauty and light of magnanimous yet simple life

existing in them, and the knowledge helps them further to maintain

health and wellness in mind, body and spirit.

d. Prāṇāyāma

Breathing is the only physiological process that can be voluntary or

involuntary because it can either be inhaled with control and awareness

or with unconscious reflexivity. In the case of breath taken unaware, the

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primitive parts of the brain that deals with emotions, thoughts and

feelings get involved which disturb the rhythm of inhalation and

exhalation and creates havoc in the mind and the body.

a. Prāṇāyāma can be defined as a yogic technique to achieve

regularity, rhythm and balance in breathing. The word is a

combination of ‗Prāṇā‘ and ‗ayama‘ where the first word means

vital energy or life force, and the latter means extension or

expansion. Life force, which is subtle than air, is the energy

existent in everything in the world. The word prāṇāyāma thus

means an expansion of the dimension of prāṇa, where breathing

techniques are used to influence the flow of life force or vital

energy in the energy channels of the energy body called as the

Prāṇamaya Kōṡa. The life force is activated and regulated to go

beyond normal limitations, to attain a higher state of

consciousness and vibratory energy, which otherwise bind people

to the illusion of life.

The practice includes four basic steps which are Pōraka (inhalation),

Recaka (exhalation), Antaṙ Kumbaka (retention of breath after

inhalation) and Bahir Kumbaka (retention of breath after exhalation),

which are of different types and observed in various ways such as the

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Kѐvala Kumbaka which is the spontaneous breath retention, and

advanced stage which occurs during high state of meditation where the

lungs stop its activity and ceases respiration resulting in the practitioner

being able to experience the subtle aspects of existence to attain a higher

vision of reality.

The retention of breath or Kumbaka is the guiding factor in prāṇāyāma

which functions by controlling respiration. Inhalation and exhalation

strengthens the lungs and balance nervous and prānic systems precursory

to the retention of breath or kumbaka, influencing the flow of prāna in

tha nādīs which are purified, regulated and activated for better physical

and mental stability.

The yogic physiology describes the human body to be wrapped in

sheaths of five namely Annamaya Kōṡa (the physical body), Prāṇamaya

Kōṡa (the energy body), Manōmaya Kōṡa (the mental body),

Vijñānamaya Kōṡa (the intellectual body) and Ānandamaya Kōṡa (the

body of bliss); each accountable for the different dimensions of human

existence function together to form an integral whole. The Prāṇamaya

Kōṡa is made up of five major prānas called as the pancās, which are

prāṇa, aprāna, sāmānā, Udānā and Vyāna, which are further activated by

the practice of prāṇāyāma.

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Prāṇa under Prāṇamaya Kōṡa does not refer to the vital energy but the

force by which the breath is drawn inside. It governs the area between

the larynx and the top of the diaphragm, and is associated with the

organs of respiration and speech, and the gullet, together with the

muscles and nerves that activate them.

Aprāna is located below the naval region and provides energy for the

large intestine, kidneys, anus and genitals, and deals with the expulsion

of waste from the body.

Sāmānā, located between the heart and the naval, activates and controls

the digestive system which includes the liver, the intestines, the

pancreas, the stomach and their secretions, the heart and the circulatory

system. It is responsible for the assimilation and distribution of nutrients.

Udānā is situated above the neck region and activates all sensory

receptors such as the eyes, nose and ears, and initiates as well as

stabilises the thought and consciousness of the outside world. It is

responsible for the activation of limbs, muscles, ligaments, nerves,

joints, and for the erect posture of the body.

Vyāna acts as the reserve for the other four prāṇās, pervading the whole

body to control and coordinate all movements.

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There are sub-prāṇās or upaprāṇās to the pancās which are nāga, koṙma,

karika, dѐvadatta and danañjaya responsible for the bleaching, for

opening the eyes and stimulating blinking, for generating hunger, thirst,

sneezing and coughing, for inducing sleep and yawning, and for the

decomposition of body after death, respectively.

b. Praṇa and Lifestyle:

Day-to-day life of a human being influence the Prāṇamaya Kōṡa within

him or her, affecting the distribution and flow of vital energy in the body

based on proper or lack of physical activities such as exercise, work,

right intake of food and sexual relation. Emotions, thought and

imagination affect the prānic body while irregularities in life style,

dietary indiscretions and stress deplete and obstruct the flow of the vital

energy, resulting in the drainage of the life force, which further leads to

devitalisation of concerned organs and limbs leading to disease and

metabolic dysfunction. The practice of prāṇāyāma reverses this process

by energizing and balancing the different prānas within the Prānamaya

Kōṡa. it is advised that the practice of prāṇāyāma should be performed

only after proper āsanās in a genuine yoga programme.

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c. Breath, Health and Prāṇāyāma

Breath, the most vital process of a human body, influences each

and every cell, and performance of the brain as well as all other

aspects of human experience. Scientifically, an average human

being inhales and exhales fifteen times per minute, and twenty one

thousand six hundred times per day. Lack of proper breathing

technique leads most of the people to breathe incorrectly suing

only a small part of their lung capacity, which leads to shallow

breathing that may deprive the body of essential oxygen and vital

energy necessary for good health. Preparatory techniques are

helpful to tune into proper breathing with increased awareness of

the process, which would aid the practitioners in developing

sensitivity to the respirator process, where the burning of oxygen

and glucose produce energy needed for muscular contractions,

glandular secretion and psychological function, and retains the

muscles of the pulmonary cavity to enhance their vital capacity to

prepare for prānāyāma. Calm and content state of mind is a

reversible product of rhythmic, deep and slow respiration whereas

irregular breathing disrupts the rhythm and causes physical,

emotional, psychological and spiritual blocks leading to inner

conflicts and imbalanced personality, disorderly life and disease.

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Prāṇāyāma takes control of the breathing technique to establish a

regular pattern and re-establishes the natural, relaxed rhythm of

body and mind.

Awareness of one‘s own breathing forms a bridge between the

conscious and unconscious area of mind, where Prāṇāyāma may

be used to release the energy stored in neurotic unconscious

mental patterns to indulge in more creative and joyful activity.

d. Breath and Life Span :

Rhythmically stable respiration is a key factor in influencing the quality

and longevity of life. The ancient yogis and rishis who had studied the

nature in great depth had noticed that animals with slow breath rate such

as Python or Elephant live for a long span of years compared to the ones

with faster rate of breath such as dogs or birds that live only for a few

years. They realised that slow breathing increases life span due to the

direct link between the heart and the respiratory process, of which the

rhythm is broken in case of fast breaths. A slow breath keeps the heart

stronger, better nourished and contributes to longer life. Deep breathing

increases the absorption of energy by the Prānamaya Kōṡa which

enhances dynamism, vitality and general well being.

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e. Prānāyāma in Spirituality

A spiritual seeker searches for tranquillity through prānāyāma along with

removing blockages in the Prānamaya Kōṡa, with increased absorption

of prāna which may well be established to control its overflow through

techniques like Kumbaka or breath retention to calm the mind and

govern the thought process.

The stability and free flow of through the nādīs and chakras make it

possible for the spiritual aspirants to open the consciousness that leads to

higher dimension of spiritual exercise. Swami Sivananda in The Science

of Prānāyāma writes that ―there is an intimate connection between the

breath, nerve currents and control of the inner prāna or vital forces. The

vital energy becomes visible in the physical plane in the form of motion

and action, and on the mental plane as thought. Prānāyāma is the means

by which a yogi tries to realise within his individual body the whole

cosmic nature and attempts to attain perfection by attaining all the

powers of the universe‖ (pag.no). Improvement of physical and mental

well being is based on proper breathing, the lack of which disturbs the

balance between both.

The precise application of prānāyāma create effects on body, mind and

spirit on different levels on the basis of sensitivity, awareness and a

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deeper understanding of the connection between body, mind and spirit in

a human body. The techniques of prānāyāma differ on the basis of

sensitivity, tranquillity, vitality and balance and therefore are categorised

as Sensitising prānāyāma, Tranquilising prānāyāma, Vitalising

prānāyāma and Balancing prānāyāma.

Sensitising prānāyāma is the process in which the breathing technique is

practiced with an awareness of the same from gross to subtle level,

where the practitioner begins to understand the secrets underlying the

cycle of life and leads to self mastery. Certain breathing techniques

increase the sensitivity on physical and subtle levels of existence which

awakes insight into aspects of breath, prāna, body and mind. Sensitising

prānāyāma can be defined as the one practiced with the awareness of

lungs or any other part of the body, thereby bringing sensitiveness to that

part, such as in the case of mudra prānāyāma, where various mudras like

the chin mudra, the chinmaya mudra, the brahma mudra and so on are

used to get more awareness and channelize the energy.

Tranquilising prānāyāma pacifies the body and mind, while increasing

the prānic capacity as well as the conscious control of body, mind and

prāna simultaneously, and stimulates the parasympathetic nervous

system to relax and to draw the awareness inwards, bringing about

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greater physical sensitivity while also cooling the functioning of the

human system. Tranquilising practices of prānāyāma are mostly done

through both the nostrils together, or through the mouth, after bringing

balance between the sympathetic and parasympathetic nervous system

and the flow of the air between the two nostrils. In the case of Ṡītali and

Ṡītkari techniques, the inhalation takes place through the mouth, which

cools mouth and throat and gradually eliminates excess body heat. The

practice of Ujjayi and Bṙahmari prānāyāma, on the other hand, awakens

the inner psyche due to the vibration produced during Bṙahmari which

creates a soothing effect on the mind and the nervous system,

tranquilising the Prānamaya Kōṡa.

Vitalising prānāyāma produces an opposite effect to the cooling and

soothing tranquilising techniques, because the prānāyāma charges

various parts of human prānic system which creates alertness and heat on

both physical and subtle level, and arouses body and mind. This

technique is practiced when more energy is needed to be produced, or to

awaken the mind from an introspective or dull state. Constant awareness

of even the most minute change human body undergoes while practicing

this technique is mandatory, and therefore, this is regarded as an

advanced technique which shall not be practiced in hot weather or before

sleep.

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Balancing Prāṇāyāma might be most important for human well being

among the four techniques of prānāyāma. The importance of balance

between the world and one‘s own body, mind and spirit in life

determines the smooth flow of life in terms of experience and existence.

The flow of breath through each nostril regulate dual functions such as

the activity in the right and the left hemisphere, dominance, action and

relaxation of sympathetic and parasympathetic nerves, the vital and the

mental forces or energies and so on. Balanced breath exists only for a

few minutes during the natural oscillation of breath between the left and

the right nostrils, or the ida and the piṇgala nādīa, which can be extended

by altering the strength of breath that passes through the nostrils.

Balancing Prāṇāyāma are thus the breathing techniques used to

manipulate the flow of breath to bring a state of internal and external

balance.

Another type of the technique, Nādi Ṡuddi prānāyāma, practiced by

altering the inhalation and exhalation between the left and the right

nostrils, purifies the prānic channels, and enhances the proper flow of

pranic energy throughout the body. It corrects imbalance in mind and

body, and restores equilibrium by influencing the ida and the piṇgala

nādīs, by controlling oscillation of the body-mind network, and by

bringing balance and harmony throughout the system.

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f. Mudras

Mudras are combination of subtle physical movements which alter

mood, perception and attitude, and deepen the awareness and

concentration. The attitudes and postures adopted during the practice of

mudras establish a direct link between Annamaya, Prāṇamaya and

Manōmaya Kōṡas, which are the physical, prāṇic and mental bodies

respectively to balance the Kōṡas and move the subtle energy to the

upper chakras and higher level of consciousness. The mudras block the

prāṇa from dissipating into the external world, which in turn is re-

regulated to the upper chakras from nādīs and chakras. Closing the eyes

with fingers in Ṡanmukhi mudra is an example of redirecting the prāṇa

back to the body, which otherwise would have radiated outside thorough

eyes.

g. Kapālabāti

The Hatha Yoga Pradīpika by Svātmārāma talks about the six yogic

techniques or ṡaṭ kriya to cleanse the internal organs. The techniques are

Kapālabāti, Tṙātaka, Nѐtī, Dhoutī, Noulī and Basthi. Kapālabāti is a

breathing technique to purify the frontal region of the brain, to cleanse

respiratory and the nasal passage, and removes spasm in the bronchial

tubes. A large amount of carbon dioxide is eliminated and the impurities

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in the blood are expelled while the tissues and cells absorb a large

quantity of oxygen. This breathing technique aids in the proper

functioning of the heart, circulatory system and respiratory system,

resulting in good health.