The Breath and Indian Classical Music

And why does it matter in the context of Indian classical music? 

There’s a quiet mystique that envelops Indian classical music. It’s touted as a timeless tradition weaving intricate melodies and rhythms while eliciting profound emotions.  

But within the more prolifically celebrated features of raga (melodic framework) and tala (rhythmic patterns), there exists an often-unseen thread that binds it all together – the art of breathing. Breathing in Indian classical music isn’t just a biological necessity; it’s a profound tool that shapes rhythm, expression and the soul of the music. Read on to learn the significance of breathing in Indian classical music, uncover its role in rhythm creation, emotional resonance and the magical connection between the artist and the listener. 

The Power of the Pause  

Before getting into the Indian classical context, it’s helpful to draw an unlikely parallel of these quiet spaces to a uniquely Japanese phenomenon. Ma is a Japanese construct that, roughly translated, means negative space. It infiltrates the way Japanese people view built spaces, social relationships, possessions, art – and life itself. In a world where we are constantly trying to amass more, it stands as a stark antithesis and allows one to have more, with less.  

The Japanese kanji or symbol used to represent Ma is, in itself, deeply poetic: it combines the characters for ‘gate’ and ‘sun’ suggesting the space where light shines through a doorway. Most eloquently put, Ma is the space or interval that gives space to the whole, whether it is the silence between two claps and between musical notes, pausing at the end of the Japanese bow to communicate respect, empty and considered space in architecture and design, skillfully presented Ikebana, or contemplative lulls in conversation. It’s even deployed in iconic animated Studio Ghibli films and research shows that the emptiness — or Ma – of certain scenes and films allows onlookers to fill that quiet, two-dimensional space with their own emotions and reach a special cognitive state. Even Mary Kondo’s global decluttering movement was, in a way, an example of Ma.  

Just as Ma embodies the space between sounds, Indian classical music recognises the significance of the interval between breaths. These shared notions illuminate a cross-cultural understanding of the potency held within the pauses – the pregnant silences – that enrich both musical and artistic expressions. As we delve further, we find that these parallel journeys into the realms of Ma and breathwork are both a celebration of the unsounded, a canvas where emotions linger and an affirmation that within the unspoken, the profound is often found. 

Breathing as the Pulse of Rhythm 

Indian classical music’s rhythmic intricacies are encapsulated within its tala, or taals, the rhythmic frameworks underpinning a composition. However, beneath the complex patterns of taals lies the fundamental heartbeat – breath. Research reveals a mesmerising connection between breath and rhythm in this musical tradition. Studies reveal that Indian classical musicians possess an uncanny synchronisation between their breathing patterns and the rhythmic cycles of their compositions. This seamless coordination elevates their performances, turning them into rhythmic marvels. 

In fact, breathing is an oft-studied, oft-written about phenomenon in the context of Indian classical music, such as in The Rhythmic Organisation of North Indian Classical Music: tal, lay and laykari by Martin Richard Lawson Clayton. “There is no limit on the length or complexity of a tihai,” writes Clayton, referring to a rhythmic pattern in Indian classical music that is repeated three times to create a sense of closure and rhythmic resolution. “…For example, they are used in conjunction with divisive laykaris, and with syncopation (a common variety features a shift of accents to the off-beat for the second element, returning to the beat on the third). The use or absence of rests between elements is also a factor- tihais with no rest between elements are called bedam (lit. without breath), those with rests are damdar (lit. with breath).”  

And a familiarity with the language reveals that bedam, meaning “without breath,” suggests a relentless, uninterrupted flow akin to a continuous breath, evoking a sense of seamless motion. On the other hand, damdar, meaning “with breath,” implies an acknowledgment of rhythmic pauses, hinting at a deliberate incorporation of breathing space within the pattern. These connotations extend beyond music, symbolising a balance between unceasing momentum and moments of intentional reflection, where the very essence of breath mirrors the artistry of rhythm. 

Breathing for Healing  

But breath isn’t just a rhythmic metronome. Just as a skilled artist uses brushstrokes to convey emotion and texture, musicians employ breath to shape the emotional phrasing of their melodies. Ethnomusicological studies emphasise the nuanced manipulation of breath duration. In a symphony of inhalations and exhalations, the musician creates anticipation with a lingering inhale before a note or evokes melancholy through a gentle exhalation during a sustained tone.  

In the Himachal Pradesh University Journal Vol.7 No.2 December, 2019, Post Doctorate Research Fellow, Performing Arts, Dr. Tek Chand Koul, writes: “Music is an integral part of our lives. It begins right from our birth. The heart beats in a rhythm. Even our breathing pattern follows a rhythm. Nature is full of music. Indian classical music therapy is a complementary therapy that promotes the inbuilt natural healing process. This music produces beneficial effects and is physically, mentally, emotionally and spiritually uplifting.”  

Let that sink in for a moment. Our breathing pattern follows a rhythm, synchronising with the cadence of life that surrounds us. How, then, can we ever consider ourselves out of step with the universe’s ecstatic motion?  

Nature itself is a symphony of harmonious melodies, each element resonating in its unique rhythm. Indian classical music, a time-honoured practice, recognises the inherent musicality of existence. Within the intricate tapestry of ragas and rhythms, Indian classical music acts as a conduit, tapping into the innate natural healing process embedded within us – and around us. 

The therapeutic potential of Indian classical music lies in its ability to create a holistic resonance within the human experience. Melodic frequencies and rhythmic patterns align with our physiological, mental, emotional and spiritual dimensions. This symphony of vibrations extends beyond mere auditory stimulation; it influences our very cells, thoughts, emotions and spiritual connection. Just as our breathing becomes an essential rhythmic anchor, this music becomes a companion to our inner rhythms, harmonising our being. 

Breathing, an integral aspect of Indian classical music, serves as a potent link to healing. The deliberate control and manipulation of breath during musical performance holds therapeutic implications that extend beyond artistic expression. As musicians practice breath control to create intricate melodies and rhythms, they – almost by accident – engage in a form of mindful breathwork. Conscious modulation of breath fosters a state of focused awareness and presence, akin to meditation. Many musicians also undergo pranayama (breathing practices associated with yoga) as part of their riyaz (practice) which offer physical, mental and spiritual benefits.  

Ultimately, it becomes a bridge that connects the healing potential of breath with the therapeutic dimensions of Indian classical music, offering a pathway to emotional release, mental clarity and spiritual rejuvenation.  

The relationship between breath and music transcends the performer’s realm, extending its ethereal tendrils to the audience. This connection is perhaps most palpable in the concept of rhythmic tempo of a composition. Aligning breath with laya creates an intangible bond, drawing the audience into the emotional tapestry of the music. Research underscores the audience’s heightened emotional connection when they perceive synchronis 

The art of breath mastery isn’t handed down through textbooks; it’s nurtured within the hallowed halls of the guru-shishya Parampara (sacred teacher-student relationship) It’s a journey of understanding one’s breath in tandem with the music. Scholars reveal that this training demands not only control over the breath but also a profound awareness of its dance with the melodies, a journey as unique as each musician. 

Breathwork’s Full Potential 

Recent scientific strides unveil the physiological and psychological underpinnings of the breath-music relationship. Functional magnetic resonance imaging (fMRI) studies uncover the brain’s heightened activity during performances enriched with intricate breath manipulations.  

Furthermore, ancient wisdom finds new relevance in modern therapeutic contexts. Studies suggest that adopting controlled breathing akin to Indian classical music can alleviate stress and anxiety, hinting at breath’s potential as a holistic wellness tool. Just as the tabla‘s strokes align with the heartbeat of the universe, so does our breath with the cadence of this rollercoaster called life. 

So, the next time you see a taster session for breathwork by Darbar Festival , book your ticket and know, as breathologist Davel Patel says, that the breath never lies.  

Indian classical musicians are able to access a potent healing remedy and enlightening aid…all in those quiet spaces we often take for granted. Theirs is an art of quietude.  

And yours can be, too.