Why have you identified the Ancient Music of 22 Srutis (tones) with a mystic citadel?
• I found that the family of 22 tones were contained within a trapezium. The seven Vedic tones (i.e. Sadjamagrama Scheme) were situated in the peripheral zone of this trapezium. The five derived tones (i.e. Madhyamagrama Scheme) were found located in the middle corridor. The remaining tones were found in an interior zone. These tones are not in use in the Indian classical music today. From the cryptological angle, I realised that the Sadjamagrama zone could not be penetrated unless we identify them as coded forms of seven basic natural fractions. Unless this barrier is broken, the Madhyamagrama located in the middle corridor cant be perceived. To understand Madhyamagrama, the One-sruti reduction rule mentioned by Bharata Muni has to be correctly understood. The interior zone could be perceived only when the murchana-generation rule is correctly interpreted. Even after identifying these zones, the layout of melody lines cant be understood unless one carries out mathematical simulation o
