Mridangam is a South Indian version of the pakhawaj.

It bears a
strong superficial resemblance to pakhawaj but there are major
differences in construction and technique. The tone of the instrument
is quite different. This is due to differences in construction.
The construction of the mridangam is interesting. It has heavy
annular membrane around the right side, and a number of pieces of
straw which are placed radially between the annular membrane and the
main membrane. The right side has a permanent application, known
as soru or karanai. The left side uses a mixture of flour and water to
provide a proper tone. This application must be removed after each
performance. The lacing and heads are all placed upon a barrel
shaped wooden shell. The wood is usually of jackwood.

The instrument is usually tuned with a
small wooden block and a heavy stone. The
block is placed against the rawhide weaving
and struck with the stone. The manner of
striking may either raise or lower the pitch. It is
generally tuned to the tonic of the piece being
performed.
The sitting and playing technique is shown
below. One sits cross legged with the left foot
below and the right foot over and slightly
extended. The mridangam rests upon the right
foot and ankle. Since the instrument is very
heavy it is also cushioned by some rolled up
cloth placed at the right foot. The right hand
plays the smaller head, while the left hand
plays the head with the temporary application of flour.








Temporary Application of
Flour to Left Side
The origin of mridangam goes back to the Indian mythologies wherein it is stated that Lord Nandi (the
Bull God), who was the escort of Lord Shiva was a master percussionist and used to play the
mridangam during the performance of the " Taandav " dance by Lord Shiva. Another myth adds that
that the mridangam apparently was created because an instrument was needed that could recreate
the sound of Indra (the Hindu counterpart of Zeus king of Gods) as he moved through the heavens on
his elephant Airavata. That is why mridangam is called the 'Deva Vaadyam' or the instrument of the
Lords.

Indian music, like every other aspect of Indian culture, reflects centuries of influences and changes
wrought during its 3,000 years of recorded history with the immigration of the Aryans from Central
Asia in the second millennium B.C. to Islamic invasion in the 12 century B.C. and the British rule from
the seventeenth to the twentieth century. With each group came new cultural ideas and technical
innovations, and with the passage of time, the new ideas were absorbed and assimilated, emerging
finally in an undeniably Indian synthesis. In music this synthesis can be seen in the relationship
between ragas (expressive modes) of India and those of the Middle East (the Islamic influence) as
also in the talas (cycle of beats).

Indian music, classical, folk or popular, thus reflects layers of metamorphosis. It includes the two
styles of classical music - North India's melodious Hindusthani music and the intricate Carnatic
Sangeetham of South India. India can be said to be a country of countries; its diversity of languages,
religions, cultures, and traditions have no parallel example anywhere in the world. Indian musical
instruments in the same manner are very diverse in nature.

Most of the Indian musical instruments have evolved over centuries. Each instrument has its own
history behind its evolution. In Indian culture's early stages, artifacts, musical instruments, and
lifestyles were simple and basic in nature. Example: all tribal instruments are basic rhythm
instruments and never complex instruments having a capacity to produce a range of octaves. As a
society progressed, the demands on musical instruments arose. Thus, most Indian instruments,
although having started in simple forms, because of a long period of evolution, have now become
exquisite instruments capable of producing a varied pitch and range of octaves.

Musical instruments, according to ancient works, have been divided into four types. Thatha,
Avanaddha, Sushira and Ghana which are Chordophones, Membranophones, Aerophones and
Idiophones respectively. The mridangam belongs to the percussion family and has been played by
Indians for more than 2000 years. It consists of a wooden shell approximately 27 inches long, covered
with stretched skins on each side. It is famous for its distinctive buzzing sound and is used extensively
for dance performances. Mythologically it is believed that God himself created tabla by cutting the
mridangam into half.