Music in India has never been treated merely as an art of entertainment; it has been understood as a profound spiritual and philosophical discipline. The interrelation between music and philosophy in India emerges from the very foundations of Indian thought, where sound (Nāda) is regarded as a fundamental principle of creation. The concept of “Nāda Brahma” expresses the idea that the universe itself is sound, and that ultimate reality can be experienced through vibration. In this worldview, music becomes not only an aesthetic practice but also a path toward self-realization and liberation. The roots of this interrelation can be traced to the Vedic tradition. The Sāmaveda, one of the four Vedas, is essentially a collection of hymns meant to be sung. The chanting of Vedic mantras was not simply ritualistic; it was grounded in the belief that properly intoned sound harmonizes the individual with cosmic order (Ṛta). The precise accent, pitch, and rhythm in Vedic recitation reflect a philosophical conviction that sound carries metaphysical power. Thus, music in its earliest form was inseparable from sacred knowledge and spiritual practice. Indian philosophical systems such as Vedānta, Sāṅkhya, and Yoga further shaped musical thought. The idea that the human being is composed of subtle energies resonates with the understanding of sound as vibration affecting consciousness. In the Yogic tradition, the repetition of mantra and the focus on inner sound (Anāhata Nāda) are considered means to transcend the mind. Classical music, especially in its contemplative forms, mirrors this inward journey. The gradual unfolding of a rāga in Hindustani music, beginning with the slow and meditative ālāp, resembles a process of introspection and expansion of awareness. The theory of rāga itself reflects philosophical principles. A rāga is not merely a scale but a melodic framework embodying a specific mood (rasa) and time of performance. The concept of rasa, articulated in Bharata’s Nāṭyaśāstra and elaborated by later aestheticians like Abhinavagupta, links art to emotional and spiritual experience. According to this theory, aesthetic experience leads to a universalized state of emotion that transcends personal limitations. When a musician renders a rāga like Yaman or Darbari, the aim is