Laya, called kalapata, was subdivided into vilamvita (slow), madhya (medium), and druta (fast). According to Bharata, tala was known as 'ghana' and time as 'kala'. In the 31st and 32nd chapters, the Natyasastra gives descriptions of tala, the fundamental aspects of India rhythm. Narad describes the essentials of vocal and instrumental music. It states that semi-divine Ghandharva music is composed of three elements: svara, tala, and pada. Naradiysiksa describes Vedic and Ghandharva music. provides a great deal of knowledge regarding music. Literature from the Nardiyasiksa and the Natyasastra that was written around 100 B.C.E. The name of the drum mentioned in Vedic literature was ‘ dundhubi’. The most ancient Vedic literature describes drums covered with the skins of wild animals, large earthen drums, and the role of the drums in various rituals. The first written credentials of music occurred in the Vedic scriptures of the Aryan culture. Some arched harps found in their hieroglyphics and unearthed clay whistles demonstrate the fact that they developed a tonal system, but no written literature exists which we can translate in order to learn more about these instruments. Other drums inscribed on the seals include castanets, cymbals and an hour glass shaped drum like the hudukka. These drums looked similar to the kharrang of Assam and the dhole of the Reddis of Andra Pradesh. Some of the seals of the Mohenjodaro ( pertaining to Indus valley civilization) contain depictions of men playing long cylindrical drums hung around their necks placed horizontally. Beliefs and estimations vary about their past existence and the time of their arrival. Also, talking about Pakhwaj and Mridangam in general, no principle difference can be put to paper regarding the use of these instruments in India. There is no reveal of Tabla or Pakhwaj in primeval India.