Spirit of Indian
Music
Like the unique Vedanta
philosophy, the ancient yet vibrant Sanskrit language, the all-encompassing
system of Yoga, Indian music is yet another exercise of the Indian mind in its
path of exploration into the mysteries of Nature and of Ultimate Truth.
The word Bharata (India) –
which is condensed out of the musical expression Bhava, Raga and Tala, rightly
emphasises the inalienable relationship between the thoughts, words and actions
of human life, and music in India. On one side, it can be said that it is the
music within, the Sat-Chit-Ananda (Existence-Knowledge- Bliss Absolute) that
finds manifold expressions outside in man’s life. Viewed from the other side,
it is the sublimation of actions, words and thoughts that lead one to hear the
same music within.
Sound as the Source of
Creation
In India, music is considered
as a subtle divine thread capable of linking the Jeevatman (individual soul)
with the Parmatman (Supreme Soul), a concept originating in the Tantric idea of
Sabdabrahman, the primeval source of creation. This idea finds expression in
the eloquent words of the renowned violinist Yehudi Menuhin, ‘Indian music
reflects Indian life having no predetermined beginning or end but flowing
without interruption through the fingers of the composer-performer.’
To fully understand the
beauty, depth and elevating qualities of Indian music, one must therefore
understand, if not experience, these concepts at least to some extent.
It is believed that the
Supreme Being is of the nature of Sabdabrahman or Nadabrahman. This Ultimate
Sound Principle gets manifested as its vibrations. Through the Samyoga and
Viyoga i.e. the union and separation of these vibrations, Sabdabrahman creates
the world of ‘forms’, from the sub-atomic to the biggest and the mightiest! The
entire cosmos is the manifestation of Sabdabrahman. That being so, in uniting
the entire creation, lies ‘Naada’. As the Naada evolves, differentiates and
expands from the subtle to the gross, it gives rise to articulate sounds-
‘Varnas’, ‘Srutis’ and ‘Swaras’ – and moves on to create ‘Ragas’, capturing the
‘Bhavas’ (moods) of the mind. From Varnas arise by permutations and
combinations, the world of ‘forms’.
Today scientific
substantiation of these concepts has been forthcoming through the experimental
demonstration that different geometrical figures can be produced by manipulating
sound! That means it is possible to reduce all ‘physical forms’ to ‘sound
forms’ and vice-versa. In other words, form is sound made manifest. According
to the Tantras there are 50 basic sounds out of which the world of forms has
come into being.
Classification of
Sabda or Sound
Nowhere in the world has the
science of Sound and Music been studied so deeply and exhaustively as in
ancient India. Panini, Patanjali, Bhartruhari, Nandikeswara, Anjaneya and
Bharata are outstanding among those who have contributed to the unravelling of
the mystery of sound, music and creation. The ‘Sabda’ itself is classified into
Para, Pashyanti, Madhyama and Vaikhari.
1.The grossest of these four
is Vaikhari, the dense audible sound.
2. Madhyama is the stage
where thought takes the form of sound or word.
3. Pashyanti is the preceding
stage where ‘thought’ assumes a ‘form’ where sound vibration becomes ‘visible’
in the mind. At that stage, there is no impress of language on the form. That
is, here the barrier of language has no meaning.
4. Beyond it lies the
subtlest, highest and most transcendental stage of Para where neither thought,
nor names nor forms find a place, as there are neither waves nor wavelengths
there. It is the ultimate unifying substratum – the undifferentiated, yet
potential sound of Sabdabrahman. This is the stage of Godhead – sans thought,
sound or form, the goal of deep meditation.
No wonder that such a concept
and understanding of music developed into a form of worship (Nadopasana) and
has carried many on its wings to self-unfoldment and merger with the Ultimate
Truth or Parabrahman. From the unmanifest to the manifest, from the manifest to
the unmanifest, thus goes the cycle of Naada (sound), stretching from Eternity
to Eternity – linking everything without any distinction of
desa-kala-nama-roopa (place, time, name, form). Only in the land of Nataraja
(cosmic dancer; Shiva), Saraswati (goddess of learning), the Veena (stringed
musical instrument), Murali (flute), could such a sublime concept have been
conceived, creating a vibrant life, science and tradition in music.
Sri Ramakrishna Paramhansa
had beautiful visions bearing on this principle. He used to see a long white
thread proceeding out of himself.
‘This mass would open and
within it he would see the Mother with a Veena. Then, she would begin to play
and as she played he would see the music turning into birds and animals and
worlds and arrange themselves. Then she would stop playing and they would all
disappear. The light would grow less and less distinct till it was just a
luminous mass, the string would grow shorter and shorter and the whole world
would be absorbed into himself again.’
What an incomparable vision!
A condensed drop of the entire philosophy of sound and music.
From where and how
did Indian music originate?
Our ancient seers living in
communion with Nature must have ‘seen’ and heard the music in myriad ways and
forms. In the rising sun, in the light of the stars, in the heights of the
snow-clad Himalayas, in the thick forests, in the thundering clouds, in the
gurgling Ganges – in the cries of birds and animals, in the blooming of
flowers, dropping of petals, ripening and sweetening of fruit, in birth, growth
and decay of created beings, anywhere and everywhere, they would have felt the
resonance of the one Naada. Capturing this music in Nature, they must have felt
their souls ringing in harmony with them and instinctively realised the same
Naada vibrating within them. With joy and thrill, they must have picked up the
basic notes and built around them their grand repertoire:
SA -from the cry of the
peacock with its two sounds of lower and higher pitches
RE -from the cry of the bull
GA-from that of a goat
MA-from the cry of the
Krauncha bird
PA-from the voice of the Koel
in spring
DHA- from the neighing of the
horse, and
NE-from the cry of the
elephant.
It is said that Lord Shiva in
his cosmic dance produced from his Damaru various types of sounds and the great
saint, Patanjali, grasped them in his Maheshwara Sutras and explained the formation
of the universe. According to this view, the origin of the 7 basic notes can be
traced back to Shiva.
According to some others, the
7 keynotes, which form the units of music all over the world, personify 7
levels of human consciousness. Out of this consciousness springs forth the
stream of life, essentially consisting of one’s aspirations to reach that
sanctum of happiness, bliss and fulfilment within. In a particular direction,
it is called music, in another, dance, in a third, painting, in a fourth,
poetry. But among all the fine arts, the finest is indeed music. One, who has
understood Naada as the very basis of music, realises it as the subtlest of
vibrations, which forms the life-current in each and every cell in his body. It
is this omnipresent Naada, which, following particular rhythms, curves and
waves, flows through our life, enriching us with experiences. If one tries to
discover it within and manifest it without, it becomes the fittest musical
instrument in the hands of the Supreme and his life itself turns into a music
with a rare melody of tune and rhythm.
Sound used in
Spiritual Practice or Upasana
The study of Indian music has
its own practical lessons to impart to our every day life. To learn music is a
discipline in itself, controlling one’s body, breath, voice, one’s very nature
itself. In childhood, learning music helps one to develop a rhythm and order in
his daily activities. Through Upasana of naada, he catches glimpses of the
unity in diversity. In the second stage, by enriching the Bhavana (feeling) in
the music, one can control and sublimate the emotions of the mind. As the
evening of life approaches, music turns into a source of peace and joy.
Equanimity and tranquillity of mind come as by-products of an advanced musical
mind. If one is a true Upasaka (earnest student), before long, from the outer
music he will turn towards the inner and start enjoying the subtlest of music –
the Anahata Naada, the soundless sound – in the innermost chamber of one’s
heart. Thus, music can truly form the vehicle to take man from the gross to the
subtle, from the finite to the infinite. As his life’s vibrations become
attuned to the divine, his soul’s music reveals to him the music in the
creation and of the creation. He finds the entire universe resounding with the
Eternal notes – Soham Soham.
The chords of life can be
tuned properly as in a musical instrument with self-effort. If one masters this
art of tuning, and brings out the best of Swaras without any Apaswaras, then
his life becomes attuned to the Supreme Music and he would sing the
soul-stirring music of love, compassion and understanding.
Veenaavaadana tatwajnaha;
swarajnaana vishaaradah;
Talajnachaaprayatnena;
param brahmaadhigacchati
“One who plays the Veena with
full knowledge of the basic principles of sound, the science of tune evolution
and the beat of music could attain Parabrahman without much effort.”
There is no aspect of life
where music cannot play its role. The soothing of the nerves and the calming of
the mind that music brings about are marvellous. Just as a mother can sing her
child to sleep through her lullabies, at every context in life, whether in the
farms or factories, in games or studies, music can bring in a sense of unity
and harmony. In India, we have established long long back, that through proper
combinations of Swaras we can create Ragas, which have the capacity to call
forth forces of Nature such as the rain, fire, etc. Stones can be melted, glass
can be broken, and lamps can be lighted. Trees and plants can respond to the
music of one who has attuned himself to the Eternal vibrations.
The Glory of Indian
Music
Today, Indian music has
caught the attention of musicologists, scientists and other learned men. With
more and more research in the field of Indian musicology, more and more hidden
treasures are surfacing. In spite of all the ups and downs it has gone through
the several centuries of its growth, Indian music has retained its highly
aesthetic and elevating spirit and its unique individuality.
Rightly has Shakespeare said
of music:
“The man that has no music in
himself, nor is moved with sweet concord of sweet sound, is fit for treason,
stratagems and spoils.”
Nearer home, we have the Lord
Himself proclaiming:
Naaham vasaami Vaikunthe,
Na yogi hriday gaavati
Madbhakta yatra gaayanti
Tatra tishthami Naarada
“I dwell not in Vaikunth
(heaven), nor in the hearts of Yogins, nor in the sun; but where my devotees
sing, there, O Narada, do I reside.”
That is the uniqueness of
Indian music. May that all-pervading Nadbrahman, remove all the Apaswaras
(discordant tunes) from our lives and fill it with pleasing, unifying and
harmonising Swaras so that the music of our lives may flow melodiously, taking
us from untruth to Truth, from darkness to Light, from death to Immortality.
From the Mahabharata
Santi Parva, Section CLXXXIV
Translated by Sri Kisari Mohan Gaguli
I shall now tell thee the
different kinds of sound. They are the seven original notes called Shadja,
Rishabha, Gandhara, Mahdhyama, Panchama, Dhaivata and Nishada. these are the
seven kinds of the property that appertains to space. Sound inheres like the
Supreme Being in all space though attached especially to drums and other
instruments. Whatever sound is heard from drums small and large, and conchs,
and clouds, and cars, and animate and inanimate creatures, are all included in
these seven kinds of sound already enumerated. Thus, sound, which is the
property of space, is of various kinds. The learned have said sound to be born
of space. When raised by the different kinds of touch, which is the property of
the wind, it may be heard. It cannot, however, be heard, when the different
kinds of touch are inceptive. The elements, mingling with their counterparts in
the body, increase and grow. Water, fire, wind are always awake in the bodies
of living creatures. They are the roots of the body. Pervading the five
life-breaths (already mentioned) they reside in the body.
Acid Rock Music
Further experiments in which
Mrs. Rattallack submitted her plants to Acid Rock Music, a particularly raucous
and percussive type of music that subordinates harmony to volume and tempo,
revealed that all the plants leaned away from this cacophony. When she rotated
all the pots 180 degrees, the plants leaned decidedly in the opposite
direction. The plants were definitely reacting to the sounds of rock music.
Mrs.Retallack guessed that it might be the percussive component in the music
that so jarred her plants and she therefore started yet another experiment.
Selecting the familiar Spanish tune, ‘La Paloma’ she played one version of it
played on steel drums to one chamber of plants and another version played on
strings to a second. The percussion caused a lean of ten degrees away from the
vertical, which was very little in comparison with the rock; but the plants
listening to the fiddles leaned fifteen degrees towards the source of the music. At
eighteen day repeat of the same experiment using twenty five plants per chamber
including squash from seed, and flowering and leafy type plants from green
houses, produced largely similar results.
Ravi Shankar – Classical
Indian Music
Now she wondered how the
plants would be affected by more sophisticated music of both east and west. She
chose some Bach organ preludes and some classical Indian music played on the
sitar by Ravi Shankar. The plants gave positive evidence of liking Bach since
they leaned an unprecedented thirty-five degrees towards the preludes.
But even this affirmation was far exceeded by their reaction to Ravi Shankar.
In their straining to reach the source of the classical Indian music they bent
more than half way to the horizontal, at angles of more than sixty degrees, the
nearest one almost embracing the loudspeaker.
By Sukanya Shankar (RIMPA)
