Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
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The chart below shows the types of Vedas, Shastras, Epics, Puranas & their lateral
extensions:
Image Source:
http://www.thevedicfoundation.org/authentic_hinduism/bhartiya_scriptures.htm
Indian mystical & philosophical thinking is impregnated with Om, mentioned widely in
Upanishads, tantras, puranas, samkhyas and in specialized vedantic texts. It symbolizes
the essence of sanatan dharam (the eternal way), commonly known as Hinduism the
tolerant & profound conglomeration of spiritual thinking and practice from which yoga
has come. Om is known as the Mahat Mantra meaning The Great Mantra and is not
directly mentioned in Rig Veda, probably because it was considered too sacred to utter or
even write down. Om is first mentioned, albeit indirectly, in Yajurveda in verse 1:1
where it is known as Pranava i.e. the humming sound or as Udgita meaning the
elevating chant. No graphic representation of Om has yet been found in the extensive
excavations of the so-called Indus Valley civilization (circa 3000 BC, though probably
older). The reason may be either that Om was considered too sacred to be graphically
represented, or that it had not yet been realized and brought into mainstream spiritual
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practice. The oldest direct references and descriptions of Om are to be found in the
Upanishads, which are considered to contain the essential teachings of the Vedas.
A)
1
0F
this
idea
resonates
throughout. 2
1F
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1.
Significance of OM in Upanishads:
The sacred syllable OM and was considered as the originator of the entire cosmos. This
statement is supported by few verses of Chandogaya Upanishad:
The ancient Vedic philosophy confirms the origin of the universe along with its five
elements, living & non-living beings all from the sacred sound AUM also known as
Pranava. The shloka given below from Dhyanabindu Upanishad brings out the validity of
the statement:
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274
He who sings the praise of the syllable Om enters this same syllable, called the Svara,
which is immortal and fearless. Having entered it, he becomes immortal, also one should
meditate on the Udgitha as the principal prana, for (i.e. the vital breath) moves in the
body, on uttering Om (Chandogaya Upanishad):
Upanishads like Chandogaya has it that, the celestial & terrestrial elements has a syllable
associated with it, an example of which is given below from the same:
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276
277
Bhuh, Bhuvah, Suvah these three, indeed, are the Vyahritis. Of them the fourth one
known as Maha by name is the Brahman; it is the Self. The other gods are the limbs.
Know it as - Bhuh is this world, Bhuvah is the intermediate space & Suvah is the other
world. Maha is the sun & through the sun, indeed all the worlds flourish. Now, Bhuh is
the fire, Bhuvah is the air & Suvah is the sun. Maha is the moon & through the moon,
indeed, all the luminaries flourish. Again, Bhuh, is the Rig-Veda. Bhuvah is the SamaVeda. Suvah is the Yajur-Veda Maha is Brahman (i.e. Om) & by Brahman (Om), indeed,
all the Vedas nourished. Bhuh, indeed, is Prana; Bhuvah is Apana; Suvah is Vyana; Maha
is food; for by food, indeed, are all the vital forces nourished. These, then, that are four,
are (each) fourfold. The Vyahritis are divided into four groups of four (each). He who
knows these knows Brahman, so says Taittriya Upanishad (1.5.1-3): 2
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--------------------------------------------------------lqofjfr ;tw fk AA 2 AA
l osn czg~e A losZ LeS nsok cfyekogfUr AA 3 AA
The 16th part of Chandogaya Upanishad deems the life of the man as a sacrifice and his
life been divided into three metres the gayatri, the tristubh & the jagati metre, reciting
which one can abide all the ailments and live for 116 years:
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pranas, who are the Adityas." Thus he rises from his illness and becomes free of it. He
who knows this lives on to a hundred and sixteen years.
With Om, Brahma created this cosmos, and from Om constituted of the three isolated
letters A, U, M, the Vyahritis came forth: Bhuh, Bhuvah, Svah. From the three Padas of
the Gayatri-Mantra, the meaning of the three sections of the Purusha-Sukta emerged, and
from the meaning of the Purusha-Sukta, the meaning of the entire Vedas emanated, and
from this vast meaning of the Vedas, Brahma created this cosmos, say the scriptures.
The Gayatri mantra originally contained in Rig-Veda starts from Tat savitur vare niyam,
is said to be the Mother of the Vedas, having 24 syllables, reads as:
(3.62.10)
Word to Word meaning of the Mantra:
tat = that ;
savitur = bright like sun ;
varenyam = best choicest ;
bhargo = destroyer of sins ;
devasya = divine ;
these first nine words describe the glory of God
dheemahi = may imbibe ; pertains to meditation
dhiyo = intellect ;
yo = who ;
naha = our ;
Swami Krishnananda, The Mandukya Upanishad, Pub. The Divine Life Society Sivananda Ashram, 1996,
p.61
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from above the throat to mind (braham randh) is svaha (the space).
Meditating the first part of Gayatri, one contemplates, to invoke certain powers, on the
glory of the light that illumines the three worlds namely; earth, sky and heaven or the
gross, subtle and casual or the three realms of waking, dreaming, and sleep or the three
part s of the body (from feet to navel, navel to throat, throat to mind). This prepares the
ground for effective functioning of the second, third and the fourth part of the mantra.
This is also an invocation to pay reverence to the planes of our existence (the planes of
our ordinary life- the physical, astral and mental) and to invite their presiding deities to
support and help us.
So important is Om, not a chant uttered by Brahma, but a vibration that rose from the
Supreme Being in the initial stage of creation - a comprehensive vibration. And when we
chant Om, we also try to create within ourselves a sympathetic vibration, a vibration that
has sympathy with the cosmic vibration, so that, for the time being, we are in tune with
the cosmos. We flow with the current of the cosmos when we recite Om, and produce a
harmonious vibration in our bodily and psychological system.
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The following table gives the 24 letters of the gayatri spell & its relation to the power:1
1. tat tapini fruitfulness
2. sa saphalata valor
3. vi - visshwa preservance
4. tur tushti welfare
5. va varada yoga
6. re revati love
7. ni sukhsham wealth
8. yam janana luster
9. bhar bharga protection
10. go gomati wisdom
11. de devika subjugation
12. va varahi allegiance
13. sya simhani simhani
14. dhi dhyana life
15. ma maryada time
16. hi sphuta penance
17. dhi medha forecast
18. yo yogmaya alertness
19. yo yogini production
20. nah dhanin protection
21. pra prabhava idealism
22. cho ushma adventure
23. da drishrya discrimination
24. at niranjana service
The 24 powers of the Gayatri mentioned above is said to awaken certain qualities and
along with this awakening one starts getting success and prosperity i.e. siddhi.
The 24 letters of Gayatri Mantra and significance of each letter, Khadesar Dham Ashram, at
http://www.gayatrisidhpeeth.in/significance.aspx
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4.
MANTRAS in TANTRAS:
Tan is a Sanskrit word which signifies expansion, and Tra means liberation. Tantra,
Taantrik Yoga or Tantrism is one of the several esoteric traditions rooted in Hindu and
Buddhist philosophy that dates back to the 5th -9th century AD. The principles of tantra
are found in books known as Nigama while the practices of tantra are contained in books
known as Agama. - States Dada Vedaprajinananda Avadhuta in his book, The wisdom
of Yoga, Tantra: The Science of Liberation (2006), p.3.
Tantrik Master Shri Aghorinath Ji describes Tantra "sadhana" or practice as a systematic
and comprehensive path meant for liberation through expansion; thus the discipline
rigorously explores all energies and their application associated with human existence
and human environment. He says all the profound science and practices pertaining to
hatha yoga, pranayama, mudras, rituals, kundalini yoga, nada yoga, mantra, mandala,
visualization of deities, alchemy, ayurveda, astrology, and hundreds of esoteric practices
for generating worldly and spiritual prosperity blend perfectly in the tantrik disciplines.
Tantra Yoga lays special emphasis on the development of the powers latent in the six
chakras, from Muladhara to Ajna. Worship of Devi in the form of Sri Vidya is of two
kinds, viz., internal, and external. In the internal form of worship there are neither rituals
nor ceremonies. The Supreme Being, in the aspect of Siva united with the Sakti, is
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worshipped at the various centres of energy, of the human body or Chakras or lotuses.
This mode of worship believe in the awakening of Kundalini, taking it up, through the
various Chakras to Sahasrara or the thousand-petalled lotus, through Japa of Mantra,
where the individual soul unites with the supreme soul. This method of sensitizing the
chakras through meditation to awaken the Kundalini Shakti is referred as NadaAnusandhanam. In the external form of worship Sri Chakra is worshipped. Yantra is
inscribed on gold or other metallic plates. Mantras are repeated with gestures, postures,
waving of light or Arathi and offerings of incense or various sorts of food or Prasad.
Each verse has a Yantra with Bija Aksharas and a prescribed course of worship. The Bija
Aksharas and Yantra are inscribed on a gold or copper plate.
Devi vary according to the mode of worship and the purpose. There is a definite
distinctive aim to be achieved by a particular mode of worship with a particular Yantra
and a particular offering. Tantra Sadhana bestows tremendous Siddhis or powers. Wealth,
learning, lordship, success in enterprise, mastery over the elements, eloquence,
poetic talents, conquest over the enemy, eradication of incurable ailments, etc., can
be attained by worship of Devi, in different Yantras, with different Bija Aksharas and
different offerings. 1 Here, Bija means a seed. Hence Bija Mantra means a mantra, which
is usually of one syllable.
The best tantrik view of mantra is given in Sir John Woodroffes collection of essays,
Shakti and Shakta, chapter 24 as:
Mantras are not prayers and the relationship of the letters of the Sanskrit alphabet,
whether consonants or vowels point to the appearance of devata (divinity) in different
forms. An uttered mantra is the manifestation of a more subtle sound while mantras
themselves are forms of Kundalini. Mantras may be male, female or neutral. Female
mantras are called Vidyas.
Vedic mantras are Tantric mantras, and are very complex. Western scholars have hence
failed to understand tantric bija (seed) mantras used to invoke deities and their origins
1
Sri Swamichidananda, Tantra Yoga, Pub. The Yoga-Vedanta Forest University, 1955, Himalayas, p.19
285
which lie within the Sanskrit alphabet itself. Here are some examples of how such great
mantras are formed, from Vedic sounds:
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287
The table below is not complete, but gives the most common bija mantras:
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5.
What is Yoga?
According to Katha Upanishad (2.3.10-11) - while meditating on Om, when one attains
the supreme state of mind and is able to have firm control of the senses is called yoga.
But one must then be vigilant; for yoga can be both beneficial and injurious.
Ayurveda (1.138-139) says - Happiness and misery arise due to contact of the self, sense
organs, mind and the sense objects but when the mind is steadily concentrated to the self
both cease to exist due to non-initiation and a supernatural power comes forth into the
person. The expert sages know this state as yoga. 2
What do we mean by Nada?
Nada is usually translated as "causal sound" and is derived from the Sanskrit root nad,
which means "to sound" or "to reverberate." This is also the root of the word nadi, which
means, "to flow" or "river." Nadis are the subtle nerve channels in which life energy
flows throughout the body. (Bill Osmer, 2006)
The following quotes from the Brihaddesi (5th century AD) of Sri Matanga Muni defines
& illustrates the syllabic meaning & its significance of the word, nada:
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Gist - there is no geeta (music) without nada, there is no svaras (musical notes) without
nada, there is no nritya (dance) without nada, and hence the world is of the essence of the
nada.
Whereas Pt. Sarangdeva (13th century) advocates that nada is the very essence of vocal
music. Instrumental music is enjoyable, as it manifests nada. Nrtta (dance) follows both;
therefore all three together depends on nada. Nada manifests the letters (of alphabets),
letters constitute the word, and words make a sentence; so the entire business of life is
carried on, through language; and therefore the whole phenomenon (i.e. the world) is
based on nada. 1 Further he writes that we worship Nada-Brahman (Nada-Upasana). An
incomparable bliss which is immanent in all the creatures as intelligence and is manifest
in the phenomenon of this universe.
Pt. Sarangdeva considers Nada to be two fold (section 1, p.23) viz., produced (ahata or
struck) and unproduced (anahata or unstuck). Pt Ahobal also mentions the same in Sangit
Parijat and gives a quote from Narda Samhita (p.17): 2
Sharma & Shringy, Sangitaratnakar of Sarangdeva, vol I, Pub. Motilal Banarsidass, Reprint 1984, Delhi,
p.21-23
2
Kalind, Sangeet Parijat of Pandit Ahobal, Pub. Sangeet Kaaryalaya, 1971, Hathras, p.17
290
nada in their respective stanas. He elucidates forth Paninis opinion of sthanas as eight
viz., heart, throat, crown, tongue, teeth, nose, lips and talu.
Since the nada manifests itself in the human body Pt. Sarangdeva believes that ahata nada
stationed in five places (sthanas) in the body. Here are the couplets from
Sangitaratnakar:
Sharma & Shringy, Sangitaratnakar of Sarangdeva, vol I, Pub. Motilal Banarsidass, Reprint 1984, Delhi,
p.111
291
century) in Sangita Samayasara accepts three stanas as the Heart, Throat and head, each
possessing 22 grades (shrutis) 1 and so does Pt. Somnath in Raga Vibodha and Pt. Ahobal
in Sangeeta Parijat. 2
A detailed description about contemplating on Nada (The sacred syllable Om) one attains
the supreme state (as in yoga practices), has been given in Nada Bindu Upanishad in the
following Verses:
Verse 8 talks about the 12 intonations of Om and says - Each of these Matras has indeed
three Kalas (parts). This is called Omkara. Know it by means of the Dharanas, viz.
concentration on each of the twelve Kalas (or the variations of the Matras produced by
the difference of Svaras or intonation).
Verse 50(b)-51(a). Many myriads of Nadas and many more of Bindus (all) become
absorbed in the Brahma-Pranava sound.
Verse 49(b)-50(a). The mind which along with Prana (breath) has (its) Karmic affinities
destroyed by the constant concentration upon Nada is absorbed in the unstained One.
There is no doubt of it.
Verse 56. When the (spiritual) sight becomes fixed without any object to be seen, when
the Vayu (Prana) becomes still without any effort, and when the Chitta becomes firm
without any support, he becomes of the form of the internal sound of Brahma-Pranava.
Whereas Dhyana Bindu Upanishad illustrates the process of contemplation of nada
through nadis in the following way:
Verse 9(a) - The one Akshara (letter OM) should be contemplated upon, as Brahman, by
all who aspire to emancipate.
Dr. M. Vijaya Lakshmi, Sri Parvadevas Sangeetasamayasara, Pub. Shivalik Prakashan, 2003, Delhi, p.8
Kalind, Sangeet Parijat of Pandit Ahobal, Pub. Sangeet Kaaryalaya, 1971, Hathras, p.18
3
Mr. K. Narayanaswamy Aiyar (Translator), Nada Bindu Upanishad, at
www.vedarahasya.net/nadabind.htm
4
K. Narayanasvami Aiyar (Translator), Dhyana Bindu Upanishad, at www.astrojyoti.com
2
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Verse 20 - Taking in Vayu (air) through the left nostril and filling the stomach with it,
one should contemplate upon Omkara as being in the middle of the body and as
surrounded by circling flames.
Verse 23 - One should practice restraint of breath as much as it lies in his power along
with (the uttering of) Omkara sound, until it ceases completely.
Verse 39 40 - Having made the lotus-sheath of the form of Ardha-Matra, one should
draw up the breath through the stalk (of the Nadis Susumna, Ida and Pingala) and absorb
it in the middle of the eyebrows. He should know that the middle of the eyebrows in the
forehead, which is also the root of the nose, is the seat of nectar. That is the great place of
Brahman.
Verse 51 - 53 - There arise (from it) Nadis seventy-two thousand in number. Of these
seventy-two are generally known. The chief ones are ten and carry the Pranas. Ida,
Pingala, Susumna, Gandhari, Hastijihva, Pusha, Yasasvini, Alambusa, Kuhuh and
Sankhini are said to be the ten.
Verse 58 - All these are situated (or run along) the one thousand Nadis, (being) in the
form of (or producing) life. Jiva which is under the influence of Prana and Apana goes up
and down.
Verse 61(b)-63 - The Jiva comes out with the letter Ha and gets in again with the letter
Sa. Thus Jiva always utters the Mantra Hamsa, Hamsa. The Jiva always utters the
Mantra twenty-one thousand and six hundred times in one day and night. This is called
Ajapa Gayatri and is ever the bestower of Nirvana to the Yogins.
Verse 69 - Folding firmly the fingers of the hands, assuming firmly the Padma posture,
placing the chin firmly on the breast and fixing the mind in Dhyana, one should
frequently raise up the Apana, fill up with air and then leave the Prana. Then the wise
man gets matchless wisdom through (kundalini) Sakti.
6.
Through the contraction of the neck, Prana goes above from the chest. Sarasvati who has
293
sound in her womb should be shaken (or thrown into vibration) each day. Therefore by
merely shaking it, one is cured of diseases. Gulma (a splenetic disease), Jalodara
(dropsy), Pliha (a splenetic disease) and all other diseases arising within the belly, are
undoubtedly destroyed by shaking this Sakti utters Yoga-Kundalini Upanishad
(1.16-
18).
Verse (2.16-17) - By means of this science, a person will attain the Siddhi of Khechari.
Joining with Khechari Sakti (viz., Kundalini Sakti) by means of (the science) of Khechari,
which contains the Bija (seed of letter) of Khechari, one becomes the lord of Khecharas
(Devas) and lives always amongst them. Khechari Bija (seed-letter- Hrim, Bham, Sam,
Pam, Pham, Sam, Ksham) is spoken of as Agni encircled with water and as the abode of
Khecharas (Devas).
Verse (2.21-24) mentions the accomplishments on chanting this kechari bija as - He who
recites this twelve times every day, will not get even in sleep that Maya (illusion) which
is born in his body and which is the source of all vicious deeds. He who recites this five
lakhs of times with very great care to him the science of Khechari will reveal itself. All
obstacles vanish and the Devas are pleased. The destruction of Valipalita (viz., wrinkle
and greyness of hair) will take place without doubt.
Verse (2.37-38) says - Gradually it (kechari bija) opens the great adamantine door in the
head. The rare science (of Khechari) Bija has been explained before. One should perform
the six Angas (parts) of this Mantra by pronouncing it in six different intonations. One
should do this in order to attain all the Siddhis.
are six Chakras. Muladhara is in the anus; Svadhisthana is near the genital organ;
Manipuraka is in the navel; Anahata is in the heart; Visuddhi is at the root of the neck and
Ajna is in the head (between the two eyebrows).
In Yoga Sutras (around 2nd century BCE) of Patanjali (4.1. 27-29) below, the author
unveils the fact that
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rTtiLrnFkHkkoue~
rr% izzR;DpsRukf/kxeks I;Urjk;kHkkoJp
Gist - The sacred word designating this creative source (ishvara) is the sound OM, called
pranava. This sound is repeated, murmured constantly for realizing its meaning. From
that remembering come the realization of the individual Self and the removal of
obstacles.
Verse (4.1.30-31) stretches on the kinds of obstacles one faces during meditation:
O;kf/kLR;ku-----------------------------------------------------------fo{ksilgHkqo%
These obstacles are disease, idleness, doubt, inattentiveness, lack of energy and
proneness to sensuality, mistaken views, not being able to maintain the progress
attained, unsteadiness in progression, scattered mental and emotional energy.
Distress, depression, nervousness and labored breathing are the symptoms of a
distracted state of mind.
B)
We will be discussing musical concepts like nada, shruti, swara, raga, etc., & talk about
their relationship in reference to the three important and most sought after musicological
texts of Indian music that are:
1.
2.
3.
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Secondly, all the three belong to the different eras of history, so this will give a clear
view of the prevalent traditions and practices of that time.
1.
Speaking of the etymology of the word shruti from the roots sru meaning hearing,
with the suffix ktin (verse 3.24); Matanga delineates that sound itself is known as shruti
on account of being perceived by the sense of hearing and so agrees Pt. Ahobal in
Sangeet Parijat, p.18)1. He adds that it could be one or many, in the following verses
(Brihaddeshi of Matanga Muni, section 3, Anu. 2, p.10):
Kalind, Sangeet Parijat of Pandit Ahobal, Pub. Sangeet Karyalaya 1971, Hathras, p.18
296
Even Pt.
Somnath & Pt. Ahobal holds the same view that all the three sthanas viz. the heart, throat
and cerebrum are the three registers or octaves viz. mandra, madhya and tara which
double in pitch respectively: 2
m/oZukMhiz;Rusu loZHkfRrfu?kV~Vukr~A
ewfNZrks /ofujkew/uZ% LojksSlkS O;kid% ij% AA
By the effort of the urdhvanadis on accout of rubbing or striking of the walls, the sound
that grows upto the cerebrum, is svara, it is vyapaka (pervasive) (and) para (beyond).
Matanga (4.55-60cd) illustrates the etymology of savara-names, he says:
Sharma & Shringy, Sangitaratnakar of Sarangdeva, vol I, Reprint 1984, Delhi, p.115-116
Kalind, Sangeet Parijat of Pandit Ahobal, Pub. Sangeet Karyalaya, 1971, Hathras, p.18
297
JqR;uUrjHkkoh ;% fLuX/kksSuqj.kukRed% AA 24 AA
Lorks jat;fr Jksr`fpRra l Loj mP;rs A
Gist immediately consequent upon shruti, creamy and resonating, the sound that
delights the listeners minds by itself is called svara. In short shruti are the root cause of
svaras.
Sri Matanga Muni has the shown the Svaroddhara (analysis of svaras- names) as
contained in Agamas like this (verses 62-70): - 1
S combined with the Hari-bija (a) is the initial svara that the knowledgeable in svara
one should draw out with all effort. R combined with kama bija viz., a, know that as
the second svara arising out of the brahmasthana (brahamagranthi). G combined with
the Vishnu bija viz., a one should always draw out this svara which is attractive among
various svaras. M combined with the initial one a known as madhyama, the
indestructible and the best among the svaras. P combined with a, know that as the
beautiful svara, associated with the number (five) of vyoma (space) and the born of the
Sharma, Brhddeshi of Sri Matanga Muni, Vol I, Pub. IGNCA, 1992, Delhi, p.47
298
ostha (lip) sthana. Dh combined with a, one should draw out that excellent svara born
of the two bows. N differentiated by the end that is akara viz., i arising out of the
brahma-sthana (cerebral aperture) is combined with high sound.
In (Brihddeshi section 4, Anu. 29) Susruta gives an explanation to Matanga Muni as to
why there is a rule that there are seven svaras?
299
Each centre is symbolically expressed by lotus with a particular number of petals used as
an aid to meditation on the centre. Here, Dr. Prem Lata Sharma mentions about the
symbolism of the kundalini yoga where each petal of the lotus is assigned a particular
letter. The letters so assigned represent symbolically the particular mantra and the
presiding deity of that mantra and thereby are the potential sources of the powers inherent
in those deities. It has been ascertained that meditating on a particular petal of a particular
centre by the attendant will cause him to bear definite fruit.
Image
source:
http://planetwaves.net/pagetwo/daily-astrology/aspect-of-the-moment-
venus-conjunct-chiron/
Adhara chakra and Kundalini: (now known as muladhara chakra) is the basic psychic
centre called the foundation cycle situated between anus & genitals, a four petalled
lotus as it were.
Sharma & Shringy, Sangitaratnakara of Sarngadeva, Vol I, Pub. Motilal Banarsidas, 1984, Delhi, p.85-95
300
Muladhara Chakra
Svadhisthana chakra
301
The Manipura chakra, the ten petalled lotus around the navel is called the naval cycle
is located around the navel.
Manipura Chakra
Anahata Chakra
302
The consequences meeting the mind concentrated upon them respectively are freedom
from fickleness, clear thinking, repentance, hope, light, worry, desire for warding
off evil, equanimity, vanity, mental instability, discernment and will. (Its twelve
letters bear the letters ka, kha, ga, gha, na, ca, cha, ja, jna, ta, and tha with dot above).
Visuddhi chakra, with sixteen petals situated in the throat larynx called the cycle of
purity.
Visuddhi Chakra
303
Ajna Chakra
Sahasra Chakra
304
That contemplation on the first, eight, eleventh and twelfth petals of the Anahat chakra
attains proficiency in music, etc.; while concentrating on the fourth, sixth and tenth of
the petals one destroys ones capacity for music etc.
In Visuddhi chakra contemplating on eight petals from eight onwards leads to success
in musical arts, etc., while sixteenth petal is destructive for this purpose.
The tenth and eleventh petals of Lalana bestow success in the same (music) while the
first, fourth and fifth petals are known to be detrimental.
Focusing on the aperture of the upper cerebrum one finds fulfillment and should
therefore cultivate the musical arts with great excellence.
It may, however, be observed that Saradatanaya, a contemporary of, but somewhat
anterior to Sarangdeva, provides us the rudiments of the hypothesis incorporating the
relationship between the psychophysical centres & music. He relates seven tones to
seven different places located in the body right from the Brahmagranthi.
Pt. Sarangdeva says (verse 165a, p.105-106) that contemplation attainable through onepointed concentration of attention is not conveniently within the reach of people. Dr.
Prem Lata Sharma and R. K. Shringy beautifully elaborate his (authors) viewpoint that
considering these difficulties, the sages have discovered a technique - Nadanusandhana
of attaining liberation through the meditation of the unmanifest nada i.e. the primordial
sound which is heard inside the head if carefully listened to with an unburdened mind.
This sound is produced without any friction, it is natural and spontaneous and that is why
is called anahata (unstruck). But even this found to be of little interest to the common
people because it is pure and devoid of emotional color therefore is uninteresting to them.
That is precisely why music becomes more useful and a treatise on the science of music
1
2
Sharma & Shringy, Sangitaratnakara of Sarngadeva, Vol I, Pub. Motilal Banarsidas, 1984, p.96-98
Sharma & Shringy, Sangita Ratnakara of Sarangdeva, Vol I, Pub. Motilal Banarsidas, 1984, p.102
305
is necessary, so that the people can easily cultivate both the ends of life, viz., experience
of the world and salvation from its limitations through a pleasant and a convenient means
like music, which is universally approved and considered attractive. Therefore the utility
of music as a mass entertainer and as a means of salvation approachable by common man
without any effort is brought out by the author as the prominent characteristic feature of
the manifest sound i.e. ahata nada.
Below is the chart (from Sangeeta Ratnakar, Vol I, p.116) illustrating the whole theory of
the relationship between svara and varna sthana as given by Saradatanaya (contemporary
of Sarangdeva).
2.
The Natya Shastra is an ancient Sanskrit Indian treatise on the performing arts,
encompassing theatre, dance and music written by Saga Bharata Muni in between 200
BCE and 200 CE. A lot of importance is given to music, wherein about nine chapters
have been dedicated to it. In vocal and instrumental music, he describes svara and its use
in expressing particular aesthetic sense i.e. Rasa. Human body is also called veena, a
musical instrument as it produces musical notes through vocal cords. 1
306
The melodic basis for music mentioned in Natyashastra has been the jati and Bharata in
the 29th chapter of his work, specifies the relationship between the ansa (prominent)
svara of a jati and the rasa. Or he specifies which jati, defined in terms of the dominant
ansa, should be associated with which rasa. For instance, if a jati has sa and ri as ansa,
then it should be used in the vira, raudra and adbhuta rasas. If ma and pa are the ansas,
then those jatis should be performed in sringara and hasya rasas. The jatis having nishada
and gandhara as the principle ansas, should be used in karuna rasa. The jatis having
dhaivata as the ansa, should be used in vibhatsa and bhayanaka rasas.
Matanga muni in verses (p.49) in agreement with Bharata munis view of rasas from
different svaras and states:
Vesarasadava, whose source is sadjamadhyama (jati), has been prescribed the scale of
suddhasadja murchana. It has madhyama serving as ansa and nyasa and shadja, on
account of consonance, accompanying the madhyama-nyasa. It lacks the two-shruti
svaras (ga and ni). It plays a part in the accompaniment of shringara rasa by
sadjamadhyama (jati).
http://www.hss.iitb.ac.in/courses/HS450/notes2.htm
1
Premalatha Nagarajan, (2008), Association of Rasa and Kala (time) with
www.musicresearch.in
2
Sharma, (1992), Brhaddeshiof Sri Matanga Muni, Pub. IGNCA, Delhi, p.9
3
Chaitanya P. Desai, Nanyadevas Bharat-Bhasayam, vol.II, 1976, Pub. Indira Kala Sangita
Visvavidyalaya, Khairagarh,
307
Raga-s,
at
The ansa svaras (prominent) of the jatis were the key to decide which jatis is to be
employed in which rasa. An example is given below from Sangeeta Samayasara (section
4, p.84):
( y\) xfyrk VDdjkxkr~ rq rnM-xa yfyrk erk AA 42 AA
What is Grama?
308
mortals and was prevalent in heaven (Brihaddeshi, section 5, verse 87) (Sangitaratnakara,
section 4, verses 2-5). Pt Ahobal defines grama, its threefold and its relation with
murchana, in the same as done by Sarangdeva, in Sangita Parijat verse 67, 68.
Matanga Muni briefs the objective of the gramas (anu 31) as:
309
The ascending and descending movement of the seven notes in successive order is called
murchana by all three scholars i.e. Matanga, Sarangdeva & Ahobal. A couplet defining
the term is below:
dzekRLojk.kka lIrkukekjksgJokojksg.ke~ A
ewPNZ;usR;qP;rs xzkek};s rk% lIr lIr p AA 9 AA ( laxhr jRukdj )
A comprehensive classification of the murchanas, tanas (note series), varnas (tone
patterns) and alankaras (specific arrangement of tone patterns) are given in all the three
texts. The combinational note series (sudha-tanas) of all the gramas have been derived
and given vedic names in Ratnakara. Sarangdeva has then indicated that it was believed
that tanas bearing the name of particular of vedic sacrifice is effectual in bringing about
the corresponding benefit in the below shloka:
Dr. M.Vijayalakshmi, Sri Parsavadevas Sangitasamayasara, Pub. Shaivalik Prakashan, 2003, p.30
310
Jatis are named thus because they give birth to all ragas. They materialize from shruti,
svara, the group of graha, etc notes so they are called jatis.
Sarangdeva brings out the importance and value of jati gana and says:
Raga-Ragini System:
Ragini Karnati
311
In the medieval period ragas underwent a good deal of evolution on the account of social,
political and cultural influences. Various attempts were made to classify them in different
ways. There were many fanciful depictions, both conceptual as well as visual for e.g.
many ragas described as having human traits and fanciful moods ascribed to ragas
depicted in raga mala paintings. This is how ragaragini classification came into being.
Some ragas were referred to as male ragas and their females as raginis along with their
putra (sons) ragas along with their putra-vadhu (daughter in-law) raginis. It is also
believed during the period of Amir Khusro (13th century) he developed new styles of
singing known as Khayal and Tarana which was the result of experimentation of Persian
and Arabic elements with Indian ragas and compositions.
312
two varieties each -the komal (flat) and the tivra (sharp), making a total of 12 semitones.
Using these semitones, one can "make" different ragas by choosing any 5, 6, or 7 notes
out of 12 given svaras in a multitude of ways. By choosing and dropping different sets of
notes and changing the ascending and descending orders, it is possible to make up
thousands of ragas, each one different from the other, up to 72,000. It is interesting to
note that according to the esoteric texts of Indian philosophy there are said to be 72,000
nadis or subtle channels in the human body. The scholar Venkatamukhi (17th) was the
first to systematize the raga system in to 72 parent scales from which all other scales
could be derived. This is known as the Melakarta system of Carnatic music. The
melakartas or parent scales are scales using the same seven notes in ascending and
descending natural order. These are worked out by a systematic formula of permutations
and combinations of the 12 basic notes.1
Image
Source:
http://rajamsmusictherapy.com/music-and-the-energy-centres-in-the-
human-body-.html
1
Osmer, Bill, December, 2006, Raga Chikitsa and Raga Ragini Vidya, at
http://yogasangeeta.org/index.php?option=com_content&view=article&id=172:article-raga-raginibilwa&catid=923:raga-ragini&Itemid=273&directory=273
313
Shown above is a Human Body Veena interface. The picture is taken from Sangita
Kalpadrumam a treatise on South Indian Classical Music by Harikesanallur Muthiah
Bhagavatar (20th century). It is significant that many Indian Classical Music String
Instruments have the same structural interface, establishing a relationship between their
generation of a musical note and its resonating response in the human body.
The grouping of ragas according to the time theory system as discussed above is still
followed in Hindustani music i.e. each raga allotted the time of day or night as
appropriate. For this purpose, the 24 hours of the day are divided into eight sections of 3
hours each (called prahar) and the ragas are categorized on the basis of the notes
employed especially vadi and samvadi svara, and allotted time for it, too. Ragas taking
the sharp (tivra) of re, dha, and ga are to be played following dusk and dawn. Nighttime melodies use mostly ma (sharp). Early evening ragas are characterized by re and
dha (flat) thus becoming weak or disappearing altogether before twilight.
This
classification of raga-s based on the time of the performance within a day is found in
many works of which Sangitamakaranda (mid-11th century), Ragavibodha (1609) and
Sangitadarpana (early 17th century by Catura Damodara) are prominent ones. This
classification is also referred to as "Ragavela Nirnaya". In Sangitamakaranda - The
author then points out how by singing the ragas in specific times, a musician will be
bestowed with all prosperity and will also be rid of all sins. He then makes a finer
classification of the time of the day for the raga-s to be sung. The author further adds
singing the raga-s according to time will make the musician happy; singing it out of time
will bring harm to him and he who listens to it will loose wealth and age. (Premalata
Nagarajan, (2008), Suryansha, Madhyahna and Candransha)
C)
Historical records indicate that Haridas Swami (16th century) who was the guru of the
famous musician in Akbars time, Miyan Tansen is credited with the recovery of one of
the queens of the Emperor with a selected raga.
1
http://rajamsmusictherapy.com/music-and-the-energy-centres-in-the-human-body-.html
Osmer, Bill, December, 2006, Raga Chikitsa and Raga Ragini Vidya, at
http://yogasangeeta.org/index.php?option=com_content&view=article&id=172:article-raga-raginibilwa&catid=923:raga-ragini&Itemid=273&directory=273
314
Miyan Tansen was the premier court musician of Akbar, the 16th century Moghul
emperor. It was Akbar who gave Tansen the honorific title of 'Miyan'. Tansen was not
only a performer of the highest calibre, but was blessed with the rare gift of translating
sound into the purest expressions of the human soul and this led to his discovery of
several profound ragas such as Miyan ki Malhar, Miyan ki Todi, Miyan ki Sarang and
Darbari Kanada, all still cornerstones of the classical repertoire. [It is said that ragas are
discovered and given names for the identities they already possess: they are not created].
The mythology of Hindustani classical music attributes magical powers to Tansen: it is
said that he was able to command the forces of nature with the power of musical sound:
bring rain with rainy season ragas like Megh Malhar, generate fire with raga Deepak, and
cause flowers to bloom with springtime ragas with raga Basant. At the time of his death,
as legend has it, a struggle ensued for an heir to occupy Tansens venerable position.
Tradition says that his sons were asked to sing at his funeral and one of them, Bilas Khan,
who had been leading the life of an ascetic, sang a mournful, yet transcendent melody of
such profundity and power that it caused the hand of the deceased Tansen to move,
indicating Bilas Khan to be the true successor. Such melody was later named Bilaskhani
Todi [from India Archives Music].
Baiju (17th century) was a musician at the court of the Raja of Chanderi (MP) who later
became a musician at the court of Raja Mansingh of Gwalher. According to historical
books preserved in Jai Vilas Mahal in Gwalior, he would light oil lamps by singing Raga
Deepak, make it rain by singing Raga Megh, Raga Megh Malhar, or Raga Gaud Malhar,
and bloom flowers by singing Raga Bahar. 2
Gopal Nayak, a court musician in the State of Kashmir, India, was a student of Baiju. The
then king of Kashmir challenged Baiju against Gopal Nayak. Baiju sang Raga
Bhimpalasi. Instead of singing in response, feeling overwhelmed, Gopal Nayak cried in
the court. After this defeat, Gopal died and his body was cremated on the bank of river
Satluj. When the bones in Gopal's body were thrown in the river following the cremation,
they sank. According to a legend, Gopal's widow then asked Baiju to retrieve her
1
2
315
husband's bones. Responding, Baiju taught a new version of Raga Malhar to Nayaks
daughter, Meera; and after a week's training, Meera sang that Raga on the bank of Satluj
in front of a crowd. As soon as she finished the Dhrupad, her father's bones emerged on
the bank out of the river. From that time on, that Raga is known as Meera ki Malhar. 1
Legend has it that Saint Thyagaraja brought a dead person back to life with his Bilahari
composition Naa Jiva Dhaara. Muthuswamy Dikshitars Navagriha kriti is believed to
cure stomach-ache.
D)
This is said that Raga Chikitsa, an ancient manuscript, dealt with the therapeutic effects
of Indian ragas. The library at Thanjavur is reported to contain such a treasure on ragas
that spells out the application and use of various ragas in fighting common ailments.
Additionally, another ancient Indian text called Swara Sastra said that the seventy-two
melakarta ragas (parent ragas) control the 72 important nerves in the body. It is believed
that if one sings with due devotion, adhering to the raga lakshana (norms) and shruti
shuddhi, (pitch purity) the raga could affect the particular nerve in the body in a favorable
manner.
Shall it be assumed that the raga therapy at least as a methodology is lost for long?
Though both the classical forms of music viz. Hindustani and Carnatic have reached their
zenith in recent times. Though certain references do hint the potential of raga at various
quarters but it becomes imperative first to document such information and test them
clinically for their role in the treatment of speculated ailments and to publish such
recorded findings.
Dr. Sairam in his book Raga Therapy p.16 refers to certain ragas having a therapeutic
value, when played in certain instruments. The credit he says goes to the unique texture
of sound or timbre. For instance, in south India sweet strains from the veena have been
believed to ensure a smooth and safe passage for the babys arrival from the womb of its
1
Wikipedia dictionary
Dr. T.V. Sairam, RAGA CHIKITSA, The Indian Music Therapy, www.ayurveda-foryou.com
3
Dr. T V Sairam, Raga Therapy, Pub. Nada Centre for Music Therapy, 2004, Chennai, p.14
2
316
mother. The descending motes in raga are found to create inward orienting or introvert
feelings; the ascending notes represent an upward or expansive mobility. So more
ascending notes are found in war music or in joyous dance music all over the world.
Similarly melancholic songs should opt for smooth avarohis.
Mr. M. M. Sabharwal in his research paper - Scope of Music therapy quotes Dr.
Neelam Verma, consultant physician and cardiologist, Saras Foundation says, the seven
notes of music are connected to our psyche. Acknowledging the deep healing power of
Indian classical ragas, the notes of ragas reach the energy centers (chakras) of our body
and produce vibrations. The pitch, tone, vocalization and specific arrangement of notes
in raga cure ailments by including electro-magnet changes in the body. Our body is made
up of vibrations and these vibrations are disturbed during illness. Eventually, only
vibrations can balance vibrations. Herein lies the importance of listening to or singing or
playing the correct notes to ensure the right potency of vibrations. We have heard that the
raga Deepak could light up lamps. It is possible because music produces vibrations and
these vibrations, in turn, produce that spark. 1
It seems that ones experience of sound depends entirely upon the refinement of ones
consciousness. By understanding the sound-consciousness nexus, one can implicit the
minds interference.
Curiously scientists have recently stumbled upon not two or three but precisely four
distinct types of brain-wave rhythms. And with the help of latest electronic medical
equipment such brain wave patterns identity with the nada consciousness levels (para,
pashyanti, madhyama & vaikhari as mentioned in ancient Vedic texts) is traceable.
The worlds leading champion of Brain Music Therapy Dr. Galina Mindlin, a 20-year
veteran of psychiatry says, Music and brain waves are actually very similar and both are
a combination of different frequencies and patterns.
Dr. Kalyan Bagchi, Music therapy as an alternative medicine, Pub. An Alternative Medicine' Society for
Gerontological Research, 2002, New Delhi p.6
2
Dr. T.V. Sairam, Self-Music Therapy, Pub. Nada Center for Music Therapy, 2006, Chennai, p.24
317
Dr. Sairam has given the following table in his book Self-Music Therapy saying that
this could be a meeting point between mythology and modern science:
318
Image Source: Book Self-Music therapy by Dr. T.V. Sairam, (2006), p.24-25
Dr. Sairam has long-drawn-out a chart (portion of it given below) portraying the ragas
from both Hindustani Music as well as Carnatic music and their therapeutic value. He
also has given their respective scales and explained qualitatively where it can be used: 1
Dr. T.V. Sairam, Raga Therapy, Pub. Nada Center for Music Therapy, 2004, Channai, p.36-60
319
320
321
322
323
324
Chanting of Vedic & Tantrik syllables and mantras in a highly codified manner
along with the time / duration of the worship were practiced. These codes were
exercised to procure specific powers through meditation (nada-yoga) and rituals.
2.
3.
4.
5.
6.
7.
Each raga has been codified with certain rules (lakshanas) so as to maintain its
personality and a specific period of day or night and season has been assigned
respectively.
8.
9.
Inference: Since Vedic age, musical sounds, forms and practices have always been
credited for the powers they hold. Indian music has endured various
transformations and modifications for a very long period in history but has evolved
with a very distinct style in its own and that too without loosing its properties and
divinity. In spite of such developments, of our raga system known for its aesthetic
325
value we find no clue about the therapeutic uses of our ragas in alleviating illnesses
in the musicological texts referred here. However the reason of allotting specific
time of the day / night or season to a raga could be its mood and personality. To be
precise, Raga Chikitsa or raga therapy does have its roots in the age-old traditions
but this very practice came into being in modern times.
326