ॐ

Conclusion
 ॐ

Chapter V
Conclusion

साधाे, यह तन ठाठ तूँबरे का।

एेंचत तार मराेरत खूँट7, िनकसत राग हजूरे का ॥

टू टे तार <बखर गई खूँट7, हाे गया घूरम-घूरे का ।

कहैं कबीर सनाे भाई साधाे, अगम पंथ काेई सूरे का ॥

Sādho, yaha tana ṭhāṭha tūṁbare kā।

Aiñcata tāra marorata khūṁṭī, nikasata rāga hajūre kā॥
Ṭūṭe tāra bikhara gaī khūṁṭī, ho gayā ghūrama-ghūre kā।
Kahaiṃ Kabīra suno bhāī sādho, agama pantha koī sūre kā॥
(O Sadhu! This body is His lyre1!
He tightens its strings, and draws from it the melody of Brahman.
If the strings snap and the keys slacken, then to dust must this instrument of
the dust return! Kabīra says: “None but Brahma can evoke its melodies.)

This thesis is a “Study of Yogic Significance of Nāda, with special reference to Vīṇā
and Dhrupada”. The effort has been to research the Yogic significance of Nāda for
those who are on the path to Self-realization. This study has made effort in searching
that a person who is thoroughly involved in music, Dhrupada and Vīṇā in particular;
has the possibility of reaching the cittavṛttinirodha as given in the Pātañjala Yoga
Sūtra or the laya stage of the Haṭha Yoga.

This study has tried to establish the importance of the Nāda in attaining the ultimate
reality. This study has tried to find out why Vīṇā is mentioned in many Vedic and
Yogic texts. This understanding will help a Yogī, and all those who are in the field of

1
Tagore, R. (1915). The songs of Kabīra. New York, The United States of America: The Macmillan
Company. Pg. 74.
Yoga. Dhrupada is a genre of music, which is played on Vīṇā, besides other musical
instruments and singing. If we listen to or play Dhrupada or Vīṇā, the Nāda will help
on the way of Yoga. This study has tried to show a possibility to fill life with bliss that
Nāda can bring. It will also benefit all those who are studying or practicing Yoga or
Music.

à Study of Yogic Significance of Nāda, with special reference

to Vīṇā and Dhrupada
à Nāda
à Nādānusandhāna
à The Saṅgīta Mārga
Conclusion à Some experiments,
à Lives and messages of great masters
à In what way Nāda, Vīṇā and Dhrupada are helpful in Yoga
à In what way Yoga is helpful in Nāda, Vīṇā and Dhrupada
à Nāda Leads to Laya, comparison of Philosophies
àJourney from creation to creator
àCome back home
à How this work is beneficial to the Society / Academics
à Limitations of this thesis
à Suggestions for further research

Fig.: flow of thought in this chapter.

Study of Yogic Significance of Nāda, with special reference to Vīṇā & Dhrupada:

नाद Gपा तन में लय मन मे,ं काेइ बता नहीं पाये

सात सराें कJ बानी मेरK, अाेंकार धुन गाये
साधाे……

Nāda chupā tana meṃ laya mana meṃ, koī batā nahīṃ pāye,
Sāta suroṃ kī bānī merī Oṅkāra dhuna gāye,
Sādho…………
(There is Nāda in the body, and rhythm in the mind, but nobody seems to be knowing,
My speech is made up of the seven svaras, singing the tune of ‘Om’,
Sādho …………)

This thesis has tried to explore the concept of Nāda in general in Indian Scriptures, its
significance in Yoga, the concept of Nāda or sound in music, the uniqueness of
Dhrupada and the sound of Vinā, the postulation that Vinā and Dhrupada, in their
sound manifestations may be helpful in accelerating reaching the goal of Yoga for the
musician as also for the Yogi. Few possibilities this study has tried to inquire are: Can
Citta laya happen easily for Dhrupada and Vinā Musicians? If so, can Āhata Nāda of
Vinā lead to Citta laya for a Yogi?

This study has tried to bring about a meaningful bridge between Music and Yoga
through the medium of Nāda with special emphasis on the sound of Vīṇā and the
Dhrupada genre in Music. The aim had been to unravel the significance of Vīṇā’s
sound in Yoga. While the sound of Vīṇā is an anāhata sound in the culminating stages
of Yoga, in Music the sound of Vīṇā is an āhata sound. It is evident from the mention
of ‘Nāda’ in different Vedic and Yogic literatures that Nāda plays a very significant
role in a Yogi’s life. Many Vedic and Yogic texts state that at the culmination of Yoga,
the Yogi listens to the Nāda of well-tuned Vīṇā, an Anāhata Nāda arising out of his
own body. This study has searched the means of effecting Nāda laya through the
āhata sound in music in general and of Vīṇā and Dhrupada in particular.

In this study, focus has been on the place and significance of Nāda in various
spiritual, philosophical, scientific and music literature. The whole concept and
significance of Nāda has been explored. ‘Om’, the Anāhata Nada, the primordial
cosmic vibration, has been extolled in Vedas, Upaniṣads, ancient texts, Yogic texts
etc. as the creator of the universe. This study has traced the Yogic Significance of
‘Om’ in Vedic, Yogic and other ancient and modern Indian scriptures. Om, the mystic
syllable is placed at the beginning of most sacred writings.

This, being a qualitative research, largely depended upon the experiences, studies,
insights and impressions of the researcher and the people involved. This study may
not be a one-time research but can become the starting point of a longitudinal research
extending over several years and several fields. The scriptures provided a large
amount of secondary data; interviews of the experienced people have been conducted
as primary data. The essences of the interviews have been interwoven in the chapters.

In this study on one hand there’s good info on music on the other hand on Nāda, the
sound aspect of it as well as the deeper aspects. In wind instrument musician uses his
own body and breath to create music, and in string instrument he uses the instrument
to express music. So the limitation in wind instrument is the breath limitation,
whereas in Vīṇā it is only a string instrument. So, a refined instrument is able to create
more refined sound. In the same manner with the increase in breathing capacity, better
respiratory system more refined sound can be created on wind instrument. This is a
difference between these two. This way the range of sound production is more on the
string instrument. Because the limitation of breath is not here. Now among the
stringed instruments Vīṇā is the most refined with very wide range of sound
possibility. Significance of Vīṇā is so much that even human singing is called
Gātravīṇā.

According to Sage Patañjali Yoga is stoppage of modifications of mind. Some

definitions of Yoga from Śrīmad Bhagavad Gītā are: ‘to maintain equilibrium’,
‘dexterity in action’, and Yoga is ‘separation from union with pain’, and this comes
very close to the Yoga of Sage Patañjali. Yoga according to Yoga Vāśiṣṭha is ‘any
method to calm down the mind’. There are many paths to reach the state of total
stoppage of modifications of mind e.g. Karma Yoga, Bhakti Yoga, Rāja Yoga, Jñāna
Yoga, Haṭha Yoga, Mantra Yoga, Japa Yoga and Nāda Yoga etc. Nāda Yoga involves
Nāda- Sādhanā.

This study has tried to find out the principle of subtlety of mind. The principle of
subtlety of mind is the principle of laya of mind. Mind is as subtle as the object it
entertains. Mind is spoken of as two fold in Śāstras, śuddha and aśuddha. An
aśuddha mind is incapable of Sādhanā. Mind can be brought from being gross to
subtle because the subtlety of the mind depends upon the object it is entertaining. Till
the time there is an object to reflect it keeps reflecting, the moment object is absent it
begins to reflect the Self. If we give objects of material world it gets colored by those
objects. And an impure mind is not suitable for sādhanā. When given an object,
which helps mind to turn inward, mind begins to purify. By giving mind the The
Āhata nāda as object of meditation mind is kept away from other objects. Nāda
pervades the mind and and when the nāda stops the mind also stops, which is the very
aim of yoga.

Śruti says devoid of mind there is no comprehension. It is the mind, which sees and
listens. Desires, resolves, doubts, faith, steadiness, unsteadiness, shame, intelligence,
fear etc. all these are but the mind. Śruti (Amṛtabindu Upaniṣad) declares that it is
indeed the mind that is the cause of men’s bondage and liberation. The mind that is
attached to sense-objects leads to bondage, while dissociated it leads to liberation.
Desires, sense objects lead to delusion. And from delusion man ultimately collapses:

Desire → unfulfilled → anger → delusion.

Desire → fulfilled → greed → delusion.

Desire → fulfilled → greed → fulfilled → pride → delusion.

Desire → fulfilled → greed → unfulfilled → jealousy → delusion.

Fig.: Desires can be either fulfilled or unfulfilled, out of it comes, delusion2.

‘Concentration on Nāda can speed up the process of cittaśuddhi’3. According to Śiva

Saṁhitā “There is nothing as effective as Nāda to merge the mind.” A gross mind will

2 BG 2: 62,63.
Mयायताे <वषयाPपुंसः सRSTतेषूपजायते।
सRSाUसVायते कामः कामाUWाेधाेऽYभजायते ॥ ॥६२॥
\ाेधा]वित स^_ाेहः स^_ाेहाUT_ृित<वaमः ।
T_ृितaंशाद् बुdeनाशाे बुdeनाशाUfणhयित ॥ ॥६३॥
Dhyāyato viṣayānpuṃsaḥ saṅgasteṣūpajāyate ।
Saṅgātsañjāyate kāmaḥ kāmātkrodho'bhijāyate ॥ ॥ 62 ॥
Krodhādbhavati sammohaḥ sammohātsmṛtivibhramaḥ ।
Smṛtibhraṃśād buddhināśo buddhināśātpraṇaśyati ॥ ॥ 63 ॥
(When a man thinks of the objects, attachment to them arises; from attachment desire is born;
from desire anger arises. From anger comes delusion; from delusion the loss of memory;
from loss of memory the destruction of discrimination; from
the destruction of discrimination he perishes, collapses.)
3 Vivekānanda, S. (October, 2010). Ātmānubhūti. Nagpur, Maharashtra, India: Ramakrishna Math.
not be able to entertain subtle object. In order to make mind subtle one has to follow
certain process. There are practical guidelines given on “What to do” and “How to
do”. Light is also thrown in this thesis on how to make mind subtle. The food that we
eat plays an important role in the make of our mind. Śruti says that mind is derived
from the subtle essence of the food. Chāndogya Upaniṣad4, says: “The food that is
eaten becomes divided into three parts. The grossest part becomes excreta. The
medium constituent becomes flesh. The subtlest part becomes mind (Antaḥkaraṇa)”.
So, we must be careful of what we eat, as the mind is made up of the food eaten5. To
make our mind subtle we need to work upon the above given three levels:
1. The physical level - on body,
2. The mental level - on mind, and
3. The intellectual level – on intellect.

Nāda:
Coming from the Sanskṛt root ‘Nad’ which means to sound, to vibrate or to flow;
Nāda is that which is cause of sound, makes sound, flows, or enables to flow. Hence,
Nāda enables knowledge to flow. Nāda is of two types: A sound is produced when

Pg. 7.
4
Chā. Up. – 6: V: 1.
अjमkशतं lेधा <वधीयते तTय यः Tथ<वmाे
धातTतUपुरKषं भवित याे मMयमTतP_ाꣳसं
याेऽdणmTतP_नः ॥ ॥१॥
annamaśitaṃ tredhā vidhīyate tasya yaḥ sthaviṣṭho
dhātustatpurīṣaṃ bhavati yo madhyamastanmāꣳsaṃ
yo'ṇiṣṭhastanmanaḥ ॥ ॥1॥
(Food, when eaten, becomes divided into three parts. What is its grossest ingredient,
that becomes faeces; what is the middle ingredient, that becomes flesh;
and what is the subtlest ingredient, that becomes mind.)
5
Chā. Up. - 6. V. 4.
अjमयमं pह साे^य मनः ।
अापाेमयः fाणः ।
तेजाेमयी वाक् ॥ ॥ ४॥
Annamayaṃ hi somya manaḥ ।
Āpomayaḥ prāṇaḥ ।
Tejomayī vāk ॥ 4॥
(Hence, dear boy, mind is made up of food,
Prāṇa is made up of water,
and speech is made of fire.)
one thing strikes on another; it is called Āhata Nāda, and the spontaneous sound
without anything striking on another thing is Anāhata Nāda. Om is the expression of
Nāda. Sage Patañjali holds Om as the very denominator of Īśvara.

The Nāda exists in four forms Parā, Paśyanti, Madhyamā and Vaikharī. That which
resides in seed form is the Parā, Parā Nāda is the starting point of nāda, Paśyanti is
in form of inspiration, Paśyantī is mental vibrations. In form of thoughts in mind is
Madhyamā, Madhyamā is in-between vibrations. And when it gets expressed in
articulated perceptible sound it is the Vaikharī. Vaikharī, is the grossest form of
audible sound.

The source of Nāda is Brahman. From Brahman comes the evolution. From the
Brahman, which is the Self, emerges space. From space air emerges. From air fire
emerges. From fire water emerges. And from water earth emerges. Śārṇgadeva in
Saṅgītaratnākara said – ‘नाद एव rs’. Nāda verily is Brahman. Through the Śabda

Brahman it manifests as the Sṛṣṭi and through the Nāda Brahman merges back into
the Brahman. Thus, completing the cycle of evolution and involution.

Brahman

Nāda Brahman Śabda Brahman

Sṛṣṭi

Fig: Brahman, Śabda Brahman, Sṛṣṭi, and Nāda Brahman.

One must make every possible effort towards Self-realization, because this human
body is subjected to six modification अtTत, जायते, वधuत,े <वपvरणमते, अपwीयते, <वनhयित ।

existence, birth, growth, maturity, decaying and death.

अाU_ा वा अरे xyzयः {ाेतzयाे मPतzयाे िन|दMया}सतzयः ।

Ātmā vā are draṣṭavyaḥ śrotavyo mantavyo nididhyāsitavyaḥ.

(The Self should be realized, should be heard of,

reflected on and meditated upon.)

Śabda is the subtlest Tanmātrā according to Sāṅkhya philosophy. Śabda features in

Ākāśa and in all subsequent Mahā Bhūtas. The Pañcīkaraṇam according to
Tattvabodha says from the tāmasa aspect of these five elements, the grossified five
elements are born. The tāmasa aspect of each of the five elements divides into two
equal parts. One half of each remains intact. The other half of each further gets
divided into four equal parts. To the intact half of one element, one-eighth portion
from each of the other elements gets joined. This is Pañcikaraṇam.

We can see the importance of Śabda as sound from the second Prakaraṇa ‘the
Mahābhūtaviveka’ of Pañcadaśī. Svāmī Vidyāraṇya says that Śabda features in all
elements either as svakāraṇaguṇa, property of its cause or as svaviśeṣaguṇa, its
unique property. Svāmī Vidyāraṇya explains the sound of each Mahābhūta, the sound

of वायु is बी-सी श~दः, the sound of अ•€ is भुग-ु भुगु Mविनः, the sound of जल is बुल-

बुल श~दः, and the sound of पृ•वी is कडकडा श~दः ।

Sound à Ear à Mind à Buddhi à Affects all levels.

Fig.: Sound affects all levels of personality.

All perceptible matter is made-up of Pañca Mahābhūtas. Śabda being one of the
constituents of all of them affects us directly. Music being soothing sound, affects us
positively, produces harmonious vibrations in body and mind. According to Sāṅkhya
Philosophy the five Mahābhūtas (Ākāśa, Vāyu, Teja, Jala and Pṛthvī) come from the
five Tanmātrās (Śabda, Sparśa, Rūpa, Rasa and Gandha). All perceptible matter is
made-up of these five Mahābhūtas. Śabda being one of the constituents of our body
affects us directly. Music being soothing sound, affects us positively, produces
harmonious vibrations in the mind and body.

We can see the significance of Nāda as perceptible sound; the sound structure even if
it is not grammatically correct expresses feelings. All the animals express their
feelings and communicate through sound. The language is limited to expressing the
meaning of words only. Whereas the sound goes beyond words in expressing feelings
like joy, sorrow, enthusiasm, fear, excitement etc.

Svāmī Satyānanda Sarasvatī says, “According to Nāda Yogīs and the scriptures
dealing with the subject of Nāda yoga; the Nāda brahma, or the ultimate and
transcendental sound, is the seed from which the entire creation has evolved. A Nāda
Yogī believes that the world is but a projection of sound alone. The whole macro
cosmic universe is a projection of sound vibrations.”6

Nādānusandhāna:

ƒx-„…Pथं यदा Yभ†वा शवu-पीठ-गताेऽिनलः ।

िन‡पˆाै वैणवः श~दः ‰णद्-वीणा-‰णाे भवेत् ॥ ॥७६॥

Rudra-granthiṃ yadā bhittvā śarva-pīṭha-gato’nilaḥ ।

Niṣpattau vaiṇavaḥ śabdaḥ kvaṇad-vīṇā-kvaṇo bhavet ॥ ॥ 76॥7
(When the Rudra granthi is pierced and the air enters the seat of the Lord,

the space between the eyebrows, then the perfect sound

like that of a Vīṇā is produced.)

6
Nāda Yoga Svāmī Satyānanda Sarasvatī
http://www.yogamag.net/archives/2004/fdec04/nada.shtml
7
HP - 4 : 76.
Sage Svātmārāma, Śivasaṃhitā and Ādi Śaṅkarācārya hold the Nādānusandhāna as
the supreme most. HP, Nādabindu Upaniṣad bring out the significance of Āhata nāda
with examples like - the snake charmer, deer etc. Our senses are not capable to sense
the Anāhata Nāda. Nādānusandhāna is an exploration into the anāhata Nāda. Sound
manifests at four levels Parā (unmanifest beginning point), Paśyanti, Madhyamā and
Vaikharī. Vaikharī is the audible sound equal to Āhata sound, the thought that
manifests before the speech is Madhyamā. Subtler than that is the intuition for the
thought to speak, the Paśyantī. It is at the Paśyantī level that a Mozart sees the
symphony. Parā become the Paśyanti, Paśyanti becomes Madhyamā and Madhyamā
becomes the Vaikharī.

The Concept of Nādānusandhāna is given in Haṭha Pradīpikā. When the Yogī is

totally in tune with his inner self his inner Nāda begins to flower. It is a natural
outcome of the Yogic development. It happens in four stages:
1. In Ārambhāvasthā Brahma granthi is pierced, tinkling sounds of ornaments
are heard. Happiness is experienced.
2. In Ghaṭāvasthā Viṣṇu-granthi is pierced, kettle drum, Bherī sounds are heard.
Yogī’s posture becomes firm and he becomes wise like god.
3. In Paricayāvasthā Vāyu enters the Mahāśūnya. Mardala drum is heard. He
becomes above all mental conflicts and emotions, beyond all dvandva. And
4. In Niṣpattyavasthā Rudra-granthi is pierced. Yogī’s efforts culminate into
listening to the subtlest sounds, the Anāhata Nāda of the well-tuned Vīṇā.

It is a process where the Anāhata Nāda becomes subtler and subtler and at one point
in time it reaches the laya of the citta in Nāda. These Yoga practices are for the laya
of the citta in Nāda. Sound is the medium for meditation, when thought becomes pure
vibration, the mind is not there. Sound becomes subtler from the breaking of the sea
to mardala drum to horns to the sound of a well-tuned Vīṇā or Flute. At one point of
time it reaches to pure vibrations and at that point the sound that the mind is holding,
now the mind has nothing to hold so it completely dissolves. So, Nāda Yoga is laya of
citta in Nāda. Haṭha Pradīpikā, Gorakṣanātha, Ādi Śaṅkarācārya all suggest that out
of all forms of layas the laya in Nāda is the easiest and most important.

The Nāda according to Nādabindu Upaniṣad and Haṭha Pradīpikā in progressive

Avasthās are very much comparable. Nādabindu Upaniṣad gives three stages of
Nāda. Haṭha Pradīpikā gives four stages, Haṁsopaniṣad gives ten and the Aṣṭāṅga
Yoga of Saint Caraṇadāsa also gives ten stages. The subtle levels of Nāda are
cognized only by yogis and Ṛṣis whereas ordinary people can cognize the gross,
manifest form of language in spoken form. Along with the life breath, the subtle
Nāda becomes ready to manifest. It proceeds from the throat region where it receives
articulation and becomes fully manifest. It is the fourth level, the Vaikharī that we can
hear and use for communication.

Nāda features in Yoga Sādhanā in some form or the other. For this thesis the
following schools / types of Yoga are relevant for the given reasons:

Type of Yoga Relevance in this thesis

Caturaṅga Yoga Nādānusandhāna

Pātañjala Yoga Praṇava japa

Bhakti Yoga Kīrtana, Nāma Smaraṇam, Arcanā,

Vandanā

Jñāna Yoga Japa, śravaṇam

Nāda Yoga Nāda.

Table: Types of Yoga and their Relevance in this thesis.

“An ounce of practice is better than tons of theory.

Practice Yoga, Religion and Philosophy
in daily life and attain Self-realization.”
- Svāmī Śivānanda.

The Saṅgīta Mārga:

नाहं वसाYम वैकु‹ठे , याेगीनां Œदये न वा ।

 म]•ाः यl गायtPत, तl ितmाYम नारद ।।

Nāhaṃ vasami vaikunthe, Yogīnaṃ hridaye na vā.

Madbhaktah yatra gayanti, tatra tishthami Narada.
(I do not reside in the Heavenly abode of Vaikunṭha,
nor in the heart of the Yogīs. Wherever my
devotees sing, there I reside, O Nārada!)

Lord Viṣṇu told Nārada that he resides in the hearts of his bhaktas. That shows the
power of bhakti. Bhakti includes lot of singing. In India music is considered as one of
the highest of art forms. Music in India is a fundamental of Bhakti with a philosophy
attached to it. The musical notes are the physical manifestations of the Highest
Reality termed Nāda-Brahman 8 . Music is not a mere accompaniment in religious
worship; it is religious worship itself, like Yāgas and Temple worship. There is a rich
tradition of following music since ancient times.

Seals9 and stamps are found with sketches of Vīṇā on it in the excavation of Mohan
Jodaro and Harappa. That proves that music was prevalent in that culture. In fact,
Bhartṛhari in Nīti Śataka 10 calls a man an animal if he is not endowed with the
literature, music or art. Saint Kabīra equates the human body itself with a Tānpūrā,
says that a well-tuned human body is a good instrument to reach the Self. Music is
helpful in understanding this idea as when this body mind and intellect is in tune with
the higher Self it sings the song of Self and realizes Self. He is drawing parallel
between the body and the Tānpūrā in a sense that both can sing the music only when
they are in tune. A Tānpūrā’s tāra (the string) needs to be tuned, by stretching it or by

8 Śāstrī,
S. S. (1943). Saṅgītaratnākara of Śārṇgadeva with two commentaries. Madras, Tamilnadu,
India: The Adyāra Library. Pg. XXII.
9 Miśra, Dr. B. (1988). Bharat aur unkā Nāṭyaśāstra. Allahabad, Uttar Pradesh, India: Uttarmadhya
Kshetra Sanskritik Kendra. Pg. 58.
10
NŚ: 12.
साpहUयसRSŽतकला<वहीनः साwाUपशः पु•छ<वषाणहीनः ।
तृणं न खादj<प जीवमानTत]ागधेयं परमं पशूनाम् ॥ ॥१२॥
Sāhityasaṅgītakalāvihīnaḥ sākṣāt paśuḥ pṛcchaviṣāṇahīnaḥ
Tṛṇaṃ na khādannapi jīvamānastadbhāgadheyaṃ paramaṃ paśūnām ॥ ॥12 ॥
(The man who has no sense of literature, music and arts is like a beast though
he has not horns and a tail. He lives a life exactly like that of cattle’s,
though he may not eat grass; which is a lucky thing for the animals.)
loosening it, in order to bring out the correct sound from it. If the string is stretched
too much, it breaks. If the string is not stretched enough it doesn’t produce correct
sound. So, the string needs the desired tension to bring out musical sound from it.
This sound, from a well-tuned string is later manipulated by the musician to create
music. In the same way, we have to be in tune with our divine Self in order to realize
it.

The capacity for a Dhrupada musician and Vīṇā player is there to reach the state of
kaivalya of Patañjali’s Yoga or laya of Haṭha Yoga. Even if a Dhrupada musician
doesn’t perform any āsana or prāṇāyāma practices, is able to reach the
cittavṛttinirodha or the laya stage of the Haṭha Yoga through the medium of music,
because of the music he is involved in. when the sound of music becomes finer and
finer, mind also is becoming finer along with the music. There are instances where the
mind of musician not only affects himself but also affects the environment around.
When the Dhrupadiā11 Tānasena12 sang Rāga Dīpaka, the lamps would burn. And
when he sang Rāga Megha it would start to rain.

Music brings mind to a single point. With this other things fade away and mind comes
to be attached to music. At any point in time mind is occupied with numerous
thoughts or objects. When mind comes to one point, it derives Sukham. Because one-
pointedness brings Pātratā (worthiness) for meditation. A quiet mind is a happy
mind. Happiness is not outside, in the mind or in the world of objects or in the objects
of the world. A quiet mind is a happy mind. In fact, quietness of mind is happiness of
mind. One, who can bring mind to quietness, the world of objects is redundant to him.
To maintain poise of mind one has to keep a positive attitude towards all:

मैlीकƒणामु|दताेपेwाणां सखदुःखपु‹यापु‹य<वषयाणां भावनात‘’ˆfसादनम् ॥ ॥३३॥

Maitrīkaruṇāmuditopekṣāṇāṁ sukhaduḥkhapuṇyāpuṇyaviṣayāṇāṁ
bhāvanātaścittaprasādanam ॥ ॥33॥
(By the attitudes of friendship towards the happy people,
mercy towards the unhappy people, gladness towards the righteous people,

11
The Dhrupada musician.
12
The court musician of king Akabara.
 and indifference towards the evil people pacifies the citta.)

The above sūtra can be broken down into vibrations for understanding. Maitrī,
Karuṇā and Muditā being good vibrations and Upekṣā not giving any place in the
mind by not entertaining it.

वृˆयः प“त”यः <•yा अ<•yाः ॥ ॥५॥

Vṛttayaḥ pañcatayyaḥ kliṣṭā akliṣṭāḥ ॥ ॥5॥
(Vṛttis are of five types, they are painful and not painful.)

Here, the two kinds that sage Patañjali is talking about are those Vṛttis, which take us
towards our goal and the other ones are those which take us away from our goal.
These two kinds of vṛttis can be understood as the positive vibrations and the negative
vibrations.

Positive Vṛttis à take us towards our goal

Vṛttis

Negative Vṛttis à take us away from our goal

Fig.: Positive and Negative Vṛttis.

“Music has a great power. It is the greatest power man has discovered. We should
make use of it through Kīrtana, you can reach the highest pinnacle of spiritual
experience. Neither by Yoga nor by any other means but by Kīrtana alone you can
have a vision of divine. You can have a vision of yourself. You can have the vision of
God. You can have the vision of Christ. You can have the vision of Mary. You can
have the vision of Kṛṣṇa. You can have the vision of Rāma. Music does the most
important ground work by taking away the Self from you13.” said Svāmī Satyānanda.

13
Svāmī Satyānanda: precious moments with Paramahaṃsa 1
(https://www.youtube.com/watch?v=e_vF5vEHAz0)
A person who is playing Vīṇā gets very much engrossed in the music, and the person
who is listening to the Vīṇā sound also gets engrossed in the music. It is so subtle that
the citta laya can happen by the sound of music of Vīṇā. We see reference to different
types of Nāda in Haṭha Pradīpikā, Ārambhāvasthā, Ghaṭāvasthā, Paricayāvasthā at
Niṣpattyavasthā a yogi listens to Vīṇā and slowly gets laya there. Even for a normal
musician, every time he / she plays music; there is a meditative state there, which is
reached because music is very subtle.

We see in Haṭha Pradīpikā that laya in nāda is possible. The Nāda is helpful in going
into the state of laya by playing physical Vīṇā like the laya of Niṣpattyavasthā. Vīṇā
is an instrument that gives a range of sounds from gross to subtle. Of all the
instruments, vīṇā has a wide range, which helps to go into subtle sounds. Vīṇā itself is
capable to bring the laya Avasthā. This can be a journey from Āhata Nāda to Anāhata
Nāda. From outside sound, generated by vīṇā, mind gets attached to it leaving all
other occupations becomes ekāgra, single pointed and ultimately gets merged because
of the subtlety of sound.

Significance of Nāda in and as Saṅgīta Sādhanā is that the Nāda can be one of the
Sādhana depending upon the make of the sādhaka’s Vāsanā. Contemplation on Nāda,
sounds of Dhrupada, Vīṇā can be helpful for cittaśuddhi. Saṅgīta Sādhanā is Nāda
Yoga. Saṅkīrtana is the easiest, surest, safest, quickest way to attain God
consciousness. Effects of Kīrtana can be seen as the Saṅkīrtana is the easiest, surest,
quickest way to attain God consciousness.

हरे राम, हरे राम;

राम, राम, हरे , हरे ।

हरे कृ )ण, हरे कृ )ण;

कृ‡ण,कृ‡ण, हरे , हरे ।।

Hare Rāma Hare Rāma;

Rāma Rāma Hare Hare,
 Hare Kṛṣṇa Hare Kṛṣṇa;
Kṛṣṇa Kṛṣṇa Hare Hare.

This is one such Mahāmantra for nāmasmaraṇam. This is how Svāmī Śivānanda used
to chant. Svāmī Śivānanda started a tradition of singing this Mahā Mantra at the
‘Divine Life Society’. “God's name is like a detergent that cleans the karmas. It cleans
the dross of the soul, which you have accumulated during the course of this life and of
many past lives. By constantly remembering the name, man can cross over the ocean
of life to the other side. The Lord's name is the redeemer of all physical, mental and
social illnesses,” said Svāmī Satyānanda Saraswatī.

Some experiments:
“Each era, each community has a history
of its own, it’s human nature to create music
that readjusts the vibrations distorted by history.
That’s why I’m so certain that music is a
form of healing before it is an art!”
- Dr. Masaru Emoto

“Different sects of Yogis began to make all sorts of experiments. Some made
experiments with light, trying to find out how lights of different colors produced
changes in the body. They wore a certain colored cloth, lived under a certain color,
and ate certain colored foods. All sorts of experiments were made in this way. Others
made experiments in sound by stopping and unstopping their ears. And still others
experimented in the sense of smell, and so on. The whole idea was to get at the basis,
to reach the fine parts of the thing”14. Writes Svāmī Vivekānanda.

The first manifestation of existence is Nāda. As everything is a manifestation it takes

shape, which is most appropriate to express the existence. Some experiments with
Nāda in general, and with music show that matter changes with different kinds of
stimulations.

14
Vivekānanda, S. (2012). The complete works of Swami Vivekananda Vol. 2. Kolkata, India: Advaita
Aśrama. Pg. 21.
Dr. Masaru Emoto’s experiments on water:
“Music is vibration,
if we expose water to music
its crystal structure will change!”
- Dr. Masaru Emoto.

The experiment: he used to fill bottle with water and set them under either a positive
or a negative influence. E.g., some bottles of water were wrapped with written notes
“thank you.” When frozen, created beautiful crystals that were lovely to behold.
Water over which a priest prayed, with love and gratitude, created the same type of
beautiful crystals. Conversely, unpleasant, incomplete, and malformed crystals were
created in water exposed to people saying or writing, “You fool,” or other negative
expressions.

Dr. Emoto has shown that by exposing water to piece of music or a particular word
and freezing it then taking their photographs, the ice crystals that were formed were
beautiful. Those crystals which were frozen from beautiful words and music they
came out to be beautiful crystals. And from water sample with mean-spirited or
negative words, came distorted and badly shaped crystals. What is the
significance? It is important to know that an adult human body is approximately
seventy percent water and infant bodies are about ninety percent water. We can be
hurt emotionally and our structure of body can be manipulated, as the water can be
changed, for the worse by negativity. There is a good news though, that we are always
nearer to beauty when surrounded by positive words, feelings, intentions and positive
vibrations.

Lives and messages of great masters:

“Whenever virtue subsides and the vice prevails,

I come down to help mankind”
Declares lord Kṛṣṇa in the Bhagavad-Gītā 15 . India is filled with many realized
masters who have showed us the path to Self-realization. Yogic Significance of Nāda
can be seen in Masters’ lives and in their messages. “The greatest aid to this practice
of keeping God in memory is perhaps, music.” Said Svāmī Vivekānanda. There have
been many great masters who preached Nāda in some way or other. For example, Ādi
Śaṅkarācārya, Kabīra, Mīrābāī, Rāmakṛṣṇa Paramahaṃsa, Svāmī Vivekānanda, Śrī
Aurobindo, Ramaṇa Mahaṛṣi etc. made their observations on Nāda as well.

At the time of birth of Ādi Śaṅkarācārya (788 A. D. – 820 A. D.) it was utter chaos in
religious and philosophical matters. He established the sanātana dharma once again
with his efforts. He wrote Bhāṣyas, composed numerous Stotras, Ślokas, hymns etc.
E.g. when he saw one old person memorizing the Sanskṛta grammar said ‘Ḍukṛñ-
karaṇe, Ḍukṛñ-karaṇe’; inspired by this he impromptu came up with this verse.
Another example, once Śankara was going to take bath in the Ganges along with his
pupils, at that time one Cāṇḍāla16 was passing by, when the pupils asked him to give
way to the Ācārya, Cāṇḍāla replied, “O, revered Guru! You preach Advaita Vedānta,
yet make a great difference between man and man. How can this be coherent with
your teaching of Advaita? Is Advaita a theory alone?” Śankara was totally taken
aback and soon he realized that the Cāṇḍāla was none other then the lord Śiva
himself. Then he composed five Ślokas named “Manīiṣā Pañcakam” Every Śloka
ends thus: “He who learnt to look on the phenomena in the light of Advaita is my true
Guru, be he a Cāṇḍāla or be he a Brāhmaṇa”. Another master piece ‘Śrī

15
BG – 4: 7, 8.
यदा यदा pह धमuTय —लािनभuवित भारत ।
अ˜युUथानमधमuTय तदाU_ानं सृजा^यहम् ॥ ॥७॥
पvरlाणाय साधूनां <वनाशाय च दु‡कृताम् ।
धमuसंTथापनाथाuय स^™वाYम युगे युगे ॥ ॥८॥
yadā yadā hi dharmasya glānirbhavati Bhārata ।
abhyutthānamadharmasya tadātmānaṃ sṛjāmyaham ॥ ॥7॥
paritrāṇāya sādhūnāṃ vināśāya ca duṣkṛtām ।
dharmasaṃsthāpanārthāya sambhavāmi yuge yuge ॥ ॥8॥
(O Arjuna! Whenever there is a decline of
righteousness, and rise of unrighteousness,
then I manifest Myself! For the protection of the good,
for the destruction of the wicked, and for the
establishment of righteousness, I am born in every age.)
16
A lower caste / outcaste person.
Dakṣiṇāmūrti Stotra’, encompasses the Vedāntic wisdom in its most profound way. It
helps sādhakas to understand that the Brahman and Ātmā in fact are one.

Kabīra (1440 - 1518) could convey the subtlest philosophical thought in a very simple
and poetic way.

Mīrābāī, A Bhakti-saint (1498 - 1557), poetess and mystic, a Rājapūta princess, who
abandoned the world in total surrender to Lord Kṛṣṇa and sang the songs only to
worship Lord Kṛṣṇa.

Rāmakṛṣṇa Paramahaṃsa (Feb.20, 1835-1886), one of the most remarkable saints of

modern India, a divine reincarnation to establish the bhakti. God to him was Mother
Kālī, day after day he would weep to realize her. If his day went by without the
realization of the Mother, towards the end of the day he would become immensely sad
and weep and cry. Sometimes he would go into ecstatic mood dancing, sometimes fall
motionless. His mind would stop functioning with tears rolling down his cheeks he’d
cry, “Awake, Mother! Awake!
 How long Thou has been asleep! In the lotus of the
Mūlādhāra!”

Svāmī Vivekānanda was embodiment of Bhakti Bhāvanā and Sevā (service) to the
poor and needy. Rāmakṛṣṇa used to say Narendra (Narendra later became Svāmī
Vivekānanda, January 12, 1863 – July 4th, 1902) has many good qualities; his
intelligence is as great as his learning, he is free from ignorance and delusion, he has
no bonds, he is expert in music; both as a singer and a player, and also a versatile
scholar, keeps his passions under control. Rāmakṛṣṇa wanted to hear Narendra sing.
The young disciple at the Master's earnest request would sing to the accompaniment
of the Tānpūrā.

Śri Aurobindo (August 15, 1872 – December 5, 1950) developed a method of spiritual
practice called ‘Integral Yoga’, a concentrated effort towards this Self Realization.

Ramaṇa Mahaṛṣi (December 30, 1879 – April 14, 1950) is one of the most revered
names in India for showing spiritual path to innumerable sādhakas. He was
completely immersed in his deep understanding of the supreme reality. Sometimes
some sages and saints used to come to his āśrama and give discourse for the benefit
of the devotees. Once on one such occasion, when a saint was speaking on the subject
of Brahman people were listening. Ramaṇa Mahaṛṣi was also present there and was
listening. One devotee asked him, “We are listening to the discourse because we are
ignorant and want to be illumined. Why are you listening?” To this, Ramaṇa Mahaṛṣi
replied, “I’m listening, how he is describing me.” Such was his unshakable realization
of Self.

In what way Music, Vīṇā and Dhrupada are helpful in Yoga:

“That which separates you

from God is mind17”
- Svāmī Śivānanda.

Music helps in sādhanā to transcend the mind. The Nāda, which a Yogī hears, at the
culmination of Yoga is that of a well-tuned Vīṇā. Whereas, the sounds created on Vīṇā
and in Dhrupada are Gambhīra (deep) and bring the listener’s mind to a single point,
to concentration immediately. This study has tried to find if this quality of Vīṇā and
Dhrupada can be used for Yoga. As we see from Haṭha Pradīpikā that of all the
Layas, Nāda Laya18 is said to be the best Laya.

Music is the nāda svarūpa of god. In Saṅgītaratnākara Śrī Śārṅgadeva explains vocal
music, instrumental music and dance all three are Saṅgīta. Dhrupada is the oldest
form of Indian Classical music and traces its origin to the chanting of Vedic hymns
and Mantras. Its name is derived from the words Dhruva, that which is fixed and
pada, the verse. The term ‘Dhrupada’ denotes both the verse form of the poetry and
the style in which it is sung. And Vīṇā is a generic term to describe the stringed
instrument.

17
Śivananda, S. (1994). Mind, Its Mysteries And Control. Uttarā Khaṇḍa, Himalayas, India: The divine
life society. Pg. 1.
18
HP - 4: 66.
The musical sounds are Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa. When Nāda materializes, it
becomes music19. Svāmī Satyānanda Sarasvatī says, “Music has so much power that
it can free your ego. Through kīrtana you can reach the highest pinnacle of spiritual
experience. Not by yoga or by any other means but by kīrtana alone can you have the
vision of the Divine.”20 Music can be taken up as a spiritual sādhanā, as a preliminary
practice, or just as a pleasant, interesting and inspiring sādhanā of Nāda yoga,
through which the mind can be attuned to the subtlest vibrations. Music can be taken
up as a spiritual sādhanā, as a preliminary practice, or just as a pleasant, interesting
and inspiring sādhanā of Nāda yoga, to attune mind to the subtle vibrations.
Contemplation on Nāda, Dhrupada, Vīṇā can be helpful for cittaśuddhi.

According to Saṅgīta Darpaṇa music is of two types; that which is Śreyasa, pleasing
to the gods, brings harmony with the natural forces is Mārga or Mārgī Saṅgīta. Its
purpose is to reach the Supreme Reality. And that which is Preyasa, pleasing to
humans is Desī Saṅgīta, for the purpose of entertainment.

Some classical music genres 21 are Dhrupada, Karnāṭik, and Khayāla. There are
further sub-genres of music e.g. Dādarā, Ṭhumarī, Tarānā, Ṭappā, Kajarī, Caitī, folk
music, Bhajana, Kīrtanam, Saṅkīrtanam, Nāma-Saṅkīrtanam, Nāma-Smaraṇam,
Baul, Ghazal, film music etc.

According to Mataṅga, Svara is the sound, which has musical quality that creates

melody. Svara is self-shining. The names of the seven22 main Svaras are: ष›œ, Ṣaḍja,

19
Svāmī Satyānanda Sarasvatī From lectures to students of the first International Yoga Teachers
Training Course at Munger, 1967-68.
20
http://www.yogamag.net/archives/2004/fdec04/naam.shtml
21
A style or category of art, music or literature etc. A genre is called a ‘<वधा’ ‘Vidhā’ in Hindī.
22
Dāmodara viracitaṃ Saṅgīta Darpaṇaṃ. Tanjore, India: Madrasa Government Oriental Series,
Authority of the Government of Madras. Pg. 5.
Ṣaḍjādayaḥ svarāḥ sapta ॥ ॥ 36 ॥
Ṣaḍjādayaḥ saptasvarāḥ ॥ ॥ 20 ॥,

Ibid. SD – 1: 147. Pg. 23.

{ुित˜यः Tयुः Tवराः ष›œऋषभगाPधारमMयमाः ।
प“माेधैवत’ेित िनषाद इित सžते ।
ऋषभ, Ṛṣabha, गPधार, Gandhāra, मMयम, Madhyama, प“म, Pañcama, धैवत, Dhaivata,

िनषाद, Niṣāda. The abbreviations for them are: सा, रे , ग, म, प, ध, िन Sa, Re, Ga, Ma,

Pa, Dha and Ni. These are called the Śuddha Svaras. Besides these there are also the
Vikṛta Svaras, the Komala and the Tīvra svaras, which are Komala Ṛṣabha, Komala
Gandhāra, Tīvra Madhyama, Komala Dhaivata, and Komala Niṣāda.

“That which charms is a rāga.” (SD – 2: 1). Rāga is a unique system of Indian music.
A Tāla is a cycle of beats, these beats are set to particular speeds and numbers. Music
is the most ancient of arts. The Dhrupada we have today has developed from
Sāmagāyana. It has developed in stages from Sāmagāyana to Chanda to Prabandha
to Dhrupada. Of many genres of music Dhrupada is the oldest surviving form of
Indian Classical music and traces its origin to the chanting of Vedic hymns and
Mantras. Dhrupada is accompanied by Tānpūrā as a drone and by Pakhāvaja for
percussion. Dhrupada repertoire comprises of Ālāpa, Joḍ, Jhālā, and Bandiśa or gata.

The Uniqueness of Dhrupada as a form of Indian Music is its serene nature of music.
Dhrupada as music and especially its ālāpa is meditative, brings mind to ekāgra
stage. Singing or listening to ālāpa brings sajātīya vṛtti pravāha. The ālāpa is
developed from the mantra ‘Harioṃ nārāyaṇa ananta tarana tārana.’

The mantra:
हvरअाेम नारायण अनPत तरन तारन ।

Harioṃ nārāyaṇa ananta tarana tārana.

अालाप छPद:

अा र न ना, र ना नूम् न,

ते त र न न, त र र न, रK ना र न न,

तेषां संŸासvरगम पधनीUयपरामताः ॥ ॥ १४७ ॥

Śrutibhyaḥ syuḥ svaraḥ ṣaḍjaṛṣabhagāndhāramadhyamāḥ ।
Pañcamodhaivataśceti niṣāda iti saptate ।
Teṣāṃ saṇjñāsarigama padhanītyaparāmatāḥ ॥ 147 ॥
 ए न न, ते ते रK र र न, रK ना नूम् र न न, त न तूम् न

Ālāpa Chanda:
Ā ra na nā, Ra nā nūm na,
Te ta ra na na, Ta ra ra na, Rī nā ra na na,
E na na, Te te rī ra ra na, Rī nā nūm ra na na, Ta na tūm na.

We cannot see svara like how we cannot see Īśvara. And the sound of music liberates
by bringing mind away from other objects and concentrating on one object i.e. the
sound of music. Practice of music, Dhrupada in particular gives the sādhaka subtler
capacity, trains mind to concentrate. Mind is purified, elevated by regular practice.
Mind can be turned inward at will by practice. Riyāz is a tapa, works like Kriyāyoga,
and brings about result of thinning out the kleśas and develops the consciousness of
samādhi. The bhakta develops an emotional trance-like state by intense bhakti or
singing devotional songs23.

According to Dhrupada practitioners each svara has seven Svarabhedas (difference

in frequency). And this makes Dhrupada a very-very refined and subtle as compared
to other genres of music. Of all the musical instruments the sound of Vīṇā is the most
gambhīra. It immediately brings a meditative mood to the player as well as to the
listener. Vīnā’s wide range of sounds helps to go into subtle sounds and ultimately
merge in the Nāda. An assured quality of music and dance is their harmony to
produce a pleasing effect. Which makes an environment for deeper Sādhanā.

There is one general sound of Dundubhī, Conch, Vīṇā etc. all variations are
elaboration on general sound, the substratum of elaborations. They emerge from a
bigger general sound, and merge beck into the substratum at the time of Pralaya.

There are three types of musical instruments:

1. The stringed instruments, e.g. different types of Vīṇās, Surabahāra etc.
2. Suṣiravādya. The wind instruments, e.g. Bāṁsurī, Śahanāī etc. and
3. Tālavādya, the percussion instruments, e.g. Mṛdaṅga, Pakhāvaja, Tablā etc.
23
Satyānanda, S. (1976). Four Chapters on Freedom. Munger, Bihar, India: Yoga Publications Trust.
Pg. 140.
Vīṇā is a stringed instrument. We find references to Vīṇā in the Ṛgveda, Sāmaveda,
Śatapatha Brāhmaṇa, Śrī Yoga Vāśiṣṭha, in Upaniṣads like Bṛhadāraṇyaka,
Nādabindu, Dhyāna-Bindu and in Smṛti like Yājñavalkya etc. Some of the Vīṇās,
which were prevalent in the Vedic period are Vanaspati Vīṇā, Vāna Vīṇā, Audumvarī
Vīṇā, Pichorā or Picholā Vīṇā, Kātyāyanī Vīṇā, and Kṣoṇī Vīṇā etc.

We find mention of Vīṇā in Vedic and Yogic literature. This shows that music played
an important part in the lives of people at that time. The Sāmaveda and the Śatapatha
Brāhmaṇa name Vīṇā as one of the accompanying musical instruments used during
the mantra chanting. Śrī Yoga Vāśiṣṭha calls tṛṣṇa a Vīṇā, which gives out the music
of desires. In Bṛhadāraṇyaka Upaniṣad (Bṛ. Up. - 2: IV: 9) sage Yājñavalkya gives
examples of Dundubhī, conch and Vīṇā to Maitreyī. Nādabindu Upaniṣad mentions
that the sādhaka hears Vīṇā sounds, more and more subtle (Nād Up–48). Dhyāna-
Bindu, Nādabindu Upaniṣad, Śiva Saṁhitā, Vaśiṣṭha Saṁhitā (VS 3:39) mention the
sounds of Vīṇā. According to Hatha Pradīpikā the Yogi’s efforts culminate into
listening to the subtlest sounds arising out of nothing, the Anāhata Nāda, it is the
sound of the well tuned Vīṇā (HP - 4: 76). Śiva Saṃhitā says by practice of Yoga the
Nāda of Vīṇā is heard (Śiva Saṃhitā – 5: 42).

Some of the instruments, other than Vīṇā mentioned in Ṛgveda other Vedic, Yogic or
other literature are Dundubhī, Vāna, Nāḍī, Veṇu, Karkarī, Gargara, Godhā, Vīṇā,
Pinga, Aghati, Śaṅkha Panava, Paṭāha Vaṃśa (flute) and Mṛdaṅga etc. HP mentions
Nāda of Kwaṇaka (bells’ tinkling), Bheri, Mardala Drum (HP–4:70,73,74), Ocean,
Jharjhar, Drums, Conch, Bells, Kiṅkiṇī, Flute, Bhramara(HP–4:85,86). Gheraṇḍa
Saṁhitā mentions Nāda of cricket, flute, thunder, cymbals, big bee, bell, gong,
trumpet, one sided drum, double sided drum etc. (GS–5:75). Śiva Saṁhitā mentions
Nāda of Bhramara, Flute, the bell, the clouds etc. (ŚS–5:42,43). Vaśiṣṭha Saṁhitā,
Nāda of the Conch, the clouds, waterfall (VS - 3: 40) etc.

When music is expressed through physical Mudrās, it is called Nṛttam e.g.

Bharatanāṭyam, Oḍissi, Kathaka, Kucipuḍī, Kuḍīaṭṭam, Maṇipurī, Chau etc.
We can see the significance of Nāda in form of music given in Indian literature in
abundance. In the Śrīmad Bhāgavatam the Nāda yogis consider Kṛṣṇa to represent
that higher sphere of consciousness where the Nāda of that sphere emanates during
the deepest state of Nāda sādhanā. In Saṅgīta Ratnākara sage Śārṅgadeva (1210–
1247) says that Nāda verily is Brahman. And worship of Nāda is equal to worship of
all gods. Brahmā, Viṣṇu, Maheśvara all Devas are worshiped by the upāsanā of Nāda
as they all are its manifestations.

In what way Yoga is helpful in Music, Vīṇā and Dhrupada:

In and through all arts, music, perfections we can discover happiness, means we have
exceeded the excellence. Music should help us to go from melody to silence by
knowing that on the silence all these notes of music are playing, so journey of
creation to creator to beyond is purpose of music. Dance, only to help that all the
moments are spread over the space. Dance is only to capture mind and put it in one
point.

Creation -----------à Creator

Music ----------à Melody -----------à Silence --------à Beyond

Dance ----------à Postures ---------à Space -----------à Beyond

Painting --------à Color ------------à Canvas ---------à Beyond

World --------à Names and forms --------à Time and space --------àBeyond

Fig.: Journey from creation to creator

From the creation we can infer that there is a creator. And the effort is to go to the
creator from the creation.

Art Music Dance Activities World

 Substratum

Fig.: All activities spring up from and on the Substratum.

Music should help us to go from melody to silence by knowing that on the silence all
these notes of music are playing.

Dance should help us to go from the movements to the space, on which all these body
movements are spread over.

Om is explained in the Upaniṣads as standing for the whole world and its part,
including past, present and future, the three worlds and the powers of creations,
preservation and destruction. The Taittirīya Upaniṣad, Praṇava Upaniṣad, Śrīmad
Bhagavad Gītā call Om the one and only imperishable Brahman. Māṇḍūkya
Upaniṣad elaborately explains the svarūpa of Om: the 3 mātrās symbolize the Viśva,
Taijasa, Prājña; Vaiśvānara, Hiraṇyagarbha, Īśvara; Jagrata, svapna, Suṣupti
Avasthās; Sthūla, Sūkṣma and Kāraṇa Śarīras and the candrabindu represents the the
Ātmā, the Brahman or the Turīyā Avasthā. From Parānāda come Praṇava, the Om
and further evolutes of nāda. In Vedic times the Svaras used for chanting were
Udātta, Anudātta, Svarita.

The sound production process of Om shows that Om encompasses all sounds, letters,
words, and languages. And, That’s how chanting of Om is equal to chanting all

prayers. When we just open our mouth, and make a sound, it is the sound ‘अ’. When

we close our mouth, and make a sound, it is the sound ‘म’. And after having uttered

‘अ’ when we continue the sound and try to utter ‘म’ the journey from ‘अ’ to ‘म’ is

‘उ’. Because of guṇa sandhi अ + उ = अाे. This way ‘Om’ includes the whole gamut

of sounds of all the languages, of all the people.

Nāda Leads to Laya, comparison of Philosophies:
In Aṣṭāṅga Yoga of Sage Patañjali a Yogī reaches the Citta Vṛtti Nirodha by
following the means of Aṣṭāṅga Yoga. He practices Praṇava Japa to turn his
consciousness inward and to keep the obstacles away while he is busy in his sādhanā.

In ` Yoga of Hath Yoga Pradīpikā by Sage Svātmārāma Sūrī Yogī practices

Nādānusandhāna. Citta Laya happens by Nāda.

In Saṅkīrtana Prasthāna like the Saundarya Laharī etc. by Ādi Śaṅkarācārya the
Śrutilaya happens. The Citta Laya happens by Nāda.

In Saptāṅga Yoga of Gheraṇḍa Saṃhitā, which is a dialogue between Gheraṇḍa and

Canḍakapāli Citta Laya happens by Samādhi in Bhrāmarī etc.

Leading a Vedic Life prescribed by the Vedas following the four Puruṣārthas
(Dharma, Artha, Kama, Mokṣa) Citta Laya happens by leading a virtuous life.

In Sufism they use Dancing, whirling to reach transcendental Laya. There the Citta
Laya happens by Nāda.

In Dhrupada, the tradition is to follow the Svara Sādhanā, which brings Citta Śuddhi
ultimately leading towards the Citta Laya. When somebody plays or listens to the
Vīṇā, it is a Svara Sādhanā, which brings about Citta Śuddhi ultimately leading
towards the Citta Laya.

The table given below summarizes the concepts given by different philosophies or
practices. These practices show how a sādhaka reaches the ultimate goal using Nāda
(Sound) leading to Citta-Laya, the culmination of Yoga.

Source of Concept by By Means of Ultimate Relevence to

concept Goal/Concept this research
Pātañjala Yoga Sage Patañjali Aṣṭāṅga Yoga Kaivalya Laya by Citta
Sūtras Vṛtti Nirodha
 Hath Yoga Svātmārāma Caturaṅga Yoga Nādānusandhā Citta Laya by
Pradīpikā Sūrī na Nāda
Saṅkīrtana Traditional Saṅkīrtana Śrutilaya Citta Laya by
Prasthāna Nāda
Gheraṇḍa Dialogue: Saptāṅga Yoga Samādhi Citta Laya
Saṃhitā Gheraṇḍa and Bhrāmarī
Canḍakapāli
Vedas 4Puruṣārthas Leading a Vedic Mokṣa, Mukti Citta Laya
(Dharma, Artha, Life
Kama, Mokṣa)

Sufism Sufism Dancing, Transcendenta Citta Laya by

whirling l Laya Nāda
Indian Leading a Vedic Four Stages, Turīyā Citta Laya
philosophy Life Jagrata, Svapna
Suṣupti, Turīyā
Dhrupada By tradition Svara Sādhanā Citta Śuddhi Citta Śuddhi
/ Mukti
Vīṇā By tradition Svara Sādhanā Citta Śuddhi Citta Śuddhi
/ Mukti

Table: Nāda Leads to Laya, comparison of Philosophies / practices.

Come back home:

Human intellect is incapable of reaching that source of consciousness. This cannot be

grasped with or by the instruments available with us neither by body, mind nor by
intellect. Physical perception, mental emotions or thoughts cannot comprehend it. By
rational capacity or by scientifically thinking it cannot be grasped. The direct
expression or approach to this truth is not possible. The adventurous and irresistibly
enthusiastic seekers of past started observing the life through the grosser expressions.
As we try to know the source of river by going against the current of the river,
similarly by outer grosser manifestation of living organisms they explored backward
into the spring of life. That is how they came up with ways to reach this source of life,
the source of consciousness. And they declare that it is possible by sādhanā. This
thesis has tried to inquire into some of such concepts and practices.
Forgetting the goal of life, whenever people begin to indulge in the worldly objects
and sense gratification; there comes the divine to bring them back on the path.
Whenever this world becomes contaminated and needs purification; when there
prevails the unrighteousness and darkness, Īśvara descends and manifests Himself in
form of saints and sages, heroes courageous, revolutionary reformers, saviors and
does what is the need of the hour. Thus, raises the mankind and uplifts them to the
Supreme, and establishes peace, order and harmony. India is filled with so many
realized masters who have come to manifest from time to time and have given us the
methods and showed us the path to realization. Dharma, righteousness elevates a man
and helps him to achieve knowledge and the goal of life and unrighteousness pulls a
man down to the worldliness, thus taking him away from the path of dharma.

“The whole of nature is for the soul, not the soul for nature.” The very reason of
nature's existence is for the education of the soul; it has no other meaning; it is there
because the soul must have knowledge, and through knowledge free itself. If we
remember this always, we shall never be attached to nature; we shall know that nature
is a book in which we are to read, and that when we have gained the required
knowledge, the book is of no more value to us.”24 - Svāmī Vivekānanda

How this work is beneficial to the Society / Academics:

The Thesis has done comprehensive exploration into its subject thereby adding to the
stock of existing knowledge.

This study has tried to establish the importance of the Nāda in attaining the ultimate
reality. This study has tried to find out why Vīṇā is mentioned in many Vedic and
Yogic literature. This understanding will help a Yogi and all those who are in the field
of Yoga. Dhrupada is played on Vīṇā; if we listen to or play Dhrupada or Vīṇā, the
Nada will help on the way of Yoga. This study has tried to show a possibility to fill
life with bliss that understanding of Nāda can bring. It will also benefit all those who
are studying or practicing Yoga or Music.

24
Vivekānanda, S. (2012). The complete works of Swami Vivekananda Vol. 1. Kolkata, India: Advaita
Aśrama. Pg. 57.
This research has played an important part in the researcher’s life, being a student of
Yoga and Dhrupada both.

Limitations of this thesis:

This study has focused more on limited number of scripture while exploring the
concept of Nāda. There can be a more detailed study and research on various aspects
of Nāda.

For researching the Āhata Nāda it has taken into consideration the Dhrupada genre of
music and sound of Vīṇā among musical instruments. Various other genres of music
and many other musical instruments can be researched upon. To study the Anāhata
Nāda aspect this study has focused basically on Haṭha Pradīpikā and few other texts.
The number of texts may be increased for a more detailed and wholesome study of
Anāhata Nāda. This research could consult a limited number of people from the fields
of Indian philosophy, Indian classical music etc. during the study.

This study has relied mainly on personal experiences of Yogīs, musicians etc. The
Subjective extrasensory experiences cannot be measured, demonstrated or presented
in a laboratory report etc. Hence, the researcher has mainly taken the narration of the
experiences by the Yogīs, musicians etc. into consideration.

Suggestions for further research:

This study may not be a one-time research but can become the starting point of a
longitudinal research extending over several years and several fields. Various
scriptures can be studied covering the subject of Nāda, both the Āhata Nāda as well
as the Anāhata Nāda There can be a more comprehensive, detailed study spreading
over different genres of music besides Dhrupada and other musical instruments
besides the Vīṇā. People from the fields of Indian philosophy, Indian classical music,
and other fields can contribute for a more wholesome understanding of the subject.

This research has been a source of gaining knowledge for the researcher. This
research work has been a very fulfilling, enlightening, enriching and enjoyable
experience for the researcher. It became an excuse to meet some of the most amazing,
realized, highly knowledgeable, yet humble people, masters in their fields. With open
mind and open heart they gave all they could.

ॐ पूणuमदः पूणuYमदं पूणाuUपूणuमुद•यते

पूणuTय पूणuमादाय पूणuमेवावkश‡यते ॥

ॐ शाtPतः शाtPतः शाtPतः ॥

॥ हvरः ॐ ॥

॥ ॐ {ी कृ‡णापuणमTत ॥