The most ancient and primitive human societies across the world had recognized the power of sound vibrations as they affect the minds and the moods. The great system of Nada Yoga, once popular in India works on the premise that the entire universe around us, and we ourselves, are made of nada, sound vibrations. In other words, it is the movement of sound energy that forms a building block of the universe and not the matter, and not the matter of particles or quark as had been thought of by Physics, till recently. This realization in India had ushered in the concept of nada being worshipped as Brahmin.
The Inner and Outer Music
Nada Yoga divides music into two categories: the inner music or anahata and the outer music for ahata. While the outer music is heard through the sense organs viz., ears, ear-drums etc. where mechanical energy is converted to electro-chemical energy to be perceived by the brain, the inner music owes its reception to the subtle heart-chakra, also known as Anahata Chakra, which is not a sensory organ.
As its name implies, anahata refers to one’s own sound vibrations, which is so close to one’s own self that anyone else cannot simply share it. Like the mythical cross that one has to bear, anahata is totally personal and private – exclusive to its ‘possessor’ alone. Thus, you have your anahata and me, mine. As I can’t know yours, you can’t know mine! One can however listen to one’s anahata and make use of it, provided one develops certain basic interest, commitment, will and patience.
The system of nada yoga not only assures to the practitioner of inner music the resultant harmony, relaxation and joie de vivre, but also promises self-realization, which is often, the singular goal for those who meditate.
How can one search out one’s music within his or her constitution? While there are elaborate techniques prescribed for listening to one’s own inner music, for a debutante, it should suffice if he could just select a place where he could be least disturbed by nosy neighbors or intrusive cell phone sounds, and sit comfortably with the spine erect, and start breathing in and out slowly. Slow and deep breathing is essential as he has to focus his mind the way his system gets oxygenated-to start with. After a few breathing rounds, he would focus his awareness to the sound that naturally emanates when he breathes out. He should avoid making any guttural noise on his own and give his total attention to the natural vibrations that emanate when the breath is exiting his system. Initially, he can hold his concentration for 2 to 3 minutes and over a period-say one month-he should be able to focus his concentration at least 5 to 10 minutes at a stretch. Those who have tried this would endorse that observing anahata and concentrating on it, relieves all tension from the mind, and it is often recommended as a good remedy especially for trauma victims. Such practices can also help in mind-control, which result in expansion of one’s consciousness resulting in self-realization.
The Outer Music
Unlike anahata music, the outer music, or ahata is not esoteric or hidden. Unless one’s hearing is impaired, anybody can listen to or appreciate the outer music. A workshop conducted by the author in March 2001, at India Habitat Center at New Delhi, has proved beyond doubt that the ‘first reaction’ to a music form-irrespective of its origin or region, viz, Western Classical, Carnatic or Hindustani-is one and the same on a mixed audience belonging to different ethnic and cultural backgrounds. A powerful melody that stirs emotion such as Tchaikovsky’s Slawischer Marsch (Op.31) has similar impact on listeners, irrespective of their ethnicity or region. The author is of the view that while the initial or the first reaction is similar, the subsequent reaction of the audience to a melody is influenced by his cultural upbringing, his likes and dislikes. Regional bias for a particular ‘rule’ of music (for example, ‘raga purity’ and ‘tala clarity’ in Indian classical music) comes in the way of appreciating Western Classical music by an inveterate Indian classical upbringing.
This illustration goes to show that the outer music is manifold, unlike the inner music, which is unique and absolute. Realizing the tremendous possibilities for musical achievement offered by a myriad of rhythmic vibrations (a conservative count of 108 talas has been attempted in the Carnatic system) parent or Janaka ragas (that in turn produce innumerable Janya Ragas).
The outer music- or music as we generally understand- with its infinite varieties affects our moods and minds in various ways. It draws our attention, affects our temperaments and behavior too! It may stimulate agitation or encourage relaxation, affecting us in myriad ways. When one feels down and out, it is music that could inject hope or sunshine. This makes Friedrich Nietzche remark: “Without music, life would be a mistake!”
Archaic Instruments of Primordial Sounds
The Indian musical tradition is age old. It has derived its base from the pre-Aryan or pre-Vedic sources consisting of nature worshippers. The pre-Aryan deity Rudra (who is also referred to in Vedas) is a phenomenon of destruction, who later came to be equated with Shiva. Shiva, The Destroyer, is associated with the powerful nada of damru, a hand-held, hourglass shaped instrument, with both sides containing membranes on which the Hanging cotton thread is made to strike. The noise produced by the insignificant instrument is considered inauspicious. The tantrics and those associated with the cult of Shiva however consider this instrument as auspicious.
Similar primordial sound also emanates from the conch-shell, Shankh, which is associated with Vishnu, the preserver. The vibrations that emanate from this instrument are considered quite healthy, positive, and auspicious, and hence used as an accompaniment to puja. The tremendous vibrations that emanate from this instrument are said to keep those who practice meditation from falling asleep.
Among the Hindu Trinity, Brahma is the creator. His consort, Saraswati is associated with the veena, the powerful chordophone whose vibrations are said to affect the subtle chakras in the human body. In fact, the very shape of the veena is designed after the vertebral column, which is considered as a musical octave. Seven swaras or notes represent seven chakras situated here. By playing these notes, simultaneously visualizing their impact on the chakras, the sahaka is believed to effortlessly wander through seven levels of consciousness as represented by each chakra. As the ascendance and descendance in chakras is equated with aroha and avaroha in the musical octave, one practices not only music, but also yoga with the help of the veena.
Characteristics of Meditative Music
Meditative music does not require elaborate orchestration or voice-culture as practiced in the West. Simple sounds, which are nearer to nature and its elements (e.g., wind, fire, water, earth and ether), are found to be the most efficacious in uplifting one’s level of consciousness to greater heights.
The ‘Sticky’ Tunes
The ‘sticky’ tunes are found in the bhajans and kirtans, and their almost endless repetitions of melodies as in Hare Rama Hare Krishna, Govind Bolo Govind Bolo, Buddham Saranam Gachchami, etc., have been a welcoming asset for enhancing meditation.
Prof James Callaris of the University of Cincinnati, after questioning 1,000 people about tunes that they cannot get out of their heads, has observed that a combination of simplicity, repetition and adrenaline-introducing jaggedness, can turn an otherwise ordinary sequence of notes into something unforgettable.
According to him, these elements produce sort of ‘mental mosquito bites’ creating a cognitive ‘itch’ that can be scratched only by replaying a tune again and again. Melodically and lyrically simple, repetitive, and with slow gait, these tunes over time, can bring about changes in the brain wave pattern, converting beta waves (which govern our alert mental status) to alpha and theta levels. This change is believed to be an ideal state for meditation and relaxation, and it is in this state that our creative and intuitive potentials come to their peak levels. For John Durrant, a clinical psychologist there was a medical distinction between sticky tunes and more complex composition. Brain mapping has shown that fewer synaptic links are required for nursery rhymes such as ‘Three Blind Mice’ than a dense Strauss opera, which is why, when requiring musical feed, the brain will often take a shortcut.
When we point out that simple and monophonous voices or tunes are enough for meditation, it cannot be construed that we are undermining the great strides made in the Western Classical system. Bach, for instance, had made wonderful attempts in counter-points, which is a unique contribution of the West to the world of music. By overlapping melodies, he has mastered the art of arresting the minds of his listeners. In fact, all the great symphonies address the mind and thus, can be used as a tool in mind-control programs along with the Eastern bhakti music.
About the natural phenomena in meditative music, a few examples of Western Classical system can be mentioned here. The engulfing flames as one witnesses in “Vivaldi’s Four Seasons” (the passage titled “Presto”) leads one to a new understanding of these effects made in chordophones, which lead to newer and subtler heights. So also is the majesty one encounters in the famous “Blue Danube Waltz” of Strauss, which practically wafts one’s consciousness to new levels.
East or west, music is the best! Best for transporting one to greater heights! For better understanding of one’s own self.
This article was published in Heritage Healing –March 2002 – Pages 35, 36
Edited by Geeta Shreedar Feb 17, 2021
Nada, The Yoga of Music
The most ancient and primitive human societies across the world had recognized the power of sound vibrations as they affect the minds and the moods. The great system of Nada Yoga, once popular in India works on the premise that the entire universe around us, and we ourselves, are made of nada, sound vibrations. In other words, it is the movement of sound energy that forms a building block of the universe and not the matter, and not the matter of particles or quark as had been thought of by Physics, till recently. This realization in India had ushered in the concept of nada being worshipped as Brahmin.
The Inner and Outer Music
Nada Yoga divides music into two categories: the inner music or anahata and the outer music for ahata. While the outer music is heard through the sense organs viz., ears, ear-drums etc. where mechanical energy is converted to electro-chemical energy to be perceived by the brain, the inner music owes its reception to the subtle heart-chakra, also known as Anahata Chakra, which is not a sensory organ.
As its name implies, anahata refers to one’s own sound vibrations, which is so close to one’s own self that anyone else cannot simply share it. Like the mythical cross that one has to bear, anahata is totally personal and private – exclusive to its ‘possessor’ alone. Thus, you have your anahata and me, mine. As I can’t know yours, you can’t know mine! One can however listen to one’s anahata and make use of it, provided one develops certain basic interest, commitment, will and patience.
The system of nada yoga not only assures to the practitioner of inner music the resultant harmony, relaxation and joie de vivre, but also promises self-realization, which is often, the singular goal for those who meditate.
How can one search out one’s music within his or her constitution? While there are elaborate techniques prescribed for listening to one’s own inner music, for a debutante, it should suffice if he could just select a place where he could be least disturbed by nosy neighbors or intrusive cell phone sounds, and sit comfortably with the spine erect, and start breathing in and out slowly. Slow and deep breathing is essential as he has to focus his mind the way his system gets oxygenated-to start with. After a few breathing rounds, he would focus his awareness to the sound that naturally emanates when he breathes out. He should avoid making any guttural noise on his own and give his total attention to the natural vibrations that emanate when the breath is exiting his system. Initially, he can hold his concentration for 2 to 3 minutes and over a period-say one month-he should be able to focus his concentration at least 5 to 10 minutes at a stretch. Those who have tried this would endorse that observing anahata and concentrating on it, relieves all tension from the mind, and it is often recommended as a good remedy especially for trauma victims. Such practices can also help in mind-control, which result in expansion of one’s consciousness resulting in self-realization.
The Outer Music
Unlike anahata music, the outer music, or ahata is not esoteric or hidden. Unless one’s hearing is impaired, anybody can listen to or appreciate the outer music. A workshop conducted by the author in March 2001, at India Habitat Center at New Delhi, has proved beyond doubt that the ‘first reaction’ to a music form-irrespective of its origin or region, viz, Western Classical, Carnatic or Hindustani-is one and the same on a mixed audience belonging to different ethnic and cultural backgrounds. A powerful melody that stirs emotion such as Tchaikovsky’s Slawischer Marsch (Op.31) has similar impact on listeners, irrespective of their ethnicity or region. The author is of the view that while the initial or the first reaction is similar, the subsequent reaction of the audience to a melody is influenced by his cultural upbringing, his likes and dislikes. Regional bias for a particular ‘rule’ of music (for example, ‘raga purity’ and ‘tala clarity’ in Indian classical music) comes in the way of appreciating Western Classical music by an inveterate Indian classical upbringing.
This illustration goes to show that the outer music is manifold, unlike the inner music, which is unique and absolute. Realizing the tremendous possibilities for musical achievement offered by a myriad of rhythmic vibrations (a conservative count of 108 talas has been attempted in the Carnatic system) parent or Janaka ragas (that in turn produce innumerable Janya Ragas).
The outer music- or music as we generally understand- with its infinite varieties affects our moods and minds in various ways. It draws our attention, affects our temperaments and behavior too! It may stimulate agitation or encourage relaxation, affecting us in myriad ways. When one feels down and out, it is music that could inject hope or sunshine. This makes Friedrich Nietzche remark: “Without music, life would be a mistake!”
Archaic Instruments of Primordial Sounds
The Indian musical tradition is age old. It has derived its base from the pre-Aryan or pre-Vedic sources consisting of nature worshippers. The pre-Aryan deity Rudra (who is also referred to in Vedas) is a phenomenon of destruction, who later came to be equated with Shiva. Shiva, The Destroyer, is associated with the powerful nada of damru, a hand-held, hourglass shaped instrument, with both sides containing membranes on which the Hanging cotton thread is made to strike. The noise produced by the insignificant instrument is considered inauspicious. The tantrics and those associated with the cult of Shiva however consider this instrument as auspicious.
Similar primordial sound also emanates from the conch-shell, Shankh, which is associated with Vishnu, the preserver. The vibrations that emanate from this instrument are considered quite healthy, positive, and auspicious, and hence used as an accompaniment to puja. The tremendous vibrations that emanate from this instrument are said to keep those who practice meditation from falling asleep.
Among the Hindu Trinity, Brahma is the creator. His consort, Saraswati is associated with the veena, the powerful chordophone whose vibrations are said to affect the subtle chakras in the human body. In fact, the very shape of the veena is designed after the vertebral column, which is considered as a musical octave. Seven swaras or notes represent seven chakras situated here. By playing these notes, simultaneously visualizing their impact on the chakras, the sahaka is believed to effortlessly wander through seven levels of consciousness as represented by each chakra. As the ascendance and descendance in chakras is equated with aroha and avaroha in the musical octave, one practices not only music, but also yoga with the help of the veena.
Characteristics of Meditative Music
Meditative music does not require elaborate orchestration or voice-culture as practiced in the West. Simple sounds, which are nearer to nature and its elements (e.g., wind, fire, water, earth and ether), are found to be the most efficacious in uplifting one’s level of consciousness to greater heights.
The ‘Sticky’ Tunes
The ‘sticky’ tunes are found in the bhajans and kirtans, and their almost endless repetitions of melodies as in Hare Rama Hare Krishna, Govind Bolo Govind Bolo, Buddham Saranam Gachchami, etc., have been a welcoming asset for enhancing meditation.
Prof James Callaris of the University of Cincinnati, after questioning 1,000 people about tunes that they cannot get out of their heads, has observed that a combination of simplicity, repetition and adrenaline-introducing jaggedness, can turn an otherwise ordinary sequence of notes into something unforgettable.
According to him, these elements produce sort of ‘mental mosquito bites’ creating a cognitive ‘itch’ that can be scratched only by replaying a tune again and again. Melodically and lyrically simple, repetitive, and with slow gait, these tunes over time, can bring about changes in the brain wave pattern, converting beta waves (which govern our alert mental status) to alpha and theta levels. This change is believed to be an ideal state for meditation and relaxation, and it is in this state that our creative and intuitive potentials come to their peak levels. For John Durrant, a clinical psychologist there was a medical distinction between sticky tunes and more complex composition. Brain mapping has shown that fewer synaptic links are required for nursery rhymes such as ‘Three Blind Mice’ than a dense Strauss opera, which is why, when requiring musical feed, the brain will often take a shortcut.
When we point out that simple and monophonous voices or tunes are enough for meditation, it cannot be construed that we are undermining the great strides made in the Western Classical system. Bach, for instance, had made wonderful attempts in counter-points, which is a unique contribution of the West to the world of music. By overlapping melodies, he has mastered the art of arresting the minds of his listeners. In fact, all the great symphonies address the mind and thus, can be used as a tool in mind-control programs along with the Eastern bhakti music.
About the natural phenomena in meditative music, a few examples of Western Classical system can be mentioned here. The engulfing flames as one witnesses in “Vivaldi’s Four Seasons” (the passage titled “Presto”) leads one to a new understanding of these effects made in chordophones, which lead to newer and subtler heights. So also is the majesty one encounters in the famous “Blue Danube Waltz” of Strauss, which practically wafts one’s consciousness to new levels.
East or west, music is the best! Best for transporting one to greater heights! For better understanding of one’s own self.
This article was published in Heritage Healing –March 2002 – Pages 35, 36
Edited by Geeta Shreedar Feb 17, 2021