Yoga and Music and Chanting

Compiled by: Trisha Lamb

Last Revised: April 27, 2006

International Association of Yoga Therapists P.O. Box 2513 • Prescott • AZ 86302 • Phone: 928-541-0004 E-mail: [email protected] • URL: www.iayt.org

The contents of this bibliography do not provide medical advice and should not be so interpreted. Before beginning any exercise program, see your physician for clearance.

“When we practice yoga asana, we [can be] easily seduced by an exclusively physical practice and all that may follow from this: obsession with youthfulness and fitness, compulsion for recognition, desire for physical perfection, a need to be the best, and a self-centeredness. As we begin to chant, longingly calling out to God, a Self-centered outlook develops; a life focused towards the Divine, towards spirit. This view brings into focus our friends, family, yoga community, neighbors and world community. We begin to desire not only a personal peace but a world peace.”

—Kimberly Flynn From “Beyond Om” (cited below)

NOTE: See also the “Mantra” and “Om” bibliographies.

Allen, Ryan. Teacher profile: Steve Ross. LA Yoga, May/Jun 2003, pp. 11-12.

Steve Ross, former professional guitarist, and teacher of Yoga for twenty years plays loud contemporary music in his asana classes.

Ascent magazine. What Makes a Sound Sacred? issue. Summer 2002. See http://www.ascentmagazine.com.

Balayogi, Ananda. The Yoga of Sound audiocassette. Kottakuppam, Tamil Nadu, India: International Centre for Yoga Education and Research, 1998. 90 minutes. (Carnatic vocal music with English lyrics.)

Bergstrom-Nielsen, Carl. Meditative listening, meditative music. Bindu, no. 2, pp. 24- 26. Excerpted from Carl’s master’s thesis, “Investigations relating to the experimental concept and the experiment’s role in Western artistic music after 1945.”

Bhajananda, Svami. Kirtan: The singing of the divine name. Namarupa, Winter 2004, pp. 74-76.

Bodman, Roger. Kirtan. Australian Yoga Life, Jul-Nov 2004, no. 9, pp. 53-57.

Carmen, Judith E. Yoga and singing: Natural partners. Journal of Singing, May/June 2004.

Carrington, P. Music and chanting. In Patricia Carrington, Freedom in Meditation. New York: Anchor Press/Doubleday, 1977, pp. 172-174.

Catalfo, Phil. Can you say om namaha shivaya? What’s old is new again. Chanting is a hot ticket in yoga studios across the country. Yoga Journal, May/Jun 2000, pp. 88-93, 174-178.

2 Chanting, Yoga Philosophy, and Meditation LP. International Center for Self-Analysis. LP CO-2429.

The Chant Room of Dzogchen Center. Available online: http://www.dzogchen.org/chant/index.htm.

Chinmoy, Sri. Music and spirituality. Article available online: http://srichinmoy.org/html/library/music_and_spirituality/music_and_spirituality.htm.

Cummins, Claudia. Is that an asana you’re humming? Yoga Journal, Sep/Oct 2000, p. 25. (On Bernice Lewis, [email protected], a Yoga teacher who is also a singer- songwriter.)

Genovesi, Bob. Kirtan call: Yoga master Krishna Das brings Hindu devotional chanting into the music mainstream. Body & Soul, Sep/Oct 2002, pp. 90-93.

Das, Krishna. The Yoga of Chant video or DVD. Razor & Tie/Karuna, 2002. See also the citation in this bibliography for the article by Bob Genovesi, “Kirtan Call.”

______. The Yoga of Chant retreat. For more information, contact [email protected], 1-800-783-YOGA, in Canada 1-800-263-YOGA.

Dasanudas, Bhaktisiddhartha. The glories of spiritual sound. Article available online: http://www.iloveyoga.org/music/spiritual_sound.htm.

______. Svarah Sapta: Intonation in Vaisnava music. 1984. Available online: http://www.iloveyoga.org/music/sapta_svarah.htm.

“A thesis Bhaktisiddhartha wrote for his Bhakti-Vaibhava degree examination in India . . . describing the connection between the Vedic raga system and the quantum-mechanical model of modern physics.”

______. Lilas and ragas: Radha-Krsna’s asta-kalia-lila (eightfold daily pastimes) set to the Vedic 36-raga daily cycle. Available online: http://www.iloveyoga.org/music/vrndavan-lila/lilas_and_ragas.htm.

Desikachar, Kausthub. The Yoga of Sound and Silence: Asana, Chanting & Meditation as an Inward Journey retreat (seven days).

”Yoga is a process of linking with something precious that is devoid of agitation and faults. Once this link is established then the beauty within radiates. The experience of this joy is beyond words. It is true silence.

”Chanting and meditation are tools that help reach this state of silence that is devoid of disturbance and ignorance. Combining special vocal sounds in harmony, and meditative practices, participants will experience an inward journey and link with the precious

3 source of joy within each of us. The beauty of chanting lies in its simplicity and its ability to reach the heart. Combined with meditative practices, participants will recognize the power of sound and its value while embarking on such a path.

”Universally relevant sounds will be used in different forms of practices like asana, pranayama and meditation to prepare us in this journey. Apart from these experiential practices, the workshop will also include theme presentations, dialogs and reflective sessions. No prior experience of chanting or meditation will be necessary to participate.”

Some or all of the following topics will be addressed, depending on the interests of attendees: • The use of sound in its many forms in asana practices • The use of sound in its many forms in pranayama practices • The use of sound in its many forms in meditative practices • What sounds produce what effects – the langana/brahmana types • How to utilize sounds in asana/pranayama/meditative practices to people with different backgrounds/cultures/interests • The relevance of certain mantras and their effects when combined with appropriate asana/pranayama/meditation • The symbolism behind some of these mantras and what they mean • Bija mantras (source mantras) and how to use them in different practices

Desikachar, T. K. V., with Kausthub Desikachar. Vedic Chant Companion. Krishamacharya Yoga Mandiram, URL: http://kym.org/preview.html.

“A companion to those interested in Vedic chanting, this book is presented in three parts. The first part deals with the history of the Vedas, their origin and evolution. The second part describes Vedic chant pedagogy. Answers to frequently asked questions on Vedic chanting form the third and final part . . .”

Devi, Meenakshi. Music: A spiritual sadhana which enriches and stimulates the brain. Yoga Life, Sep 1998, 29(9):20-21.

______. The yoga of sounds: A bridge between East and West. Yoga Life, Sep 1998, 29(9):16-19.

Dunn, Earl. Kundalini and musical genius. Yoga Today, Jan 1981, 5(9):14-17.

Elthink, Merle. Yoga and the young musician. Yoga Awareness, Feb 1980, 4(1):27-31.

“The ability to avoid tension and to exert mind control in situations of performance requires considerable skill on the part of the student. This process of mind-discipline is a further desirable addition to the child’s activities. When we consider these needs of (a) flexibility and harmonious muscle development, (b) breath control, and (c) mind- discipline, we find that the one activity which will involve these three aspects is the practice of Hatha-yoga . . .”

Evenings with song and dance. Bindu, no. 10.

“Song and dance can bring us together and break the ice, but [they] can also raise our consciousness and open our hearts.”

Faust, William Hull. The big brass. I.D., Sep 1995, 42(5):78.

“Inspired by his studies of music and yoga alike, David Monette takes an unorthodox approach to designing the world’s most innovative trumpets.”

Fields, Gregory P. Sacred music; Sacred music as a religious therapeutic. In Gregory P. Fields, Religious Therapeutics: Body and Health in Yoga, Ayurveda, and Tantra. Religious Studies Series. New York: SUNY Press, 2001, pp. 155-157; 157-166.

Flynn, Kimberly. Beyond Om. Article available online; http://www.ashtangayogashala.com/articals-Chanting.html.

On the value of chanting.

Freeman, Richard. Chant musicology. Article available online: http://www.ghita.com.au/index.html (use the Site Map to locate the article; the Site Map lists it under “Other,” as “Musical analysis of OM’s & the prayer”).

Garde, R. K. Prayers, mantras and music. In R. K. Garde, Principles and Practice of Yoga-Therapy. Bombay, India: D. B. Taraporevala Sons & Co., 1972, 1984, pp. 97-99.

Gass, Robert, with Kathleen Brehony. Chanting: Discovering Spirit in Sound. Bantam Doubleday Dell, 2000.

Gordon, Daphne. Blissful are the words of chanting chanteuse. The Toronto Star, 25 Feb 2001.

On Marla Berg.

Govea, Boomer. Singing the praises of yoga. Yoga Journal, Mar/Apr 2003, p. 21.

5 About Yoga teacher and classical singing teacher Judith Carman’s Yoga for Singers classes in Houston, Texas.

Govindan, M. Devotional Songs and Chants from the Kriya Yoga Tradition. Audiocassette, 45 minutes. Available from Babaji’s Kriya Yoga, 196 Mountain Road, C.P. 90 Eastman, Quebec J0E 1P0, 450-297-0258, [email protected], www.babaji.org.

Tracks: Homage to the 18 Siddhas, Babaji is Love, Dance, Dance..., Song of the Science of Sunworship, Amazing Grace, and many other chants.

Green, Amy Yull. Beauty and the Beastie Boy [Adam Yauch]. Shambhala Sun, Jan 1995, pp. 18-25.

Green, Suzin. The Yoga of Chant weekly workshop. Rutgers University, 2003.

From Suzin Green: “This weekly workshop offers sanctuary and respite from the demands of campus life. You will learn techniques of yogic chant and meditation that are extremely accessible, but very powerful. The potential benefits are numerous: a greater sense of health and well-being, improved mental clarity and focus, the ability to find a lot more joy in daily life. At the very least, most people find themselves feeling lighter and more connected after a session of chanting. The Hindu yogic tradition has given these techniques to the world. They are truly universal and can be practiced by anyone.”

______, and Sura. Hearts on Fire: Sacred Songs and Chants of the Indian Devotional Tradition. Suzin Green and Sura, 2000. Available from Box 572, Kingston, New Jersey 08528, 609-252-9185, 800-937-3397, cdfreedom.com. 62 minutes.

Tracks: Blessing Mantras, The Devi, Amba, Kali Durge, Shivaya Namah Om, Jaya Gauri Shankara, Shambha Shivo Jaya

Hanna, Thomas. Somatic Exercises™ for the Hands, Wrists, Elbows and Shoulders. Novato, Calif.: Novato Institute for Somatic Research.

“Widely used by persons doing constant repetitive hand-arm movements, e.g., . . . musicians, etc.”

Hebert, Chantal, and Daphne Gordon. Yoga fans give peace in chants. The Toronto Star, 29 Jun 2002.

Himalayan Institute. Chants from Eternity. Honesdale, Pa.: Himalayan International Institute.

Jacobus, Maggie. The kirtan buzz: God not only speaks, God sings. LA Yoga, Jul/Aug 2004, pp. 48-50.

6 Janakananda, Swami. Music and Nada Yoga. Bindu, no. 10, p. 15.

Jnanarupananda Saraswati, Swami. Music and the mind. Yoga (Australia edition), Nov. 1999.

Kenny, Molly, Raphael Bernier, and Carey DeMartini. Chant and be happy: The effects of chanting on respiratory function and general well-being in individuals diagnosed with depression. International Journal of Yoga Therapy, 2005, no. 15.

Klein, Eric. The Gayatri-Mantra of Spiritual Light CD. Dharma Consulting, 2000. Reviewed by Debi Winston-Buzil in YOGAChicago, Jan-Feb 2001, pp. 38-39.

Kraftsow, Gary. Kriya Yoga: Educating the Intellect through Chanting workshop. 6th Annual Yoga Journal Convention, 27-30 Sep 2001, Estes Park, Colorado.

Lebo, Cynthia. Yoga for musicians. Yoga Journal, Man/Jun 1976, p. 34.

Describes a class called “Yoga for Musicians” taught by Yoga teacher Beverly Brown in the San Francisco Bay Area in the 1970s.

Levry, Joseph Michael. Healing depression through the sound of the soul. Edge News, Feb 2004. Article available online: http://www.edgenews.com/issues/2004/02/levry.html.

On healing through mantra recitation.

Lowitz, Leza, and Reema Datta. Sacred Sanskrit Words for Yoga, Chant and Meditation. Stone Bridge Press, 2004.

From the publisher: “This book introduces over 160 spiritually significant Sanskrit words (including chakra, karma, om, namaste, veda, nirvana) with Devangari scripts, pronunciations, chants, and brief cultural and historical explanations. Native script renderings are large enough to reproduce as tattoos or decorations.”

Martin, Donna. Toning: An interview with Eleanor Leatham. The Journal of The International Association of Yoga Therapists, 1994, no. 5, pp. 31-33.

Mataji. Because of You: Devotional Chants in English and Sanskrit. Yogashakti Ashram Mission, 1974.

Mataji, Vandana. Nama Japa: Prayer of the Name in the Hindu and Christian Traditions. 2d ed. Delhi: Motilal Banarsidass, 1995.

Mirabai, Brahmacharini. Anjali: The Joy of Chanting the Divine Name CD. Self- Realization Fellowship, 2000. Reviewed by Debi Winston-Buzil in YOGAChicago, Jan- Feb 2001, pp. 38-39.

7 Mohan, Nitya, and Ganesh Mohan. Peace Chants from the Vedas and The Gayatri Mantra CD.

______. Taittiriya Upanishad, Rudram & Camakam and Narayana Upanishad CD.

Musicians use Nada Yoga as a creative tool—conscious or unconscious. Bindu, no. 10, p. 25.

Nagarathna, R., and H. R. Nagendra. Tune your voice through yoga. Deccan Herald, 20 May 2005.

On how Yoga can help ease strain in vocal cords and teach you the technique of samakonasana.

From the article: “Yoga for voice culture helps not only to treat problems related to speech but also in improving the quality of voice for an individual.

“[The] Integrated Approach of Yoga Therapy includes practices at [the] physical, mental, emotional and intellectual levels.

“At [the] physical level the practices bring about deep rest to the muscles of [the] voice box and the inflamed flaps of vocal chords . . .

“During practice sessions you need to bring your awareness to breathing, the feeling of the touch of the air in the nose and throat. Also feel the effort in the muscles around the voice box when you are chanting A or U or M.

“Immediately after every practice relax the throat region to feel the soothing effect. It is this after-effect of deep rest and relaxation with awareness that corrects the problem locally. When you rest, the blood flow improves and the tissue repair begins by clearing up all the unnecessary material in the vocal chords.

“Relief from tightness of the thin delicate muscles that are attached to vocal cords in different angles is the other major factor that contributes to the improvement.

“Opening up of the sinuses through kriyas adds to the quality and modulation of the voice.

“You cannot relax the voice box if your nervous system, which controls the inflammation and the local muscle contractions, is not rested. Stress, worry and anxiety make it worse.

“Hence in order to promote healing, a calm mind, mastery over emotional surges and a deep internal feeling of contentment within are essential. Pranayama and meditation are very important.

8 “This can do wonders for a musician. Singing or listening to music by itself shifts the awareness from outside to inside . . .”

Neel, Chandra Mukhi. Music and plants. Yoga (Sivananda Math), May 2000, 11(3):6- 11. (Plants for which music and mantras were played grew better than others.)

Nelson, Bhavani Lorraine. Bringing Chanting to Your Yoga Teaching CD. Lenox, Mass.: Kripalu Yoga Teachers Association.

Nityabodhananda Saraswati, Swami. Devotional singing. Yoga (Australia edition), Nov 1999.

Om sweet Om. The Times of India, Saturday edition, 18 Jul 1998. (On the power of Tibetan Buddhist chanting.)

Paul, Russill. The Yoga of Sound. 3-CD set. Relaxation Company, 2000. Reviewed by Debi Winston-Buzil in YOGAChicago, Jan-Feb 2001, pp. 38-39. (Includes a concise history of Nada-Yoga.)

______. The Yoga of Sound: The Healing Power of Chant and Mantra book and CD.

“. . . musician and teacher Russill Paul explores the four powerful streams of this [Hindu] system: mantras (sound), mudras (sacred gestures), pranayama (breath control), and dhyana (meditation) . . .”

Powers, Ann. Tuning in to the chant master of American yoga. The New York Times, 4 Jun 2000. Article available online: http://query.nytimes.com/search/article- printpage.html?res=9E04E7DB173CF937A35755C0A9669C8B63.

On Krishna Das and kirtan.

Prabhupada, A.C. Bhaktivedanta Swami. Chant and Be Happy: The Power of Mantra Meditation. Los Angeles: Bhaktivedanta Book Trust, 1997.

Pratyagatmananda Saraswati, Swami. Japasûtram: The Science of Creative Sound. Madras, India: Ganesh & Co., 1971.

Contents: Introduction (by Justice P. B. Mukharji); JAPASUTRAM (by Swami Pratyagatmananda Saraswati): Wisdom and knowledge; Bhâna and bhâsa; Vâk and prâna; Vâk as varnamâlâ; The rasâyanam that transmutes; EXPOSITION OF JAPASUTRAM (by S. N. Roy): Svâbhâvika sabda; Svâbhâvika rûpa or yantra; Japa rahasya; Five aspects of Srî Guru ; The background; Basic principles; Japa; Mahâmâyâ; Swamiji’s theory of knowledge; The secret of japa (by Govinda Gopal Mukhopadhyaya)

Priest, Chris. Vedic chanting and yoga. Spectrum: The Journal of the British Wheel of Yoga, Summer 2002, pp. 16-17.

Rai, Subas. Effect-mechanism in chanting hymns as dielectric amplifier and modulator of sensory input signal. In Subas Rai, Rudraksa: Properties and Biomedical Implications. Varanasi, India: Ganga Kaveri Publishing House, 1993, pp. 161-169.

Raman, Dr. Krishna. [Yoga for players of] Indian musical instruments; [Yoga for players of] Western musical instruments. In Dr. Krishna Raman, A Matter of Health: Integration of Yoga & Western Medicine for Prevention & Cure. Chennai (Madras), India: Eastwest Books, 1998, pp. 124-127; 127-128.

Ranck, John. Yoga for Flutists workshop. URL: http://www.gbfa.org/ff2001/ff2001_program.html#yoga.

Ravishankar, N. S. Yogic exercises for musicians and artists. In N. S. Ravishankar, Yoga for Health: Curative Powers of Yogasanas. New Delhi: Pustak Mahal, 2001, p. 171.

Richardson, Derk. Sounds of silence: In most yoga classes silence is golden, but these teachers think music can help you hear what you’re missing. Yoga Journal, Source 2001 guide, pp. 117-129.

Rodenbeck, Joachim. Musicality and Nada Yoga. Bindu, no. 10, p. 5.

“‘If one works in a concentrated way with music over a long period of time and need to ‘relax the ears,’ then Bhramari is a good practice,’ says Adam Chr. Moltke, a saxophone player. Through Bhramari, you become sensitive to finer vibrations . . .”

Rosen, Richard. How (and why) to teach chanting and mantra. My Yoga Mentor, Sep 2004, no. 10. Article available online: http://www.yogajournal.com/teacher/1315_1.cfm.

“Mantra and chanting have long been associated with yoga practice, but should you teach them to your students? Learn the history of these practices and some popular chants to help you get started.”

Sachchidananda Swamiji, Sri Ganapati. Pancha Tattva Raga Malika: Meditation on the Five Elements CD. Mysore, India.

“When [Swamiji] created a rare and unique musical composition on the five elements of nature (earth, water, fire, air, and ether), it was hailed as a musical masterpiece. Several complex classical adaptations are embodied in this composition. Sri Swamiji decided to do the recording in Mekedatu, South India, [his] birthplace, where three sacred rivers meet in a holy spot.”

Tracks: Pancha Tattva Raga Malika 29:09, Saptaashavarudham 29:33

Sankirtan. Mangrove Mountain, NSW, Australia: Satyananda Yoga Ashram, 1993.

10 Satyananda Saraswati, Swami. Kirtan: Rocket to Self-realisation. Yoga (Australia edition), Nov 1999.

______. Sayings of a paramahamsa. Yoga (Sivananda Math), May 2000, 11(3):2-5. (On music.)

Schmidt, Ole, and Swami Janakananda. Two breathing exercises—listening—and music. Bindu, no. 2, pp. 8-9.

“The performance of music and yoga are originally closely related, as the musical sense and ability to perceive tone are associated with Nada Yoga (sound yoga), and are prepared for it through the use of breathing exercises.”

Instructions for Kapalbhati and Bhramari pranayama are given and Nada Yoga is discussed.

Sexton, Shannon. Music lessons. Yoga International, Feb/Mar 2005, pp. 44-46.

On the benefits of chanting and kirtan.

Shankar, Ravi. Chants of India. Produced by George Harrison.

Shannahoff-Khalsa, David. Sounds for transcendence: Yogic techniques for opening the tenth gate. In Rosalie Rebollo Prat and Ralph Spintge, Music Medicine 2. Saint Louis, Mo.: MMB Music, pp. 351ff.

______, and Yogi Bhajan. The healing power of sound techniques from yogic medicine. In Ralph Spintge and Roland Droh, Music Medicine. Saint Louis, Mo.: MMB Music, pp. 179ff.

Siddha Stotra Mâlâ: Garland of Chants. Munger, Bihar, India: Yoga Publications Trust. Also available in Sanskrit.

From the publisher: “The main sources of the stotras are the Vedas, Puranas, Tantras and other smriti texts, which have been transmited by memory. This collection of stotras is presented in diacritic text for correct pronunciation. It is a very special offering to the many forms of the divine, including Guru, Ganesha, Devi, Shiva, Krishna, Rama and Vishnu. Illustrations and colour plates are included.”

Singh, Kirpal. Naam or Word. Delhi: Sawan Kirpal Publications, 1981.

Sita. Evenings with song and dance. Bindu, no. 10, pp. 26-28.

“Dance is an expression of devotion to the inner consciousness.”—Swami Satyananda

11 “Ritualistic or spiritual dance and song are used in many cultures and traditions as a way to well-being and to an open state of consciousness.”

“When I participated in kirtan and sufi as a student on the courses, I opened up in a way I hadn’t experienced earlier. Here is one example:

“One evening on the first 14 day course I had joined, we sang a Sufi dikhr while we moved in a special way for about 20 minutes. In the middle of the process it was as though a knot had been loosened din my heart. A feeling I couldn’t connect to anything in particular—an unending flood of tears. It was like a cleansing.

“The next time I was doing this same practice was as a participant on a three months course in Håå. When we sat still afterwards, I experienced for the first time in my life, a state of indescribably joy, ananda.

“The yoga, the breathing exercises, the singing, the dance and the meditations made this harmonious experience possible . . .”

“Before we begin an evening of kirtan the room is often full of expectation, shyness, tension, nervousness, and so on, especially if it is the first time for the group. But little by little, the mood changes. A feeling of relaxation, well-being and joy takes over. In the end, when we sit and meditate, the mind is at rest, there is unity and peace, the energy flows freely. There is nada sound, there is clarity, awareness, there is being.

“Taking part in kirtan and dance increases awareness of who you are and, with meditation, it can open the door to your innermost identity.”

Stringer, Dave. Kirtan: On Indian devotional chanting. Yoga.com Newsletter, Feb 2004. Article available online: http://www.yoga.com/ydc/enlighten/enlighten_document.asp?ID=306§ion=9&cat=0.

Surya Das, Lama. The role of chanting and sacred sound in yogic meditation. Fourth Annual Southwest Yoga Conference Catalogue. Corrales, N.M.: Southwest Yoga Conference, 8-11 Nov 2001, pp. 5-6.

______, and Steven Halpern. Chants to Awaken the Buddhist Heart. URL: http://www.dzogchen.org/chant/index.htm.

Swayamjyoti Saraswati, Swami. Yoga of music. Yoga (Australia edition), Nov 1999.

Swersey, Sarah. The Flexible Flutist: A Yoga Workshop for Flutists. URL: http://www.gbfa.org/ff2001/ff2001_program.html#flex.

Temphel, Venerable Gen Palden. Sacred Chants from a Tibetan Chant Master. Sebastopol, Calif.: Healing Buddha Foundation, 1999.

12 Tiwari, Sri Laxmi Narayan, and Hari Mohan Pandey. From the Circle of Saints: Traditional Chants of Northern India. Honesdale, Pa.: Himalayan Institute Press.

From the publisher: “Chanting is a time-honored practice for connecting to the Divine. Experience this bliss with the mesmerizing vocals of Tiwari and the percussive mastery of Pandey. These traditional North Indian chants were gathered from ashrams, temples, and wandering sadhus.”

______. OM CD. Honesdale, Pa.: Himalayan Institute Press.

From the publisher: “The universal mantra OM resonates in the cave of the heart, invoking the presence of the Divine. Internalize this transforming sound as a calming influence while you work or relax. OM blends the popular Indian instruments of sitar, tabla, santoor, and harmonium.”

Truman, Sarah. Jewels of sound. Ascent Magazine Online. Article available online: http://www.ascentmagazine.com/issues/07-jewels.html.

About Pandit Shivnath Mishra and Deobrat Mishra and the sacred nature of the Indian Classical music they play on sitar. When asked about the purpose of Indian music, Pandit replies, “To meditate and have shanti. To connect with God, have a fresh mind and feel good.”

Uttal, Jai. The Art and Practice of Kirtan training. Contact: [email protected]. URL: www.jaiuttal.com.

An intensive training in the Yoga of chanting for those who aspire to lead Kirtan and for those who simply wish to immerse themselves in the vast ocean of Bhakti.

Subjects to be covered:

Bhakti Yoga - Path of Surrender: Understanding the path of Bhakti and Kirtan as a journey of surrender; offering one’s entire being to the service of the divine will.

Kirtan: As the essential practice of Bhakti, Kirtan will be the main focus of this training. We will spend many hours singing together, taking turns leading, sharing melodies, sharing our hearts.

Mantras: Experiencing the invocational power of the ancient Sanskrit syllables and names in ecstatic song and silent contemplation.

Gods and Goddesses: An exploration of the energies embodied by the different deities of Hinduism. Understanding the spiritual beings on the mythological, archetypal, and deeply personal levels.

Ramayana: Studying and reciting the multileveled epic adventures of Ram, Sita, and

13 Hanuman and how this story relates to our daily lives.

Saints: Drinking from the waters of Bhakti by reflecting upon the lives of some of the saints of modern India, particularly Neem Karoli Baba.

Vocal Training: Opening the voice and learning to love the sound that comes from our bodies.

Rhythm: Beginning to understand the rhythms associated with Kirtan; the rhythms of trance, the rhythms of ecstasy, the rhythms of contemplation.

Learning Harmonium: Gaining a beginning understanding of the rudiments of harmonium and kartals (finger cymbals) for accompanying Kirtans.

Vandana Mataji. Nama Japa: The Prayer of the Name. Rev. expanded ed. Delhi: Motilal Banarsidass, 1995. (First published in 1984.)

The focus of this volume is on the recitation of the name of God in the Hindu and Christian traditions, but also includes references to the Muslim, Buddhist, Jewish, and Sikh traditions.

Contents: Praxis of Japa, Theory of Japa, Singers of the Name

Vedavani, a division of Krishnamacharya Yoga Mandiram. Dedicated to teaching and transmitting Vedic chanting. Vedavani, along with the KYM research department, is also planning on starting research on the therapeutic effects of vedic chanting. Contract [email protected].

Verma, Roop. Nada Yoga. Bindu, no. 2, pp. 19-21.

On Nada Yoga and music.

Vibrations create forms. Bindu, no. 10.

“Is there a connection between life’s forms, the universe’s forms and vibrations: Is it sound which keeps things going?”

Vidyanandaji Maharaj, Sri Swami. Music: A unique means for God-Realisation. Rishikesh, Himalayas, India: Divine Life Society, 2000. Available on line: http://www.SivanandaDlshq.org/discourse/may2000.htm.

What Lord [Yehudi] Menuhin had to say about music, yoga, and Yogacharya B. K. S. Iyengar. Yoga Rahasya, 1999, 6(2).

Yamamoto, Luci. Yoga instructor gets word out on chanting: Sanskrit scholar touts benefits of Vedic mantras. San Francisco Chronicle, 1 Nov 2002. Article available

14 online: http;//www.sfgate.com/cgi- bin/article.cgi?file=/chronicle/archive/2002/11/01/EB114500.DTL.

Yoga fans find peace in chants. The Toronto Star, 29 Jun 2002.

“As yoga has become popular among active people looking for a more deeply satisfying form of exercise, so is chanting slowly becoming a bit of a trend among those looking for a more satisfying way of experiencing music . . .”

Yogananda, Paramahansa. Cosmic Chants. Los Angeles: Self-Realization Fellowship, 1938. Excerpts (How to Chant, When to Use the Cosmic Chants, The Power of Chanting) available online: http://www.ananda.org/meditation_online/index.html.

Yoga Sciences Research Foundation. Nada Sound video. East Lansing, Mich.: Yoga Sciences Research Foundation. Email: [email protected], URL: http://www.angelfire.com/mi/ysrf/index.html.

Of Related Interest

Burke, Martha A., and Marshall M. Burke, eds. Music Medicine Bibliography, 1985- 1995. Greenville, NC.: Self-published, 1995.

Forty-nine-page bibliography listing literature in medical and other journals dealing with the use of music as a therapeutic technique in geriatrics, psychiatry, and other fields of medicine.

Campbell, Don. Healing Yourself with Great Music.

Eastop, Pip. Some ins and outs of breathing. The Horn Magazine, Autumn 1995 and Winter 1996. Article available online: http://freespace.virgin.net/pip.eastop/framesets/publicationsfram.htm.

New gizmos tune up brain’s music muscles. The Times of India, 27 Jul 2003. Article available online: http://timesofindia.indiatimes.com/cms.dll/xml/uncomp/articleshow?msid=97084.

“. . . Researchers at Imperial College, London, and Charring Cross Hospital have built gizmos that rely on a process called neurofeedback.

“This trains budding musicians to clear their minds and produce more creative brain waves without striking a single cord. The technique helped musicians to improve by an average of 17 per cent, the equivalent of one grade or class of honours, and some wannabe musicians improved by as much as 50 per cent when they were assessed on two pieces of music before and after neurofeedback sessions, according to a report to be published in a forthcoming issue of Neuroreport.

“The brain activity of music students was monitored through sensors attached to the scalp, which filtered out relevant brain waves and fed them back to the subjects in the form of a video game displayed on a computer screen. The participants learned to control the game by their mind power alone, by consciously controlling the form of their brain waves, which in turn influenced their musical performance.

“Also known as neurotherapy, the ‘no-hands Nintendo’ approach thus taught people to alter their brainwave patterns with measurable physical consequences; a panel of expert judges found that the 97 Royal College of Music students improved in a number of areas, including musical understanding, imagination and communication with the audience . . .”

Licht, Sidney. Music in Medicine. Boston: New England Conservatory of Music, [1946].

Contains chapters on the history of music in medicine and on psychiatry and music.

Prat, Rosalie Rebollo, and Ralph Spintge. Music Medicine 2. Saint Louis, Mo.: MMB Music.

Schullian, Dorothy M, and Max Schoen, eds. Music and Medicine. Henry Schuman, 1948.

Exhaustive study from a combination of authors on how music has been used to ease human ailments and psychosis Includes chapters on primitive peoples, American Indians, classical antiquity, tarantism, the Renaissance through the eighteenth century, musical physicians, etc.

Spintge, Ralph, and Roland Droh. Music Medicine. Saint Louis, Mo.: MMB Music.