DOCSLIB.ORG

Four Fold Description of Sound: a Vedic View

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Four Fold Description of Sound: a Vedic View Four Fold Description of Sound: A Vedic View M. G. Prasad Stevens Institute of Technology Hoboken, new Jersey acknowledgement ▪ my deep gratitude to my guru yogi- seer Sriranga Sadguru of Astanga Yoga Vijnana Mandiram, Mysore, India whose work is an inspiration and guidance to my Vedic studies in acoustics Sri Saraswati Acoustical knowledge of ancient Hindus ▪ “It would form a fascinating chapter of history to try and trace the gradual development of musical instruments and musical knowledge, from the rhythmic chanting of rig-veda in the ancient home of the Aryan race to the Indian music of the present day” Sir C. V. Raman (1922) Sanaatana Dharma (Vedic Hinduism) ❖ Vedas are the source literature. ❖ Vedas are infinitely large collection of mantras (chants) ❖ Vedas and Vedic literature deal with all aspects of life such as religion, philosophy, culture, science, arts, etc. ❖ Acoustics plays an important role in Vedas and Vedic literature. Veda Mantras ❖ Mantras (chants) are orally transmitted from teacher to disciples. ❖ Precision in intonations and phonetics. ❖ Intrinsic pitch difference can be overridden ❖ Provides experience and meaning. ❖ Oral transfer of knowledge through ages through memory Speech, Music, Literature and Yoga On Naada ▪ “Just as from a seed comes naturally sprout, branch, leaf, flower, unripe fruit and full fruit like wise starting from spiritual light as seed the naada, svara and akshras have developed into the various aspects of knowledge” Yogi-seer Sriranga Sadguru (1913-1969) Vedic order of natural elements and perception Element Sense of perception Space Sound (hear) Air Touch and Sound Fire See, Touch and Sound Water Taste,See,Touch and Sound Earth Smell,Taste,See,Touch, Sound ❖ Space is characterized by only sound ❖ Sound is the most subtle sense of perception Sound is Universal - Lindsay's wheel of acoustics Noise ▪ Psychological ▪ loss of mental balance ▪ unnecessary rage in speech levels ▪ false adjustment to noisy environment ▪ Industrial ▪ product noise control ▪ design factor, diagnostics, quality control Noise vs. Music Effects of Stress Concomitant Noise Sharper Image Soundscape Environment Pavlov's Experiment Sound Pressure and Level Sound Spectrum Thresholds of Hearing Two Bramhans ▪ There are two Bramhans to be realized: SHABDA and PARAM Bramhan. One who has realized and is well versed in Shabda Bramhan will realize Param Bramhan ... Amrita Bindu Upanishat One desiring for the bliss of yoga should deeply meditate on Naada having relinquishing all worries Shankaraacharya The speech has four stages, the first three are hidden inside and The fourth are spoken by people Veda Para is at Mooladhaara, Pashayanti is at navel, Madhyama is at heart, vaikhari is established at throat Consciousness ▪ Consciousness (Chaitanya) in all beings is Shabda Bramhan according to me ... Sharada Tilaka by Lakshmana Deshika ▪ We worship the NADA Bramhan second to none which is blissful and is in all beings as consciousness and has expressed (manifested) itself as universe ... Sangita Ratnakara (Saranga Deva) How sound manifests ▪ An individual (soul) with a desire to speak encourages the mind. The mind strikes the heat (fire) center at the navel, which then pushes the air (wind). the sound (NAADA) energy then gradually moves up through stomach, heart, throat, mouth as audible sound... Ganarahasya Prakashini ▪ The sound 'NA' refers to the prana (air) and sound of 'DA' refers to the anala (fire). The resulting signal from the union of these two Prana and Anala is termed as NAADA (seed sound) ... Sangita Ratnakara In the beginning NADA (sound) manifests the letters, letters constitute the word and words make a sentence, so the entire activities of life is carried on through language. Thus, the whole phenomenon (universe) is dependent on NADA (sound) ... Sangita Ratnakara by Sarangadeva ▪ In the beginning was the word and the word was with God, and the word was God ... St. John, New Testament Pythagoras & Sarangadeva on Sound Psalms Manifestation of Sound ▪ Vaikhari is word manifestation. Madhyama is at memory level. Pashyanti is intentive level. Pure causal is Para. ▪ The manifested air driven letters and assemblies first are caused at Mulaadhaara, then at heart as Pashyanti, then through intelligence as Madhyama (before it manifests) then as Vaikhari. All this happens in Sushumna of beings Some concepts Uses of Sound ▪ In all aspects of life ▪ Sounds of nature are joyful ▪ Sounds of bell, conch shell ▪ Sounds of Speech ▪ Sounds for diagnostics Shabda Cognition through Speech Naada and Shabda as per Panini Speech Sound Production Letters of the Alphabet Origins of Sanskrit Alphabet Sounds Acoustical Aspects of Sanskrit Features of Vedas Inverted Tree Shiva Aphorisms Shiva Panchaakshari mantra Holy Name ▪ Remember the name of thy lord at morning and evening (Islam) ▪ By obtaining the water of God's name through the guru, quench the four fires of cruelty, wordly-love, anger and greed (Sikh) ▪ What is the first thing we should teach the child when it begins to speak ? We must first teach him the name of God. And then the name of our prophet (Zorastrianism) ▪ The medicine is the calling upon the name of Amida, and it is wrapped up in the six syllable Na Mu A Mi Buts(u). It means absolute concentration on Amida's name. For this medicine no capital or special wisdom is needed. All one has to do is recite the words with the mouth. Here indeed is the pivot of fundamental power (Hauim, 18th century Zen) ▪ As the clap of the hands, the birds (as sins) in the tree (as our body) fly away, so do our sins disappear at the chanting of God's name and glories (Ramakrishna Paramhamsa) Hellen Keller - The Miracle Music and Sanaatana Dharma ▪ Sounds especially from nature,chants and music provide joy and spiritual experiences for humans. ▪ Music (in Sanskrit) called Sangeeta includes Vocal music, Instrumental music and Dance. ▪ The notes of music are derived from nature (for ex: from sounds of animals and birds). ▪ Music and Dance are part of religious offering in a Hindu worship. ▪ “Music should become the bridge that takes the listeners from sensual level to the spiritual level of Atman”– Yogi-seer Sriranga Sadguru Sapta Svaras (seven tones) from nature ▪ Sa: Peacock (C) ▪ Ri: Cow (D) ▪ Ga: Goat (E) ▪ Ma: Krouncha bird (F) ▪ Pa: Nightingale (G) ▪ Dha: Horse (A) ▪ Ni: Elephant (B) A Raga is a pleasing combination of these notes. Raga also provides spiritual experience. Raga also depicts moods and sentiments. There are hundreds of ragas. Indian Musical Drums Sri Krishna and Bamboo Flute MEASUREMENTS OF TONES FROM A BAMBOO FLUTE [A5] COMPARISON OF SCALES FLUTE A5 Veena, Spinal Cord, Tortoise (ref: Amaravani – Sangita and Stotra by SriRanga Sadguru) Complex Plot of OM (375-750Hz) Complex Plot of OM (393-786Hz) Tyndall’s Experiment effecto of sound on Flame Spectral Analysis of Conch Shell sound Straightened Conch Cavity Nataraja Chakras Speech ▪ Speech has dual abilities. It can console or provoke ▪ Speech should be truthful and pleasant. Speech should not be untruth although pleasant to hear or speak. ▪ Truthful speech is first step in 'Yama' of Ashtanga Yoga ▪ Cultured speech is an essential ornament for a cultured person ▪ Speaking and listening are in every person as a gift from God for spiritual development Sound Concepts ▪ Sound effectively carries information ▪ Sound effectively connects source-path-listener ▪ Sound (word) is the subtle body (form) of the object ▪ Sound connects idea (thought) to object (action) ▪ kaaya-Vaachaha-Manas ▪ Sound gives totality to action 'Karate' sounds ▪ Solitude or silence is absence of sound ▪ Memory is always associated with sound (Can you remember anyone without their sound ?) ▪ Sound is the thread in necklace of letters (aksharmaalaa) ▪ Sound is the subtlest connecting link to world (even in dark you can hear) Sound Demonstration ▪ When sound originates ? ▪ Ringing the bell ▪ follow the sound ... ▪ Amplification of sound ▪ Bell and Ivory ▪ Empty Vessel Resonances ▪ Node at the center ▪ Two Tubes - Resonances ▪ Close ears to external sound ▪ listen to internal sounds ▪ Ear is the only sensor connecting inside and outside Sound Demonstration (Continued) ▪ Sandhi effect ▪ gana+esha=Ganesha ▪ a+u=o ▪ Soft-Hard aspirations ▪ Alpa-Mahaa Praana (ka, Kha) ▪ Erect Body Posture ▪ Sound depends on body posture ▪ Sound expresses effectively feelings the best ▪ Eureka .... ▪ haa .. uuu ▪ Compound letters ▪ kta, Br Sound Demonstration (Continued) ▪ Deep Breathing ▪ HamSoHamSoHamSo .... Hamso ... ▪ Speech is delivered while ▪ Exhaling ▪ Observe acoutic environment ▪ around you ▪ Clarity of recitations ▪ proper sound excitations ▪ Internal Dialogue ▪ Speech through silence ▪ Collective chanting harmony ▪ 1,1+1,1+1+1,...Many Sound Demonstration (Continued) ▪ Form to formless ▪ Name - Picture, Word-Object ▪ Merger of two sounds ▪ one octave apart ▪ Listening is very difficult ▪ Proper body posture Summary ▪ NAADA Yoga is union of Source-Path-Receiver, through vibration-Sound (Spanda-Naada) ▪ Shabda (Naada) is the manifestation of Param Bramhan. It is essential pathway ▪ Word-Object (Pada-Padaartha) identity ▪ Naada (resulting from movement and also self existing) is the seed of articulation and the manifestation of various expression (See-Tree) ▪ Supreme being manifests itself through 'Nama (Naada), Form and Spiritual Energy' in Deities (Devata) Summary (Continued) ▪ Listening with receptive and pure mind (concentration) is essential in spiritual path and development (Sruti, Srvana, Srotavya) ▪ Purity of mind, clarity and precision in phonetics and devotion leads to spiritual experiences through Japa, Bhajan, Music, Mantra, Chants, etc ▪ Sound is the most subtle measure (Sabda Tanmatra). Sound space are eternally united. Sound and space are both bodies of the Supreme Being. (Sanskrit) ▪ Om is the name and form of the Supreme Oh! Sound You surround everything around. You are everywhere to be heard. You are outside but also inside. You are produced ever in nature. You come from humans and machines. You are with motions and patterns. As an annoying noise, you displease someone. As a diagnostic tool, you are useful to someone. As a painful noise, you can hurt anyone.
Load more

Recommended publications
  • On Word-Numerals in Nāgavarma's Canarese Prosody | IJJS
    International Journal of Jaina Studies (Online) Vol. 15, No. 3 (2019) 1-21 ON WORD-NUMERALS IN NĀGAVARMA’S CANARESE PROSODY Dipak Jadhav 1. Introduction In India, three major systems, based on alphabets of Devanāgari script or words of a particular Indian language such as Sanskrit or Prakrit or Canarese, were developed for expressing numbers. The two are the kaṭapayādi system1 and Āryabhaṭa I’s alphabetical notation2 and the other one is word-numerals (bhūta-saṃkhyā). These systems excluding Āryabhaṭa I’s alphabetical notation have been widespread in India in various disciplines of learning including not only mathematics but also prosody. The purpose of these systems was two-fold. One was to preserve important results.3 The other was to compose the verses using these systems in accordance with the requirements of their metres.4 In the system of word-numerals, numbers were expressed by means of significant words often arranged as in the decimal place-value notation. For example, 4 is represented by kṛta5 as it is a special term, meaning cater, employed in India for the dice or the side of a dice with four dots.6 The word-numerals are found to have been used in India long before the commencement of the Christian era. The earliest instance of a word being used to denote a whole number is found in the Śatapatha Brāhmaṇa. The word used therein is kṛta denoting 4. The same word for the same purpose was also used in the Taittirīya Brāhmaṇa. The word gāyatrī (Vedic metre or metre of 24 syllables) denoting 24 is found to have been used in the Kātyāyana Śrauta Sūtra.
    [Show full text]
  • Akasha (Space) and Shabda (Sound): Vedic and Acoustical Perspectives
    1 Akasha (Space) and Shabda (Sound): Vedic and Acoustical perspectives M.G. Prasad Department of Mechanical Engineering Stevens Institute of Technology Hoboken, New Jersey [email protected] Abstract A sequential ordering of five elements on their decreasing subtlety, namely space, air fire, water and earth is stated by Narayanopanishat in Atharva Veda. This statement is examined from an acoustical point of view. The space as an element (bhuta) is qualified by sound as its descriptor (tanmatra). The relation between space and sound and their subtle nature in reference to senses of perception will be presented. The placement of space as the first element and sound as its only property will be discussed in a scientific perspective. Introduction The five elements and their properties are referred to in various places in the Vedic literature. An element is the substance (dravya) which has an associated property (of qualities) termed as guna. The substance-property (or dravya- guna) relationship is very important in dealing with human perception and its nature through the five senses. Several Upanishads and the darshana shastras have dealt with the topic of substance-property (see list of references at the end). The sequential ordering of the five elements is a fundamental issue when dealing with the role of five elements and their properties in the cosmological evolution of the universe. At the same time the order of the properties of elements is also fundamental issue when dealing with the perception of elements is also a through five senses. This paper focuses attention on the element-property (or dravya-guna) relation in reference to space as the element and sound as its property.
    [Show full text]
  • Kirtan Leelaarth Amrutdhaara
    KIRTAN LEELAARTH AMRUTDHAARA INSPIRERS Param Pujya Dharma Dhurandhar 1008 Acharya Shree Koshalendraprasadji Maharaj Ahmedabad Diocese Aksharnivasi Param Pujya Mahant Sadguru Purani Swami Hariswaroopdasji Shree Swaminarayan Mandir Bhuj (Kutch) Param Pujya Mahant Sadguru Purani Swami Dharmanandandasji Shree Swaminarayan Mandir Bhuj (Kutch) PUBLISHER Shree Kutch Satsang Swaminarayan Temple (Kenton-Harrow) (Affiliated to Shree Swaminarayan Mandir Bhuj – Kutch) PUBLISHED 4th May 2008 (Chaitra Vad 14, Samvat 2064) Produced by: Shree Kutch Satsang Swaminarayan Temple - Kenton Harrow All rights reserved. No part of this book may be used or reproduced in any form or by any means without written permission from the publisher. © Copyright 2008 Artwork designed by: SKSS Temple I.T. Centre © Copyright 2008 Shree Kutch Satsang Swaminarayan Temple - Kenton, Harrow Shree Kutch Satsang Swaminarayan Temple Westfield Lane, Kenton, Harrow Middlesex, HA3 9EA, UK Tel: 020 8909 9899 Fax: 020 8909 9897 www.sksst.org [email protected] Registered Charity Number: 271034 i ii Forword Jay Shree Swaminarayan, The Swaminarayan Sampraday (faith) is supported by its four pillars; Mandir (Temple), Shastra (Holy Books), Acharya (Guru) and Santos (Holy Saints & Devotees). The growth, strength and inter- supportiveness of these four pillars are key to spreading of the Swaminarayan Faith. Lord Shree Swaminarayan has acknowledged these pillars and laid down the key responsibilities for each of the pillars. He instructed his Nand-Santos to write Shastras which helped the devotees to perform devotion (Bhakti), acquire true knowledge (Gnan), practice righteous living (Dharma) and develop non- attachment to every thing material except Supreme God, Lord Shree Swaminarayan (Vairagya). There are nine types of bhakti, of which, Lord Shree Swaminarayan has singled out Kirtan Bhakti as one of the most important and fundamental in our devotion to God.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel Permalink https://escholarship.org/uc/item/90b9h1rs Author Sriram, Pallavi Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Pallavi Sriram 2017 Copyright by Pallavi Sriram 2017 ABSTRACT OF DISSERTATION Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel by Pallavi Sriram Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor Janet M. O’Shea, Chair This dissertation presents a critical examination of dance and multiple movements across the Coromandel in a pivotal period: the long eighteenth century. On the eve of British colonialism, this period was one of profound political and economic shifts; new princely states and ruling elite defined themselves in the wake of Mughal expansion and decline, weakening Nayak states in the south, the emergence of several European trading companies as political stakeholders and a series of fiscal crises. In the midst of this rapidly changing landscape, new performance paradigms emerged defined by hybrid repertoires, focus on structure and contingent relationships to space and place – giving rise to what we understand today as classical south Indian dance. Far from stable or isolated tradition fixed in space and place, I argue that dance as choreographic ii practice, theorization and representation were central to the negotiation of changing geopolitics, urban milieus and individual mobility.
    [Show full text]
  • Hanuman Burns Lanka
    “Om Sri Lakshmi Narashimhan Nahama” Valmiki Ramayana – Sundara Kanda – Chapter 54 Hanuman Burns Lanka Summary Hanuma, with his blazing tail comes out and flits over the horses in Lanka, making up his mind to set fire to the city of Lanka which is the only work let for him to do. Hanuma burns the entire city, barring the abode of Vibhishana. All the demons were frightened o seeing the blazing fire, consuming their city with its trees, houses and a host of living beings. Surprised to see the city burning, the celestials and musicians (Gandharvas) gain a great delight. Chapter [Sarga] 54 in Detail viikshamaanah tato lankaam kapih krita mano rathah | vardhamaana samutsaahah kaarya shesham acintayat || 5-54-1 Then, after fulfilling his heart's wish, Hanuma, looking over Lanka, thought about the remaining act to be done, with an augmented energy. kim nu khalv avishishtam me kartavyam iha saampratam | yat eshaam rakshasaam bhuuyah samtaapa jananam bhavet || 5-54-2 "Which act indeed is remaining now to be done by me here that may further create anguish to these demons?" vanam taavat pramathitam prakrishtaa raakshasaa hataah | bala eka deshah kshapitah shesham durga vinaashanam || 5-54-3 "I have demolished the garden. I have killed excellent demons. I destroyed a portion of the army. The demolition of the fort is still remaining." durge vinaashite karma bhavet sukha parishramam | alpa yatnena kaarye asmin mama syaat saphalah shramah || 5-54-4 "When the fort gets destroyed, the task (of Rama's battle) will be devoid of fatigue. Even with a small
    [Show full text]
  • Bhoga-Bhaagya-Yogyata Lakshmi
    BHOGA-BHAAGYA-YOGYATA LAKSHMI ( FULFILLMENT AS ONE DESERVES) Edited, compiled, and translated by VDN Rao, Retd. General Manager, India Trade Promotion Organization, Ministry of Commerce, Govt. of India, Pragati Maidan, New Delhi, currently at Chennai 1 Other Scripts by the same Author: Essence of Puranas:-Maha Bhagavata, Vishnu Purana, Matsya Purana, Varaha Purana, Kurma Purana, Vamana Purana, Narada Purana, Padma Purana; Shiva Purana, Linga Purana, Skanda Purana, Markandeya Purana, Devi Bhagavata;Brahma Purana, Brahma Vaivarta Purana, Agni Purana, Bhavishya Purana, Nilamata Purana; Shri Kamakshi Vilasa Dwadasha Divya Sahasranaama: a) Devi Chaturvidha Sahasra naama: Lakshmi, Lalitha, Saraswati, Gayatri; b) Chaturvidha Shiva Sahasra naama-Linga-Shiva-Brahma Puranas and Maha Bhagavata; c) Trividha Vishnu and Yugala Radha-Krishna Sahasra naama-Padma-Skanda-Maha Bharata and Narada Purana. Stotra Kavacha- A Shield of Prayers Purana Saaraamsha; Select Stories from Puranas Essence of Dharma Sindhu Essence of Shiva Sahasra Lingarchana Essence of Paraashara Smtiti Essence of Pradhana Tirtha Mahima Dharma Bindu Essence of Upanishads : Brihadaranyaka , Katha, Tittiriya, Isha, Svetashwara of Yajur Veda- Chhandogya and Kena of Saama Veda-Atreya and Kausheetaki of Rig Veda-Mundaka, Mandukya and Prashna of Atharva Veda ; Also ‘Upanishad Saaraamsa’ (Quintessence of Upanishads) Essence of Virat Parva of Maha Bharata Essence of Bharat Yatra Smriti Essence of Brahma Sutras Essence of Sankhya Parijnaana- Also Essence of Knowledge of Numbers Essence of Narada Charitra; Essence Neeti Chandrika-Essence of Hindu Festivals and Austerities- Essence of Manu Smriti*- Quintessence of Manu Smriti* - *Essence of Pratyaksha Bhaskara- Essence of Maha Narayanopanishad*-Essence of Vidya-Vigjnaana-Vaak Devi* Note: All the above Scriptures already released on www.
    [Show full text]
  • Swar Vanshi Ke Shabda Nupur Ke.Pdf
    ShriSwamini Kripaashtak Kripa Kataaksh jaasu ki anant lok-paavini | Katha-prabha-keli ki samast taap-taashini || Sunaam sidh Radhika, ashesh siddhi daayini | Subhekshane kripamayi prasanna hwai kripa karo || 1 || Jinki kripa kataaksh anant lokoan ko pavitra karne wali hai, (Tav kathamritam tapt jeevanam viharanam cha te dhyan mangalam) jinki keli pravah ki katha samast tapoan ko nasht karne wali hai, tatha "Raadh" sansiddhau apne Radha naam se hi swatah sidh hai, va samast siddhiyon ki datri hai, brahmparyat ko bhi ras siddhi ko bhi ras siddhi dene wali hai | Ve subhdrishti wali kripamayi prasann hokar humpar kripa karein || 1 || Anant poorna chandrama lajaavini sushobhite | Anant chanchala nikaay mardani sugaurte || Anant maar chaap bhajni subhau bhangike | Subhekshane kripamayi prasanna hwai kripa karo || 2 || Poornma ke anant chandra-mandaloan ko lajjit karne wali jo unse bhi adhik shobhit hai, jinki gaurta anant daaminiyon ke samuh ko bhi paraast kar deti hai, jinke bhru mandal ki bhangima anant kaam-kodandon ka bhajan karne wali hai - ve subh drishti wali kripamayi prasann hokar humpar kripa karein ||2|| 9 Sudivya prem saarroop vigrahe pramodini | Tarangini surangini nikunj-manch raajini || Swakaant krodashaayini vilaas-madhya hasini | Subhekshane kripamayi prasanna hwai kripa karo || 3 || "Devi kripamayi prokta radhika pardevta | Sarvalaxmimayi sarvakantih sammohini para" sarvatha amanvidevi, jo mahabhav aadi saarroop divyaprem ke bhi saar vigrah wali sada pramod roopini rangotsavon ki tarangon se yukt nikunj-paryakpar viraajne
    [Show full text]
  • Sreenivasarao's Blogs HOME ABOUT THIS WORDPRESS.COM SITE IS the BEE's KNEES
    sreenivasarao's blogs HOME ABOUT THIS WORDPRESS.COM SITE IS THE BEE'S KNEES ← Music of India – a brief outline – Part fifteen Music of India – a brief outline – Part Seventeen → Music of India – a brief outline – Part sixteen Continued from Part Fifteen – Lakshana Granthas– Continued Part Sixteen (of 22 ) – Lakshana Granthas – Continued Pages 8. Sangita-ratnakara by Sarangadeva About Archives January 2016 October 2015 September 2015 August 2015 July 2015 June 2015 May 2015 April 2015 February 2015 January 2014 December 2013 Sarangadeva’s Sangita-ratnakara (first half of 13th century) is of particular importance, because it was written November 2013 just before influence of the Muslim conquest began to assert itself on Indian culture. The Music discussed in Sangita-ratnakara is free from Persian influence. Sangita-ratnakara therefore marks the stage at which the October 2013 ‘integrated’ Music of India was before it branched into North-South Music traditions. October 2012 It is clear that by the time of Sarangadeva, the Music of India had moved far away from Marga or Gandharva, as September 2012 also from the system based on Jatis (class of melodies) and two parent scales. By his time, many new August 2012 conventions had entered into the main stream; and the concept of Ragas that had taken firm roots was wielding considerable authority. Sarangadeva brought together various strands of the past music traditions, defined almost 267 Ragas, established a sound theoretical basis for music and provided a model for the later Categories musicology (Samgita Shastra). Abhinavagupta (3) Sarangadeva’s emphasis was on the ever changing nature of music, the expanding role of regional (Desi) Agama (6) influences on it, and the increasing complexity of musical material that needed to be systemised time and again.
    [Show full text]
  • Sundara Kãnda: Hanuman's Odyssey
    Sundara Kãnda: Hanuman’s Odyssey By BS Murthy Canto 1 • Hurdles in Skies Egged on by peers Vayu’s son Enshrined by man as Hanuman Enthused himself to shoulder Search of Seetha, Rama’s spouse Snared whom Ravan to Lanka Sea across that hundred leagues. 1 With his head then held so high Gained he size for task on hand. 2 On that Mahendra mountain then Colossus like he sauntered there. 3 Uprooted were trees all those Brushed as with his chest that strong. 4 Varied hues of elements there Made that mountain resplendent. 5 Grace angels those hill ranges For their honeymoon so near moon. 6 At length he reached that hilltop Lay where elephants in their scores. 7 Besides Brahma ’n Surya Prayed he Indra and Vayu. 8 Facing east he sought blessings Of Vayu then his Wind God dad And grew more by turning south. 9 Grew as Hanuman more and more To cross that sea vast as it roared With full tides of full•moon night Came he face to face with clouds. 10 As though to test that mountain Whether it’s right for his take•off Tapped it Hanuman with his legs. 11 Shook that mountain his impinge Shed trees flowers of hues varied. 12 Flowers all fell then covered it full Spread they fragrance far and wide. 13 Welled out water in thick springs Such was pressure of Hanuman’s feel. 14 From the cracks it developed thus Creaked out molten metals varied. 15 While huge boulders slid in scores Out came smoke in thick columns.
    [Show full text]
  • Module 26 300
    LIVE LOVE INSPIRE HOUSE OF OM MODULE 26 PRACTICE 120 MINS In this module you will find your balance with a specifically designed Vinyasa Flow sequence, accompanied by meditation for sankalpa, and your usual pranayama routine. YOGA SUTRAS 60 MINS The Yoga Sūtra is a collection of 195 Sanskrit texts on the theory and practice of yoga. It was compiled between 500 BCE and 400 CE by the sage Patanjali YOGA NIDRA 20 MINS Also known as Yogic sleep, Yoga Nidra is a state of consciousness between waking and sleeping. Usually induced by a guided meditation YOGA SUTRAS QUIZ AND QUESTIONS 60 MINS Closed and open questions will both entertain with a little challenge, and pinpoint what resonated the most with your individual self. REFLECTION 60 MINS Every module you will be writing a reflection. Save it to your own journal as well - you will not only learn much faster, but understand what works for you better. BONUS Sanskrit Lesson 12 In all spiritual traditions, Mantra Yoga or Meditation is regarded as one of the safest, easiest, and best means of systematically overhauling the patterns of consciousness. PATANJALI YOGA SUTRA YOGASUTRAS 1. SAMADHI PADA 1.41 TO 1.45 Sutra 41-51- Samadhi with seed leading to Samadhi without seed 1.41 Kshinna-vritti Abhijatasya Iva Maneh Grahitri Grahana Grahyeshu Tat-stha Tat- anjanata Samapattih When the modifications of mind have become weakened, the mind becomes like a transparent crystal, and thus can easily take on the qualities of whatever object observed, whether that object be the observer, the means of observing, or an object observed, in a process of engrossment called.
    [Show full text]
  • Yoga Sutras of Patanjali (Yoga Aphorisms of Patanjali)
    Yoga Sutras of Patanjali (Yoga Aphorisms of Patanjali) English version by Octavian Sarbatoare Chapter I - Awareness (samadhi) 1. Now (are presented) instructions on yoga. 2. Yoga is cessation (nirodha) of the mind modifications (cittavrittis). 3. In this way, the witness (drashta) rests in one's own essential nature (svarupa). 4. Otherwise (the witness) identifies (the experience) with (mind's) modifications (vrittis). 5. There are five modifications (vrittis) of the mind, afflicting more or less. 6. (They are) correct knowledge (pramana), incorrect knowledge (viparyaya), imagination (vikalpa), sleep (nidra), memory (smriti). 7. The right knowledge (pramana) (could be experienced by) direct perception (pratyaksha), inference (anumana) and inner inspiration (agama). 8. The incorrect knowledge (viparyaya) is what does not correspond to the reality. 9. Imagination (vikalpa) is the identification with the knowledge brought by thoughts that have no consistency with the reality. 10. Sleep (nidra) is a modification (vritti) (of the mind) that does not hold as mental content. 11. Memory (smriti) is what retains the perception experienced by the senses. 12. The cessation (of the cittavrittis) is done by (persistent) practice (abhyasa) and not- attachment (vairagya). 13. One out of these two (helpings) is the practice (abhyasa) (consisting of) being firmly established in one's own effort. 14. The practice (abhyasa) becomes firm when it is done for a long period of time without interruption and with devotion (towards the aim in sight). 15. (The other one) the non-attachment (vairagya) is that state of awareness in which the craving for sense objects (vishaya), (brought by what was) seen or heard, is under control.
    [Show full text]
  • The Tradition of Kuchipudi Dance-Dramas1
    The Tradition of Kuchipudi Dance-dramas1 Sunil Kothari The Historical Background Of the many branches of learning which flourished in Andhra from very early ti.mes not the least noteworthy is the tradition of the Natyashastra, embracing the tw1n arts of music and dance. The Natyashastra mentions the Andhra region m connection with a particular style of dance in the context of the Vritti-s. Bharata refers to Kaishiki Vrittt: a delicate and graceful movement in the dance of this reg1on .2 A particular raga by the name of Andhri was the contribution of this region to the music of India. The dance traditions in Andhra can be traced to various sources. The ancient temples, the Buddhist ruins excavated at Nagarjunakonda, Amaravati, Ghantasala, Jagayyapet and Bhattiprole indicate a flourishing dance tradition in Andhra. Of these the Amaravati stupa relics are the most ancient dating back to the second century B.C.3 They reveal the great choreographic possibilities of group and composite dances called pind1bandha-s, mentioned by Bharata and on which Abhinavagupta gives a detailed commentary in Abhinava Bharat1: 4 The history of dance, divided into two periods for the sake of convenience on account of the continuity of the Sanskrit and the later development of the vernacular regional languages, admits of two broad limits : from the second century B.C. to the ninth century A.D. and from the tenth century A.D. to the eighteenth century A.D. The latter period coincides with the growth of various regional styles and with the development of the tradition of Kuchipudi dance­ dramas.
    [Show full text]