269 CHAPTER IV THERAPEUTIC USES OF MUSIC IN INDIAN CLASSICAL MUSICOLOGICAL TEXTS Popular is the opinion that Indian Classical Music possesses healing attributes. Time immemorial have existed various miraculous stories about our classical music, which lied in the hands of great masters, had the capacity to heal the mind and body. Scholars are of the belief that the very roots of Indian Music lie in our sacred scriptures so an in-depth study of the Vedic era automatically becomes mandatory. Exploring the Philosophical and Musicological literature of Ancient India various terms like Akshara, Sabda, Om, Pranava, Udgitha, Nada, Para Brahma, Nada Brahma, Dhvani, Shruti, Swara, Sangeeta, Raga, Raginis etc., are respectively found in Sacred Vedas, Upanishads, Tantras, Epics, Puranas, and different classical musicological texts. Hypothetically, these have been discussed or used in context of / for sound and are considered likely to be the precursor of, what is known to us as Music today. But the question is was our music acknowledged for it’s much boasted about “healing potential” in the scriptural lineage? Ms. Sonia Parikh in her book “Hkkjrh; la xhr }kjk fpfdRlk”, p.80 quotes that:- Jh mes ”k tks ”kh viuh iq Lrd ^Hkkjrh; laxhr dk bfrgkl* es a fy[krs gS a fd rkez ;q x (copper age) es a tc dks bZ chekj iM+ rk Fkk rks nz foM+ mls nok ugha ns rs Fks cfYd la xhr }kjk mldk mipkj djrs Fks vkS j bl lkaxhfrd mipkj ls vus d O;fDr LoLFk vkS j lq a nj cu tkrs Fks A feLVj Mks okldhjs eyk us Hkh bl ckr dh iq f’V viuh iq Lrd “The enchanting power of music” es a rFkk fo[;kr ys[kd tk Wu
Exploring the Philosophical and Musicological literature of Ancient India
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269
CHAPTER IV
THERAPEUTIC USES OF MUSIC IN INDIAN CLASSICAL
MUSICOLOGICAL TEXTS
Popular is the opinion that Indian Classical Music possesses healing attributes. Time
immemorial have existed various miraculous stories about our classical music, which lied
in the hands of great masters, had the capacity to heal the mind and body. Scholars are of
the belief that the very roots of Indian Music lie in our sacred scriptures so an in-depth
study of the Vedic era automatically becomes mandatory.
Exploring the Philosophical and Musicological literature of Ancient India various terms
like Akshara, Sabda, Om, Pranava, Udgitha, Nada, Para Brahma, Nada Brahma, Dhvani,
Shruti, Swara, Sangeeta, Raga, Raginis etc., are respectively found in Sacred Vedas,
Upanishads, Tantras, Epics, Puranas, and different classical musicological texts.
Hypothetically, these have been discussed or used in context of / for sound and are
considered likely to be the precursor of, what is known to us as Music today. But the
question is was our music acknowledged for it’s much boasted about “healing potential”
in the scriptural lineage?
Ms. Sonia Parikh in her book “Hkkjrh; laxhr }kjk fpfdRlk”, p.80 quotes that:-
Indian mystical & philosophical thinking is impregnated with Om, mentioned widely in
Upanishads, tantras, puranas, samkhyas and in specialized vedantic texts. It symbolizes
the essence of sanatan dharam (the eternal way), commonly known as Hinduism – the
tolerant & profound conglomeration of spiritual thinking and practice from which yoga
has come. Om is known as the “Mahat Mantra” meaning “The Great Mantra” and is not
directly mentioned in Rig Veda, probably because it was considered too sacred to utter or
even write down. Om is first mentioned, albeit indirectly, in Yajurveda in verse 1:1
where it is known as ‘Pranava’ i.e. ‘the humming sound’ – or as ‘Udgita’ meaning ‘the
elevating chant’. No graphic representation of Om has yet been found in the extensive
excavations of the so-called Indus Valley civilization (circa 3000 BC, though probably
older). The reason may be either that Om was considered too sacred to be graphically
represented, or that it had not yet been realized and brought into mainstream spiritual
272
practice. The oldest direct references and descriptions of Om are to be found in the
Upanishads, which are considered to contain the essential teachings of the Vedas. 0F
1
A) DELVING THE PAST
Bill Osmer is of the view that Indian
music has at its roots a spiritual concept
that is always present philosophically
and musically - the idea that creation is
a manifestation of consciousness at
different levels of vibration. From the
Samkhya philosophy of creation to
numerous verses of the Vedas and
Upanishads, this idea resonates
throughout. 1F
2
Scriptural verses from “Hymns of the
Samaveda” translated by Ralph T.H.
Griffith, (1895) given below exhibiting
the sacredness & effectiveness of the Maha-Mantra (om):
Samaveda - Part 2nd, Book II, verse (2.19.2), Says - For he, O Indra, hath produced for
thee the newest gladdening song. A hymn that springs from careful drop thought,
ancient and full of sacred truth.
Part 2nd, Book V, verse (2.8.6) The Pavamana (self-purifying), hymns bring weal
(prosperity): by these man goes to Paradise.
Part 2nd, Book V, verse (2.11.3) - Penetrate, Pavamana (self-purifying), best at winning
booty, with thy rays, giving the Singer hero strength!
1 Swami Nishchalananda Saraswati, article “The Mantra Om – Symbol of Primordial Vibration”, at www.mandalayoga.net 2 Bill Osmer, 2006, Raga Chikitsa and Raga Ragini Vidya, at http://yogasangeeta.org/index.php?option=com_content&view=article&id=172:article-raga-ragini-bilwa&catid=923:raga-ragini&Itemid=273&directory=273
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1. Significance of OM in Upanishads:
The sacred syllable OM and was considered as the originator of the entire cosmos. This
statement is supported by few verses of Chandogaya Upanishad:
,s’kka Hkwrkuka ifFkoh jl% ifFkO;k viks jl% A
vikeks’k/k;ks jl vks’k/khuka iq:’kks jl%
iq:’kL; okxzlks okp _xzl _p% lke jl%
lkEu mn~xhFkks jl% AA 1-1-2 AA
Gist - The essence of all these beings is the earth; the essence of the earth is water; the
essence of water is plants; the essence of plants is a person; essence of a person is speech;
the essence of speech is the Rig—Veda; essence of the Rig—Veda is the Sama—Veda;
the essence of the Sama—Veda is the Udgitha which is Om. 1
The ancient Vedic philosophy confirms the origin of the universe along with its five
elements, living & non-living beings all from the sacred sound ‘AUM’ also known as
Pranava. The shloka given below from Dhyanabindu Upanishad brings out the validity of
the statement: 2
vksasssdkj izHkOkk nsOkk% vksadkj IkzHkokLOkjk% A
vksa sdkj izHkok loZ =SyksD; Lojkpj.k AA
Mandukya Upanishad begins with a verse-
vkse~ br;srn{kjfen loZa rL;ksiO[;kua
Hkwra Hkon~ Hkfo’;fnfr loZeksM-dkj ,o
;PpkU;r~ f=dkykrhra rnI;ksM-dkj ,o AA 1 AA
Gist - Harih Aum! AUM, the word, is all this, the whole universe. A clear explanation of
it is as follows: All that is past, present and future is, indeed, AUM. And whatever else
there is, beyond the threefold division of time—that also is truly AUM. 3
1 Swami Nikhilananda (Translator), Chandogaya Upanishad, at www.swamij.com 2 Indra Bhai, Thesis – “Music & Mythology”, D.U, 1986, p.21 3 Swami Nikhilananda (Translator), Mandukya Upanishad with Gaudapada's Karika, at www.swamij.com
izk.kks fu/kuesrn~xk;=a izk.ks’kq izksre~ AA 2-11-1 AA
l ,oesrn~xk;=a izk.ks’kq izksra osn izk.kh Hkofr
loZek;qjsdr T;ksXthofr egkUizt;k i”kqfHkHkZofr
egkUdhR;kZ egkeuk% L;kRRkn~ozre AA 2-11-2 AA
The syllable- Him is linked with the mind, the Prastava with speech, the Udgitha with
sight, the Pratihara with hearing, the Nidhana with the breath (the prana). This is the
Gayatra Saman. He who thus meditates on this (Gayatra Saman) interwoven in the
pranas preserves his sense organs intact, reaches the full length of life, lives brightly,
and becomes great in children and cattle, great in fame.
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Meditation on Yajnayajniya saman in reference to the body parts in the same
Upanishad goes like this:
Ykkse fgsadkjLRoDizLrkoks ek leqn~xhFkksfLFk
Izkfrgkjks eTtk fu/kuesr|Kk;Kh;eM~-xs’kq izksre~ AA 2-19-1 AA
L ; ,oesr|Kk;Kh;eM~-xs’kq izksra osnkM~-xh Hkofr
ukM~-xsu fogwNZfr loZek;qjsfr T;ksXthofr
egkUizt;k i”kqfHkHkZofr egkUdhR;kZ laoRlja
eTKks uk”uh;kRrn~ozra eTKks uk”uh;kfnfr ok AA 2-19-2 AA
The syllable Him is hair, the Prastava is skin, the Udgitha is flesh, the Pratihara is
bone, and the Nidhana is marrow. This is the Yajnayajniya Saman as interwoven in the
parts of the body. He who thus meditates on it becomes possessed of limbs; he is not
crippled in any limb, he reaches the full length of life, lives brightly, becomes great in
children and cattle, great in fame.
Chandogaya Upanishad Discusses forth about the pronunciation of different notes in
chanting of saman in the below verse:
losZ Lojk ?kks’koUrks cyoUrks oDrO;k-------
---------------loZs Li”kkZ ys”ksukufHkfufgrk---------AA 2-22-5 AA
All vowels should be pronounced with resonance and strength and with the thought
on the part of the singer & all consonants should be pronounced slowly and without
mixing them with the others.
3. The Gayatri Mantra – A Descendant of Om:
Let us first understand the meaning of Gayatri and Mantra.
Adhyaya 3rd of part 12th of Chandogaya Upanishad tells the meaning of gayatri as:
Xkk;=h ok bZn loZ Hkwra ;fnna fda p okXoS xk;=h
okXok bn loZ Hkwra xk;fr p =k;rs p AA 3-12-1 AA
;k oS lk ifFkoh;a oko lk ;fnnefLeUiq:’ks
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“kjhjefLeUghes izk.kk% izfrf’Brk ,rnso ukfr”kh;Urs AA 3-12-3 AA
;}S rRiq:’ks “kjhjfena oko lk r|fnnefLeUuUr%
iq:’ks gn;efLeUghes izk.kk izfrf’Brk ,rnso ukfr”kh;Urs AA 3-12-4 AA
The gayatri is everything, whatever here exists. Speech is the Gayatri, because speech
sings forth (gaya—ti) and protects (traya—te) everything, whatever here exists. In man,
that Gayatri is also the body, because the pranas exist in it. And that body, in man, is
again the heart, because the pranas exist in it and do not go beyond.
Whereas, Mantra is derived from Sanskrit words ‘manas’ &’trai’, former syllable stands
for ‘mind’ and the latter means to ‘protect’ or ‘to free’. Therefore, the word in its most
literal sense means to free from the mind. Mantra is, at its core, is a tool used by the mind,
which eventually frees one from the vagaries of the mind. 1
Bhuh, Bhuvah, Suvah – these three, indeed, are the Vyahritis. Of them the fourth one
known as– Maha by name is the Brahman; it is the Self. The other gods are the limbs.
Know it as - Bhuh is this world, Bhuvah is the intermediate space & Suvah is the other
world. Maha is the sun & through the sun, indeed all the worlds flourish. Now, Bhuh is
the fire, Bhuvah is the air & Suvah is the sun. Maha is the moon & through the moon,
indeed, all the luminaries flourish. Again, Bhuh, is the Rig-Veda. Bhuvah is the Sama-
Veda. Suvah is the Yajur-Veda Maha is Brahman (i.e. Om) & by Brahman (Om), indeed,
all the Vedas nourished. Bhuh, indeed, is Prana; Bhuvah is Apana; Suvah is Vyana; Maha
is food; for by food, indeed, are all the vital forces nourished. These, then, that are four,
are (each) fourfold. The Vyahritis are divided into four groups of four (each). He who
knows these knows Brahman, so says Taittriya Upanishad (1.5.1-3): 2
HkwHkqZo% lqofjfr ok ,rkfLrlzks O;kgr;%A
---------------------------------------------
lqofjR;lkS yksd% AA 1 AA
eg bR;kfnR;%A
1 What Is a Mantra and How Does It Work, at http://www.sanskritmantra.com/what.htm 2 Swami Gambhirananda (Translator), Taittriya Upanishad, Pub. Adaivita Ashram, Kolkata
The 16th part of Chandogaya Upanishad deems the life of the man as a sacrifice and his
life been divided into three metres – the gayatri, the tristubh & the jagati metre, reciting
which one can abide all the ailments and live for 116 years:
Ikq:’kks oko ;KLrL;-------------------
------------------------‘kksM”ka o’kZ”kra thofr ; ,oa osn AA 3-16-1&7 AA
Gist - A person, indeed, is a sacrifice. His first twenty—four years constitute the morning
libation. The Gayatri metre has twenty-four syllables and the morning libation is offered
with Gayatri hymns. The Vasus are connected with this part of sacrifice. The pranas are
the Vasus here; for, verily, they make everything abide (visayanti) in this body and if
anything ails him during that period, he should recite the following mantra: "O ye pranas,
ye Vasus, unite this morning libation with the midday libation. May I, who am a sacrifice,
not disappear in the midst of the pranas, who are the Vasus." Thus he rises from his
illness and becomes free of it. His next forty—four years constitute the midday libation.
The Tristubh metre has forty-four syllables and the midday libation is offered with
Tristubh hymns. The Rudras are connected with that part of the sacrifice. The pranas are
the Rudras; for, verily, they make everything weep (rodayanti). If anything ails him
during that second period, he should recite the following mantra: "O ye pranas, ye Rudras,
unite this midday libation with the third libation. May I, who am a sacrifice, not disappear
in the midst of the pranas, who are the Rudras." Thus he rises from his illness and
becomes free of it. His next forty—eight years constitute the third oblation. The Jagati
metre has forty-eight syllables and the third oblation is offered with Jagati hymns. The
Adityas are connected with that part of the sacrifice. The pranas are the Adityas; for,
verily, they take up (adadate) every—thing. If anything ails him during that third period,
he should recite the following mantra: "O ye pranas, ye Adityas, extend this my third
libation to the full age. May I, who am a sacrifice, not disappear in the midst of the
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pranas, who are the Adityas." Thus he rises from his illness and becomes free of it. He
who knows this lives on to a hundred and sixteen years.
With Om, Brahma created this cosmos, and from Om constituted of the three isolated
letters A, U, M, the Vyahritis came forth: Bhuh, Bhuvah, Svah. From the three Padas of
the Gayatri-Mantra, the meaning of the three sections of the Purusha-Sukta emerged, and
from the meaning of the Purusha-Sukta, the meaning of the entire Vedas emanated, and
from this vast meaning of the Vedas, Brahma created this cosmos, say the scriptures. 1
The Gayatri mantra originally contained in Rig-Veda starts from “Tat savitur vare niyam”,
is said to be the Mother of the Vedas, having 24 syllables, reads as:
(3.62.10)
Word to Word meaning of the Mantra:
tat = that ;
savitur = bright like sun ;
varenyam = best choicest ;
bhargo = destroyer of sins ;
devasya = divine ;
these first nine words describe the glory of God
dheemahi = may imbibe ; pertains to meditation
dhiyo = intellect ;
yo = who ;
naha = our ;
1 Swami Krishnananda, The Mandukya Upanishad, Pub. The Divine Life Society Sivananda Ashram, 1996, p.61
281
prachodayat = may inspire!
“dhiyo yo na prachodayat” is a prayer to God
The literal meaning of the mantra is: "We meditate upon (dheemahi) the splendour or the
glory (bhargo) of the most adorable (varenyam) Supreme-Divine- Being (devasya) from
which Savitur (the centre of light) is born. Who (yo) may stimulate or sharpen
(prachdayat) our (na) intellect (dheeyo)." 1
The gayatri is four-footed and sixfold (Chandogaya Upanishad 3.12.5), each foot
consisting of 8 syllables (Brihadaranyaka Upanishad 5.14.1-4), mediating on the first
(aum bhur bhuvah svaha) leads to win all that is in the three worlds viz. earth, sky and
heaven. The knower of the second foot (tat savitur varenyam) wins as much as that
treasury of knowledge, the three Vedas, has to confer. Whereas, three forms of the vital
breath constitute the third foot of the Gayatri (bhargo devasaya dheemahi), knower of
which wins all the living beings that are in the universe. The fourth (dheeyo yo nah
prachodyaat) is called turiya, knower of which shines with splendour and glory. The
Gayatri is based on the vital breath within the body. That Gayatri protected the gayas.
The organs are the gayas; therefore the Gayatri protected (tatre) the organs. And
because it protected the organs, it is called the Gayatri.
As per the practice description in Yajurveda (22.9, 30.2, 36.3), before each offering in
sacrifice (yajya) or before commencing any spiritual ceremony, as part of invocation, all
mantras are chanted with the pre-fix: Aum Bhur Bhuvaha Svah. Therefore, the Savitri or
the gayatri mantra, as it is popularly known, is also chanted with the pre-fix of seven
syllables of Aum, Bhur, Bhuvah, Svah . Here AUM is the Nada-Brahman (primeval
sound) emanating from the Supreme at the time of creation. The remaining three words
of Bhur, Bhuvah Suvah represent the earth (matter), atmosphere and the space as symbols
of gross, subtle and casual or sat, chit ananda (truth, beauty and bliss). In the context of
human body, these represent the three important parts of the body: from feet to the navel
centre is bhur (the earth), from navel to throat centre is bhuva (the atmosphere), and 1 Dr. Manohar Abhay, Article - My Pilgrimage to Gayatri Mantra at http://sanskritdocuments.org/articles/MyPilgrimagetoGayatriMantra.html
1 Khadesar Dham Ashram, at http://www.gayatrisidhpeeth.in/significance.aspx 2 Swami Krishnananda, The Mandukya Upanishad, Pub. The Divine Life Society Sivananda Ashram, 1996, p.61
283
The following table gives the 24 letters of the gayatri spell & its relation to the power:1
1. ‘tat’ – tapini – fruitfulness
2. ‘sa’ – saphalata – valor
3. ‘vi’ - visshwa – preservance
4. ‘tur’ – tushti – welfare
5. ‘va’ – varada – yoga
6. ‘re’ – revati – love
7. ‘ni’ – sukhsham – wealth
8. ‘yam’ – janana – luster
9. ‘bhar’ – bharga – protection
10. ‘go’ – gomati – wisdom
11. ‘de’ – devika – subjugation
12. ‘va’ – varahi – allegiance
13. ‘sya’ – simhani – simhani
14. ‘dhi’ – dhyana – life
15. ‘ma’ – maryada – time
16. ‘hi’ – sphuta – penance
17. ‘dhi’ – medha – forecast
18. ‘yo’ – yogmaya – alertness
19. ‘yo’ – yogini – production
20. ‘nah’ – dhanin – protection
21. ‘pra’ – prabhava – idealism
22. ‘cho’ – ushma – adventure
23. ‘da’ – drishrya – discrimination
24. ‘at’ – niranjana – service
The 24 powers of the Gayatri mentioned above is said to awaken certain qualities and
along with this awakening one starts getting success and prosperity i.e. siddhi.
1 The 24 letters of Gayatri Mantra and significance of each letter, Khadesar Dham Ashram, at http://www.gayatrisidhpeeth.in/significance.aspx
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4. MANTRAS in TANTRAS:
Tan is a Sanskrit word which signifies expansion, and Tra means liberation. Tantra,
Taantrik Yoga or Tantrism is one of the several esoteric traditions rooted in Hindu and
Buddhist philosophy that dates back to the 5th -9th century AD. The principles of tantra
are found in books known as Nigama while the practices of tantra are contained in books
known as Agama. - States Dada Vedaprajinananda Avadhuta in his book, The wisdom
of Yoga, Tantra: The Science of Liberation (2006), p.3.
Tantrik Master Shri Aghorinath Ji describes Tantra "sadhana" or practice as a systematic
and comprehensive path meant for liberation through expansion; thus the discipline
rigorously explores all energies and their application associated with human existence
and human environment. He says all the profound science and practices pertaining to
worshipped at the various centres of energy, of the human body or Chakras or lotuses.
This mode of worship believe in the awakening of Kundalini, taking it up, through the
various Chakras to Sahasrara or the thousand-petalled lotus, through Japa of Mantra,
where the individual soul unites with the supreme soul. This method of sensitizing the
chakras through meditation to awaken the Kundalini Shakti is referred as “Nada-
Anusandhanam”. In the external form of worship Sri Chakra is worshipped. Yantra is
inscribed on gold or other metallic plates. Mantras are repeated with gestures, postures,
waving of light or Arathi and offerings of incense or various sorts of food or Prasad.
Each verse has a Yantra with Bija Aksharas and a prescribed course of worship. The Bija
Aksharas and Yantra are inscribed on a gold or copper plate. The food offerings to the
Devi vary according to the mode of worship and the purpose. There is a definite
distinctive aim to be achieved by a particular mode of worship with a particular Yantra
and a particular offering. Tantra Sadhana bestows tremendous Siddhis or powers. Wealth,
learning, lordship, success in enterprise, mastery over the elements, eloquence,
poetic talents, conquest over the enemy, eradication of incurable ailments, etc., can
be attained by worship of Devi, in different Yantras, with different Bija Aksharas and
different offerings. 1 Here, Bija means a seed. Hence Bija Mantra means a mantra, which
is usually of one syllable.
The best tantrik view of mantra is given in Sir John Woodroffe’s collection of essays,
Shakti and Shakta, chapter 24 as:
“Mantras are not prayers and the relationship of the letters of the Sanskrit alphabet,
whether consonants or vowels point to the appearance of devata (divinity) in different
forms. An uttered mantra is the manifestation of a more subtle sound while mantras
themselves are forms of Kundalini. Mantras may be male, female or neutral. Female
mantras are called Vidyas.
Vedic mantras are Tantric mantras, and are very complex. Western scholars have hence
failed to understand tantric ‘bija (seed) mantras’ used to invoke deities and their origins – 1 Sri Swamichidananda, Tantra Yoga, Pub. The Yoga-Vedanta Forest University, 1955, Himalayas, p.19
286
which lie within the Sanskrit alphabet itself. Here are some examples of how such great
mantras are formed, from Vedic sounds: 1
Au is Sadashiva - the great form of Shiva as Parameshvara or the Supreme Brahman
(Supreme Consciousness). It refers to sound and calling or invoking.
Da is Durga. It means a weapon, and refers to the Danda (staff).
Ga is Ganesha or Ganapati. It means a song, and hence implies sound, since Ganapati is
lord of the word (Brihaspati), which is Vedic mantra or hymns (he is Brahmanaspati and
Narashamsa).
Ha is Shiva. It means ‘to destroy’ and refers to the destructive power of Shiva in his
terrible form as Rudra or Bhairava, and hence as Fire (Agni), which has power to destroy.
I (ee) is Mahamaya, the great illusion form of the Goddess. It refers to emotions, such as
pain and anger, and thus represents the power of suffering in Maya. It also means the god
of lust and thus implies illusion due to lust and ego.
Ka is Kamadeva (God of Love) and Goddess Kali. It means air, time and sound.La is
Indra, the Vedic wielder of the Vajra (thunderbolt). It means ‘to cut’ and refers to the
vajra destroying or cutting heads of (i.e. removing ego or mind). It also stands for tejas
(light and heat – properties of lightening).
M is the Universal Mother and represents sound (nada) – the primal sound of creation. Ra
is Brahma, the creator. It means to rule or govern.
U is Bhairava, the firey form of Shiva. It means ‘to protect’ and also the moon, which are
forms of Shiva. Bhairava is also the militant form of Shiva that destroys the demons and
thus protects us.
These are few examples, and thus we can see how the mantras work: The mantra ‘Hum’
is therefore the ‘sound (m.) that destroys (ha) and protects (u)”. It is hence the kavacha-
The Shiva Sanhita, translated by Srischandra Basu (1887), (The Esoteric Philosophy of
the Tantras of Shiva Sanhita, (5.189-191), Calcutta it is mentioned that:
By knowing this highest of the mantras the Yogis certainly attain success (siddhi), this
gives great power to the Yogi. In the four-petalled Muladhara lotus is the seed of speech,
brilliant as lightening. In the heart is the seed of love, beautiful as the bandhuk flower. In
the space between the two eyebrows (i.e., in the Agaya lotus), is the seed of Sakti (power
of force) brilliant as tens of millions of moons. These three seeds should be kept secret-
they give enjoyment and emancipation. Let the Yogi practice these three mantras and
try to attain success. (N.B: The mystical names of these seeds i.e., the mantras are not
given in the text. They should be learnt from the Guru, by the word of his mouth).
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5. Nada Yoga – An association of Nada & Chakras:
What is Yoga?
According to Katha Upanishad (2.3.10-11) - while meditating on Om, when one attains
the supreme state of mind and is able to have firm control of the senses is called yoga.
But one must then be vigilant; for yoga can be both beneficial and injurious. 1
Ayurveda (1.138-139) says - Happiness and misery arise due to contact of the self, sense
organs, mind and the sense objects but when the mind is steadily concentrated to the self
both cease to exist due to non-initiation and a supernatural power comes forth into the
person. The expert sages know this state as “yoga”. 2
What do we mean by Nada?
Nada is usually translated as "causal sound" and is derived from the Sanskrit root nad,
which means "to sound" or "to reverberate." This is also the root of the word nadi, which
means, "to flow" or "river." Nadis are the subtle nerve channels in which life energy
flows throughout the body. (Bill Osmer, 2006)
The following quotes from the Brihaddesi (5th century AD) of Sri Matanga Muni defines
& illustrates the syllabic meaning & its significance of the word, nada: 3
Ukdkj% izk.k bR;kgqnZdkj”pkuyks er% A
uknL; f}inkFkksZS;a lehphuks e;ksfnr% AA 20 AA
The letter ‘na’ is spoken of as prana (air) and the letter ‘da’ is known as fire, this is
spoken of by me as the meaning of the dual verbal component (pada) of nada.
u uknsu fouk xhra u uknsu fouk Lojk% A
u uknsu fouk uRra rLekUuknkReda txr~ AA 18 AA
1 Swami Nikhilananda (Translator), Katha Upanishad, at www.gayathrimanthra.com 2 Gabriel Van Loon (Editor), Charaka Samhita, Vol I, Pub. Chaukhamba Orientalia, 2002, USA, p.84 3 Sharma, Brhaddesi of Sri Matanga Muni, Vol I, Pub. IGNCA, 1992, Delhi, p.9
290
Gist - there is no geeta (music) without nada, there is no svaras (musical notes) without
nada, there is no nritya (dance) without nada, and hence the world is of the essence of the
nada.
Whereas Pt. Sarangdeva (13th century) advocates that nada is the very essence of vocal
music. Instrumental music is enjoyable, as it manifests nada. Nrtta (dance) follows both;
therefore all three together depends on nada. Nada manifests the letters (of alphabets),
letters constitute the word, and words make a sentence; so the entire business of life is
carried on, through language; and therefore the whole phenomenon (i.e. the world) is
based on nada. 1 Further he writes that we worship Nada-Brahman (Nada-Upasana). An
incomparable bliss which is immanent in all the creatures as intelligence and is manifest
in the phenomenon of this universe.
Pt. Sarangdeva considers Nada to be two fold (section 1, p.23) viz., produced (ahata or
struck) and unproduced (anahata or unstuck). Pt Ahobal also mentions the same in Sangit
Parijat and gives a quote from Narda Samhita (p.17): 2
UkknLrq lf}/k% izksDr% iwoZuknLRoukgr% A
----------------------------------------------------------------------- AA
vkgLrq f}rh;ksSlkS ok|s‘ok?kkrdEeZ.kk A
rsu xhrLojksRifRr% l uknks tk;rs Hkqfo AA ( ukjn lafgrk )
Nada by Matanga Muni is said to be fivefold has been given their respective stanas
(places) in human body (p.9):
Lwk{eks uknks xqgkoklh gn;s--------------
----------------O;Dr”pkO;DrLrkyqns”kds AA 22 AA
The suksma (subtle) dwells in the guha (lit. cave, secret place) the atisuksma (very subtle)
one in the heart, the distinct one (vyakta) in the throat, the indistinct (avyakta) in the talu
(lit. palate, but here cerebrum) and the artificial one (kritrima) in the region of the mouth.
Pt. Ahobal also referred the above five stanas (p.17) but did not mention the names of the 1 Sharma & Shringy, Sangitaratnakar of Sarangdeva, vol I, Pub. Motilal Banarsidass, Reprint 1984, Delhi, p.21-23 2 Kalind, Sangeet Parijat of Pandit Ahobal, Pub. Sangeet Kaaryalaya, 1971, Hathras, p.17
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nada in their respective stanas. He elucidates forth Panini’s opinion of sthanas as eight
viz., heart, throat, crown, tongue, teeth, nose, lips and talu.
Since the nada manifests itself in the human body Pt. Sarangdeva believes that ahata nada
stationed in five places (sthanas) in the body. Here are the couplets from
Sangitaratnakar:
vkgrksSukgr”psfr f}/kk uknks fux|rs A
lksS;a izdk”krs fi.Ms rLekfRi.MksSfHk/kh;rs AA 3 AA
Process of the manifestation of (ahata nada) sound or voice production in human body is
called the result of “desire for self –expression” by Sarangdeva (section 3, verse 3-4,
p.111), which impels the mind and the mind activates the battery of power stationed in
the body, which in turn stimulates the vital force (prana). The vital force stationed around
the root of the navel, rising upwards gradually manifests nada in the navel, the heart, the
throat, the cerebrum and the cavity of the mouth as it passes through them. Pt Ahobal
quotes Ratnakar for defining the production of nada in Sangit Parijat (p.18).
Dr. Prem Lata Sharma comments on the above statement as - It is notable that uptil now
the word nada was signifying unmanifest (anahata nada) sound; but, here from it
obviously signifies manifest (ahata nada) sound. It has already been said to be two fold as
manifest and unmanifest. Moreover, the word is now being used in context of music. 1
uknksSfrlw{e% lw{e”p iq’VksSiq’VJp df=e% A
bfr iapkfHk/kk /kRrs iapLFkkufLFkr% dzekr~ AA 5 AA
Gist - Stationed in these five places (Sangitaratnakar, p.112), nada takes on five different
names as associated with them respectively, viz., atisuksma (very subtle) in the navel,
suksma (subtle) in the heart, pusta (loud) in the throat, apusta (not so loud) in the
cerebrum, and krtrima (artificial) in the mouth. He adds to it that in actual practice in
music the nada is threefold (verse 7, p.114) called Mandra in the heart, Madhya in the
throat and Tara in the head and is successively double in pitch. Sri Parsvadeva (13th
1 Sharma & Shringy, Sangitaratnakar of Sarangdeva, vol I, Pub. Motilal Banarsidass, Reprint 1984, Delhi, p.111
292
century) in Sangita Samayasara accepts three stanas as the Heart, Throat and head, each
possessing 22 grades (shrutis) 1 and so does Pt. Somnath in Raga Vibodha and Pt. Ahobal
in Sangeeta Parijat. 2
A detailed description about contemplating on Nada (The sacred syllable Om) one attains
the supreme state (as in yoga practices), has been given in Nada Bindu Upanishad in the
following Verses: 3
Verse 8 talks about the 12 intonations of Om and says - Each of these Matras has indeed
three Kalas (parts). This is called Omkara. Know it by means of the Dharanas, viz.
concentration on each of the twelve Kalas (or the variations of the Matras produced by
the difference of Svaras or intonation).
Verse 50(b)-51(a). Many myriads of Nadas and many more of Bindus – (all) become
absorbed in the Brahma-Pranava sound.
Verse 49(b)-50(a). The mind which along with Prana (breath) has (its) Karmic affinities
destroyed by the constant concentration upon Nada is absorbed in the unstained One.
There is no doubt of it.
Verse 56. When the (spiritual) sight becomes fixed without any object to be seen, when
the Vayu (Prana) becomes still without any effort, and when the Chitta becomes firm
without any support, he becomes of the form of the internal sound of Brahma-Pranava.
Whereas Dhyana Bindu Upanishad illustrates the process of contemplation of nada
through nadis in the following way: 4
Verse 9(a) - The one Akshara (letter OM) should be contemplated upon, as Brahman, by
all who aspire to emancipate.
1 Dr. M. Vijaya Lakshmi, Sri Parvadeva’s Sangeetasamayasara, Pub. Shivalik Prakashan, 2003, Delhi, p.8 2 Kalind, Sangeet Parijat of Pandit Ahobal, Pub. Sangeet Kaaryalaya, 1971, Hathras, p.18 3 Mr. K. Narayanaswamy Aiyar (Translator), Nada Bindu Upanishad, at www.vedarahasya.net/nadabind.htm 4 K. Narayanasvami Aiyar (Translator), Dhyana Bindu Upanishad, at www.astrojyoti.com
-------------------------------chHkRls lHk;kuds AA 80 AA
The two svaras madhyama and panchama should be made (used) in the two (rasas) hasya
and sringara, sadja and rishabha should be known as vira, raudra and adbhuta rasas.
Gandhara and nisada should be done in karuna rasa. Dhaivata should also have done
(used) in vibhatsa and bhayanaka.
Here are few examples from Nanyadeva’s Bharat-Bhasayam (9/10 century) depicting
how a particular melody was applied to portray a particular rasa (verse 104-105): 3
Vesarasadava, whose source is sadjamadhyama (jati), has been prescribed the scale of
suddhasadja murchana. It has madhyama serving as ansa and nyasa and shadja, on
account of consonance, accompanying the madhyama-nyasa. It lacks the two-shruti
svaras (ga and ni). It plays a part in the accompaniment of shringara rasa by
sadjamadhyama (jati).
http://www.hss.iitb.ac.in/courses/HS450/notes2.htm 1 Premalatha Nagarajan, (2008), Association of Rasa and Kala (time) with Raga-s, at www.musicresearch.in 2 Sharma, (1992), Brhaddeshiof Sri Matanga Muni, Pub. IGNCA, Delhi, p.9 3 Chaitanya P. Desai, Nanyadeva’s Bharat-Bhasayam, vol.II, 1976, Pub. Indira Kala Sangita Visvavidyalaya, Khairagarh,
Shown above is a Human Body – Veena interface. The picture is taken from Sangita
Kalpadrumam – a treatise on South Indian Classical Music by Harikesanallur Muthiah
Bhagavatar (20th century). It is significant that many Indian Classical Music String
Instruments have the same structural interface, establishing a relationship between their
generation of a musical note and its resonating response in the human body. 1
The grouping of ragas according to the time theory system as discussed above is still
followed in Hindustani music i.e. each raga allotted the time of day or night as
appropriate. For this purpose, the 24 hours of the day are divided into eight sections of 3
hours each (called prahar) and the ragas are categorized on the basis of the notes
employed especially vadi and samvadi svara, and allotted time for it, too. Ragas taking
the sharp (tivra) of ‘re’, ‘dha’, and ‘ga’ are to be played following dusk and dawn. Night-
time melodies use mostly ‘ma’ (sharp). Early evening ragas are characterized by ‘re’ and
‘dha’ (flat) thus becoming weak or disappearing altogether before twilight. 2 This
classification of raga-s based on the time of the performance within a day is found in
many works of which Sangitamakaranda (mid-11th century), Ragavibodha (1609) and
Sangitadarpana (early 17th century by Catura Damodara) are prominent ones. This
classification is also referred to as "Ragavela Nirnaya". In Sangitamakaranda - The
author then points out how by singing the ragas in specific times, a musician will be
bestowed with all prosperity and will also be rid of all sins. He then makes a finer
classification of the time of the day for the raga-s to be sung. The author further adds
singing the raga-s according to time will make the musician happy; singing it out of time
will bring harm to him and he who listens to it will loose wealth and age. (Premalata
Nagarajan, (2008), Suryansha, Madhyahna and Candransha)
C) FEW MYTHOLOGICAL STORIES
Historical records indicate that Haridas Swami (16th century) who was the guru of the
famous musician in Akbar’s time, Miyan Tansen is credited with the recovery of one of
the queens of the Emperor with a selected raga. 1 http://rajamsmusictherapy.com/music-and-the-energy-centres-in-the-human-body-.html 2 Osmer, Bill, December, 2006, Raga Chikitsa and Raga Ragini Vidya, at http://yogasangeeta.org/index.php?option=com_content&view=article&id=172:article-raga-ragini-bilwa&catid=923:raga-ragini&Itemid=273&directory=273
husband's bones. Responding, Baiju taught a new version of Raga Malhar to Nayak’s
daughter, Meera; and after a week's training, Meera sang that Raga on the bank of Satluj
in front of a crowd. As soon as she finished the Dhrupad, her father's bones emerged on
the bank out of the river. From that time on, that Raga is known as Meera ki Malhar. 1
Legend has it that Saint Thyagaraja brought a dead person back to life with his Bilahari
composition Naa Jiva Dhaara. Muthuswamy Dikshitar’s Navagriha kriti is believed to
cure stomach-ache. 2
D) RAGA CHIKITSA – A RECENT EXPLORATION
This is said that Raga Chikitsa, an ancient manuscript, dealt with the therapeutic effects
of Indian ragas. The library at Thanjavur is reported to contain such a treasure on ragas
that spells out the application and use of various ragas in fighting common ailments.
Additionally, another ancient Indian text called Swara Sastra said that the seventy-two
melakarta ragas (parent ragas) control the 72 important nerves in the body. It is believed
that if one sings with due devotion, adhering to the raga lakshana (norms) and shruti
shuddhi, (pitch purity) the raga could affect the particular nerve in the body in a favorable
manner. 3
Shall it be assumed that the raga therapy – at least as a methodology – is lost for long?
Though both the classical forms of music viz. Hindustani and Carnatic have reached their
zenith in recent times. Though certain references do hint the potential of raga at various
quarters but it becomes imperative first to document such information and test them
clinically for their role in the treatment of speculated ailments and to publish such
recorded findings.
Dr. Sairam in his book “Raga Therapy” p.16 refers to certain ragas having a therapeutic
value, when played in certain instruments. The credit he says goes to the unique texture
of sound or timbre. For instance, in south India sweet strains from the veena have been
believed to ensure a smooth and safe passage for the baby’s arrival from the womb of its
1 Wikipedia dictionary 2 Dr. T.V. Sairam, RAGA CHIKITSA, The Indian Music Therapy, www.ayurveda-foryou.com 3 Dr. T V Sairam, Raga Therapy, Pub. Nada Centre for Music Therapy, 2004, Chennai, p.14
mother. The descending motes in raga are found to create inward orienting or introvert
feelings; the ascending notes represent an upward or expansive mobility. So more
ascending notes are found in war music or in joyous dance music all over the world.
Similarly melancholic songs should opt for smooth avarohis.
Mr. M. M. Sabharwal in his research paper - “Scope of Music therapy” quotes Dr.
Neelam Verma, consultant physician and cardiologist, Saras Foundation says, “the seven
notes of music are connected to our psyche”. Acknowledging the deep healing power of
Indian classical ragas, the notes of ragas reach the energy centers (chakras) of our body
and produce vibrations. The pitch, tone, vocalization and specific arrangement of notes
in raga cure ailments by including electro-magnet changes in the body. Our body is made
up of vibrations and these vibrations are disturbed during illness. Eventually, only
vibrations can balance vibrations. Herein lies the importance of listening to or singing or
playing the correct notes to ensure the right potency of vibrations. We have heard that the
raga Deepak could light up lamps. It is possible because music produces vibrations and
these vibrations, in turn, produce that spark. 1
It seems that one’s experience of sound depends entirely upon the refinement of one’s
consciousness. By understanding the sound-consciousness nexus, one can implicit the
mind’s interference.
Curiously scientists have recently stumbled upon not two or three but precisely four
distinct types of brain-wave rhythms. And with the help of latest electronic medical
equipment such brain wave patterns’ identity with the nada consciousness levels (para,
pashyanti, madhyama & vaikhari as mentioned in ancient Vedic texts) is traceable. 2
The world’s leading champion of Brain Music Therapy Dr. Galina Mindlin, a 20-year
veteran of psychiatry says, “Music and brain waves are actually very similar and both are
a combination of different frequencies and patterns.”
1 Dr. Kalyan Bagchi, Music therapy as an alternative medicine, Pub. An Alternative Medicine' Society for Gerontological Research, 2002, New Delhi p.6 2 Dr. T.V. Sairam, Self-Music Therapy, Pub. Nada Center for Music Therapy, 2006, Chennai, p.24