File - 6 Chapter - IV

ॐ
Yogic
Significance
of Nāda
in and as
Music
Particularly in
Dhrupada
and
Vīṇā
ॐ
Chapter IV
Significance of Nāda in and as Music particularly in Dhrupada and
Vīṇā
“Music
has such tremendous power
over the human mind;
it (music) brings
it (mind) to
concentration
in a moment1.”
-Svāmī Vivekānanda
à Perceptible sound
à Music
à Dhurpada
Yogic à Vīṇā
Significance à Saṅgīta Sādhanā
of Nāda à Saṅgīta Sādhanā and Nāda Yoga
in / as à Journey from creation to creator
à Om
à Uniqueness of Dhrupada as a form of Indian Music
à Uniqueness of Vīṇā
à Literature of Indian Śāstras, Arts, Music etc.
à Lives and messages of the great masters
à Some experiments with Nāda, music
à Discussion
Fig.: Flow of thought in this chapter.

1
Vivekānanda, S. (2012). The complete works of Swami Vivekananda Vol. 4. Kolkata, India: Advaita
Aśrama. Pg. 19.
This chapter is taking the practical as well as theoretical aspects of the significance of
Nāda in music, particularly Dhrupada and Vīṇā into consideration. The second
chapter dealt with the Yogic significance of Nāda. And here the discussion is taken
further to the significance of Nāda in more detailed way in music in general and
particularly in field of Dhrupada and Vīṇā.
Yogic Significance of Nāda in and as Music particularly in Dhrupada and Vīṇā:

According to Sāṅkhya Philosophy the five Mahābhūtas (Ākāśa, Vāyu, Teja, Jala and
Pṛthvī) come from the five Tanmātrās (Śabda, Sparśa, Rūpa, Rasa and Gandha). All
perceptible matter is made-up of these five Mahābhūtas. So, Śabda being one of the
constituents of our body affects us directly for good or for bad. Music being soothing
sound, affects us positively, for all the goodness. And Noise Pollution being
disturbing sound, affects us negatively, for all the bad effects, disturbing harmony of
our being. Music is vibration. If various kinds of musical instruments are kept in a
room, properly tuned, and if one instrument is played, all other instruments, tuned to
the same frequency also will vibrate themselves. The way music can vibrate musical
instrument; it produces harmonious vibrations in the mind and soothes the nerves and
the mind. A harmonious mind manifests as a harmonious body. Where there is no
conflict among the body, mind and the intellect.
When one takes to music the gross as well as subtle body is purified. The purification
of gross body is necessary to move into purification of subtle body, the Antaḥkaraṇa.
So, music can be used as a preparatory step for going into Dhāraṇā, Dhyāna and
Samādhi. Because Dhāraṇā, Dhyāna and Samādhi are inward going processes of
Antaḥkaraṇa. Here before the mind goes inward, the body needs to be purified or
realigned which can be done by music, an Āhata Nāda.
When nice music is played or heard the vibrations of all the constituting elements in
the body get aligned and create harmonized atmosphere in body, breathing, fires,
circulation etc. This is purification on the level of gross body. After the purification of
the gross body comes the purification of the next level, the subtle body. Once the
gross body is purified, the Antaḥkaraṇa (Mana, Buddhi, Ahaṅkāra and Citta) begin to
get purified2.
So, Āhata Nāda music can be a preparatory step to bring about purification of gross
and subtle bodies. As per Pātañjala Yogasūtra, the Dhāraṇā, Dhyāna and Samādhi
are Antaraṅga Yoga, which a Sādhaka can successfully enter only after purification of
gross and subtle bodies by the Bahiraṅga Yoga. Here music is helpful at every step.
Music harmonically aligns the vibrations of each component of body.
We can take an example of magnetized water, when a bottle of water is kept between
two different poles of magnets, the water molecules, which were haphazardly
scattered start getting arranged in a harmonious manner. This water with
systematically arranged molecules is called magnetized water, which is used for
treatment of different health conditions. In the same manner, because our entire gross
and subtle bodies are made-up of vibrations, as of now the vibrations are haphazardly
arranged, when the Āhata Nāda of soothing music is played, these vibrations of
external Āhata Nāda start to align the vibration of the gross and the subtle bodies.
That’s why we feel so peaceful, serene, and concentrated after listening to soothing
music. So, Āhata Nāda is helpful in rearranging the vibrations. Contemplation on
Nāda of Vīṇā or Dhrupada can be helpful to the extent of cittaśuddhi, after which the
next step is the Samādhi. Nāda can prepare a Sādhaka to take the next step, Samādhi
but Āhata Nāda itself can not bring Nirbīja Samādhi, because the contemplation on
Āhata Nāda is Sabīja Samādhi .
According to sage Ramaṇa Mahaṛṣi, meditation on Nāda is one of the various

approved methods, it is the easiest and the most direct method. Just as a child is lulled
to sleep by lullabies, so Nāda soothes one to the state of samādhi. Just as a king sends
his state musicians to welcome his son on his return from a long journey, so also
Nāda takes the devotee into the Lord’s abode in a pleasing manner. Nāda helps
2
Chinmayananda, S. (2013). The Holy Geeta. Mumbai, Maharashtra, India: Central Chinmaya Mission
Trust. Pg. 832.
“It is a fact that the subtler personality can come to assert itself only when the grosser one is
completely satisfied” – Svāmī Cinmayānanda.
concentration, but after it begins to be felt, the practice should not be made an end in
itself. Nāda is not the objective, it is the path3.
Yogic Significance of Nāda as perceptible sound:

The sound structure even if it is not grammatically correct expresses feelings. All the
animals express their feelings and communicate through sound. There is a possibility
that sometime language may fail to convey some feeling but a sound never fails. For
example a mother precisely understands her baby’s sounds. When it wants milk, when
it wants to be cleaned, or when it needs to be attended to for other things. The child is
not using any language or words, but mother knows from the sound of the baby’s
voice. While the language is limited to expressing the meaning of words only, the
sound goes beyond words in expressing feelings like joy, sorrow, enthusiasm, fear,
excitement etc.4 Any cognition needs a gesture, sound or śabda etc. in some form or
the other 5 . Śabda expresses all that is manifested. The whole universe is a
transformation of śabda6. According to Svāmī Śrī Sadyojāta Śaṅkarāśrama7, there is
sound in flow of rivers, in Megha garjana (sound of thunder), we may not be able to
identify it on the svara scale as such, but it is a combination of many sounds together;
sometimes roar, sometimes murmur, hum etc. there is no articulation in that, no bheda
3
Osborne, A. (2002). The teachings of Ramaṇa Mahaṛṣi. London, Great Britain: Rider & Company,
London. Pg. 150.
4
Bṛhaspati, K. (1976). Dhruvapada aura uskā vikāsa. Paṭanā, Bihāra, India: Bihāra Rāṣṭrabhāṣā
Pariṣada, Paṭanā. Pg. 14.
5
Iyer, K. A. S. (1965). The Vākyapadīya of Bhartṛhari with the Vṛtti. Poona, Maharashtra, India:
Deccan College, Postgraduate and Research Institute, Poona. Pg. 123.
न साेऽ'(त *+ययाे लाेके यः श1दानुगमा6ते ।
अनु9व;<मव =ानं सव? श1देन भासते ॥ ॥123॥
Na so’sti pratyato loke yaḥ śabdānugamādṛte
Anuviddhamiva jñānaṃ sarvaṃ śabdena bhāsate
(There is no cognition in the world in which the śabda does not figure.
All knowledge is, as it were, intertwined with the śabda.)
6
Iyer, K. A. S. (1965). The Vākyapadīya of Bhartṛhari with the Vṛtti. Poona, Maharashtra, India:
Deccan College, Postgraduate and Research Institute, Poona. Pg. 107.
श1द(य पCरणामाेऽय<म+याFाय9वदाे 9वदुः ।
छHदाेIय एव *थममेतद् 9वMं NयवतOत ।। ।।१२३।।
Śabdasya pariṇāno’yamityāmnāyavido viduḥ
Chandobhya eva prathamametad viśvaṃ vyavartata ।। ।। 120।।
(Knowers of tradition of Vedas have declared
that all this is the transfromation of the śabda.
It is from the chandas that this universe has evolved.)
7
The 11th Maṭhādhipati of Citrāpura Maṭha.
(difference) of svara and vyañjana, there is no effort to express a particular bhāva it is
a very base material for sound or speech.
Haṭha Pradīpikā brings out the significance of Nāda and also gives a systematic
theoretical as well as practical procedure of how to listen to that Nāda. First the
sādhaka should sit in a steady posture, then do Bhrāmarī, then Śaṇmukhī Mudrā, then
try to listen to the sound arising from within and focus on it. Keep following it till it
becomes clear, later it will lead to another sound, which will again lead to subtler and
more subtler sounds. It is the sound, that catches even the animals in the forest,
similarly mind comes from scattered to single point with Nāda. In the musical scale,
eight notes make up an octave.
The energy current of sound, heard pulsating through the nerve system as a constant
high-pitched ‘hum’ are much like a Tānpūrā, an electrical transformer, a swarm of
bees or a Śruti box. Listening to the inner sounds is a contemplative practice, called
‘Nāda-Upāsanā’, worship through sound ‘Nādānusandhāna’, cultivation of inner
sound or ‘Nāda-yoga’8. The Bible also applauses all glory on the word;
“In the beginning was the word, the word was with the God,
and the word was God; all things were made by Him,
and without Him was not anything made that was made9.”
Musical sounds:
Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa – Indian.
Do, Re, Me Pha, So, La, Ti, Do – Western.
In the musical scale, eight notes make up an octave. These notes are in order of
increasing frequencies. The first note can be of any frequency (in Indian Classical
8
Subramuniyamswami, S. S. (1991). Dancing with Śiva, Śivena saha nartanaṃ
Sanātanadharmapraśnottaram. Himalayan Academy, India, USA. Pg. 766.
9
The Holy Bible; New Testament, John 1.1-3
Music), but the other notes must have a definite relation to the first frequency.
Regular vibrations produce musical sound whereas irregular vibrations produce noise.
However, this is not all. When we listen to the sound of tuning fork and the sound of a
musical instrument like Sitāra, the tuning fork sound is flat whereas the Sitāra sound
is ‘rich’. This is because the sound tuning fork’s sound has only one frequency it has
no harmonics. The sound from Sitāra has harmonics, they arise partly because it is
not just the string that is vibrating but the whole instrument. It is the sound of
vibration of the whole instrument that we hear. Thus, harmonics give richness, i. e.
the musical quality to the sound. To produce music, the different notes played should
have a definite relation to each other. Their frequencies should have a certain ratio to
each other. If they do not, the music sounds out of tune, ‘besurā’.
Sound of Musical Instruments:

Musical instruments use vibrations of various kinds to produce music. Depending on
the kinds of vibrations produced, basically they are of three types10; stringed, wind
and percussion instruments. Vīṇā, Surabahāra, Sitāra, Guitar, Violin, Saroda etc. are
stringed instruments. They use vibrations in metal wires to produce sound. The
frequency of sound is varied by varying the length of the vibrating wire, the shorter
the length of wire the higher the pitch it produces. Bāṁsurī, Śahanāī, Clarinet etc. are
wind instruments. They use vibrations in air columns to produce sound. Holes in a
flute, for example are opened or closed in order to change the length of the vibrating
air column. This changes the pitch of the sound. Mṛdaṅga, Pakhāvaja, Tablā, Drums
etc. are percussion instruments. They have a stretched skin whose vibrations produce
sound. Loudness is increased by striking the skin harder. The pitch is increased by
stretching the skin more or less.
For a general classification of musical sounds including human voice we can see
author Nārada’s11 ‘Nāradaviracitaḥ Saṅgītamakarandaḥ’, a treatise on music. He has
divided musical sounds in five kinds:
10
A more detailed study on types of musical instruments is given in the third chapter.
11
Not the sage Nārada of the Purāṇas.
1. नखज - Nakhaja: musical sound produced by playing Vīṇā-strings (or any
strings) with nails.
2. वायुज - Vāyuja: musical sound produced by blowing wind into wind musical
instrument.
3. चमOज - Carmaja: musical sound produced by means of leather through
instruments such as drums etc.
4. लाेहज - Lohaja: musical sound produced by metal pieces, such as cymbals
etc.
5. शारWरज - Śārīraja: musical sound produced by human throat.
The nature of music is sound:
नादाधीनमतZयम्12 ॥ ॥१२॥
Nādādhīnamatastrayam ॥ ॥12॥
(All three forms of Saṅgīta are effects of the Nāda.)
Music soothes not only an individual human being but also other living creatures and
surrounding environment. We have examples of corrective kind of music; when
Tānsena sang Rāga Megha it started to rain. And when he sang Rāga Dīpaka the
Diyās (lamps) started to burn, which means that by creating certain kind of vibrations
certain results can be achieved. An assured quality of music and dance is their
harmony to produce a pleasing effect. Which makes an environment for deeper
Sādhanā.
Physics tells us, our body is made-up of vibrations of different frequencies. So

playing, singing, listening to music, these vibrations can be brought into a harmonious
arrangement, which will lead to a good health and happy dispositions. And hatred,
12
Dāmodara viracitaṃ Saṅgīta Darpaṇaṃ. Tanjore, India: Madrasa Government Oriental Series,
Authority of the Government of Madras. Pg. 4. SD- 1: 12
jealousy etc. are replaced by friendliness, compassion, happiness etc. to bring
harmony.
We can see the power of sound vibration from the example of the avalanche. Only
one sound vibration is enough to bring down the mighty ice filled peaks. When
harmony of vibration is broken such a disaster can happen. So, we can very well
imagine the hurt, rupture, pain, and agony on physical, mental, emotional and spiritual
levels our body might be going through when we expose it to harmful vibrations. And
when a person gives out vibrations of love, peace, joy, bliss, kindness, compassion,
strength, mercy, sympathy, it dispels all bad and harmful vibrations and bring
harmony not only for himself but for all around him.
Yogic Significance of Nāda in Music:

“Music has so much power that it can free your ego.
Through kīrtana you can reach the highest pinnacle of
spiritual experience. Not by yoga or by any other means but
by kīrtana alone can you have the vision of the Divine.”13
-Svāmī Satyānanda Sarasvatī.
When Nāda materializes it becomes music 14 . Music is also nāda yoga, where the
music is rendered absolutely scientific and classical in order to experience the nāda.
The development of musical systems in the past was done strictly in accordance with
the views of Nāda yoga sādhanās. It is well known that the most ancient Sāma Veda
is always sung with a scientific exactness and in accordance with Nāda yoga sādhanā.
Music can be taken up as a spiritual sādhanā. Depending upon one’s liking as a
preliminary practice. Or it can be taken just as a pleasant, interesting and inspiring
sādhanā of Nāda yoga, through which the mind can be attuned to the subtlest
vibrations before proceeding to discover the last transcendental sound of Nāda.
Music helps us to go back to our real nature. Svāmī Vivekānanda puts it as a power to
bring mind to concentration. Our experience is that all things and being remain in
13
http://www.yogamag.net/archives/2004/fdec04/naam.shtml
14
Svāmī Satyānanda Sarasvatī From lectures to students of the first International Yoga Teachers
Training Course at Munger, 1967-68.
their natural form and state until they are forced to undergo a change into another
form or state. Even when they are in a changed state they make an effort to come back
to their original state. For example: water is liquid in state, pleasant to touch15 but
turns into ice when frozen by giving it conditions of the low temperature and becomes
steam when exposed to high temperature. But the moment these conditions are no
more there, the tendency of water is to come back to its original state. In the same
way Sat-Cit-Ānanda is our real Svarūpa according to Vedānta. Yogaśāstra says that
when all the cittavṛttis cease 16 the seer Puruṣa 17 rests in its own svarūpa. The
conditions work as an Āvaraṇa to hide the original svarūpa and project unreal as
real18, and we being ignorant take the projection as our real svarūpa19 the process of
yoga purifies us from gross to subtle at all levels.
Bhartṛhari in the Brahmakāṇḍam of Vākyapadīyam says that by which reason, the

difference in the primary notes of music like ṣaḍja, the seven primary notes named
ṣaḍja, Ṛṣabha, Gandhāra, Madhyama, Pañcama, Dhaivata, and Niṣāda20 are noticed
as being described by the heard sound which is the proximate cause of these different
primary notes by the same reason all different types of objects of the world which are
differently discriminated exist depending on the minute parts of the sound. The
15
Svāhānanda, S. (2015). Pañcadaśī. Mylapore, Chennai, Tamilnadu, India: Sri Ramakrishna Math.
Pd. 2: 5.
16
PYS – 1: 2.
याेग[\]वृ_]िनराेधः॥ ॥२॥
Yogaścittavṛttinirodhaḥ||2||
(Yoga is restraining the citta from taking various vṛtti forms.)
17
PYS – 1: 3.
तदा abु ः (वcपेऽव(थानम्॥ ॥३॥
Tadā draṣṭuḥ svarūpe'vasthānam||3||
(at the time of concentration the seer Puruṣa rests in his own unmodified state.)
18
PYS – 1: 4.
19
PYS - II: 5.
अिन+याश<चदुःखाना+eस िन+यश<चसखा+efयाितर9वgा ॥ ॥५॥
anityāśuciduḥkhānātmasu nityaśucisukhātmakhyātiravidyā ॥ ॥5॥
(Avidyā is to mistake the non-eternal, impure, evil and non-Ātman
for the eternal, pure, good and Ātman respectively.)
20
Jha, Pt. V. (2002). Bhartṛhariviracitaḥ Vākyapadīya-Brahmakāṇḍam. Delhi, India: Mandakini
Sanskrit Vidvat Parishad. Pg. 225, Bhartṛhareḥ Vākyapadīyaṃ Brahmakāṇḍam.
षjkाlदभेदः श1देन Nयाfयाताे cmयते यतः ।

त(eादथO9वधाः सवाOः श1दमाnास िनःopताः ॥ ॥११९॥
Ṣaḍjādibhedaḥ śabdena vyākhyāto rūpyate yataḥ
Tasmādarthavidhāḥ sarvāḥ ṡabdamātrāsu niḥśritaḥ 119
assumption that the sound acts as the proximate cause of the diversified nature of the
objects of the world is possible on a par with the assumption that the sound acts as the
proximate cause of the different primary notes in the music21.
When we take any object for meditation, in the initial stage the word for that object,
meaning of the object and our knowledge of the object are mixed-up22. When the
samādhi stage comes the śabda and the jñāna go away23 and only the essence shines
forth. So, the subtler the artha of the object, the subtler is the state of samādhi. Music
works like a direct approach (a hot line) penetrating all sheaths (pañca Kośas)24 and
directly reveals the Ānanda to practitioner. Music brings mind to a single point like a
spear. At any point in time mind is occupied with numerous thoughts or with multiple
objects. With attention, concentration on music all other things fade and mind comes
to attach to music. When mind comes to one point that is music, it derives sukham,
becomes one pointed, which brings pātratā (ability) for meditation. A quiet mind is a
happy mind. Happiness is not outside of mind or in the world of objects, a quiet mind
is happy, in fact, quietness of mind is happiness. One who can bring mind to
quietness, the world of objects is redundant to him. And only after transcending the
world of objects one comes to experience the subtler world. Svāmī Cinmayānanda
says “It is a fact that the subtler personality can come to assert itself only when the
Grosser one is completely satisfied”25.
21
Pillai, K. R. (1971). Vākyapadīya, Critical text of Cantos I and II. Delhi, India: Motilal Banarasidas.
Pg. 66.
22
PYS – 1: 42.
तn श1दाथO=ान9वकrपैः संकtणाO स9वतकाO समाप_]ः ॥ ॥४२॥
tatra śabdārthajñānavikalpaiḥ saṅkīrṇā savitarkā samāpattiḥ ॥ 42॥
(The Samāpatti which is qualified by Vikalpas of Śabda (Sound/word), Artha (meaning),
and the knowledge of the entity represented by the Śabda is Savitarkā Samāpatti.)
23
PYS – 1: 43.
(eृितपCरश;ाै (वcपशूHयेवाथOमाnिनभाOसा िन9वOतकाO ॥ ॥४३॥
Smṛtipariśuddhau svarūpaśūnyevārthamātranirbhāsā nirvitarkā||43||
(After the clarification of memory, when the mind is as if devoid of self-awareness
and the true knowledge of the object is alone shining within, that is nirvitarkā.)
24
Pañca Kośas - Annamaya Kośa, Prāṇamaya Kośa, Manomaya Kośa, Vijñānamaya Kośa,
Ānandamaya Kośa
25
Chinmayananda, S. (2013). The Holy Geeta. Mumbai, Maharashtra, India: Central Chinmaya
Mission Trust. Pg. 832.
Music brings relaxation that is why some people hum or sing while taking bath. Some
sing while doing a hobby activity or even some other interesting thing of choice. A
worldly person can easily get attached to the gross sounds. Then he can be led
towards the subtler sound. This way his journey can be from any sound to the sound
of music. And from general music to more refined music.
A musician fills the space with different notes, pitch etc. all these come out of him or
his instrument. We should direct our attention from these sounds to that silence on
which all these sounds are projected. All these projections are possible only on a
substratum. When this concept is understood and we are able to abide in it. Our
meditation can graduate to the concept that even this space which is substratum for
the music to be projected, itself is a projection on another substratum which is the
Supreme Reality.
From the Haṭha Pradīpikā we know how the deer is entrapped by sweet sound and
how the snake is enchanted by sweet music. Nāda entraps the mind. The mind
dissolves in sweet Nāda. The power of the gentle, sweet sounds - Sa, Re, Ga, Ma, Pa,
Dha, Ni, Sa can soothe and melt hearts.
Music brings attention of mind inward, mind’s occupation with saṃsāra becomes less
and less and it gets concentrated inward like indriyas move inward in Pratyāhāra.
Though music is also a vṛtti but it is an akliṣṭa vṛtti, which is helpful towards
svarūpapratiṣṭhā. Singing or playing music on any instrument brings mind on
ekatattva, which is called abhyāsa; it makes citta fertile for yoga-sādhanā26.
Yogic Significance of Nāda in Dhrupada:
“What real music we have lies in Kīrtana and Dhrupada;

the rest has been spoiled by being modulated
26
Sadāśivendra, S. (1983). Pātañjalayogasūtram with Yoga Sudhākara of Śrī Sadāśivendra Sarasvatī.
Madrāsa, Tamilnāḍu, India: The saṃskṛta education society, Madrāsa. Pg. 14.
एकतwवगाेचरमनाेवृ_]*वाहानुकूलाे यxाेऽIयासः ।
Ekatattvagocarmanovṛttiprvāhānukūlo yatno’bhyāsaḥ.
(Abhyāsa is the favorable effort for flow of modification of mind on single element.)
according to the Islamic methods”27.
- Svāmī Vivekānanda.
Music is the most ancient of arts28. It is the medium for expressing emotion. Music
brings about love and inspires hope. The elements of art of music possibly originated
from the Vedic ‘Sāmagāyana’, which were sung during a sacrifice. The music
developed and got refined in due course of time from Sāmagāyana to Chanda to
Prabandha to Dhrupada.
Sāmagāyana à Chanda à Prabandha à Dhrupada
Fig.: Development of Dhrupada music.
From the Sāmagāyana came Prabandha gāyana, and from Prabandha gāyana came
the Dhrupada gāyana. Prabandha came to be known as ‘Bandiśa’ in Fārasī
language. During the reign of the Mughal rulers Akabara, Jahāngīra, Śāhajahān,
Aurangzeb etc. Dhrupada musicians had a special place in their courts. Bādaśāha
Akabara held the Dhrupada musician Tānsena on the highest pedestal of respect and
had conferred with the upādhi of ‘Kaṇṭhābharaṇavāṇīvilāsa’29.
Veda comes from Sanskrt root √9वद् - =ाने. Vedas are infinite in nature. But the Vedic
literature is in form of verses in Ṛgveda, prose in Yajurveda, the song in Sāmaveda

and a combination, but mostly songs of all these in Atharvaveda. The knowledge
given in the Vedas has no beginning and no end. That is why the Vedic spirit is
infinite and eternal in nature, though the linguistic expression of it is temporal. The
Ṛṣis, the seers have composed them in the ecstasy of truth Realization, though the
Ṛṣis were there in time and space but the spirit of them and of this knowledge is
27
Vivekānanda, S. (2012). The complete works of Swami Vivekananda Vols. 5. Kolkata, India: Advaita
Aśrama. Pg. no. 376.
28
From the teachings of Svāmī Śivānanda Saraswatī.
29
Bṛhaspati, K. (1976). Dhruvapada aura uskā vikāsa. Paṭanā, Bihāra, India: Bihāra Rāṣṭrabhāṣā
Pariṣada, Paṭanā. Introduction Pg. 6.
immortal in nature. The Hymns were composed, but the truth of Vedas were not
composed. It is universal in nature, that’s why Vedas are called ‘Apauruṣeya’, beyond
human comprehension, beyond human intervension, that is the spirit of Vedas. Vedic
message is etarnal. As the knowledge in them is eternal. We can take an analogy of
Newton realized gravitational force and came up with universal law of gravitation.
Newton only revealed it, his words may be dated to 17th century AD, but the
gravetational force is etarnal in nature, revelation of it is temporal. Whether the
revelation is done or not is immaterial, gravitational force exists. That is the reality, in
the same manner Vedic truths are real, its expression may be temporal.
Yogic Significance of Nāda in Vina:
स यथा दुHदुभेहOHयमान(य न बाzा{छ1दा{छ|याद् }हणाय
दुHदुभे(त }हणेन दुHदुIयाघात(य वा श1दाे गृहीतः30 ॥ ॥७॥
स यथा श€•(य ‚eायमान(य न बाzा{छ1दा{छ|याद् }हणाय
श€•(य त }हणेन श€•‚e(य वा श1दाे गृहीतः31 ॥ ॥८॥
स यथा वीणायै वाgमानायै न बाzा{छ1दा{छ|याद् }हणाय
वीणायै त }हणेन वीणावाद(य वा श1दाे गृहीतः32 ॥ ॥९॥
sa yathā dundubherhanyamānasya na bāhyāñchabdāñchaknuyād grahaṇāya

dundubhestu grahaṇena dundubhyāghātasya vā śabdo gṛhītaḥ ॥ ॥ 7॥
sa yathā śaṅkhasya dhmāyamānasya na bāhyāñchabdāñchaknuyād grahaṇāya
śaṅkhasya tu grahaṇena śaṅkhadhmasya vā śabdo gṛhītaḥ ॥ ॥ 8॥
sa yathā vīṇāyai vādyamānāyai na bāhyāñchabdāñchaknuyād grahaṇāya
vīṇāyai tu grahaṇena vīṇāvādasya vā śabdo gṛhītaḥ ॥ ॥ 9 ॥
(As, when a Dundubhī drum is beaten, one cannot distinguish its various
particular notes, but they are included in the general note of the Dundubhī
drum or in the general sound produced by different kinds of strokes. ॥ ॥ 7॥
30
Bṛ. Up. - 2: IV: 7.
31
Bṛ. Up. - 2: IV: 8.
32
Bṛ. Up. - 2: IV: 9.
As, when a conch is blown, one cannot distinguish its various particular notes,
but they are included in the general note of the conch or in the general
sound produced by different kinds of playing. ॥ ॥ 8॥
As, when a Vīṇā is played, one cannot distinguish its various particular notes,
but they are included in the general note of the Vīṇā or in the general
sound produced by different kinds of playing. ॥ ॥ 9॥)
There is one general sound of Dundubhī, Conch, Vīṇā; all variations are elaboration
on that general sound which is the substratum of elaborations. Different variations of
sounds emerge from their general sound. And different general sounds emerge from a
bigger general sound. And at the time of Pralaya different variations of sounds merge
in all different general sounds; and all different general sounds merge in a bigger
general sound.
We see so many bhāva, mudrā, gestures, postures coming out of the dancer, filling
the space with his actions. While seeing these many expressions we should direct our
attention towards the space on which all this is being projected. While explaining the
doctrine of the oneness and non-dual nature of the Self to Maitreyī, sage Yājñavalkya
gives examples of the Ghana, the Suṣira and the Tantu Vādyam in (the seventh,
eighth and ninth Kaṇḍikās in the fourth Brāhmaṇa of the second Adhyāya of
Bṛhadāraṇyaka Upaniṣad.) He explains that one is not able to grasp specific
intonation of Vīṇā, Duṃdubhī or Conch from far but a general sound gives the idea
that it is Dundubhī, Conch or Vīṇā. Possibly sage Yājñavalkya was a musician par
excellence to give such subtle yet very comprehensible examples and Maitreyī also
must have been a musician of a high level to grasp these examples and to know the
supreme Self with the help of such example of high musicianship.
Yogic Significance of Nāda in and as Saṅgīta Sādhanā:
साधाे, श1द-साधना कtजै।
जे ही श1द ते *गट भये सब, साेई श1द ग†ह ल‡जै॥
श1द गुˆ श1द सन ‰सख भये, श1द साे 9बरला बूझै।
साेइ oशŒय साेइ गुˆ महातम, जे†हं अHतर गित सूझै॥
श1दै वेद पुरान कहत है,ं श1दै सठ ठहरावै।
श1दै सर-मुिन सHत कहत है,ं श1द भेद न†हं पावैं॥
श1दै सन सन भेष धरत हैं, श1दै कहै अनुरागी।
षट दशOन सब श1द कहत है,ं श1द कहै बैरागी॥
श1दै काया जग उतपानी, श1दै केCर पसारा।
कहैं कबीर जहँ श1द हाेत है, भवन भेद है Hयारा॥33
Sādho, śabda-sādhanā kījai ।

Je Hī śabda te pragaṭa bhaye saba, soī śabda gahi lījai ॥
Śabda guru śabda suna sikha bhaye, śabda so birlā būjhai ।
Soi śiṣya soi guru mahātama, jehiṃ antara gati sūjhai ॥
Śabdai veda purāna kahata haiṃ, śabdai saṭha ṭhaharāvai ।
Śabdai sura-muni santa kahata haiṃ, śabda bheda nahiṃ pāvai ॥
Śabdai suna suna bheṣa dharata haiṃ, śabdai kahai anurāgī ।
Ṣaṭa darśana saba śabda kahata haiṃ, śabada kahai bairāgī ॥
Śabdai kāyā jaga utapānī, śabdai keri pasārā ।
Kahaiṃ Kabīra jahaṁ śabda hota hai, bhavana bheda hai nyārā ॥ ॥ ॥
(O sadhu! Practice that word !
Receive that word from which the universe springeth.
That word is the Guru; I have heard it, and become the disciple.
How many are there who know the meaning of that word?
The Vedas and the Purāṇas proclaim it, the world is established in it,
The Ṛṣis and devotees speak of it; but none knows the mystery of the word.
The householder leaves his house when he hears it,
the ascetic comes back to love when he hears it,
The six philosophies expound it, the spirit of renunciation points to that word,
33
Sharma, R. (2007). Kabīra Granthāvalī saṭīka. Allahabad, Uttara Pradesa, India: Lokabhāratī
Prakāśana. Pg. 590.
From that word the world-form has sprung, that word reveals all.
Kabīra says: “But who knows whence the word cometh?”34)
Given above is the translation of the Kabīra poetry by Rabīndranātha Ṭegore, from
the collection “The songs of Kabīra”.
Nāda can be one of the Sādhana depending upon the make of the sādhaka’s Vāsanā.
Nāda Sādhana is Saguṇa Upāsanā, where mind can be trained to focus on gross
object first. Then shift to subtle object from where it can move further towards the
Nirguṇa Upāsanā. Contemplation on Nāda, Dhrupada, Vīṇā can be helpful only to
the extent of cittaśuddhi, the process ahead is Samādhi. Nāda can prepare a sādhaka
to take the next step, that is samādhi. But Nāda itself cannot bring highest samādhi
because contemplation on Nāda is a Sabīja samādhi.
“Because the mind alone constitutes the root-principle manifesting as the three
entities of ego, God, and world, its absorption and dissolution in the Self is the final
emancipation known as kaivalya, which is the same as Brahman”35, said Bhagavāna
Śrī Ramaṇa Mahaṛṣi.
During one of the interactions with the visitors, Śrī Rāmakṛṣṇa Paramahaṃsa talked
to an actor, he said, “Your acting was very good. If a person excels in singing, music,
dancing, or any other art, he can also quickly realize God provided he strives
sincerely. Just as you practice much in order to sing, dance, and play on instruments,
so one should practice the art of fixing the mind on God. One should practice
regularly such disciplines as worship, japa, and meditation36.”
He further explained, “One cannot completely get rid of the six passions: lust, anger,
greed, and the like. Therefore, one should direct them to God. If you must have desire
and greed, then you should desire love of God and be greedy to attain Him. If you
34
Tagore, R. (1915). The songs of Kabīra. New York, The United States of America: The Macmillan
Company. Pg. 94.
35
Ramaṇa, M. (). Bhagavāna Śrī Ramaṇa Mahaṛṣi’s Words Of Grace. Tiruvannamalai, Tamilnadu,
India: Śrī Tamaṇāśramam, Tiruvannamalai. Pg 20.
36
Nikhilananda, S. (1984). Gospel of Śrī Rāmakṛṣṇa. Chennai, Tamilnadu, India: Śrī Rāmakṛṣṇa
Maṭha, Chennai, India. Pg. 648.
must be conceited and egotistic, then feel conceited and egotistic thinking that you are
the servant of God, the child of God. A man cannot see God unless he gives his whole
mind to Him. The mind is wasted on ‘woman and gold37’. The mind cannot be united
with God on account of these different activities.”
O tongue! Always repeat the name of Mother Durgā!
  Who but your Mother Durgā will save you in distress?
Śrī Rāmakṛṣṇa called this, “Bhajanānanda, the bliss of devotees in the worship of
God. Worldly people keep themselves engrossed in the joy of sensuous objects, of
‘woman and gold’. Through worship devotees receive the grace of God, and then His
vision. Then they enjoy Brahmānanda, the Bliss of Brahman.”
Saṅgīta Sādhanā and Nāda Yoga
Hare rāma, hare rāma, rāma rāma, hare hare
hare Kṛṣṇa, hare Kṛṣṇa, Kṛṣṇa Kṛṣṇa, hare hare
Eat a little, drink a little38;
talk a little, sleep a little. Mix a little, move a little;
serve a little, give a little; Work a little, rest a little;
study a little, worship a little. Do
āsana a little, prāṇāyāma a little;
reflect a little, meditate a little, Do japa a little, do kirtana a little,
write mantra a little, have Satsaṅga a little. Do all these, little, little.
You will have time for all.
Svāmī Śivānanda composed a rather simple but beautiful little song, which he himself
sang in the Mahāmantra tune at every meeting he addressed, especially during his
All-India-Ceylon Tour in 1950. Was the Master against doing more of these
37
Rāmakṛṣṇa Paramahaṃsa’s famous phrase ‘Kāmini-Kāñcana’.
38
Venkateshananda, S. S. (1998). Śivānanda’s Integral Yoga. Divine Life Society, Tehri-Garhwal,
Uttara Predesh, India: Divine Life Society Publications. Pg. 1.
wonderful things like japa, āsanas, or meditation? They ask, “Why only a little, why
not much?” Then, it was interpreted to mean, “Do at least a little .. ..” But he really
meant just this, “Do a little of each, don’t specialise.” That was the message because
the thing that clamors for specialization is the ego, for the specialist is admired by the
crowd. Specialization fattens one’s ego, weakens the spirit of tolerance and
understanding, and creates contempt and hatred.
Saṅkīrtana is the easiest, surest, safest, quickest way to attain God consciousness.
Those who do Saṅkīrtana in the beginning for the sake of mental enjoyment will
realize the purifying effects of Saṅkīrtana after some time and then they will
themselves do it with bhāva (intense feeling) and Śraddhā (faith). There is a
mysterious power in the name of the Lord.
Nāda in relevant to sound of music. Music is Nāda Yoga, where the music is rendered
absolutely scientific and classical in order to experience the Nāda. At different stages
of conscious awareness, the mind is easily attracted by different waves of Nāda.
Certain vibrations of Nāda seem to be agreeable at a particular time, while others are
disagreeable at a particular time of the day. Certain combinations of Nāda are
agreeable to some people and disagreeable to others. In music, these Nāda vibrations
are known as raga or musical notes. Music can be taken up as a spiritual sādhanā, as
a preliminary practice, or just as a pleasant, interesting and inspiring sādhanā of Nāda
yoga, through which the mind can be attuned to the subtlest vibrations before
proceeding to discover the last transcendental Nāda.
The harmonious vibrations produced by the singing of the names of the Lord help the
devotee to control the mind easily. They produce a benign influence on the mind.
They elevate the mind at once from its old ruts or grooves to magnanimous heights of
divine splendor and glory. Daily Saṅkīrtana strengthens the good saṃskāra.
Journey from creation to creator:

In and through all arts, music, or any perfections we can discover happiness. It shows
that we have exceeded excellence. Music should help us to go from melody to silence
by knowing that on the silence all these notes of music are playing. So, appeal of
creation to creator to beyond is purpose of music. Dance, only to help that all the
moments are spread over the space. Dance is only to capture mind and put it in one
point. We see many bhāva, mudrā, gestures, postures coming out of the dancer, filling
the space with his actions. While seeing these expressions we should direct our
attention towards the space on which all these are being projected.
Creation -----------------à Creator
Music ------à Melody --------à Silence ------à Beyond
Dance ----------à Postures ---------à Space -----------à Beyond
Painting -----------à Color ------------à Canvas --------------à Beyond
World --------à Names and forms --------à Time and space --------àBeyond
Fig.: Journey from creation to creator.
From the creation we can infer that there is a creator. And the effort is to go to the
creator from the creation. Silence is a substratum for sound. From silence the sound
arises and into silence the sound goes. When sound is there silence is hidden. Like we
see space everywhere, but where somebody is sitting we do not see space, because
people sitting are hiding space. Physical object veils space. The same way the world
of objects veil the Reality, the Brahman. Just as the presence of objects prevents us
from cognizing the space, which the object occupies; in the same way sound prevent
us from being aware of its substratum – space. It is there but we don’t see it. Because
the object occupies space, space is forgotten. In the same way, even when the world is
there, in and through, everywhere in the world that supreme reality is there. But the
world occupies reality, just as the object occupies the space. And reality is forgotten.
Space is substratum for dance. When the dancer is dancing all we see is the figure of
the dancer. We forget the space on which she is moving about.
A canvas is the substratum for the painting. We see the colors spread over it and
appreciate the beautiful scenery painted. We forget the canvas on which all these
colors are spread.
In the same way Brahman is the substratum for this world. We see the names and
forms spread all over in time and space. We forget the substratum on which all this
plurality is playing.
Arts Music Dance Activities World
Substratum
Fig.: All activities spring up from and on the Substratum.
What should be our attitude?:

Our attitude should be to look for the substratum.
How can we look for the substratum?
We can look for the substratum by shifting our focus of attention:
1. When we hear music we should direct our attention from the melody to the silence.
2. When we see dance we should direct our attention from the dance to the space.
3. When we see a painting we should direct our attention from the colors spread all
over to the canvas.
4. When we the world of names and forms we should direct our attention from the
plurality to the Brahman.
Effects of Kīrtana:
The Mahā Mantra:
हरे राम, हरे राम;
राम, राम, हरे , हरे ।
हरे कृ )ण, हरे कृ )ण;
कृŒण,कृŒण, हरे , हरे ।।
Hare Rāma Hare Rāma

Rāma Rāma Hare Hare,
Hare Kṛṣṇa Hare Kṛṣṇa
Kṛṣṇa Kṛṣṇa Hare Hare.
Svāmī Śivānanda always used to keep singing this Mahā Mantra. He started a
tradition of singing this Mahā Mantra among his devotees. Even to this date the
tradition of singing this Mahā Mantra is followed. One can go the ‘Divine Life
Society’ at Riṣikeśa and experience39 the strong vibrations set rolling by the master
himself.
This is the great Mantra, which is specially meant for the people of Kali Yuga (this
modern age of destruction). Nārada went to Lord Brahma and said: “O Lord, the
people of Kail Yuga will not be able to practice austerities, nor to perform the Yajñas
(sacrifices), nor to pursue the path of Vedānta. Kindly have mercy on them and tell
me some easy way by which they can attain God.” Lord Brahmā in His Supreme
Compassion and Mercy gave this Mahāmantra by repeating which people of the Kali
Yuga will attain Self-realization.
“God’s name is like a detergent that cleans the karmas. It cleans the dross of the soul,
which you have accumulated during the course of this life and of many past lives. By
constantly remembering the name, man can cross over the ocean of life to the other
side. The Lord’s name is the redeemer of all physical, mental and social illnesses.”
-Svāmī Satyānanda Sarasvatī.
There is immense power in the remembrance of God’s name. When we repeatedly

chant God’s name our mind gets rid of impurities. When all is surendered at God’s
39
The researcher has visited the ‘Divine Life Society’ at Riṣikeśa and experienced the strong
vibrations.
alter we become free from ‘Ahaṅkāra’ and this attitude removes the veil of
ignorance, thus purifies the mind. This way to samādhi becomes perfect40.
Kīrtana - An experience of a Yogī - Svāmī Satyānanda Sarasvatī41:

Given below is the experience of Svāmī Śrī Satyānanda Sarasvatī (taken from
yogamag) in his own words:
“About two years ago ... We were travelling by truck... myself, and some other
Svāmīs. We started singing Kīrtana, unfortunately, on the moving truck. What
happened? While singing we just lost our egos, all of us. Some started crying, some
started falling in the truck, and the driver knew nothing of what was going on.
Fortunately, there was a person in the back of the truck who still managed to maintain
his ego, so he saved us all. Otherwise we would have fallen off. I would not be here
today, except for that one man who maintained his mind ... he was holding us. That
was a very wonderful experience, and after we regained our egos we were crying like
little children. You see, when you sing, no matter what name you sing, it is rhythm,
and then more people join and everyone co-operates. The power created changes the
whole being from the outside, deep down to the inside. Then there comes a moment
when we can transcend our personality barriers.”
Bhakti saṅgīta - An experience of a Bhakta - Rāmakṛṣṇa Paramahaṃsa:

O Mother, make me mad with Thy love42! 
What need have I of knowledge or reason?
Be drunk, O mind, be drunk with the
Wine of Heavenly Bliss!
Roll on the ground and weep,
chanting Hari's sweet name!
40
PYS – 2: 45.
समा•ध‰स‘;रWMर*‘णधानात्॥४५॥
Samādhisiddhirīśvarapraṇidhānāt||45||
(By surrendering all to the Īśvara samādhī becomes perfect.)
41
Taken from website - http://www.yogamag.net
42
Fill the arching heavens with your deep lion roar, 
Singing Hari's sweet name!
With both your arms upraised,
Dance in the name of Hari and give His name to all.
Swim by day and by night in the bliss of Hari's love;
Slay desire with His name, and blessed be your life!
When Narendra43 sang a devotional song Śrī Rāmakṛṣṇa danced a long time in the
company of the devotees. When he resumed his seat, still tinged with the lingering
glow of divine fervour, he asked Narendra to sing “O Mother, make me mad with
Thy love”. Hearing this he became immersed in divine love and Śrī Rāmakṛṣṇa
improvised.
Be drunk with prema and weep,
chanting Hari's sweet name.
Be mad with divine fervour and weep,
chanting His name.
Om chanting - An experience:
Chanting ‘Om’ creates very strong vibration not only on human or living creatures
and living beings, it also affects even the non-living objects. Some of the
compassionate gurus make arrangments for the sake of sādhakas to help in their
sādhanā. One such example is one of the cave of Ajantā44, when ‘Om’ is chanted
inside that cave the whole cave begins to pulsate with the vibrations of ‘Om’ it is not
something like the echo coming back after the sound is made. It is clearly the sound
vibrations continueing even after the chanting has stopped.
43
Narendra later became Svāmī Vivekānanda.
44
The researcher has visited ‘Ajantā’ caves and experienced the effects of chanting ‘Om’ in the upper
floor of cave no. 6. Here even the pillars of this cave make sound of different pitches when struck.
The Buddhist architectures are made in such a way that they are helpful in Sādhanā,
espacially the chanting of mantras.
Om:
Nāda, Sound, tone, vibration, metaphysically, the mystic sounds of the eternal, of
which the highest is the transcendent or the Soundless Sound, Parānāda, the first
vibration from which creation emanates. Parānāda is the pure and subtlest nāda, so it
cannot be identified by the mind. Because mind can perceive the world of objcets.
From Parānāda come Praṇava, Om and further evolutes of nāda45. Om can be heard
as the sound of one’s own nerve system.
When we open mouth ‘a’, when we keep in middle ‘u’, when we close ‘m’; and the
rest of the things are all in this range of wide spectrum of the ‘a’, ‘u’ and ‘m’. So,
every name, which can be pronounced with the mouth, is within the spectrum of the
natural sounds, when you open the mouth, when you close the mouth, and when you
keep the mouth in between (these two). And therefore, all sounds are within Om. So,
entire world, which is Brahman in manifestation, existence in manifestation is
captured in single sound, syllable, akṣara ‘Om’.
The entire world of gross names and forms is symbolized as ‘a’.

The entire subtle world of thoughts is symbolized as ‘u’.
The entire causal world is symbolized as ‘m’.
So, entire world is capture in ‘a’, ‘u’ and ‘m’.
The Uniqueness of Dhrupada as a form of Indian Music:
हCरअाेम नारायण अनHत तरन तारन ।
Harioṃ nārāyaṇa ananta tarana tārana.
अालाप छHद:
45
Subramuniyamswami, S. S. (1991). Dancing with Śiva, Śivena saha nartanaṃ
Sanātanadharmapraśnottaram. Himalayan Academy, India, USA. Pg. 766.
अा र न ना
र ना नूम् न
ते त र न न
त र र न
रW ना र न न
ए न न
ते ते रW र र न
रW ना नूम् र न न
त न तूम् न
Ā ra na nā
Ra nā nūm na
Te ta ra na na
Ta ra ra na
Rī nā ra na na
E na na
Te te rī ra ra na
Rī nā nūm ra na na
Ta na tūm na
The Ālāpa is derived from the mantra ‘Harioṃ Nārāyaṇa ananta tarana tārana’. And
Ā ra na, nā, Ra nā nūm na etc. are the alphabets used in Ālāpa. The alphabets of
Ālāpa use letters to denote this mantra and while singing only few letters are uttered,
which represent the words form the mantra. E.g. tūm and nūm indicate the ‘Om’ in
the mantra, Ā ra na nā denote ‘Nārāyaṇa’ etc.
Dhrupada musicians practice seven Svarabhedas (difference in frequency) of each

svara. This makes Dhrupada a very-very refined and subtle as compared to other
genres of music. So, this way each octave has forty-nine svaras in a Saptaka. Because
each svara has seven Svarabhedas, and there are seven svaras in a Saptaka. This
uniqueness of Dhrupada sets it apart from other genres and makes it very subtle.
All music is svara-pradhāna. Though there is rhythm and pattern, which is more like
inbuilt and natural, it is not disturbing to mind. In Dhrupada, ālāpa is meditative,
brings mind to ekāgra stage. Ālāpa of Dhrupada is free from intricacies of following
any set pattern of tāla, literature etc. it has no words, it only has sound symbols riding
on the svara. It has long vistāra (expanse), develops slowly from scattered to
concentrated state. We cannot see svara like how we cannot see Īśvara. But sound
liberates by bringing mind away from other objects and concentrating on one object,
i.e. the sound of music. The nature of Dhrupada brings mind to ekāgra and leads
towards niruddha Avasthā. Whereas other music forms encourage mind to come to
exert itself because of being busy in following the intricate rhythm, tāla, words etc.
Practice of music, Dhrupada in particular gives the sādhaka the sūkṣmatar (subtler)
capacity to go ahead for samādhi. Trains mind to concentrate, on any object. Mind is
purified, elevated by regular practice. Mind can be turned inward at will by practice
mind can be trained to concentrate on contemplation. Riyāz is a tapa, works like
Kriyāyoga, and brings about phala (result) of thinning out the cause of kleśas and
develops the consciousness of samādhi. The bhakta develops an emotional trance-like
state by intense bhakti or singing devotional songs46.
The Uniqueness of Vīṇā as compared to other musical instruments:
O Vīṇā, sing Lord Hari's name47!
Without the blessing of His feet
You cannot know the final Truth.
The name of Hari slays all grief:
Sing Hari's name! Sing Kṛṣṇa’s name!
If only Hari shows His grace,
Then I shall never be distressed.
O Vīṇā, sing His name but once,
46
Satyānanda, S. (1976). Four Chapters on Freedom. Munger, Bihar, India: Yoga Publications Trust.
Pg. 140.
47
Nikhilananda, S. (1984). Gospel of Śrī Rāmakṛṣṇa. Chennai, Tamilnadu, India: Śri Rāmakṛṣṇa
No earthly gem is half so rare.
Govinda says: In vain my days
Have passed. No longer may I float
Here in life's trackless ocean waste!
While listening to the above given song, the Master Rāmakṛṣṇa Paramahaṃsa
became absorbed saying “Ah me! Ah me!” he went into samādhi.
The range of svaras on Vīṇā:

Of all the musical instruments Vīṇā has a wide range, which helps to go into subtle
sounds. Rudra Vīṇā 48 can produce three and a half octaves, and if the string is
stretched then it can produce few more notes. The notes, which can be produced on
Rudra Vīṇā are:
1. Mandra Saptaka (lower octave): Sa, Re, Ga, Ma, Pa, Dha and Ni.
2. Madhya Saptaka (middle octave): Sa, Re, Ga, Ma, Pa, Dha and Ni.
3. Tāra Saptaka (higher octave): Sa, Re, Ga, Ma, Pa, Dha and Ni.
4. Ati Tāra Saptaka (higher than the higher octave): Sa, Re, Ga, and Ma.
5. By stretching the string Pa, Dha and Ni of the Tāra Saptaka can be produced.
Sarasvatī Vīṇā can produce two and a half octaves, and if the string is stretched then it
can produce few more notes. The notes which can be produced on Sarasvatī Vīṇā are:
1. Mandra Saptaka (lower octave): Pa, Dha and Ni.

2. Madhya Saptaka (middle octave): Sa, Re, Ga, Ma, Pa, Dha and Ni.
3. Tāra Saptaka (higher octave): Sa, Re, Ga, Ma, and Pa.
4. By stretching the string Dha, Ni and Sa of the Tāra Saptaka can be produced.
Of all the musical instruments the sound of Vīṇā is the most gambhīra. It immediately
brings a meditative mood to the player as well as to the listener. Vīṇā’s wide range of
sounds helps to go into subtle sounds and ultimately merge in the Nāda.
48
From interview with Ustāda Bahāuddīna Ḍāgara.
We see in the Bṛhadāraṇyaka Upaniṣad (Bṛ. Up. - 2: IV: 9) sage Yājñavalkya gives
examples of Dundubhī, conch and Vīṇā to Maitreyī. Nādabindu Upaniṣad49 mentions
the sounds of those proceeding from tinkling bells, flute, Vīṇā and bees ultimately the
subtler sounds of Vīṇā. Dhyāna-Bindu Upaniṣad mentions that from the Mūlādhāra
to the head is the Suṣumnā resembling the shining thread of the lotus. The Nāda is
located in the Vīṇādanḍa50 (spinal column); that sound from its middle resembles that
of the conch, etc. Śiva Saṁhitā51 says by practice of Yoga the Nāda of Vīṇā is heard.
According to Vaśiṣṭha Saṁhitā there is the Nāda of Vīṇā in the Brahmadvāra of the
Suṣumnā (Vaśiṣṭha Saṃhitā - 3: 39). The Sāmaveda and the Śatapatha Brāhmaṇa
mention Vīṇā. The Yājñavalkya Smṛti mentions:
49
Nād. Up. – 35.
अHते त 9क†€’णीवंशवीणा“मरिनः(वनः ।
इित नाना9वधा नादाः pूयHते सू”eसू”eतः ॥ ३५॥
Ante tu kiṅkiṇīvaṃśavīṇābhramaraniḥsvanaḥ ।
Iti nānāvidhā nādāḥ śrūyante sūkṣmasūkṣmataḥ ॥ 35॥
(At the last stage, those proceeding from tinkling bells, flute, Vīṇā and
bees. Thus he hears many such sounds more and more subtle.
Thus he hears Vīṇā sounds, more and more subtle.)

50
Dhyā. Bi. Up. – 101, Dhyā. Bi. Up. – 102.
कणOस€’ाेचनं कृ+वा <ल€•स€’ाेचनं तथा ।
मूलाधारा+सषुFा च प–तHतिनभा शभा ॥ १०१॥
karṇasaṅkocanaṃ kṛtvā liṅgasaṅkocanaṃ tathā ।
mūlādhārātsuṣumnā ca padmatantunibhā śubhā ॥ 101॥
अमूताेO वतOते नादाे वीणाद˜डसमुš+थतः ।
श€•नाlद<भ\ैव म‚यमेव ‚विनयOथा ॥ १०२॥
amūrto vartate nādo vīṇādaṇḍasamutthitaḥ ।
śaṅkhanādibhiścaiva madhyameva dhvaniryathā ॥ 102॥
(Having contracted his ears, throat and the genital organ. From the Mūlādhāra
to the head is the Suṣumnā resembling the shining thread of the lotus.
The Nāda is located in the Vīṇādanḍa, the spinal column;
that sound from its middle resembles the sound of conch, etc.)
51
ŚS: 5: 42.
नादः संजायते त(य ›मेणाIयासत\ वै ।
म] “ंगवेणुवीणा स6शः *थमाे ‚विनः ॥ ॥ ४२ ॥
Nādaḥ sañjāyate tasya krameṇābhyāsataśca vai ।
matta bhṛṅgaveṇuvīṇāsadṛśaḥ prathmo dhvaniḥ ॥ ॥ 42 ॥
(by practice of this yoga the inner Nāda emerges without any doubt. This Nāda is
like Matta Bhramara in the beginning then the flute and then the Vīṇā in sequence.)
वीणावादनत+व=ः pुितजाित9वशारदः_52 ।
ताल=\ा*यासेन माेœमाग? िनग•छित ॥
Vīṇāvādanatatvajñaḥ śrutijātiviśāradaḥ ।
Tālajñaścāprayāsena mokṣamārgaṃ nigacchati ॥

(The one who is well versed in Vīṇā,
has the knowledge of Śrutis and is adept in Tāla,
attains salvation without doubt.)
Music and noise:

We come across many types of sounds; some of which we can call good, others bad,
neutral etc. The unfortunate part of today’s reality is that there are many bad sounds
surrounding us. We call this bad, unpleasant sound as ‘Sound Pollution’. Though
there are many good sounds here but we need to make conscious effort to have good
sounds in our lives; whereas bad sounds are available everywhere and all the times.
We are surrounded with many kinds of natural and unnatural, man-made sounds; out
of them the roaring of thunder, storms, factories, traffic, airplanes, honking on roads
etc. are examples of bad or unpleasant sounds. And pleasant sounds are: chirping of
birds, rustling of leaves, rains, waterfall, river, whistling of air, music, singing, etc.
Sound is referred to as ‘Nāda ’ in Indian Philosophical literature. The Nāda / sound

which is pleasant to our ears, brings peace, calmness, reduces stress, makes us feel
divine is good sound. And the sound which is unpleasant to our ears, makes us
agitated, disturbs peace of mind, makes us feel miserable, ultimately leads to
psychosomatic diseases is bad sound.
Distinguishing between music and noise:

That which is pleasant to hear is music and that which is not pleasant, is irritating to
hear is noise. Sometimes the distinction is subjective, when somebody dislikes a
52
Pg. 6 SD. Pg. 17, SR with 2 comentory, the same śloka if given in Saṅgīta Ratnākara with a little bit
of pāṭhabheda (difference in few words):
_
वीणावादनत+व=ः pुितजाित9वशारदः ।
ताल=\ा*यासेन माेœमाग? स ग•छित ।।
sound it is irritating for that person, though the same sound may be music to someone
else. So, a sound may not be universally pleasant or unpleasant, it maybe subjective.
Noise:
The loudness of sound is measured in decibel. We can see the different ranges of
decibel for human comfort:
Range of loudness / Decible Human Feeling
1 – 10 Just audible
10 – 30 Very quiet
30 – 50 Quiet
50 – 70 Moderately loud
70 – 90 Very loud
90 -120 Uncomfortable
120 – 180 Painful
180 - more Very painful
Table: range of loudness in Decibles and how it is felt by human beings
Yogic Significance of Nāda in Literature of Indian Śāstras, Arts, Music:

We can see the significance of Nāda given in Literature of Indian Śāstras in
abundance. A few examples from literature are taken here.
Nāda yoga in the Śrīmad Bhāgavatam:

Nāda yoga is illustrated in the Śrīmad Bhāgavatam. A symbolic and allegorical
description of Nāda is given in the form of the story of Kṛṣṇa. Lord Kṛṣṇa left his
place at midnight and went into the jungle. It was the full moon night of the first
month of winter. He began to play the flute. The echo of the flute spread in the calm
and undisturbed atmosphere. Music rose from the jungle and was heard by the gopīs
(the village cowherd girls). When they heard the sound of the flute, they immediately
left their houses and their husbands, forgetful of all that was taking place. They ran,
without consideration, to the place from where the Nāda from the flute was
emanating. They started dancing about the flute player. After some time, it so
happened that each one found herself dancing individually with Kṛṣṇa.
The Nāda yogis consider Kṛṣṇa to represent that higher sphere of consciousness
where the Nāda of that sphere emanates during the deepest state of Nāda sādhanā.
When the emanation of flute music takes place, the senses, the indriyas, or the sense-
consciousness, forsake their respective objects and withdraw from their respective
centers of pleasure and perception. They recede and go back to the place from where
the flute sound or the Nāda is emanating. There the senses dance around the Nāda. In
that state, the senses completely withdraw from the outer objects. In other words, a
yogī may say that dhāraṇā has taken place and dhyāna is about to dawn.
In Sanskṛta the word Kṛṣṇa means, ‘that which draws’ or ‘that which attracts’. It also
means ‘farmer’, and, the word gopī means ‘cow’. In Saṃskṛta, ‘go’ means ‘senses’,
‘cow’, and the ‘whole perceptible universe’. Ordinarily, the word gopī means ‘the
daughter of a cowherd family’. Symbolically, gopī means ‘senses’. And it may be
said that for the eyes, the form is the husband and for the ears, sound. When the music
of a flute is heard, the sense of hearing leaves or withdraws itself from the other outer
audible sounds and merges itself in the inner Nāda. This process is called
pratyāhāra53.
Nāṭya Śāstra:
ज}ाह पाठ žमृŸवेदा+सामIयाे गीतमेव च ।

यजुवेOदाद<भनयान् रसानाथवOणाद9प ॥ ॥१८॥
वेदाेपवेदैः स ब;ाे नाट¡वेदाे महा+eना ।
एवं भगवता सृbाे ¢£णा सवOवेlदना54॥ ॥१९॥
Jagrāha pāṭhyamṛgvedātsāmabhyo gītameva ca ।

Yajurvedādabhinayān rasānātharvaṇādapi ॥ ॥18 ॥
Vedopavedaiḥ sambaddho nāṭyavedo mahātmanā ।
53
PYS: 2: 54.
(व9वषयास *याेगे <च](य (वcपानुकार इवे'Haयाणां *+याहारः॥५४॥
Svaviṣayāsamprayoge cittasya svarūpānukāra ivendriyāṇāṁ pratyāhāraḥ||54||
(Pratyāhāra is, as it were, the imitation by the senses of the mind
by withdrawing them from their respective objects.)
54
Dvivedī, Dr. P. N. (1992). Śrībharatamunipraṇītaṃ Nāṭyaśāstram, Vol I. Vārāṇasī, Uttara Pradeśa,
India: Sampūrṇānanda Sanskṛta University Vārāṇasī. Pg. 46, 52. NS – 1: 18, 19.
Evaṃ bhāgavata sṛṣṭo brahmaṇā sarvavedinā ॥ ॥19 ॥
Brahmā took the lyrics (पाठ ž) from the Ṛgveda,
(The song (गीत) from the Sāmaveda,
the language of gestures (अ<भनय) from the Yajurveda
and the aesthetic experience (रस) from Atharvaveda
Nāṭyaveda, which is closely linked to the Vedas and

the Upavedas was thus created by Brahmā, the omniscient.)
After the Sāmaveda, which dealt with ritual utterances of the Vedas, the Nāṭya Śāstra
by Sage Bharata was the first major text that dealt with music at length. Nāṭya Śāstra
According to the Paurāṇik tradition is composed by sage Bharata. Another tradition
considers Brahmā as the composer of Nāṭya Śāstra. Created around 200 BC55 Nāṭya
Śāstra contains more than six thousand verses divided in thirty-six chapters.
According to Nāṭya Śāstra when people got immersed in kāma, Krodha, Lobha,
moha, īrṣyā, sukha and duḥkha etc. (excessive desire, anger, greed, jealousy, delusion,
happiness and sorrow etc.) all the Devatās went to Brahmājī and asked him to create
some entertainment with audio and visual both (›tडनीयक<म•छामाे 6¤यं pNयं च य¥वेत ्56).
Then Brahmā created the Nāṭya Śāstra. And he taught Nāṭya Śāstra to Bharatamuni.
Bharatamuni then propagated extensively with the help of his hundred sons.
Saṅgīta Ratnākara:
नादाेपासनया देवा ¢£9वŒणुमहेMराः ।

भवH+युपा‰सता नूनं य(eादेते तदा+eकाः57।। ।।२।।
Nādopāsanayādevā Brahmaviṣṇumaheśvaraḥ ।
Bhavantyupāsitā nūnaṃ yasmādete tadātmakāḥ ।। ।।2।।
55
Dvivedī, Dr. P. N. (1992). Śrībharatamunipraṇītaṃ Nāṭyaśāstram, Vol I. Vārāṇasī, Uttara Pradeśa,
India: Sampūrṇānanda Sanskṛta University Vārāṇasī. Pg. 21.
56
Ibid. Pg. 29.
57
Śāstrī, S. S. (1943). Saṅgītaratnākara of Śārṇgadeva with two commentaries. Madrasa, Tamilnadu,
India: The Adyāra Library. Pg. 63. SR – 3: 2.
(Brahmā, Viṣṇu, Maheśvara
All Devas are worshiped by the upāsanā of Nāda.
As they all are its manifestations.)
In Saṅgīta Ratnākara (1210 – 1247), sage Śārṅgadeva says that Nāda verily is
Brahma. The Prakaraṇa “Nāda-Sthāna-Śruti-Svara-Jāti-Kula-Daivata-Ṛṣi-Chanda-
Rasa-prakaraṇa” describes how Nāda arises in the human body and how the Nāda
manifests in the human body. Saṅgīta Ratnākara says that Nāda alone (verily) is
Brahman.)
नाद¢£ - नाद एव ¢£58
Nādabrahma – Nāda eva Brahma.

(Nādabrahma – Nāda alone (verily) is Brahman.)
Yogic Significance of Nāda in Masters’ lives and their messages:
“The greatest aid to this practice

of keeping God in memory is,
perhaps, music.”59
- Svāmī Vivekānanda.
An overview of the lives and messages of the great masters who have used Nāda to
achieve the ultimate goal in life. A Bhakta enters into Bhāva-Samādhi by singing
devotional music, by contemplation on the Supreme Reality. Ādi Śaṅkarācārya, Dāsa
Kabīra, Sūradāsa, Mīrābāī, Jñaneśvara, Tukārāma, Śrī Rāmakṛṣṇa Parāmahaṃsa,
Svāmī Vivekānanda, Śrī Aurobindo, Svāmī Śivānanda, Svāmī Satyānanda Sarasvatī
etc. are such examples.
An overview of the lives and messages of the great masters:
भजाे रे भैया राम गाे9वHद हCर ।
58
Śāstrī, S. S. (1943). Saṅgītaratnākara of Śārṇgadeva with two commentaries. Madrasa, Tamilnadu,
India: The Adyāra Library. Pg. 63.
59
Vivekānanda, S. (2012). The complete works of Svāmī Vivekānanda Vol. 4. Kolkata, India: Advaita
Aśrama. Pg. 19.
60
भजाे रे भैया राम गाे9वHद हCर ।।
Bhajo re bhaiyā Rāma Govinda Hari ।।
Bhajo re bhaiyā Rāma Govinda Hari ।।
(O brother! Serve (remember, worship) Lord Rāma, Govinda and Hari ।
O brother! Serve (remember, worship) Lord Rāma, Govinda and Hari ।।)
Ādi Śaṅkarācārya:
(788 A. D. – 820 A. D.)
Fig.: Ādi Śaṅkarācārya61
¢£ स+यं, जग'He¦या ।
60
A Kabīra poem.
61
Image taken from internet.
जीवाे ¢£ैव नापरः।।
Brahma Satyaṃ, Jaganmithyā,
Jīvo Brahmaiva Nāparaḥ
(Brahman alone is real, this world is unreal;
the Jīva is identical with Brahman.)
At the time of birth of Ādi Śaṅkarācārya it was utter chaos in religious and
philosophical matters. Ādi Śaṅkarācārya established the sanātana dharma once again
with his immense efforts. He wrote Bhāṣyas on Prasthānatraya; the Upaniṣads, the
Bhagavad-Gītā and the Brahmasūtras. He dispelled the ignorance pervading at that
point in time. He travelled throughout the Bhāratavarṣa thrice on foot to propagate
the vedic knowledge.
He established four maṭhas in four directions of country. Four of his eminent disciples
were made in charge of those maṭhas. The in charge of Śṛgerī Maṭha was
Sureśvarācārya, Padmapādācārya of Jagannātha Maṭha, Hastāmalakācārya of
Dvārakā Maṭha and Toṭakācārya of Jośī Maṭha. He composed numerous Stotras,
Ślokas, hymns etc. in a way that people could relate to them and some of them were
so easy to sing and chant that they became voice of the common masses. Though they
were easy yet containing highest of wisdom. We can see one such example, when he
saw one old person memorizing the Sanskṛta grammar rules which said ‘Ḍukṛñ –
karaṇe, Ḍukṛñ – karaṇe’, inspired by this and to make him realize the importance of
reality he impromptu came up with this Śloka62:
भज गाे9वंदं भज गाे9वंदम्
गाे9वंदं भज मूढमते ।
सं*ा¨े स<©†हते काले
न†ह न†ह रœित ड कृञ् करणे ।।
Bhaja Govindaṃ bhaja Govindaṃ,
Govindaṃ bhaja mūḍhamate ।

62
This is the first Śloka of a collection of 12 Ślokas called, ‘Dvādaśapañjarikā’, later his pupils added
more Ślokas to it and then it is called, ‘Carpaṭapañjarikā’.
samprāpte sannihite kāle,
nahi nahi rakṣati ḍukṛñ – karaṇe ।।
(Worship Govinda, worship Govinda
Worship Govinda, o fool.
Rules of grammar yield nothing
Once the hour of death draws close.)
Of all the philosophical / religious lyrics in Sanskṛta, ‘Bhaja Govindam’ probably is

the most popular. The highest truth of Vedānta has been set into mnemonic verses in
very simple language. The reality given to common masses in such simple words can
inspire anybody to begin the inquiry of Self. The Ślokas – Stotras given by him have
such strong feelings that when chanted not only the person chanting but also the
whole surrounding gets the vibrations. It has the power to illumine any mumukṣu. it
can be felt by visiting those places where such activities keep taking place. The birth
home63 of Ādi Śaṅkarācārya bears testimony to it.
Once Śankara was going to take bath in the Ganges along with his pupils, at that time
one Cāṇḍāla64 was passing by, when the pupils asked him to give way to the Ācārya,
on this the Cāṇḍāla replied, “O, revered Guru! You preach Advaita Vedānta, yet
make a great difference between man and man. How can this be coherent with your
teaching of Advaitism? Is Advaita a theory alone?” Śankara was totally taken aback
by what the Cāṇḍāla said, soon he realized that the Cāṇḍāla was none other then the
lord Śiva himself. Then he composed five Ślokas named “Manīṣā Pañcakam” Every
Śloka ends thus: “He who learnt to look on the phenomena in the light of Advaita is
my true Guru, be he a Cāṇḍāla or be he a Brāhmaṇa”.
जा}+(व«सषुि¨षु (फुटतरा या सं9वदु-ृ ®ते
63
The researcher has visited the maternal birth home of Ādi Śaṅkarācārya ‘Ādi Śaṅkara Nilayama’ at
Velianad, and ‘Kālaḍī’ in Kerala and experienced the strong vibrations. A lamp lit by Ādi
Śaṅkarācārya’s maternal ancestors burns here continuously, one can’t miss the serene calmness
pervading here.
64
A lower caste / outcaste person.
या ¢£ाlद9पपी<लकाHततनुषु *ाेता जग+सा‰œणी ।
सैवाहं न च 6¤यव'(+वित 6ढ*=ा9प य(या'(त चे-
¯ा˜डालाेऽ(त स त †°जाेऽ(त गुˆCर+येषा मनीषा मम65 ॥ १॥
Jāgratsvapnasuṣuptiṣu sphuṭatarā yā sṃvidujjṛmbhate

Yā Brahmādipipīlikāntatanuṣu protā jagatsākṣiṇī ।
Saivāhaṃ na ca dṛśyavastviti dṛḍhaprajñāpi yasyāsti ce
Cāṇḍālo’stu sa tu dvijo’stu gururityeṣā manīṣā mama ॥ ॥1॥
(If one is convinced firmly, that he is that very reality which manifests
itself in all the conditions of wakefulness, dream and deep sleep;
in all the objects from the great Brahman, the creator to the tiny ant
and which is also the vibrant, but invisible, witnesser of all,
then as per my clear conclusion, he is the great preceptor,
be he a brāhmaṇa or an outcaste.)
Yet another of master piece by him is ‘Śrī Dakṣiṇāmūrti Stotra’, which encompasses
the Vedāntic wisdom in its most profound way, helps a sādhaka to understand that the
Brahman and Ātma are not two, in fact they are one.
9वMं दपOण6¤यमाननगरWतrयं िनजाHतगOतं
प¤य©ा+eिन मायया ब†हCरवाे¥त

ू ं यथा िनaया ।
यः साœा+कुˆते *बाेधसमये (वा+eानमेवा°यं
त(eै pीगुˆमूतOये नम इदं pीद‰œणामूतOये ॥ १॥
Viśvaṃ darpaṇadṛśyamānanagarītulyaṃ nijāntargataṃ

paśyannātmani māyayā bahirivodbhūtaṃ yathā nidrayā ।
Yaḥ sākṣātkurute prabodhasamaye svātmānamevādvayaṃ
tasmai śrīgurumūrtaye nama idaṃ śrīdakṣiṇāmūrtaye ॥ 1॥
65
The first of the five ślokas of मनीषाप±कं, Manīiṣā pañcakam.
(The universe is the reflection of a mirror. The Truth is the supreme Brahman,
the one without a second. The mind, senses and intellect are all able to only
discern the reflection of the Ātman. The identity of the Brahman
and the Ātman is apparent after self-illumination.
I offer my profound salutations to the
auspicious Guru, who is an
Embodiment of Dakṣiṇāmūrti, and
whose grace is responsible for the illumination.)
Sūradāsa:
Fig.: Sūradāsa66.
अब मैं ना•याे ब²त गुपाल67 ।
66
काम-›ाेध काे प†हCर चाेलना, कंठ 9वषय कt माल ।
महामाेह के नूपुर बाजत, िनंदा - स1द - रसाल ।
“म-भाेयाै मन भयाे पखावज, चलत असंगत चाल ।
तृ³ा नाद करित घट भीतर, नाना 9ब•ध दै ताल ।
सूरदास कt सबै अ9वgा दूCर कराै नँदलाल ।
Ab maiṃ nācyo bahuta Gupāla
Kāma-krodha ko pahiri colanā kaṃṭha viṣaya kī māla
Mahāmoha ke nūpura bājata, niṃdā-sabda-rasāla
Bhrama-bhoyau mana bhayo Pakhāvaja, calata asaṃgata cāla
Tṛsnā nāda karati ghaṭa bhītara, nānā bidhi dai tāla
Sūradāsa kī sabai avidyā dūri karau naṁdalāla
(O Gopāla! I am tired of dancing
(suffering from the darkness of ignorance)
having worn cloths of Kāma and krodha,
necklace of objects in the neck,
anklets of extreme delusion ,
juicy words of criticism come out of me.
Pakhāvaja of mind, which has the āṭa68 (dough) of delusion
makes noise which is out of tune.
Desires play havoc inside me on many aspects.
Sūradāsa says, “O Gopāla! Save me !
Remove all my ignorance!)
Kabīra:
67
Ārya, D., Agravāla, S. (2003). Sūra Sāgara Saṭīka. Delhi, India: Aśoka Prakāśana. Pg. 78.
68
A thick, malleable mixture of wheat flour and water is used on one side of the skin of Pakhāvaja. By
doing so the sound of Pakhāvaja gives more resonance and becomes deep,
(1440 - 1518)
Fig.: Kabīra69.
अंजन सकल पसारा रे ।
ं ार, अंजन माँड žा सब 9ब(तार ।।

अंजन उतपित वाे अाेक
अंजन बाँणी अंजन बेद, अंजन कtया नाँनाँ भेद ।।
अंजन 9वgा पाठ पुराँण, अंजन फाेकट कथ†हं ´गयांन ।।
अंजन नाचै अंजन गावै, अंजन भेष अनंत lदखावै ।।
कहै कबीर काेई 9बरला जागै, अंजन छाँlड िनरं जन लागै ।।
Añjana sakala pasārā re ।
Añjana utapati vo oṅkāra, añjana māṁḍyā saba bistāra ।।
Añjana bāṁṇī añjana beda, añjana kīyā nāṁnāṁ bheda ।।
Añjana vidyā pāṭha purāṁṇa, añjana phokaṭa kathahiṃ giyāṃna ।।
Añjana nācai añjana gāvai, añjana bheṣa ananta dikhāvai ।।
Kahai Kabīra koī birlā jāgai, añjana chāṁḍi nirañjanam lāgai ।।
(This whole manifestation is the expanse ।

The womb of creation is a manifestation, Oṅkāra is a manifestation ।
The manifestation demands all expansiveness ।
69
The Vāṇī (speech) is manifestation, the Vedas are manifestation ।
The manifestation has made many distinctions ।
Vidyā (knowledge), lessons / prayers, the Purāṇas are manifestations ।
All the unnecessary reasoning, knowledge are manifestations ।
Manifestation dances, manifestation sings ।
Manifestation shows, displays endless forms ।
Kabīra says a very rare exceptional one alone awakens ।
Leaving the manifestation awakens to the unmanifested Reality ।)
Kabīra’s poems were written in a language which was easily understandable by the
common masses. He could convey the most subtle philosophical thought in very
simple and poetic way. He had grasped the Indian philosophies completely and his
attempt was to convey it to the common man in a lucid language.
Mīrābāī:
(1498 - 1557)
Fig.: Mīrābāī70.
A Bhakti-saint, poetess and mystic, a Rājapūta princess, who abandoned the world in
70
total surrender to Lord Kṛṣṇa and sang the songs only to worship Lord Kṛṣṇa. She
was a fine singer, people used to get mesmerized when she used to sing the praises of
Lord Kṛṣṇa. She wrote many lyrical poems pining for Lord Kṛṣṇa. her yearning for
Lord Kṛṣṇa was so strong that she forgot herself and was emerged perpetually in
thoughts of Lord Kṛṣṇa. her unending desire to have darśana of her beloved Lord
Kṛṣṇa resulted in hundreds of sweet melodious songs. Her songs and poems are very
simple, easy to understand, full of love and emotions, straight from heart. And this is
what makes her poetry so unique and clearly distinguished from all others.
Rāmakṛṣṇa Paramahaṃsa:
(February 20th, 1835 - 1886)
Fig.: Rāmakṛṣṇa Paramahaṃsa71
Awake, Mother! Awake!
71
How long Thou has been asleep!
In the lotus of the Mūlādhāra!
Fulfill Thy secret function, Mother!
Rise to the thousand-petalled lotus within the head,
Where mighty Śiva has His dwelling;
Swiftly pierce the six lotuses!
And take away my grief,
O Essence of Consciousness72!
One of the most remarkable saints of modern India, a divine reincarnation to establish
the bhakti as one of the path to realize the Self. His name, Rāmakṛṣṇa Paramahaṃsa
itself reveals his greatness, the title Paramahaṃsa means the saint who has achieved
the highest spiritual illumination. Rāmakṛṣṇa Paramahaṃsa wanted to realize god,
and god to him was Mother Kālī, day after day he would weep and say,
“Mother, is it true that thou existest,

or is it all poetry?
Is the blissful Mother an imagination
of poets and misguide people,
or is there such a reality?73”
If his day went by without the realization of the Mother, towards the end of the day he
would become immensely sad and weep and cry,
“One more day is gone in vain, Mother,

and thou dost not come.
One day of this short life has gone
and I have not known the Truth.”
72
73
Vivekananda, S. (1901). My Master. New York, United States of Amarica: The Baker & Taylor
Company, New York. Pg. 35.
In this agony sometime he would even rub his face against ground and weep and cry.
This way days, weeks, months passed in continuous struggle of the soul to arrive at
the Truth. Slowly the veil started to uncover and the Mother started to reveal herself
to him. And Mother herself became his teacher and initiated him to the Truths he
always wanted to know. This way the innocent boy, grew realizing the Mother.
He realized the supreme truth that aim of life is Self-realization. And all this is a
transformation of Self alone. He wanted to get rid of the idea of gender difference to
bring conviction of perfection, because the Self has no gender; it is neither male nor
female. It is only the body that is male or female. A person who wants to reach the
Self cannot hold the idea of gender distinction. Having been born in a masculine
body, he wanted to bring the feminine idea into everything. So, he began to think that
he was a woman, he dressed like a woman, spoke like a woman, gave up the
occupation of men and lived among the women of his own family, until, after years of
this discipline, his mind became changed, and entirely forgot the idea of gender; all
thought of that vanished and the whole view of life became changed to him74. He
practiced disciplines to realize the Mohammedan idea of the Allāh by growing beard,
feeding on Muslim diet and repeating the Holy Koran. And to understand the true
nature of Jesus Christ, he attended the church and honored Jesus. This way, this saint
spent all his time in first acquiring spirituality and then in distributing it among those
who came in contact with him and through his teaching also to those who would
desire to have. Rāmakṛṣṇa was very fond of singing bhajans and other devotional
songs, he would sing along with Narendra75 on the Pakhāvaja:
Meditate, O my mind, on the Lord Hari,
The Stainless One, Pure Spirit through and through.
How peerless is the light that in Him shines!
How soul-bewitching is His wondrous form!
74
Ibid. Pg. 45.
75
Svāmī Vivekānanda’s previous name.
How dear is He to all His devotees!76 ...
When such devotional music began, he used to enjoy these sessions immensely also
sometimes get into samādhi. Sometimes he would go into ecstatic mood dancing,
sometimes fall motionless and his mind would stop functioning with tears rolling
down his cheeks, and he would cry, “Mother, Mother……!”
Svāmī Vivekānanda:
(January 12, 1863 – July 4th, 1902)
Fig.: Svāmī Vivekānanda77.
76
Nikhilānanda, S. (1984). Gospel of Śrī Rāmakṛṣṇa. Chennai, Tamilnadu, India: Śri Rāmakṛṣṇa
77
Brahman, Joy of the whole universe, Supreme Effulgence;
God beginningless, Lord of the world, the very Life of life!
O King of Kings, reveal Thyself to me!
I crave Thy mercy. Cast on me Thy glance!
At Thy dear feet I dedicate my life,
Seared in the fiery furnace of this world.
My heart, alas, is deeply stained with sin;
Ensnared in māyā, I am all but dead.
Compassionate Lord! Revive my fainting soul
With the life-giving nectar of Thy grace.
Rāmakṛṣṇa loved Narendra immensely. He respected him as a pupil, a great soul. He

used to say Narendra has many good qualities; his intelligence is as great as his
learning, he is free from ignorance and delusion, he has no bonds, he is expert in
music; both as a singer and a player, and also a versatile scholar, keeps his passions
under control. Rāmakṛṣṇa wanted to hear Narendra sing. The young disciple was not
feeling well, but at the Master's earnest request he sang to the accompaniment of the
Tānpūrā:
Sing, O bird that nestles deep within my heart!
Sing, O bird that sits on the Kalpa-Tree of Brahman!
Sing God’s everlasting praise78. . . .
Sweet is Thy name,
A refuge of the humble!
It falls like sweetest nectar on our ears
78
And comforts us, Beloved of our souls! . . .
Śri Aurobindo:
(August 15, 1872 – December 5, 1950)
Fig.: Śri Aurobindo79
Alone with God and silence,
Timeless it lived in Time;
Life was His fugue of music,
Thought was Truth’s ardent rhyme80.
79
80
Aurobindo. (2009). Collected poems Sri Aurobindo Vol. 2. Pondicherry, India: Sri Aurobindo
Ashram Publication Department. Pg. 638.
Śri Aurobindo developed a method of spiritual practice called ‘Integral Yoga’. It is a
philosophy of Yoga, also called ‘Supramental Yoga’, a process of evolution. Śrī
Aurobindo says that in the evolutions of being, human evolution is in the intermediate
stage. The goal is to realize the divine which is possible in one life time if assisted by
practices of Yoga. Because Yoga is a concentrated effort towards this Self Realization.
If not assisted the natural evolution will take a very long time which may span over
many lifetimes.
Ramaṇa Mahaṛṣi:
(December 30, 1879 – April 14, 1950)
Fig.: Ramaṇa Mahaṛṣi81
Ramaṇa Mahaṛṣi is one of the most revered names in India for showing spiritual path
81
to innumerable sādhakas. He was completely immersed in his deep understanding of
the supreme reality. Sometimes some sages and saints used to come to his āśrama and
give discourse for the benefit of the devotees. Once on one such occasion, when a
saint was speaking on the subject of Brahman people were listening. Ramaṇa
Mahaṛṣi was also present there listening. One devotee asked him, “We are listening to
the discourse because we are ignorant and want to be illumined. Why are you
listening?” To this, Ramaṇa Mahaṛṣi replied, “I am listening, how he is describing
me!” Such was his unshakable realization of Self.
This is what Ramaṇa Mahaṛṣi says about ‘Om’, “The mystic syllable is all-inclusive
and all-transcendent. It includes apparent evil, which we can overcome only with the
help of this mysterious Power, Om. The meaning and power of Om cannot be
explained in words or conceived by the mind. It can only be experienced as the bliss
of Being in full identity with the Self. The meaning of Om is the same as Aruṇācala,
the Self, I AM, pure Being.”
Some experiments with Nāda in general, and with music:

According to Dr. Jeffrey D. Thompson (taken from internet),
“Primordial Sounds” Awaken our Organic/Biological Intelligence82. Our first sensory

experience in life as a fetus in the womb is of sound and vibration. We float in body
temperature amniotic fluid - weight-less. We have fluid in our nose and mouth, which
eliminates the senses of smell and taste. We have our eyes closed and are in the dark -
no sense of sight. We have fluid in our ears pressed right up against the eardrum - but
sound travels through water fives times more effectively than through air, therefore
our sense of hearing is actually amplified. The symphony of sound patterns we
experience at this time will be deeply embedded in our subconscious mind for the rest
of our lives - the sound of water swishing, arterial pulse sounds and voices. These are
our first experiences of “Primordial Sounds.”
82
Sound -- Medicine for the New Millennium, Dr. Jeffrey D. Thompson, D.C., B.F.A.
http://neuroacoustic.com/newmil.html
The first manifestation of existence is Nāda. As everything is a manifestation it takes
shape, which is most appropriate to express the existence. We see that from the
example of the water crystals. Though water is water everywhere same chemical
combination of H2O, but the Nāda, which makes its vibrations, may differ. That is
why the difference in the shape of the crystal that are obtained by freezing different
samples of water. (Dr. Masaru Emoto.)
Dr. Masaru Emoto’s experiments on water:

According to Dr. Masaru Emoto, physics says everything in existence vibrates.
Vibration is just another word for energy. Energy flows through water. And the
hexagonal crystals represent the life force of Mother nature. Therefore the absence of
hexagonan crystal can be seen as a sign that the lifeforce in that area have been
compromised energetically.
Music is vibration, if we expose water to music its crystal structure will change. Dr.
Masaru Emoto says, “I think music was created to bring our vibration back to its
intrinsic state. For example after world war II Japan went through a rough period,
experiencing pain that was hard on its people, that’s what spawned so mane positive
youngs during that time. Each era each eommunity has a history of its own, it’s
human nature to create music that readjusts the vibrations distorted by history. That’s
why I’m so certain that music is a form of healing before it is an art!”
1956 south east Asia 83 , secret millitary laboratory for developing and producing
weapons of mass destruction becteriological weapons, scientists were discussing the
properties becteriological weapons should have, in one of their protected secret
meetings. Suddenly the meeting session breaks off. All the participants are taken to
hospital with symptoms of severe food poisoning. An investigation of what happened
quickly hits a dead end as scientists had consumed nothing except water on the table.
83
WATER documentary -How your consciousness directly affects the universe Dr. Emoto 1_8
https://www.youtube.com/watch?v=KTvLiazu6UY
time: 03:00 pm, 26 April, 2016
The water was tested, no harmful additives were found. Its chemical composition was
H2O. The report said, “POISONING CAUSED BY ORDINARY WATER.”
Dr. Masaru Emoto explains that water has memory, experiments done show that
water receives and makes an imprint of any outside influence. Remembering
everything that occurs in the space that surrounds it. Any substance coming in contact
with water leaves a trace on water. The structure of water is more important that the
compositions.
I believe the original idea of creation by the creator of this universe was “the pursuit
of beauty.” Everything is combination of energetic vibration. As vibration resonates,
it makes some tangible objects.
Photo: Water crystal, Symphony No. 40, Mozart.84
Combination of non-resonating vibration can result in destructive energy, and nothing

can be created out of it. When some vibration and the other resonate each other, it
always creates beautiful design. Thus, most of the Earth is covered with beautiful
nature.
That is why scientists, philosophers, and religionists pursue for unknown facts. Is it
presumptuous to suggest them taking paths with “the pursuit of beauty” in mind as a
84
All Water crystal photographs taken from website http://www.masaru-emoto.net/english/water-
crystal.html, at 10:30 pm, April 25, 2016.
means to confirm their right paths?
Photo: Water crystal River Ganges, India.
By exposing water to a particular word or piece of music, freezing it, and

photographing the ice crystals formed, Dr. Emoto has shown that from beautiful
words and music, come beautiful crystals, and from mean-spirited, negative words,
come malformed and misshapen crystals. What is the significance?
Photo: Water crystal after offering prayers.

In his various books, the first of which was published in 1999, Dr. Emoto, a doctor of
Alternative Medicine, introduced the novel idea that water not only reflects the
physical world around it (as when we use a placid lake or pond as a mirror), but it also
reflects the consciousness of the being surrounding it.
The experiment he used to discover this included bottles filled with water, that were
set under either a positive or a negative influence. For example, some bottles of water
were wrapped with written notes, with the writing facing inside the bottle that said,
“thank you.” This was done in various languages. No matter what language was
used, the water in these bottles, when frozen, created complete crystals that were
lovely to behold.
Photo: Water crystal, you disgust me.
Water over which a priest prayed, with love and gratitude, created the same type of
crystals. Conversely, unpleasant, incomplete, and malformed crystals were created in
water exposed to people saying or writing, “You fool,” or other negative expressions.
It becomes clear when we remember that the adult human body is approximately 70%
water and infant bodies are about 90% water. We can be hurt emotionally, as the
water can be changed, for the worse physically by negativity. However, we are
always closer to beauty when surrounded by positive thoughts, words, intentions and
ultimately those vibrations.
Photo: Water crystal, you fool.
Effects of Nāda / Śabda loaded with emotions:

The power of words, emotions, sound vibration is so strong it can help a nation mend
its ways for the betterment of the countrymen. Even a CJI who is supposed to be well
balanced emotionally gets emotional, weeps, wipes his tears and delivers his speech
in front of the PM, the CMs of all the states and all the CJIs of all the states. But that
is exactly what makes the impact to bring about the change and call for immediate
action on the part of govt. and make them respond at once to the issue.”85
Discussion:
“Just as every action that emanates from us comes back to us as reaction, even so our
actions may act on other people and theirs on us. All minds which are in similar
85
PM Modi inaugurates the Joint Conference of Chief Ministers & Chief Justices of High
Courts,11am,april25,2016 https://www.youtube.com/watch?v=XbzsSBPuW8s Streamed live on Apr
24, 2016
circumstances will have the tendency to be affected by my mind. If there are different
musical instruments tuned alike in one room, all of you may have noticed that when
one is struck, the others have the tendency to vibrate so as to give the same note. So
all minds that have the same tension, so to say, will be equally affected by the same
thought.86”
The aim of making the body a perfect instrument for the spirit is that the spiritual will
be able to do what it wills to do through the body. When body is in perfect shape it
will be able conduct the actions without posing any obstacles, without getting tired or
getting carried away. An insufficient physical instrument is an impedement on the
path of higher goals. A vocalist sings using his physical body, vocal cords, lungs,
entire oral cavity, lips etc. supported by his whole body. In wind instruments, a
musician uses his breath to produce music. In string instruments, a string is struck and
sound is produced, and by manipulating the string with the fingers music is played.
Svāmī Śrī Śivananda says:
“That which separates you from God is mind87.
Music helps in sādhanā to transcend the mind.” If this is understood properly, then all
one needs to do is remove this obstacle from the middle and be one with God. Then
all efforts required are to remove the mind. It can not be done all of a sudden in one
go, it is a slow and steady process, which needs to be followed continuously for a
long time with vigor, enthusiasm keeping faith and respect88.
86
Vivekānanda, S. (2012). The complete works of Swami Vivekananda Vol. 1. Kolkata, India: Advaita
Aśrama. Page 81.
87
Śivananda, S. (1994). Mind - Its Mysteries And Control. Uttarā Khaṇḍa, Himalayas, India: The
divine life society. Pg. 1.
88
PYS – 1:14.
स त दµघOकालनैरHतयOस+कारासे9वताे 6ढभू<मः॥१४॥
Sa tu dīrghakālanairantaryasatkārāsevito dṛḍhabhūmiḥ||14||
Music elevates, inspires, strengthens and invigorates. It vibrates in the memory. The
Bahiraṅga sādhanā is control of consciousness from the outside world and Antaraṅga
sādhanā is expansion of consciousness into the inner world. There are many paths
given by sage Patañjali in the Yoga philosophy for different kinds (different Sattva
Rajas and Tamas combination) of people.
ब†हमुOखता9वच्छेदात् अHतमुOखतया (वकारणे लयः89 ।
Bahirmukhatāvicchedāt antarmukhatayā svakāraṇe layaḥ.
Śrī Sadāśivendra Sarasvatī in the Yoga Sudhākara explains that leaving the
occupation with the outside world and objects when a sādhaka leads his cittam
towards the inward journey it is then that the cittam dissolves into its cause, that is
laya. In the process of laya, kārya merges into the kāraṇa. Śabda is one of the
kāraṇa, we are made-up of, and so, we physically, mentally, spiritually are heading
forward towards laya in kāraṇa naturally. As Śabda is one of the Tanmātrā all bhūtas
are made-up of; so, at the time of laya all bhūtas merge in śabda.
Music can be a means of Dhāraṇā for all to some extent or to a large extent. But for
those whose nature takes them towards music, because of their vāsanās, it can be
THE means of dhāraṇā, dhyāna and samādhi. Music can make a sādhaka worthy of
receiving Yoga Śāstra. The expectation that is implied by the word ‘Atha’ of the ‘Atha
Yogānuśāsanam’ can be satisfied with the Saṅgīta-sādhanā; making the saṅgīta -
sādhaka a Yoga-sādhaka. So, Saṅgīta-sādhanā can graduate a sādhaka from a ‘no-
knowledge of yoga’ to beginner. Because he at least knows sādhanā, now all he has
to do is knowingly put the effort on the path of Yoga-sādhanā. One can take any
object90, the goal is laya.
89
Sadāśivendra, S. (1983). Pātañjalayogasūtram with Yoga Sudhākara of Śrī Sadāśivendra Sarasvatī.
Madrāsa, Tamilnāḍu, India: The saṃskṛta education society, Madrāsa. Pg. 2.
90
PYS – 1:
यथा<भमत ‚याना°ा ।
Yathābhimata dhyānadvā.

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ॐ

Fig.: Flow of thought in this chapter.

Yogic Significance of Nāda in and as Music particularly in Dhrupada and Vīṇā:

According to sage Ramaṇa Mahaṛṣi, meditation on Nāda is one of the various

Yogic Significance of Nāda as perceptible sound:

Sound of Musical Instruments:

strings) with nails.

3. चमOज - Carmaja: musical sound produced by means of leather through

instruments such as drums etc.

4. लाेहज - Lohaja: musical sound produced by metal pieces, such as cymbals

5. शारWरज - Śārīraja: musical sound produced by human throat.

The nature of music is sound:

Physics tells us, our body is made-up of vibrations of different frequencies. So

Yogic Significance of Nāda in Music:

Bhartṛhari in the Brahmakāṇḍam of Vākyapadīyam says that by which reason, the

षjkाlदभेदः श1देन Nयाfयाताे cmयते यतः ।

Yogic Significance of Nāda in Dhrupada:

“What real music we have lies in Kīrtana and Dhrupada;

Sāmagāyana à Chanda à Prabandha à Dhrupada

Fig.: Development of Dhrupada music.

literature is in form of verses in Ṛgveda, prose in Yajurveda, the song in Sāmaveda

Yogic Significance of Nāda in Vina:

स यथा दुHदुभेहOHयमान(य न बाzा{छ1दा{छ|याद् }हणाय

दुHदुभे(त }हणेन दुHदुIयाघात(य वा श1दाे गृहीतः30 ॥ ॥७॥

स यथा श€•(य ‚eायमान(य न बाzा{छ1दा{छ|याद् }हणाय

श€•(य त }हणेन श€•‚e(य वा श1दाे गृहीतः31 ॥ ॥८॥

स यथा वीणायै वाgमानायै न बाzा{छ1दा{छ|याद् }हणाय

वीणायै त }हणेन वीणावाद(य वा श1दाे गृहीतः32 ॥ ॥९॥

sa yathā dundubherhanyamānasya na bāhyāñchabdāñchaknuyād grahaṇāya

Yogic Significance of Nāda in and as Saṅgīta Sādhanā:

साधाे, श1द-साधना कtजै।

जे ही श1द ते *गट भये सब, साेई श1द ग†ह ल‡जै॥

श1दै वेद पुरान कहत है,ं श1दै सठ ठहरावै।

श1दै सर-मुिन सHत कहत है,ं श1द भेद न†हं पावैं॥

श1दै सन सन भेष धरत हैं, श1दै कहै अनुरागी।

षट दशOन सब श1द कहत है,ं श1द कहै बैरागी॥

श1दै काया जग उतपानी, श1दै केCर पसारा।

कहैं कबीर जहँ श1द हाेत है, भवन भेद है Hयारा॥33

Sādho, śabda-sādhanā kījai ।

O tongue! Always repeat the name of Mother Durgā!

Who but your Mother Durgā will save you in distress?

Saṅgīta Sādhanā and Nāda Yoga

Hare rāma, hare rāma, rāma rāma, hare hare

hare Kṛṣṇa, hare Kṛṣṇa, Kṛṣṇa Kṛṣṇa, hare hare

Eat a little, drink a little38;

talk a little, sleep a little. Mix a little, move a little;

serve a little, give a little; Work a little, rest a little;

study a little, worship a little. Do

āsana a little, prāṇāyāma a little;

reflect a little, meditate a little, Do japa a little, do kirtana a little,

You will have time for all.

Journey from creation to creator:

Creation -----------------à Creator

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

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

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

Fig.: Journey from creation to creator.

Arts Music Dance Activities World

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

What should be our attitude?:

कृŒण,कृŒण, हरे , हरे ।।

Hare Rāma Hare Rāma

There is immense power in the remembrance of God’s name. When we repeatedly

  Who but your Mother Durgā will save you in distress?