Music and Spirituality
Inaudible to the human ear, Indian rishis were first to suggest that cosmic vibrations, the Svra was the origin and basis of all matter, energy and life forms in the universe. These cosmic vibrations caused the Pancha-Mahabhuttas (the five physical elements) to vibrate, and where there is vibration there is sound.
In its purest form, the primordial sound AUM (OM) was said to be sound of the cosmos, and it gave birth to many worlds that are in existence today. Chakrapani suggested that both sound and light travelled in waves, and that light travelled at a much higher speed than sound. The wave character of sound was elaborated on by Prastapada who hypothesized that sound was an energy form and it was carried by air in increasing circles – a movement that was similar to the ripples in water. As with all Vedic physics, this was all united into a metaphysical concept of soul and mind.
Science of Sound
The Samaveda and Yajurveda (1200 – 1000 BC) were among the earliest testimonies of Indian music. In the physical universe, it was believed that there are seven original notes – Shadja (SA), Rishabha (RE), Gandhara (GA), Mahdhyama (MA), Panchama (PA), Dhaivata (DHA) and Nishada (NI), and these notes are representative of the seven properties related to space. All types of sound that we hear of, either from musical instruments, the nature (i.e. cloud, rains, sea, wind..), the animate (i.e. animals, birds, insects…), the inanimate (i.e. stones, metals, wood…) were considered to be expressions of the seven original notes. As basis of all music, sound was thought to be intimately related in some way to non-physical and sacred dimensions or planes of existence. Sound was also said to have its own reflection – Pratidhvani (Echo).
The Veda, knowledge through Sound
In ancient India, the Vedas are called Sruti, ‘that which is heard’. A reason why the Vedas were handed down generations orally, and were not taught or learned from any written text. The rishis believed that sound of the Vedas cannot be properly transcribed, and some of the sounds cannot be accurately represented in any script known to mankind and these unique sounds have to be learned by listening.
Besides there were many Svaras of the Vedic mantras that required tonal variations and proper accentuation – ‘Udatta’ (i.e. raised syllable), ‘Anudatta (lowered syllable) and ‘Svarita’ (falling syllable). It was believed that Vedic chants with correct intonation determined the efficiency of the religious rites. The Taittiriya Samhita of the Vedas has several illustrations of how wrong chanting could produce results contrary to those intended. For example, when the wavelength of our radio shifts even minutely we start receiving the broadcast of a completely different transmitting station.
Music and Spirituality
Music in India, since the Vedic era, was practiced as a spiritual science and art – a means to enlightenment. During the Vedic period, music was known to be used for all the rituals and prayers. It was believed that music of the spiritual chants and mantras recited during sacrificial homas and havanas had the power to influence course of human destiny, and even order of the universe. Only those people who could perform religious and spiritual practices, could sing or play a musical instrument. Interestingly, music in India known as ‘sangeet’ covered all three performing arts – singing (gaayan), dance (nritya) and playing the instrument (vaadan). It was unique to Indian music only, and it was mainly sung and performed in temples to attune with the Almighty. Music pitches (Sruti) were seen as caused by the magnitude and frequency of vibrations. A svara (tone) was believed to consist of a Sruti (fundamental tone) and some anuranana (harmonics).
In India, sacred sound or Mantras were used to pierce through sensual, mental and intellectual levels of existence for the purpose of purification and spiritual enlightenment. And the vibrations of these sounds had the power through which one could achieve liberation or moksha.
-Dr Shobha Tawade
Team, ScienceNow Digital
