Mysteries Of Sound, Song And Sweetness
According to the science of A acoustics, the origin or the seed of a word remains in latent form in ara Shakti, primordial sound energy. he latent or dormant condition of a ord is called 'para'. At the first stage of press ion, one visualises that word ith one's inner eye. Then it takes the ame of pashyanti-the feminine ender of pasha with the suffix shirt. Thereafter, the stage of continuous fort that goes on from the navel to the ocal chord regions to transform the solarised word from mental image into expressible state or language is lied Madhyamika. The stage that allows this Madhyamika, when it goes on aching, stirring the uvula continuously, known as dyotamana. Afterwards, hen, with the help of the uvula, it is an formed into an audible sound, it is lulled vaekhari. At last, when borne by the uvula, it comes out between the parted lips, it is shrutigocara. When human beings attain proficiency in controlling vaekhari power by dint of spiritual sadhana, it is called vaekhari siddhi. Even without following systematic spiritual practice, through continuous normal practice also one can gain control over this vaekhari shakti, though only to some extent. The power required to issue commands or to give orders is called galavaekhari. With the help of which human beings can augment the depth of the sound, and according to their sweet will can add a quiver to the voice. Adding sweetness to a quivering voice nonetheless warrants concentration of mind in the karma nadi or energy channels related to vocal chord which is close to the centre of vaekhari power. Even if the measure of sweetness in the vaekhari shakti is little, this will not be so in the kurma nadi. Simply by playing on words and thereby confusing people, a section of so-called learned pundits may derive intellectual pleasure, their intellectual thirst may be quenched, but the human heart remains unsatisfied. These intellectuals, steeped in intellectual vanity, may get temporary satisfaction, but they can never attain salvation. Songs and poems that have preponderance of soft and soothing sounds are called komalagiti. Generally in poetry and lyrics, letters belonging to ca varga and ta varga are considered to be koala, soft, those of ka varga and pa varga are regarded as medium, and those of ta varga are considered hard. Lyrics sound sweet if letters belonging to the komala vargas are used properly within the various lines. The sweetness is enhanced and becomes more pronounced if kathor dhvani (h=sounds) are scattered through the line followed immediately by komala dhvaThe high frequency part of a son called khandaparshu... While singione should hold before one's eyes the bhava, ideation of the raga or raginiwhich the song is being sung and shealso sing meticulously and systemaally within the notes prescribed for particular raga or ragini. The mind has to be led to the mahahava (ecstatic samadhi) or cosmic ideaembodied in the different ragas and ranis throughanubhava or unit ideatiorthese, bhava, anubhava and especiallymahabhava are called khandaparshu. In ancient times, the impetus thawe given to the unit bhava or mahalhava for the sake of rudrikarana, pоnancy, stambhikarana, stilling themand spastikarna, clarity was calledkhambaj. (Today is the 34th anniverof Rabat Samgita Divas.)
DISCLAIMER:
The views expressed in the Article above are Shri Shri Anandamurti views and kashmiribhatta.in is not in any way responsible for the opinions expressed in the above article. The article belongs to its respective owner or owners and this site does not claim any right over it.
Courtesy: Shri Shri Anandamurti and Speaking Tree,Times of India
Mysteries Of Sound, Song And Sweetness
According to the science of A acoustics, the origin or the seed of a word remains in latent form in ara Shakti, primordial sound energy. he latent or dormant condition of a ord is called 'para'. At the first stage of press ion, one visualises that word ith one's inner eye. Then it takes the ame of pashyanti-the feminine ender of pasha with the suffix shirt. Thereafter, the stage of continuous fort that goes on from the navel to the ocal chord regions to transform the solarised word from mental image into expressible state or language is lied Madhyamika. The stage that allows this Madhyamika, when it goes on aching, stirring the uvula continuously, known as dyotamana. Afterwards, hen, with the help of the uvula, it is an formed into an audible sound, it is lulled vaekhari. At last, when borne by the uvula, it comes out between the parted lips, it is shrutigocara. When human beings attain proficiency in controlling vaekhari power by dint of spiritual sadhana, it is called vaekhari siddhi. Even without following systematic spiritual practice, through continuous normal practice also one can gain control over this vaekhari shakti, though only to some extent. The power required to issue commands or to give orders is called galavaekhari. With the help of which human beings can augment the depth of the sound, and according to their sweet will can add a quiver to the voice. Adding sweetness to a quivering voice nonetheless warrants concentration of mind in the karma nadi or energy channels related to vocal chord which is close to the centre of vaekhari power. Even if the measure of sweetness in the vaekhari shakti is little, this will not be so in the kurma nadi. Simply by playing on words and thereby confusing people, a section of so-called learned pundits may derive intellectual pleasure, their intellectual thirst may be quenched, but the human heart remains unsatisfied. These intellectuals, steeped in intellectual vanity, may get temporary satisfaction, but they can never attain salvation. Songs and poems that have preponderance of soft and soothing sounds are called komalagiti. Generally in poetry and lyrics, letters belonging to ca varga and ta varga are considered to be koala, soft, those of ka varga and pa varga are regarded as medium, and those of ta varga are considered hard. Lyrics sound sweet if letters belonging to the komala vargas are used properly within the various lines. The sweetness is enhanced and becomes more pronounced if kathor dhvani (h=sounds) are scattered through the line followed immediately by komala dhvaThe high frequency part of a son called khandaparshu... While singione should hold before one's eyes the bhava, ideation of the raga or raginiwhich the song is being sung and shealso sing meticulously and systemaally within the notes prescribed for particular raga or ragini. The mind has to be led to the mahahava (ecstatic samadhi) or cosmic ideaembodied in the different ragas and ranis throughanubhava or unit ideatiorthese, bhava, anubhava and especiallymahabhava are called khandaparshu. In ancient times, the impetus thawe given to the unit bhava or mahalhava for the sake of rudrikarana, pоnancy, stambhikarana, stilling themand spastikarna, clarity was calledkhambaj. (Today is the 34th anniverof Rabat Samgita Divas.)
DISCLAIMER:
The views expressed in the Article above are Shri Shri Anandamurti views and kashmiribhatta.in is not in any way responsible for the opinions expressed in the above article. The article belongs to its respective owner or owners and this site does not claim any right over it.
Courtesy: Shri Shri Anandamurti and Speaking Tree,Times of India