Music, music with spheres, the india foundation

THE MUSIC OF THE SPHERES

I am but a shadow. This page belongs to a stalwart
on Indian Music who will satisfy your thirst in the
future. Till then, let me give you a little filler.

What is music ? A combination of notes, in
consonance with each other, placed in the same
octave or a different one. The effect? You feel a
fountain spring into life inside you. A distant star
twinkling in a clear dark sky. Or the stabbing pain
as in the separation between lovers.

The harmonic relationship between consonant
notes in Indian music is termed as NAD. But what
then is the Music of the Spheres ?

Jamie James writes “Picture to yourself, a universe in which everything makes sense. A serene

order presides over the earth around you and the heavens above revolve in sublime harmony.

Everything you can see and hear and know is an aspect of the ultimate truth : the noble simplicity

of a geometric theorem, the predictability of the movements of heavenly bodies, the harmonious

beauty of a well proportioned fugue all are reflections of the essential perfection of the universe.”

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		This is “The Music of the Spheres.” The NAD-BRAHMA.

		This music is emanated by the Cosmic Entity as all the celestial
		bodies move in perfect coordinated motion. This forms the
		essence of Indian Music.

		Remember our first page “The Creation Hymn ?” It throws light
		on man's place in the universe. The Cosmos is 14 billion years
		old. But before that ? NOTHINGNESS ! Can everything have come
		from nothing ? But it did. We did. Music did too. The primordial
		sound heard was “Aum” meaning “Amen” So be it. It appealed
		to the soul, the temperament, the sensibilities, the emotions.
		The effect produced was pure and enlightening providing a
		connection between our earthly existence and eternal reality.

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Let me take you by your “heart” and lead you through some of the alleys of Indian Music.

MUSIC IN THE VEDIC AGES

During 1400-1500 B.C. the Rig Veda was created. Not
written. But sung. The sages dwelt amidst Nature's bounty.
The sun, the earth, fire, water, dawn any aspect of Nature
was eulogized and worshipped. They constructed altars.
Lit holy pyres and sang praises of Nature by chanting in
tune, “mantras “ dedicated to each aspect. The tremendous
spiritual force and purity of the suktas (couplets), shlokas
and mantras, were mainly prayers for the well-being of the
universe and the physical, mental and spiritual selves of
all - asking the Supreme Being to free us from pollution,
turmoil, illness, discomfort and misery and bless all with
Peace. The repetitive singing of the “mantras” invoked a
special pattern within oneself.

Society was regulated by these “elaborate worshiping spells' and common people came to “hum”

the melody of the 'mantras'. The basic value systems of community life came to be encouraged

through these. Everyday activities like going on a voyage, beginning to till the land, making an

offering of cattle, distributing wealth among the poor were accompanied by elaborate harmonious

chantings. Majority of the “Sama Veda” chants were in descending scales or octaves.

Music was the great binding force of this era.

NORTH INDIAN CLASSICAL AND CARNATIC MUSIC

In the period after the Vedic chants, we come across “Gandharva” or “Margi Sangeet” with

Lord Shiva as its subject. The concept of the ‘Raga', characterizing North Indian classical music,

takes a definite shape by the time of Matanga (5th century A.D.). Indian classical music based

on the 'Raga' form, refers to both North Indian and Carnatic music. These are predominantly

individualistic in nature. Rhythm is inextricably tied to the 'Raga' form.

So, what is a 'Raga' ?

A 'Raga' consists of a fixed and unchangeable set of notes presented in the form of an ascending

and descending scale. Then the musical notes carve intricacies through various combinations

within a particular 'Raga'. Indian classical music is based on MELODY. Here the emotional effect

or appeal is created by means of notes or tones following each other in succession in a multi

dimensional way and having a relationship to each other on the basis of aesthetic principles.

There was a beginning in North Indian classical music.
Once upon a time. And then ? And then the music flowed
like a river and its distributaries going to meet the mighty
ocean. The distributaries are the “Gharanas".

The various schools which developed. Expounding
distinctive styles, rhythm, form, structure, in a variety of
playing, singing, thinking all different yet ONE. The oneness
of the mother river carrying the waters to the ocean that is
North Indian Classical Music.

Carnatic music is characterized by the intricate use of notes within a 'Raga' which 'sound' different

from the North Indian ones, for style. Forceful rendering of the meandering melodic movements

of the notes, complexity in the arrangement of musical patterns and rhythmic elasticity are

predominant features. The text and music permit great freedom for creative improvisations.

Exciting syncopations and cross-rhythms form an essential part of its beauty.

FOLK MUSIC AND OTHER VARIATIONS

Confused ? There is a simple element too. It is India's varied and vibrant folk music, closely

connected to each of the social, cultural and religious festivals of the land. Apart from these,

there are other types of songs established in stylized schools by famous musicians. But, these

shall be covered in our future pages.

THE CHARM

So what is the basic difference between Indian and Western Music ? HARMONIZATION , on the

arrangement of notes in DIFFERENT octaves, forms the basis of Western music, while we restrict

ourselves to the 'Ragas' consisting of notes in ONE musical pattern. Each one is distinct in its

appeal. “Ragas' which suit the time of the day and mood and seasons. “Bhairavi” reflects the

purity and freshness of dawn. “Todi” the blaze and languor of the afternoon. “Yaman” - the

obvious alluring beauty of the evening. “Darbari Kanada “ and “Malkauns” the deep contemplative

mood of the night. Seasons bloom with “Basant” and “Bahar” in Spring and “Malhar” in the rains,

Chandni Kedara “ on a full moon night. So intense were the emotive qualities of the 'Ragas', that

magical powers came to be endowed in them. A story goes as such : Once Emperor Akbar asked

his favourite and most powerful musician Tansen, to sing Raga Deepak (Melody of Lights). As the

singer began to sing the Raga, one by one the oil lamps in the palace courtyard, where he was

performing, began to light up by themselves !

So how do we conclude or should we say begin ? Indian music does not go in for variety in one

piece of composition like its Western counterparts. It reflects ONE emotion. It reflects the oneness

of the Universal Music of The Spheres. It does not express the emotions confined within human

lifestyles but brings the Limitless Vast Expanse into our lives. That is why, Indian Music transcends

the confines of human pain, frustration or even happiness and soars, taking our minds on its wings

out into the Cosmos.

You browser there. You are Andromeda. I am
Orion. You there. You are Alpha Centauri. We are
all celestial beings. Each of us receiving and
contributing a strain of melody, from and to the
Cosmic Music. Sit straight. Close your eyes and
chant “Aa au mmn.” You are connected. Feel the
tune flow in your blood. It is dancing in your
bones. Open your eyes. There you are. In the
center of a galaxy. You can see the Universe.
Hear the Music of the Spheres. It is yours.

But you must want it first.

Love,

Sushweta

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