Comment

Comment by Prem Lancaster on February 19, 2011 at 1:32pm

As a sacred musician I have a small musical rant to get off my chest ; ) I think that the power of devotional group singing is totally under-utilized across the board. Almost every Interfaith service/gathering I have attended in the last year includes sacred music from various traditions...but only on CD or through a solo performer. As a facilitator of kirtan and Dances of Universal Peace, I have found that people (in the West anyway) are very, very critical of their own voice and (too often) unwilling to sing loudly or at all. Time to move out of the head and into the heart! It's not American Idol people!!! The heart doesn't care if you have perfect pitch or if you can even carry a tune! It is not about great musicality, it is about great feeling...music is the divine language that transcends all cultures and beliefs and is a wonderful gift that needs to be celebrated daily, our souls long to sing! So we need to get singing...and not just in the shower. We need to spread the healing tonic of our joyous voice throughout the land!!! Thanks for providing a forum for me to let that go Dierdre! I feel much better now : )

Comment by Dr Jayesh Shah on January 3, 2011 at 2:43am

Divine Musical Offering

The musician and the raga are like the priest and the deity. Each morning as the musician sits down to practice, the soulful lyrics and the rhythm rouses the raga's divine force — quite
like the ceremonial prayer performed in a temple to `awaken' the deity.

Like the priest, the musician first purifies his own mind, body and soul and seeks his guru's blessings before he begins to sing. As the temple precincts
are washed before the daily prayer ritual, the place where the riyaz is performed each day is cleansed
likewise. The priest first 'calls' the deity, what is known as the 'aavahan', with mantras and invites Him
to be seated in the idol. While bathing the idol, and before starting the puja, the priest decorates the idol with
vermillion, ash, sandalwood and silk cloth. So does the musician, as he
concentrates within himself and sings the initial movements of the raga in deep
devotion, invoking the deity of the raga
, rousing it awake.

To the chanting of mantras, the priest `appeases' the divinity present in the idol, treating God as guest, and offering, one by one, water, milk, honey,
perfume, flowers, incense, sweets and fruit, and the light of the oil lamp.
Similarly the musician now mouths the lyric like a mantra, appeasing the raga's
deity by awakening its mandala or
mystic svara configuration, note by
note, to compose cyclical musical movements in the raga.

As the paragraphs of the raga are sung, in cycles of initiation, elaboration, and conclusion, they expand its
presence and aura, giving it life and a spiritual extension and reach. This is
called aalaap—from aalaapanaa or expansion -- when the
notes, along with spaces between them, create a heightened presence of the
raga's divine presence. The raga's
veneration is of the Lord, in the process awakening cosmic love, both in the
musician who is singing and in the listener who is present. The word 'raga', means 'love'.

The priest then narrates the story of the Lord, to the deity, chanting the many names of God. The puja ritual
intensifies to a climax as the mantra chanting goes on, and the Lord is fanned
amidst the ringing of bells and the blowing of conches. At which point the Lord
begins to shower His blessings on all. In the same way, the raga, too, reaches
an ecstatic peak, pitch or crescendo when the musician intensifies its story,
composed from its own inner nature into paragraphs of the aalaap, unfolding its intense beauty and loving nature.

Composing in the raga is a very specialized task. The prabandha , composition or structural arrangement of all three—raga, tala, and bandish or lyric, is in unison, and the musician composes pieces which are expanding
wholes within wholes, inevitably evolving geometries of musical dialogue with
the Self. Each paragraph has assonance and variation by way of contrast, but it
also artfully formulates constant answers or resolutions, only to continue the
process into the next paragraph or cycle of composition. Both processes are the
externalization of the intense internal process going on.

In the temple the priest now symbolically showers the consecrated water on all those present and so, too, with the raga. The musician who has achieved laya or union with the divine core of
the raga, symbolized by the heightened 'drut'
or fast portion of the singing, now showers the blessings of musical prasad on the audience.

Comment by mahanbir singh on December 28, 2010 at 2:36pm

music is language o f soul. when u sing praises of God you enjoy the Ecstasy in sikh religion music is an integral part of the divine poetry. The holy book of sikhs is called sri guru granth sahib. sikhs believe it to be a living guru. This holy book has 1430 pages and contains divine poetry of 6 sikh gurus and 25 other devortees including hindus and muslims. every poem is set in a particualr ragas. there are 31 ragas in which the whole holy book is written and composed. singing of praises is the main material of this holy book plus instructions  about ideal life.This book is translated into English and can be read with the meanings of the scripture  on web sites like sri granth.org  Sikhs call the singing as keertan. this forms the part of holy worship of Formless God.

Comment by Marilyn Louise Copeland on December 10, 2010 at 9:08pm

Hello  Deidre,  Thanks for starting this group.  Music, singing, chanting & toning are very much the universal language of the heart.  I have recently been making up my own chants especially when out driving in the car. They just pop into my head and I chant them over & over.   I used to try & remember them but now I realise whatever comes in the moment of being open in the heart is just right for that day.  I don't have to remember it. There will always be a flow of music ready to rise up from my heart.  I also use Tibetan Bowls ( metal ones) which I find take me into a meditative state quite quickly & change energy patterns.   Next I would love to get a crystal bowl .  They sound so amazing. A whole room fills with the sound and the vibrational quality is sublime.

Marilyn

Comment by Judith Bruni on October 16, 2010 at 4:01pm

Dear Shree CKP Swamiji, Thank you for all that interesting information on the crystal singing bowls: how very beautiful they must be!

I knew when I heard the different bowls singing that it was imperative to have the right bowl and vibration for one's needs: none that we heard brought us to stillness or evoked joy or anything particularly positive (or negative) on that occasion so we thought it best to wait until it was just right. The vibrations are very powerful because they are so clear.

Comment by shree c k p swamiji on October 16, 2010 at 2:42am

dear soul judith,
Tibetan Drum
Among the Tibetan people, drums are an important part of the accompaniment for religious and social dances and for dances by special performers. In the Qinghai-Tibet plateau region, large cylindrical drums with cowhide heads, low and resonant in tone, were once an important part of the ceremonial equipment of every monastery. In religious rituals, dancers in the masks of gods, demons and animals writhed and strutted to frighten onlookers and impress them with the power of these "spirits". Potent music was provided by the deep-toned big drums, smaller drums with sharper notes, bronze horns, trumpets and cymbals.

A folk dance popular among the herdsmen of the Sichuan-Tibetan grasslands is performed by women holding small drums with handles and sheepskin heads and men carrying bells. Holding the drums in their left hands, the women beat out the time with curved drumsticks held in their right. The sound of the men's bronze bells intertwine with the beat, and the result is very lively dance music.
In an area near the Himalaya Mountains, one folk dance has been performed for over a thousand years. Male dancers in colorful dress with small drums fastened to their waists run and leap while beating out tattoos with the drumsticks held in both hands. In many Xigaze dances, the drums are played on the sidelines in harmony with the bells tied to the performers' ankles .
Some ancient dances, done to the sound of drumbeats and large cymbals, feature dancers in the masks of wild bulls and other creatures. These once obviously had religious significance, and are performed with gusto in a style distinctively Tibetan.
It's interesting to learn these Tibetan art forms before your trip to Tibet, just as appealing as the Tibetan scenery attractions.

Crystal Singing Bowls

Silver Sky Imports is proud to introduce a beautiful new product; a line of frosted and clear pure Quartz Crystal Singing Bowls. Our powerful Quartz Crystal Singing Bowls are capable of producing pure, solid tones that are unrivaled in the singing bowl world. Our Quartz Crystal Singing Bowls emit a level of sound that reaches a much higher volume level than many of the standard metal bowls. This extra boost of sound makes these bowls ideal for deep tissue healing and intense meditation.
Our bowls have a unique subtle beauty and are constructed of only the finest crystal quartz. The bowls are complete with a frosted white finish with a beautiful luminescent shimmer that is very serene or a crystal clear version. The bowls make a fabulous conversation piece and add to any decor. Creative lighting further enhances the frosted crystal.
Each Quartz Crystal Singing Bowl is crafted to be sturdy and durable. They vary in size from 6 inches on up to 20 inches. They also vary in pitch, ranging from high and clear to deep and soothing. Generally, the larger the bowl, the longer the sound will reverberate and the lower the pitch will be.
Each of our Quartz Crystal Singing Bowls at Silver Sky Imports includes a rubber O-ring, a small rubber circle which serves as a stand for the bowl if you wish to play it on a table or any other surface. The bowls also include a soft, suede striker. The suede is very high quality and is the best material to use to emit the highest quality tone from the Quartz Crystal Singing Bowls.
What are they made of?
Our Quartz Crystal Singing Bowls are made from over 99.9 percent pure quartz crystal, a naturally occurring element. The crystal is placed in a mold and heated to 4000 degrees. Because our bodies are also composed of a crystalline structure, using Quartz Crystal Singing Bowls for healing and meditation allows us to respond more quickly and favorably to the sound as therapy. This is why crystals are a key element in many different holistic medicine healing practices.
Musical Tones
The musical tones of our Quartz Crystal Singing Bowls are incredibly smooth. For more advanced singing bowl users, the Quartz Crystal Singing Bowls are ideal for creating sustained harmonies with multiple bowls. The bowls are all divinely crafted in order to ensure that the pitch is solid and strong. The notes sustain for a generous period of time, making the bowls ideal for meditation and healing use. The bowls soothing tones will hone in on your mental and physical ailments and help to diffuse them. These Quartz Crystal Singing Bowls are also great for standard daily meditation and deep relaxation. It is nearly impossible not to relax when you are in the room with these singing beauties.
Methods of Healing and Meditation
There are many different methods when it comes to using Quartz Crystal Singing Bowls for healing. To start out, its usually best to create a private space. You want it to be a place free from distractions and noise. Combining the sounds of the bowls with verbal mantras or additional instruments may also increase the success of your healing and meditation. The most important factor is that you take the time to get to know your bowl. Learning the best method for creating a good healing and relaxation environment by trying several things and sticking with what feels the most comfortable is the best way to succeed with our Quartz Crystal Singing Bowls.
History of Sound
To understand the importance of sound in healing and meditation, it is important to first understand the history of sound. Sound has long been revered as a hugely important aspect of our existence. In fact, history tells us that for the Hindu people, the sound AUM was the first to exist in the universe, making it the all-encompassing sound or mother tone. After this mother tone was discovered, the previously dark universe was lighted for the first time. This major event led to sound being held with very high regard because of its power to improve the lives of the Hindus and to create sound so stimulating it shed light into the darkness.
Knowing this and knowing that science has begun to successfully prove that body functions can be altered by use of sound waves give us strong evidence supporting the healing powers of these breathtaking Quartz Crystal Singing Bowls. In fact, there are doctors currently using Tibetan Singing Bowls and Quartz Crystal Singing Bowls for sound and music therapy to help terminally ill patients deal with pain.
The sound of the bowls can stimulate deep into the body tissues which allows doctors to promote healing from within. The calming musical tones help to heal by reinstating the natural sense of balance and harmony. When the body is suffering from a physical ailment, for example a failing kidney, the natural resonant frequency of sound that is produced by the kidney is reduced, creating an imbalance. With crystal bowl and Tibetan singing bowls, sounding the tone of the bowls can restore an ailing organ by projecting the sound into the body which helps to return the organ to a healthy resonant frequency. While there have been studies done on this type of sound healing, it is still in the early stages and is not recommended as a full health care regime. It is important that you still visit your doctor for treatment if you suspect any sort of health problem.
Crystal Singing Bowls and Chakras
Just like our Tibetan singing bowls, our Quartz Crystal Singing Bowls can be used to help open and purify your chakras. The note of the bowl triggers focus onto whichever particular chakra it is attuned to, making it easy for our customers to select a bowl based on the chakra improvements they hope to achieve with their bowl.
Please be aware...
It is important to note that playing a bowl too loudly near a persons head can have negative effects. Also, playing too many bowls in a small room can cause the bowls to shatter. Be sure to have at least 10 inches of space between the bowls in order to create enough free space between the bowls to support the vibrations.

Comment by Judith Bruni on October 16, 2010 at 1:10am

Wendy, I haven't connected with any really: we were offered some by a friend who had just come back from Korea or Japan, and we listened many times to them but couldn't decide on the one that would be most beneficial.

How amazing that you rescued one from the life of being a planter!! One never knows what will find one or when! Or who of us is liiving an unsuitable life until some liberation comes.....

Comment by Wendy Girl on October 15, 2010 at 10:22am

Hi Judith, thanks for the comment with your grandmother's sentimental stuff!

I have heard many singing bowls, and I own one too. It's very very old and was passed down from my grandparents in a funny way. They picked it up in Tibet in the early 1920s when they were missionaries in China. I had always seen the bowl filled with dirt and holding plants... then one day I recognized what it was and liberated it for singing use. It sings wonderfully. I'm always delighted how things find me, and wait patiently till I see them back.

What bowls have you connected with?

Comment by Judith Bruni on October 14, 2010 at 12:03am

Thank you, Shree CKP Swamiji, that is very interesting. I used to listen to Indian ragas and talas, in private settings as well as big concerts (Ravi Shankar and Ali Akhbar Khan and others). It seemed to me the music was a living entity, improvised and entirely guided by the moment. I also heard Gandharva music when with Maharishi Mahesh Yogi's meditation groups. Certain ragas were played at certain times of day. My unborn child responded with joy to this music.

Sound is the very creation of life. As you say, the music starts with one note and expands to three, then seven and then twelve, just as it says in the Vedas. It reflects the very essence of creation,which is why it is so good to be able to hear the purity of that first note.

In Europe, that purity has been covered over somewhat, but in medieval times, some enlightenment came and music was created which uplifted the soul just as much. Alleghri's Miserere is a fine example, so is Mozart's music, as he had understanding of the music of the spheres (he could hear it a lot of the time) and composed his music accordingly. Other great European composers created fine emotional and intellectual works of art, but missed the spiritual dimensions that Palustrina and a few others were able to demonstrate.

Wendy - we are all in accord: so long as we can find the lost chord! (My grandmother loved that sentimental stuff!)

And have you heard the Tibetan singing bowls?

Comment by Walter Onyancha on October 13, 2010 at 4:03am

Music is life.♥

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