Vedic Perspectives on Sound
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1 Vedic Perspectives on Sound Dr. M. G. Prasad Professor of Mechanical Engineering Stevens Institute of Technology Hoboken, new Jersey Presented at the Symposium on Science and Spirituality Held at CHINMAYA VRINDAVAN, Cranbury, new Jersey Feb 20-21, 2016
2 Wheel of Acoustics
3 Lord Krishna with CONCH- SHELL Lord Shiva with DRUM ROSARY as Speech Alphabet Sounds Goddess Saraswathi with VEENA Lord Krishna with FLUTE
4 Two Manifestations of Brahman द व ब रह मण व द तव य शब ब रह म पर च यत शब ब रह मण न ष त परम ब ब रह म ध गछनत अम तब न पन षत There are two manifestations of Brahman to be realized: Shabda and Param Brahman. One who has realized and is well versed in Shabda Brahman will realize Param Brahman. Amrita Bindu Upanishat
5 Vedic Literature as an Inverted Tree ॐ इनत ब रह म ॐ इत गम सव Om is Brahman and Om is everything तस य व चक प र व I तस य ईश वरस य प र व म त यर थ (य गव नतथक) Om (Pranava) is Shabda Brahman Mantras (chants) are orally transmitted with precision in intonations and phonetics from teacher to disciples
6 Shiva Panchaakshari mantra
7 Vedic Chanting through Oral Tradition Expressed in the Vedic language, which is derived from classical Sanskrit, the verses of the Vedas were traditionally chanted during sacred rituals and recited daily in Vedic communities. The value of this tradition lies not only in the rich content of its oral literature but also in the ingenious techniques employed by the Brahmin priests in preserving the texts intact over thousands of years. To ensure that the sound of each word remains unaltered, practitioners are taught from childhood complex recitation techniques that are based on tonal accents, a unique manner of pronouncing each letter and specific speech combinations. (World Intangible Cultural Heritage ICH) UNESCO Proclamation 2003
8 Acoustical knowledge of ancient Hindus It would form a fascinating chapter of history to try and trace the gradual development of musical instruments and musical knowledge, from the rhythmic chanting of rigveda in the ancient home of the Aryan race to the Indian music of the present day Sir C. V. Raman (1922)
9 Shabda Brahman as Conscious Energy च तन य सवथ भ त शब ब रह म नत म मनत Energy (conscious) in all beings is Shabda Bramhan according to me... च तन य सवथ भ त ववव त जग त म ब रह म त न अद ववत यम प स मह स ग त रत क र ( स रन ग व ) Lakshmana Deshika in Sharada Tilaka We worship the Nada Bramhan second to none which is blissful and is in all beings as consciousness and has expressed (manifested) itself as universe... Sangita Ratnakara (Saranga Deva)
10 Four Fold Manifestations of Vak (Speech/Sound) चत व रर व क पररममत प न त न वव ब र थह म य म वष ग ह त र ण न दहत ङ गयन न त त र य व च म ष य व न न त ऋग व (१.१६४.४५) There are four stages of Vak (speech/sound). The first three stages are hidden and are only perceptible to Yogis. The last stage is used by all the human beings. पर Para (Causal). पश यन न त Pashyanthi (Seen) मध यम व खर Madhyama (Through Medium) Vaikhari (Manifested)
11 Four manifestations of Vak PARA PASHYANTEE MADHYAMAA VAIKHAREE Sprout Two-leafed blossoming Fully blossomed Trees Snakes Animals Human Beings Voice Letters Words Sentences Para Will Knowledge Action Para Deep-sleep Dream Wakeful-state
12 On Naada Just as from a seed comes naturally sprout, branch, leaf, flower, unripe fruit and full fruit like wise starting from spiritual light as seed the naada, svara and akshras have developed into the various aspects of knowledge Yogi-seer Sriranga Sadguru ( )
13 Speech, Music, Literature and Yoga Speech (Vaak) Language (Bhasha) Perception (Artha) Drama (Naatak) Vaikhari Vaikhari Music (Sangeet) Vocal Instrument Dance (Nrtya) Para Pashyanthi Madhyama Vaikhari Literature (Saahitya) Figures of Speech Metre Vaikhari Mantra Japa Bhajan
14 How Sound of Voice Manifests आत म वववक षम य म प र रयत, म मभस र वन न हम हन न त स प र रयनत म र त ब रह म ग रन न र न स र त क रम ध वथपर चर मभ ह त कण ठम थस य ष व ववभथवनत स ध वन An individual (soul) with a desire to speak encourages the mind. The mind strikes the heat (fire) center at the navel, which then pushes the air (wind). The sound (Naada) energy then gradually moves up through stomach, heart, throat, mouth as audible sound... Ganarahasya Prakashini
15 Naada and its Omnipresence क र प र म क रम ल वव ज त प र न ग स य ग त त मभ यत The Naada is resulting from the Union of the Vital-force (Prana) represented by NA and the Heat element (Anala) represented by DA. वव ग त वव स वर वव त य तस म न त मक जगत There is no songs without Naada, no sound or letters without Naada, no dance or movement without Naada. So this universe is all-pervaded by Naada.
16 Production of Speech व खर शब न ष पन त त मध यम श र नतग चर द य नतत र थस य पश यन त स क ष म ब रह म व क वल Vaikhari is word manifestation. Madhyama is at memory level. Pashyanti is level of seeing. Pure causal is Para. Vishuddhi Anaahata Manipoora Mooladhaara पर व ङ म ल चक रस र पश यन त मभस न स र त ह द ग त मध यम ज ञ य व खर कण ठ शग The Para stage of speech is at base of the spine. Pasyanthi stage is at the navel. Madhyama stage at the heart and Vikhari is at the throat.
17 Vedic order of natural elements and perception Element Space Air Fire Water Earth Sense of perception Sound (hear) Touch and Sound See, Touch and Sound Taste, See, Touch and Sound Smell, Taste, See, Touch, Sound Space is characterized by only sound शब ग कम क शम
18 Cognition and Listening FIVE ORGANS OF COGNITION EMANATING FROM THEIR SOURCE, THE MIND, LIKE FIVE RIVERS SPEED ONWARD TO SPEECH. THE FLOWING SPEECH, IN ITS DWELLING PLACE, THE MOUTH BECOMES FIVE FOLD. पञ च द य सरस वत मवप यन न त सस त र त स सरस वत त पन च स श Sभवत सररत INFORMATION COGNITION SPEAKER LISTENER HEARING HEARING TOUCH SPEECH TOUCH UNIVERSE VISION (MOUTH) VISION TASTE SMELL TASTE SMELL YAJURVEDA
19 Human Body as a Musical Instrument VEENA Reference: Sriranga Sadguru in Amaravani, Ashtanga Yoga Vijnana Mandiram, Mysore (
20 Chakras and Akshras Refernce: Sriranga Sadguru in the book Divine Dancer by Dr. S.V. Chamu, Ashtanga Yoga Vijnana Mandiram, Mysore (
21 Pada-Padartha (Word-Object)
22 Sound radiation in a Temple
23 Sound, Vibration and Shape (Chladni Patterns)
24 Complex Plot of OM ( Hz)
25 Complex Plot of OM ( Hz)
26 Tyndall s Experiment effects of sound on Flame
27 Veda Mantras interacting with flame Appearance of Goddess Lakshmi during a Yajna
28 Oh! Sound You surround everything around. You are everywhere to be heard. You are outside but also inside. You are produced ever in nature. You come from humans and machines. You are with motions and patterns. As an annoying noise, you displease someone. As a diagnostic tool, you are useful to someone. As a painful noise, you can hurt anyone. As a soothing music, you comfort everyone. It isn t easy to place you as music or noise. Either wanted or unwanted, you are always sound. M.G. Prasad
29 Concluding Remarks NAADA Yoga is union of Source-Path-Receiver, through vibration-sound (Spanda-Naada) Shabda (Naada) is the manifestation of Param Bramhan. It is essential pathway in spiritual journey to reach the goal. The four fold description of sound through Naada- Shabda production in Vedic Hindu literature can be used to describe the Consciousness Word-Object (Pada - Padaartha) identity Naada (resulting from movement and also self existing) is the seed of articulation and the manifestation of various expression (Seed-Tree) Supreme being manifests itself through 'Nama (Naadashabda), Form and Spiritual Energy' in Deities (Devata Roopa)
30 acknowledgement my deep gratitude is to my guru Yogi-Seer Sriranga Sadguru of Astanga Yoga Vijnana Mandiram, Mysore, India whose guidance and blessings enables my Vedic studies and work. I also acknowledge Sri K.V. Varadaraja Iyengar, Prof. K.S. Kannan and Mrs. Geetha Prasad for their input and help. Thanks are also due Mr. Chenhui Zhao, Mr. Chetan Bhatt and Dr. B. Rajavel for their help in preparation of this presentation.
31 Thank You!
Role of Sound in Sanatana Dharma (Vedic Hinduism)
Role of Sound in Sanatana Dharma (Vedic Hinduism) Dr. M.G. Prasad (www.taranga.us) (mgprasad@comcast.net) Introduction Sound that we hear is basically vibrations produced by a source, which gets transmitted
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Kaivalya Upanishad क वल य उप नषत Volume 2 As we saw last time, Ashvalayana, a qualified and interested student, approached a distinguished teacher, a व च यर, in the proper manner, with this request: अध
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Kaivalya Upanishad क वल य उप नषत Volume 3 आत म न अर ण क त व णव च उ र रण म ज ञ न नमर थन अभ य स त प श दह त प ण डत: 11 स एव म य प रम हत त म शर र आस थ य कर त सवर म -अन नप न द व च भ ग : स एव ज त प रत म त 12
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ÛIm] g]v]t]/ g]it]] म क षस न य सय ग: Volume 13 य वर ण न र मर त: स त न व न त दव य : स तव : व द : स ङ गपद म प नषद : ग य न त य स मग : ध य न व स थत त त न मनस पश य न त य य गन: यस य न त न वद : स र स रगण : द
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व Brahma Vidya क वल य उप नषत
Kaivalya Upanishad क वलय उप नषत Volume 4 ष ध म स य गय भ भ ग य व त त भय वलकषण: स कष चनम ऽह सद शव: 18 मयय व सकल ज त म य सवरम त तम म य सवरम लय य त तत अ य आसमयहम 19 अण रण य न अह एव त त मह नह व मह व च प र तन
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ÛIm] g]v]t]/ g]it]] म क षस न य सय ग: Volume 16 इद त न तपस क य न भ य कद चन न च अश षव व च य न च म य ऽभ यस य त 18-67 य इद परम ग म ष अ भध स य त भ म य पर क त व म म एव एष य त अस शय: 18-68 न च तस म न मन ष य ष
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व Brahma Vidya य वभ गय ग: Chapter 17. Volume 5. As we may recall, Sri Krishna concluded the last chapter (Chapter 16) advising Arjuna as follows:
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