Name: Sonal Dass.
Class: Music 250.
Project: Music Autobiograph=
y.
&nbs=
p; Hindi
Spiritual Music: A Pathway to God!
The
rhythm of the globe is around us and is a part of us and in my opinion cann=
ot
be represented by anything that is better than music. While all music has t=
he
capability to reach the spirit, there are sounds that resonate from the spi=
rit
and are part of our cultural traditions. As I am going to be covering the
spiritual music that is a part of my life, I have to first explain all the
different types/stages of the prayer. Hindu prayers always involve (in some
form) music. These also differ depending on the deity that is being prayed =
to.
I have come to realize that even though I have a very broad listening, I do
tend to huddle towards prayers/spiritual music of certain Gods, which inclu=
de Krishna bhajans and also the type I grew up listeni=
ng to,
which is Satya Sai bhajans. In this paper I will be describing the different
kinds of spiritual music that I listen to and how I have made it a part of =
my
daily ritual.
In the Ind=
ian
culture, it is believed that if one starts the morning with prayer or
“puja”, the day goes by easier; and therefore I mostly listen to
the religious songs/recitations in the morning on my way to school or work.=
The
word “Puja” has a very profound meaning to it. “Puja̶=
1;
is the act of showing reverence to a god, a spirit, or another aspect of the
divine through invocations, songs, and rituals. This is a major part of
Hinduism, a daily devotion consisting of a ritual offering of food, drink a=
nd
ritual actions and prayers, most commonly to an image of a deity. Puja is
usually performed by at least one member of the household every day. Puja i=
s a
means of honoring the gods, or goddesses, whose presence in the home is
believed to protect the family and to engender good fortune. It is a daily
ritual by which devotees seek communion with the divine and it symbolizes a
devotee’s desire to offer love and devotion to the God, thereby
surrendering his or her individuality to him. Puja is a word in the Sanskrit
language, in which words are formed with meaning in mind. For instance in t=
he
word puja, ‘p’ stands for ‘paap’ meaning sins;
‘u’ stands for universe; ‘j’ stands for
‘janma’ meaning birth. Puja involves slokhs, bhajans and
aarthi’s which I am going to discuss. At the beginning of any Puja, i=
t is
required that it start with an ode to Shri Ganesh a deity who is also known=
as
the remover of all obstacles.
Performing=
the
rituals of a prayer and also listening to the bhajans gives me a peace of m=
ind,
in that I have not forgotten the beliefs/rituals of my ancestors. As I ment=
ioned
above, there are different stages in a prayer, depending on which God you a=
re
praying to. The first stage of any prayer session (called ‘satsang=
221;
in Hindi) is usually slokhs (verses) or mantras which stands for `sacred
utterance' in Vedic; and are used to welcome the God/Goddess.
Bhajans wh=
ich are
a major part of any satsang
are a rhythmic devotional song that has long been popular among bhakti sect=
s in
India.
“Naam Smaran” is another name for bhajans and also means to sing
the glory of God. Most of my daily listening involves Sai Bhajans and Krishna bhajans. The belief with bhajans is that, w=
hen
and wherever it is sung, he is always there. It is also believed that unles=
s one
sings bhajans for their own ecstasy, they cannot bring joy to others, thus
preventing them from sharing “Ananda” i.e. bliss. With each bha=
jan
sung, the mind must be rendered purer, free from wants and stronger in fait=
h.
In this century, the sole remembrance of the lord’s name is enough to=
win
his grace and attain liberation from the cycle of life and death. When
attending Sai bhajans, there are certain rules to be strictly followed.
Everybody should be seated a few minutes prior to the start of the bhajan. =
Men
should sit on one side of the prayer hall and women on the other. Bhajan
leaders and instrumentalists must be seated in the few front rows. Devotees
arriving late must not disturb those already seated. They must quietly seat
themselves behind previously seated devotees. One should not look around
greeting one another, nor talk during the bhajan. Perfect silence should be
maintained and movements are restricted to a minimum while sitting in the
prayer hall. Sweet, familiar and devotional bhajans could be sung in any
language as long as it is understood by other devotees. Musical instruments
used during bhajans should not drown the voice of the singers and those who
follow, thus maintaining a balance between the instruments and singing. One
should not clap out of tune. Time should not be monopolized in the bhajans =
by
repeating the same lines over and over again. Each line should not be repea=
ted
more than twice.
Bhajans and prayer sessions usually=
include
several instruments. The standard instruments used in bhajans include, Kart=
al
(wooden clappers), Ektar (one string lute), Dotar (two string lute), harmon=
ium
(hand pumped organ), Manjira (small cymbals), Sitar (long necked lute), Dho=
lak
(barrel shaped drum), Tabla (hand drums). Singing of bhajans, mostly involv=
es
of one lead singer and other devotees as followers of him/her. Standard Sai
bhajans are seldom longer than an hour. Therefore, each bhajan is not longer
than about five minutes. The lead singer sings the first lines (of a two to
three line) verse and then the others repeat after him. Krishna
bhajans usually have a chorus and one lead singer, who sings most of it. The
chorus sings in the background only.
Spiritual =
music is
my need for everyday life. Maybe psychological, but is I go one day without=
listening
to at least a couple of minutes of bhajans and no prayer, my entire day see=
ms
to go by miserably. Spiritual music has been a part of my life and I grew up
listening to it. According to my mother, she used to sing bhajans to me to =
calm
me down or even as a substitute to lullaby’s. Spiritual listening has
been my backbone for life. As I hit the age of five, I was sent to Sunday
school, called “Baalvikash” (‘Baal’ means child and
‘vikash’ means brain development). This Sunday school taught us
about our religion and also about other major religions like Christianity, =
but
mainly focusing on Hinduism. Bhajans and slokhs were among the many things =
we
were taught. As each child grew up, they were put into a new age group. And
eventually everyone came to a final stage which was the youth group, with w=
hich
one gets more responsibilities and therefore more singing of bhajans at maj=
or
events. In ‘Baalvikash’, the music develops within the child as
they grow from childhood to adulthood.
Lord Shri =
Krishna
is regarded as a complete incarnation of God. It is believed that all the o=
ther
incarnations that occurred before him were not complete in themselves. Lord
Krishna holds nothing but only a seemingly ordinary flute. Now it is up to =
the
devotees to interpret the meaning of flute with their own view. Even the fl=
ute
of Lord Krishna is a symbol of love. In his entire life, Lord Krishna only =
once
raised a weapon, that to in th=
e form
of wheel during the battle of Mahabharata. Otherwise, only the flute was
everything for him. Like a magic stick the flute accompanied Lord Krishna a=
ll
through his life. With the enchanting tone of the flute, Lord Krishna
hypnotized the world.&nbs=
p;Krishna became the focus of a large number of devot=
ional
cults, which over the centuries have produced a wealth of religious poetry,
music, painting and sculpture. As a youth, the cowherd Krishna
became renown as a lover, the sound of his flute prompting gopis (wi=
ves
and daughters of the cowherds) to leave their homes to dance ecstatically w=
ith
him in the forests. His favorite among the daughters of the cow
herders was the beautiful Radha. Krishna<=
/st1:place>'s
youthful dalliances with the gopis are interpreted as symbolic of the
loving interplay between God and the human soul. Kri=
shna
affirms life in his pranks, music and lovemaking. The divine lover (the most
common representation) is shown playing the flute, surrounded by adoring gopis.
As a result a lot of the Krishna bhajans
involve the use of flute.
The last phase of any puja is usually aarathi.
‘Aa-rathi’ is again a Sanskrit word which means ‘the
close’. The aa-rathi is the prayer song at the close of each bhajan/p=
uja
session. The waving of a lighted lamp or of a camphor flame is a common rit=
ual
in Hindu home which has nothing in common with the waving of the camphor fl=
ame
before the pictures of Gods and Goddesses. The former is the relic of a
primitive custom resorted to by traditional ritualists to ward off the
‘evil eye’. But the aarathi at the close of bhajans is of a
profound significance. =
=
&nb=
sp; =
In conclusion I would like to say t=
hat
Hindu religious music holds a very deep meaning beyond its musical qualitie=
s.
Even though as a child, I was required to listen and sing bhajans during
prayers, and in spite of not liking to do so at times. I have developed a d=
eep
liking to it. On the days that I am emotionally down, bhajans help me get t=
hrough
the obstacles of my day. In today’s busy world, one may not get all t=
he
time to offer their prayers to their Gods on a daily basis. Even though I t=
ry
to do my prayers daily, I sometimes fail to do so. And since I do, I feel t=
hat
my experience in listening to religious music in my car on a daily basis ma=
ybe
my pathway to God.
Bibliography.
1.)&=
nbsp;
www.bhakt=
isangeet.com
2.)&=
nbsp;
ww=
w.rhythmsoftheglobe.com
3.)
www.kingdomofs=
ai.org
4.)&=
nbsp;
Rathnamala, Ashtothara. “Garland of 108 Precious Gems”. La=
ser
Prints (P) Ltd; Shri Satya Sai Books & Publication Trust, Prashanthinil=
ayam,
Hyderabad, India, 1989.
5.)&=
nbsp;
Kundra, Seema. “Ananda Bhajanmala”. Gra=
phic
World, New Delhi, <=
st1:country-region
w:st=3D"on">India, 1991.
&nbs=
p;
Pictur=
es
of Gods I talked about in this autobiography.
(One the =
top left
is Shri Satya Sai Baba, Right is Lord Shri Krishna)
![](3D"SDaas_autobio_files/image002.gif")
(Ganesh-the remover of all obstacles)
![](3D"SDaas_autobio_files/image005.jpg")
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