This book is an attempt to re-vitalise the tree of North Indian Classical Music with the nourishment of spiritual understanding, and the pure water of sincere seeking. There is an inherent peacefulness about this music. Purity is needed. Purity of thought (sankalpa), word (vak) and deed (karma), which awakens the innate divinity in each of us, is essential for rejuvenating and retaining the purity, beauty and grandeur of North Indian Classical Music. Incidentally, this invocation of the divine attributes in us also leads us to Vasudaiva Kutumbakam, or universal peace, apart from monumental personal achievements in performing music. This book approaches the purity of Indian Classical Music as a function of temperament, samskaras and spiritual dynamics. With spiritual underpinnings, this music taleem (education) invariably leads to pure music, music that touches the core and the innermost recesses of the heart. Sadhana (disciplined life) or tapasya (austerity, which is the true basis of culture) and purity in Indian Classical Music are inexorably connected to the temperament aspect and the instillation of right samskaras by the Guru (in the Guru-shishya parampara). The Guru is a true Teacher, pure in life, rich in aspiration and insights. These samskaras include reverence for the Guru, for the elders, the art of listening (shravana), manana (reflection on what is listened to, in rapt attention) and nidhidhyasana (meditation and assimilation into one's life by creative analysis). Musical perfection comes when you Dekho (See with the eyes of the heart, listen with concentration), Sikho (learn, in a spirit of reverence for the Guru, with a heart contrite and holy), and Parkho (intellectually assimilate by keen, creative perception and independent thinking)!
Sunita Aswani, Bachelor of Arts (Economics), University of Pune, Master of Arts (Economics), University of Pune, Master of Philosophy (M. Phil) in Economics, G. I. P. E. University of Pune, Visharad in Sitar, Gandharva Mahavidyalaya, Miraj, Master of Arts in Sitar, Lalit Kala Kendra, University of Pune, 2009, NET in Indian Classical Music, University Grants Commission, New Delhi, She has been a disciple of Padma Shree Ustad Shahid Parvez, Translated "Sarvaangin Tabla" written by Shri Amod Dandge, translated version Complete Tabla. She was awarded the Ministry of Culture scholarship for the years 2007-2009 for writing a thesis on the Etawah Gharana.
Aum Aim Saraswataye Namah. This implies Om and salutations to that feminine energy which informs all artistic and scholastic endeavor, and for which Aum is the seed.
The title of the book speaks for itself. We trust that God in His infinite mercy blesses this yagna so that the book succeeds in clarifying certain concepts in the field of Indian classical music. This book attempts to re-vitalize the tree of Indian classical music with the nourishment of spiritual understanding, and the pure water of sincere seeking of truth. However, the scope has been limited to the purity of Indian Classical Music. In view of the limited brief of the present inquiry, it would be sufficient to focus attention on the area covered by purity and the spiritual dimensions of Indian classical music, and outline the considerations essential for retaining the purity and divinity in music, to lead us to universal peace and resurrection, not merely personal achievements in the field of Indian classical music. The present book is an attempt to approach the purity of Indian Classical Music as a function of temperament, samskaras and spiritual dynamism. The approach is analytical, not historical.
This purity of Indian Classical Music, with spiritual underpinnings, invariably leads to mesmeric music, music that touches the innermost recesses of the heart. I trust every reader finds at least one such a blissful moment in his or her lifetime.
The essence of education is concentration of the mind, not collection of facts. The concentrated mind is a lamp that lights up every corner of the soul. Musical activity is not performed simply by the hand (in case of instrumental music) or the throat (in case of vocal music). Artistic perfection comes when the head and the heart are present too. Samadhi, or the pure joy of religious ecstasy, occurs when the physical, the mental and the intellectual personalities are integrated. The spiritual atmosphere thus created makes us capable of producing a master-piece in music. The musician and the listener both are in a state of exhileration and bliss.
The yoga of practice, or 'abhyasa yoga', is the process of bringing the mind back to its point of concentration. Our personalities get integrated, energised and made vibrant. No struggle is too great for restoring the brilliant personality.
The knowledge of music is imparted by a long-continued relationship between the pupil and the teacher. It must be held in the heart. Sadhana in and purity of Indian Classical music, are related to the temperament and the instillation of samskaras, at every milestone in the sadhana-journey of Indian classical music. Sadhana is the means to the attainment of our Sādhya (lakshya or goal) of performance par excellence, in the field of Indian Classical Music. According to Ustad Shahid Parvez, a performer is one who 'gives' to the audience. The sādhak has performed sadhana in the råga and in the tal, to such an extent that his hand in case of instrumental music, and the vocal cords, in case of vocal music, 'obey'. 'Dimag mein jo aya woh turant hath se nikal jäye,' implies that the hand is so prepared by riyaz that it instantaneously obeys all creative ideas dynamically emerging from the intellect. Those who sing or play not for applause or the audience, but sing or play solely for the sake of music are true musicians amongst musicians, musicians of the tallest order.
It gives me immense happiness, and a deep sense of exhileration to find that my talented disciple (in sitar-playing) Sunita Aswani, has penned down and lucidly explained my views about Indian Classical Music, in her book, "The Purity of Indian Classical Music, -Temperament, samskaras, and spiritual dynamics". She also expounds the profound and brilliant views on music, of stalwarts like Pandit Suresh Talwalkar Ji, and musicologists like Dr. Ashok da Ranade, etc.
I send forth my best wishes, infinite benedictions and blessings for her success in spreading the message to the students of Indian Classical Music in particular, and to the listeners and connoisseurs of Indian Classical Music, in general, all around the globe.
I wish her all the best.
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