For generations of Indians, the application of music for daily chores has proved highly beneficial beyond words. The monotony involved in doing routine and repetitive tasks could be overcome with cyclic raga phrases and their repetitions vocally or mentally. Cheerful and uplifting ragas, such as Basant, Bilahari, Hamsadhwani, Kamod, Kedar, Mohanam, Nalinakanti, Purna Chandrika, Vrindavani Sarang, Yaman etc. with their bright notes and lively layas have evoked celebratory moods. These ragas have avoided flat (komal) notes, to be replaced (as far as possible) with tivra (sharp) or Shuddha (natural) notes. In a survey conducted, a majority of listeners confirmed the joy of listening or singing these ragas. A rapid tempo, added to their songs or passages, was found to maximize this impact. The Raga Experience For those fortunate Indians, initiated to raga music, the raga experience is not just a pleasant feeling but a revelation in itself - seeing the truth of a situation beyond mere human logic. This is made possible by the 'inner logic' (or grammar) inherent in music, which is based on emotional tension and release a hall mark when humans are engaged in music. Linked inextricably to the concept and practices of Nada Yoga, the raga experience is not confined just to a 'good music' based on their sensory appeal, but to facilitate the fine-tuning of the process of elevating consciousness through sound. In long-cherished ayurvedic traditions, food was not just food, and music was not just music. The concept of the three gunas was long recognized in Ayurveda literature and also in the Hindu philosophy as the fundamental qualities or energies in nature. Sattva, (the goodness or harmony) is represented by mineral rich plant foods, which are base-forming and gut-friendly, while in music this quality is perceived in soothing and balancing tones and tunes that are leisurely and relaxing. Early morning meditative ragas like Bhairav, Sankarabharanam and Yaman are the typical examples for sattvic ragas, especially when rendered in slow tempo and low pitch with very low volumes. Rajas, (the passion or activity), is found in hot, spicy and stimulating fiery food, particularly as in meat. Besides, in music as in the way bhava (emotion) is exploited in rage, so it is in raga. Such ragas emphasize bhava (bhavapradhana). Bhavapradhana refers to a concept where the internal mental attitude, feelings or emotional state (bhava) is considered supreme over all other words, actions or rituals. It is the sincerity of emotion in devotion or its expression is primary (pradhana). Tamas represents inertia (unlike rajas) darkness, heaviness, ignorance and negativity (unlike sattva). Ayurvedic cuisine refers to heavy, overcooked, processed and stale food as tamasic' This represents those ragas which evoke emotions of deep sorrow, intense longing, darkness, mystery or profound rest, often characterized by slow or unsteady tempo (vilambhit) and lower register focus. Mysterious qualities found in Malkauns, the heavy grounded nature found in Darbari Kanada, pathos in Sivaranjani, stagnant and longing sorrow in Todi- are the examples for tamasic characteristics in the raga experience. Besides this, heavy, chaotic, dull, jarring or lifeless sound enhances the tamasic experience. While tamasic guna is often considered as the "lowest guna" in yogic philosophy, it is not inherently evil as it provides stability, rest and the ability to sleep. The researchers of the then Nada Centre for Music Therapy, found that when working with anger-prone children the use of such sounds to 'attract' them for initiation, subsequently elevated them to rajasic and finally to sattvic state- all over a period of time and they responded well.
The book "Raga Chikitsa: The Miracle of Micrtones" is yet another mife-stone from the multi-disciplinary group of researchers of IMTA, who are drawn from -apart from music- other disciplines such as medicine and psychology. These contributors have years of experience with music and music therapy and have voiced a full-throated support for raga music therapy as a complementary medicine for the Nation and beyond its borders as well! The erstwhile Nada Centre for Music Therapy, Chennai and its sister organization, Indian Music Therapy Association, Bangalore are instrumental in reviving Raga Chikitsa by bridging ancient Vedic sound traditions with modern, evidence-based clinical science. Through people-to-people contact, through symposia and conferences, and through the world's pioneering Distance Learning Programme in music therapy, the volunteers have tried to rediscover the ancient glory of the raga system to meet the current challenges of a developing nation.
Dr TV Sairam (editor of this book) has devoted his entire life to many a subject which has a direct benefit to humanity. His publications include two dictionaries and several books and articles on an assortment of subjects that include administration, alternative medicine, architecture, art, botany, fiscal policy, herbal medicine, Indian philosophy and spirituality, law, musicology, music therapy, etc. He founded two major institutions to arrest, revive and propagate the fast vanishing ancient knowledge systems of Nada Yoga and Raga Chikitsa. He established Nada Centre for Music Therapy (2004) and Indian Music Therapy Association. (2018) towards this goal. A superannuated IRS officer, Sairam is also known for his evocative art work, one of which is displayed here in the cover of this book. He lives in Bangalore.
Acupuncture & Acupressure (193)
Gem Therapy (22)
Homeopathy (510)
Massage (22)
Naturopathy (423)
Original Texts (219)
Reiki (58)
Therapy & Treatment (170)
Tibetan Healing (127)
Yoga (45)
हिन्दी (1081)
Ayurveda (3265)
Send as free online greeting card
Email a Friend
Visual Search
Manage Wishlist