Krishna flötet den Gayatri-mantra und Divya Sarasvati Gayatri personifiziert sich mit vina und chantet den Bija-Schöpfungs-Samen Mantra---

 

"Daraufhin wandte sich Sarasvati, die Göttin der Gelehrsamkeit an Brahma und sprach:


O Brahma, dieser Mantra – klim krishnaya govindaya gopi-jana-vallabhaya svaha – wird dir gewiss deinen

Herzenswunsch erfüllen.“

  "O Brahma, stelle mithilfe dieses Mantra eine Verbindung

  zum Spirituellen her – dann werden all deine Wünsche in Erfüllung gehen."

 


"Alsdann ging Gayatri, die Mutter der Veden, die durch den transzendentalen Klang von Sri Krishnas Flöte übertragen wurde und sich so manifestierte, durch die acht Ohren des aus sich Selbst geborenen Brahma in dessen Lotosmund ein.

 

So wurde Brahma ein zweites Mal geboren durch den heiligen Klang

& war mit Krishna re-connected.   (Brahma Samitha 5.27)

 Saraswati auf einer Lotusblume sitzend in makellosem Weiß gekleidet.
 Saraswati (die Fliessende) auf einer Lotusblume sitzend in makellosem Weiß gekleidet.

Saraswati, die Göttin des Lernens und der Weisheit, vermählte sich mit Brahma, dem Designer - Gott. Als seine Frau wird sie zur Mutter der gesamten Schöpfung. 

Das Wort "Saraswati" bedeutet: diejenige, die die Essenz (sara) des eigenen Selbst (swa) gibt, ferner "die Fließende". Saraswati repräsentiert einen immer fließenden Strom göttlicher Gnade. Sie steht auch für die menschlichen Fähigkeiten zu denken und zu unterscheiden. 

Sie verkörpert alles Wissen, einschließlich der Künste und Wissenschaften. Als Personifikation vollendeter Weisheit verleiht sie ihren aufrichtigsten Anhängern diese höchste Weisheit. 

Saraswati personifiziert Weisheit. Hindus auf der ganzen Welt beten sie an, wann immer es um Studien oder Lernen geht. Sie regiert die Kommunikation, Musik und den Intellekt. 

 

Saraswati hat vier Hände. Sie hält die heiligen Schriften in einer Hand und eine Lotusblume in der anderen. Mit den anderen zwei Händen spielt sie indische Laute (veena).

 

Die Lotusblüte in ihrer Hand symbolisiert das letztendliche Ziel menschlichen Seins: Selbstverwirklichung. Das heilige Buch und die Laute, die sie in ihrer anderen Hand hält, weisen auf den Pfad des Wissens und den Pfad der Hingabe, über die der Mensch sein Ziel erreichen kann.

Die vier Hände repräsentieren auch die vier Aspekte der menschlichen Persönlichkeit: Geist (manas), Intellekt (buddhi), ego (ahamkara), sowie konditioniertes Bewußtsein (chitta). Das bedeutet, daß Saraswati vollständig die intellektuellen Fähigkeiten des Menschen beherrscht. 

 

Weiß versinnbildlicht das Gegenmittel für die dunkle Welt der Unwissenheit. Die Lotusblume erblüht zu ihrer schönen Form, obwohl sie aus dem Morast des Teiches hervorgeht. Die Lotusblüte, auf der sie sitzt, symbolisiert ihre feste Etablierung in der Höchsten Realität - unberührt von den schmutzigen Unvollkommenheiten der physischen Welt. 


Die Veden berichten, das Saraswati aus dem Gott Brahma geboren worden sei. Brahma hatte das Verlangen, die Schöpfung hervorzubringen und begab sich in Meditation, woraufhin sich sein Körper in eine männliche und eine weibliche Hälfte, Saraswati, teilte.
Brahma vereinte sich mit ihr und daraus entstand der Halbgott Manu, der die Lebewesen erschuf.
Eine andere Version sagt Saraswati entstamme dem Mund des vierköpfigen Brahmas und sei entstanden als dieser die Welt durch seine schöpferische Rede erschuf.




Gandharvas Himmels-sänger...musiker und Apsaras Himmelsmädchen
Gandharvas Himmels-sänger...musiker und Apsaras Himmelsmädchen

Gandharva bezeichnet in Theorie und praktischer Anleitung auch die altindische Ritualmusik, die besonders dazu geschaffen war, um die himmlischen Götter zu erfreuen.

Der (halbmythische) Gelehrte Bharata Muni beschrieb als erster die streng festgelegte Musik einschließlich Tanz und Drama detailliert in dem um die Zeitenwende entstandenen Werk Natyashastra. Diese altindische Musiktheorie Gandharva-Veda genannt, enthält viele der bis heute gültigen Grundlagen der klassischen indischen Musik.

 



Im Natyashastra wird das Wort Gandharva für Musik von den himmlischen Musikanten Gandharvas abgeleitet.

Der Gandharva-Veda, die Sammlung theoretischer Abhandlungen über Musik, gilt als eine der vier Grundwissenschaften, die sich von den Veden herleiten und als Upa-Veda zusammengefasst werden.

 

Die anderen drei sind Ayurveda (Heilkunst), Dhanurveda (Kriegskunst) und nach unterschiedlichen Quellen Sthpatayaveda (auch Vastuveda, Architektur) oder Arthashastra (Staatskunst).

 

Der Sama-Veda ist die Grundlage des Gandharva-Veda.
Die Wirkung des Gandharva Veda auf das Wachstum der Pflanzen ist seit langem bekannt. Das 25-minütige Spielen des Ragas ”Kara-Hara-Priya” ließ Pflanzen 20% höher und mit 72% mehr Blättern wachsen. Auch hier zeigte Rockmusik einen entgegengesetzten Effekt. Und obwohl ihr Wachstum über wie auch unter dem Boden schwächer war, verbrauchten sie mehr Wasser als Pflanzen, denen klassische westliche Musik vorgespielt wurde.
In einem weiteren Versuch wurde die Wirkung von Chorälen von Johann Sebastian Bach und Sitarmusik von Ravi Shankar verglichen. Bei den Bach Präludien neigten sich die Pflanzen um 35 Grad in die Richtung der Musikquelle. Diese Zu-Neigung wurde noch übertroffen durch die Anziehung der Gandharva Veda Musik: Die Pflanzen legten sich mit extremen Winkeln bis zu 60 Grad schon fast in die Horizotale, um die Quelle der Sitarmusik zu erreichen, wobei die Pflanze, die dem Lautsprecher am nächsten stand, diesen regelrecht umarmte.

".... According to the Hindu view of creation, it was sound and not light that appeared first. In Vedic parlance it is called Nada Brahma or the Sound Celestial. Vedic rishis believed that the evolution of the Brahmand or universe was caused as a result of Bindu Vsphot or an atomic explosion, that produced infinite waves of sound, which represent cosmic ascent and expansion.

The sound was a monosyllable: Om. Since Om is related to the beginning of the universe, Hindus consider it the most sacred syllable with which Vedic mantras commence. Om is the principal name of the Supreme Being. It refers to all that it manifest and beyond. ...

According to Vedic literature music originated from nada or sound, which is the product of akash or ether: There are two types of sound. The ahat or struck sound is audible whereas the anahata or unstruck sound is inaudible. Sound originates in living beings from the friction between air ñ pran vayu or vital breath and agni or heat energy (will power). It evolves first in a causal forms as anahata and then in the gross form of sound emanates from the vocal chord and is sweet and soothing, it is called snageetam or music. The anahata nada is most significant for yogis who have reached the highest level of consciousness. It is the internal sound they hear, after prolonged meditation and ardous yogic discipline. Ordinary human beings are engaged with the ahat nada.

Indian musical traditions trace the origin of music to the Sama Veda. It is a compendium of melodies, chants and rules required for the recitation of sacred hymns. It serves as a textbook for priests officiating at Soma sacrifices. ... Vedic chants are set in a musical pattern, collectively known as Samgan. To this day, the chants are in three accented musical patterns called swaras, precursor of the present seven-note musical system. ...".

 

According to an Indian Classical Music web page:

"... Though, Vedas are considered the source of Indian Music, it should not be assumed that classical music in its present form was fully developed by then. Infact, concept of Raga, Tala, Shruti or even Nava Rasas come only later.

All except SamaVeda were sung using only three notes, Anudaatta (low), Udaatta(middle) and Svarita(high). As used today the Anudaatta, Udaatta and Svarita svaras of RigVeda, can be equated with Ni, Sa, and Ri of the North Indian Kafi scale (Kharaharapriya of the Carnatic). In early manuscrpts of RigVeda, the text was written along with accent notes. Anudaatta is marked with an underline and Svarita is marked with a small vertical line above the syllable. Udaatta is left unmarked.

Sama Veda consists of about 1900 verses, called samans. Ninety-five percent of the verses of Sama Veda Samhita are in Rig Veda Samhita. One can see from the text of the Sama Veda mantra that the chanting notation in it is much more elaborate than that in the corresponding Rig Veda mantra. SamaVeda was chanted using all seven notes (prathama, dvitheeya, tritheeya, chathurtha, panchama, shashta and sapthama), in descending order, of the Vaidika scale (or of sama gana) which have been equated to (Ma,Ga,Ri,Sa,Dha,Ni,Pa) of the Laukika or Gandhara scale in later classical sanskrit texts like NaradiyaShiksha.

RigVedic hymns are directed at Gods, to be chanted during sacrifices to please them. It is possible Gods were thought to be fond of music and that it would be easier to please them if the hymns were sung rather than just chanted. Thus, many of the Rig Vedic hymns were set to music and sung and were known as samans, rather than just hymns (Rik). The chanted Sama-Veda hymns or Samans were believed to possess the supernatural qualities capable of petitioning and even supporting the deities that controlled the forces of the universe. Since Rig Vedic hymns are just metered they could not be sung using all the seven notes. Thus started a tradition of insertion of a number of seemingly `meaningless' words or syllables (stobha) for musical and lyrical effect, such as o, hau, hoyi, va, etc. It was these stobha syllables which were extended vocally with long duration on various notes of the Sama-Veda scale by the priests who had the special function of summoning the gods to the celebration through the use of droning (monotone) on a number of these tones, believing them to hold magical properties. The wife of the chief sacrificer (i.e. chief priest, brahmana) would play the Vina, during sacrifices.

Precise methods of singing the Samans were established and preserved in three different schools, the Kauthumas, Ranayaniyas, and the Jaiminiyas, the oldest. Each has maintained a distinct style with regard to vowel prolongation, interpolation and repetition of stobha, meter, phonetics, and the number of notes in scales. Accordingly, there has been a fervent regard for maintaining continuity in Sama-Veda singing to avoid misuse or modification over many years. Since written texts were not in use, in fact prohibited, the priests memorized the chants with the aid of accents and melodies, and passed this tradition down orally from one generation to the next for over three thousand years ...".

 

According to a Music of South India web site:

"... Indian Music is probably the most complex musical system in the world with a very highly developed melodic and rhythmic structure. This (structure) includes complicated poly-rhythms, delicate nuances, ornamentations and microtones which are essential characteristics of Indian music. This makes it very difficult to notate every detail in Indian music.

Originally Indian music was passed on by oral tradition ... from one generation to another for centuries. The music was never written down until much later. The notation system was actually developed much later more as a memory-aid than something from which to learn or something from which to perform. This is why the tradition wherein the student learns from a Guru on a "one-on-one" basis is considered to be the only real way to learn music since there are so many aspects that cannot be learned from a book because the existing notations are only a skeletal representation of the music.

Indian Music had its origins in the Vedas ... Four in number, the Vedas are the most sacred texts which contain about a thousand hymns. They were used to preserve a body of poetry, invocations and mythology in the form of sacrificial chants dedicated to the Gods. Great care was taken to preserve the text, which was passed down by oral tradition, so much so that both the text and the rituals remain unchanged to this day. The literature of the Vedas is divided into four parts: the Rig Veda, the Sama Veda, the Yajur Veda and the Atharva Veda.

  • The oldest, the Rig, ... was recited, at first, in a monotone; it was later developed to three tones (one main tone, and two accents, one higher and the other lower called Udatta and Anudatta respectively.) This was done to accentuate the words since the text was of primary importance.
  • The Yajur Veda which mainly consists of sacrificial formulas mentions the Veena as an accompaniment to vocal recitations during the sacrifices. By this time, the chants had evolved to two main notes with two accents forming the first concept of the tetrachord (four notes.)
  • The Sama Veda laid the foundation for Indian Music. The origin of Indian Music can be traced back to this Veda. Three more notes were added to the original tetrachord resulting in the first full scale of seven notes; within this scale were all the important and known musical intervals. The concept of the octave is also mentioned here.
  • The Atharva Veda was a collection of formulas that deal with ... spells. The text of the Vedas is in Sanskrit, the classical language of India.

... The period of the Epics, the Ramayana and the Mahabharata (500 B.C. - 200 A.D.) saw the development of the Jati system on which the modern Raga system is based. Also, various melodic and percussion instruments are mentioned during this time. Mention must be made of the Natyashastra, a treatise written by Bharata in 300 B.C. It is the most authoritative and ancient work on the classical science of music and dance. ...".

 

According to a Performing Arts in India web page:

"... Love, humor, pathos, anger, heroism, terror, disgust, wonder and serenity are the nava rasas or nine basic emotions which are fundamental to all Indian aesthetics. Sage Bharata, the earliest Indian musicologist said to have lived in the 1st or 2nd century AD, enunciated these moods and believed that it was the musician's task to evoke a particular emotion or mood.  The classical music tradition in India is based on the principles enunciated by sage Bharata and continues to be a form of meditation, concentration and worship.

The Raga, or musical mode, forms the basis of the entire musical event. The Raga is essentially an aesthetic rendering of the seven musical notes and each Raga is said to have a specific flavor and mood.

Tala is what binds music together. It is essentially a fixed time cycle for each rendition and repeats itself after completion of each cycle. Tala makes possible a lot of improvisations between beats and allows complex variations between each cycle.

With the help of the Raga, Tala and the infinite shrutis or microtones, Indian musicians create a variety of feelings. ...".

 

According to an India Music web page:

"... Vedic Hymns ... are considered the foundation of later styles (like Gregorian chants) ... Physical vibrations of musical sound (nada) is connected to spiritual world ...

... Raga and Tala form the basis of Indian music. ...

  • ... Raga (rag in North, ragam in Tamil) ... a scalar melody form including basic scale and basic melodic structure. Sanskrit ranj means to color with emotion Scale of raga is shown in both ascending and descending form. Some raga include notes changing directions Some notes may have specific ornamentation (gamaka) Ground tone (beginning tone) is sa (like do in do re mi) Sa is most important note of the drone ... Later ... 72 possible combinations [compare 72 root vector elements of E6] ...
  • ... Tala = cyclic measure of time (rhythm) [compare toque of IFA] Laya = tempo (fast or slow) Druta = fast Madhya = medium Vilambita = slow Matra (Hindustani) or Akshara (Karnatak) = basic beat (like metronome) Tala cycle (Vibhaga or avarta) &endash; varies from 3 to 128 beats in length; 7-16 are common ...". [compare 3 quaternion imaginaries and 3-sphere7 octonion imaginaries16 spinors of Cl(8)and 16 eyes of FA, and 128 elements of the even Clifford subalgebra Cl(8)e]