The power of psychic music

[Ganesh Deivashikamani]

Since music was also drawn into this discussion about the nature of
consciousness,I thought members will find this article interesting and
informative. I came across this in the internet..
Please read below
Ganesh Deivasikhamani
The power of psychic music
===========================
Playing the veena is considered the highest form of yoga. As the naadha of
the veena and kundalini prana of the player unite, they take the shape of
the finest vibratory thread and dazzle each time the fingers make contact
with the strings.
E.GAAYATHRI writes.
Veena is an ancient musical instrument, it dates back to the vedic times. In
Hindu astronoomy, Thula Rasi (Libra in Western Zodiac system) contains the
star Swathi. This constellation is also described as ``Alpha
Cygnus''indicating ``Hamsa'' (swan) which is the seat of Goddess Saraswathi.
Also this constellation Swathi, presents the picture of a ``LYRE'' or
``VEENA.''
Many decades ago the scientists discovered a cosmic hiss emanating from this
constellation. This is the ``Nada'' the musical resonance that pervades the
Universe. It pervades the human body also only to be discovered by oneself
within himself. This ``Nada'' is the mother of all ragas which are
expressions of emotions. ``Nada'' in all ragas, therefore, is like gold in
all ornaments.
Playing the veena is considered the highest form of yoga for it brings about
the merging of jeevatma and paramatma, especially when the veena player
handles the veena through the sheer force and power of his ``prana''
or``kundalini shakthi'' that arises from the Mooladhara. The ``nada'' of the
veena and the ``kundalini prana'' of the player entwine together. As
the``nada'' and ``kundalini prana'' unite, they take the shape of the finest
vibratory threat and dazzle each time the veena palyer's fingers make
contact with the strings. At this stage the artiste is a yogi of the highest
order as he handles the veena in kumbhakam'' - which is the total and
absolute retention of breath without any effort or consciousness. He
therefore attains the state of ``Samadhi'' through veena yoga.
Aithareya Brahmana States in the fifth chapter of the second part of
``Aithereyaranyaka.''
``Atha Khalviyam Deivi Veena Bhavathi Thadanukruthi Manushi Veena
Bhavathi''Man's body is the heavenly veena; the veena played upon by man has
been fashioned analogously to man's heavenly make-up. The spinal column of
the human being is the divine veena created by God and the instrument
(woodenveena) is the veena created by the human being.
In the backbone of the an upright chord is seen beside it extending from
down the pelvis right upto the brain sustaining this backbone. This
chord,known as the spinal chord, is like the trunk of the veena. Just as
there are 24 divisions in the veena, there exists similar assortment of 24
vertebrae in the spinal chord. The 24 vertebrae of the column are grouped as
under by the scientists of the west in their treatises on Anatomy; Cervical:
7
Dorsal: 12 and Lumbar: 5, thus totalling 7 joints (Cervical belonging to the
neck, Dorsal belonging to the back and Lumbar belonging to the Loins). In
the Veena we see the mansions are large and roomy as they begin from the
lower pitch. But as we proceed to the taxa-pitch, the cells shrink in size
till towards the alto-end they are rather minute. The division found near
the lion-face (foot) of the veena are larger than those near the brain.
Similarly, the vertebrae in the column are large and thick near the region
of the waist, dwindling more and more in size and thickness as they approach
the head. In vedas, the spinal chord is described as ``veenadanda.'' As
already stated, the lower end of the veena is termed as Simha-mukha or
lion-face. Even the lower end or basal stand of the vertebrae is shaped like
Veena's simha-mukha.
It is in the spinal chord that the shushumna nadi runs. This thin hollow
fibrous passage is also known as Brahmarandhra. Just as the veena is ever
associated with its strings, the brahmarandhranadi is inseparably associated
with the power of the mystic Om or Parasakthi, the Supreme Power.
The 24 vertebral joints that together constitute the spinal column are
aligned in the living organism on the model of the above 24 seed-letters of
the Gayathri. This clearly means that both the macrocosm and the microcosm
are but a condensation of the exalted splendour of the great Mother
Devi-gayathri.
Physiology tells that the cerebral cord or nadi runs inside the thin hollow
tybe embedded in the centre of the vertebral column. This cerebral cord is
gross. This is not the Brahmarandhranadi or the subtle super physical nerve.
The mystic never exists as pure ethereal power in this gross cerebral
cord.This ``sookshama'' nerve is beyond our Ken. No x-ray or any other
mechanical device can ever hope to discover this ethereal cord in the gross
cerebral tendril. Man can only perceive the movements or excitation of the
body, but never the forces which cause the movement or excitation.
If inside the gross body of ours we did not possess an ethereal non-physical
double our bodies are but dead. Therefore, inside our corporeal frames there
do exist nerves embodying psychic power such as the Sushumna or
Brahmarandhra nadi, Surya and Chandra nadis known as Ida and Pingala or the
right and left sympathetic chords, the six psychic lotuses known as
shatchakras all these enshrining deep occult currents.
In the mysteries concerning the presence of Omkara in the Sushmana nadi, one
can perceive the deep esoteric varieties that vitalise the veena held in the
hands of Shri Sharada Devi. The power of the manifest sound, issuing as
sweet music from the strings of the Veena on which we play, reside in the
gross nervous fabrics enveloping the mystic Sushumna cord. This means that
the power of psychic music which immanates the earthy music, resides in the
unseen Sushumna Veena, while the power of the earthly Veena resides in and
vitalises the peripheral nervous fibres around the Sushumna. Between these
two Veenas there rises the wall of the cerebral spinal chord of utmost
fineness which envelopes the Sushumna nadi even as a glass chimney divides
the light of a wick from its atmospheric surroundings.
The end of the veena or its lion-face is situated in a point below the
waistline. The top of the veena reaches upto the head of a man. In the
Veena, the mandra sthayi of the subdued tenor, commences at the lower end.
In the same way human sounds first rise from the bottom of the vertebral
column. Following the alignment of the spinal chord, the sound pitches
proceed from the Mandra to madhyama to tara, i.e., from lower tenor to even
tenor and then also operate in the head. Just as the 24 feet of the Veena
are partitioned into eight each for the reigns of mandara, madhyama and tara
sthayis, the vertebral joints of the spinal chord also are marked off as
eight each for the prevalence of the three pitches. The timbre of the veena
strings have for their prototype the sound of the Vedas interfused in the
undefined unmanifest anaahata or Omkara vibration. The seven swaras of the
Veena are rooted in the cardinal psychic centres of the Sushumna nadi, viz
Muladhara, Swadhishtana, Manipura, Anaahata, Visuddha, Ajnya and Sahasrara.
Even though the seven swaras have each of their particular habitat yet in
manifestation they interact with one another and reign collectively over the
whole Sushumna region as the power of the primal Omkara.
Description of saptha swaras inter-related to the seven chakras situated in
the spinal column:
The sahasra kamala where in Shadja Swara Sa stays in the very seat of Brahma
itself i.e. of the Brahmi Shakthi ``Aha'' is the swaroopa (form) of the Nada
Brahma i.e. the Sa or shadja Shakthi proceeds in a zig-zag way throughout
the whole of the spinal column upto Mooladhara Chakra (Basic Plexus) and
stays there. It is no other than the kundalini shakthi (Serpent Power) and
it represents the element earth (Prithvi). As this shakthi is omnipotent, it
can go from Sahasrana to Mooladhara, and return from Mooladhara to
Sahasrara. It is the first and foremost of all shakthis, and so retains all
other shakthis in itself. The other shakthis are not so.
The second swara is ``Rishabha'' ``ri'' which is Maheswari Shakthi. It also
starts from Sahasrara the place of Shadja, comes to Mooladhara and from
there goes back to Ajnya chakra only, which is the space between the
eyebrows and stops there.
The third swara is: Gandhara ``ga'' which is known as Kowmari Shakthi starts
from Sahasrara goes back to Mooladhara and returns and stays in the
Vishuddha chakra in the throat.
The fourth swara is the ``Madhyama'' ``ma'' which is Vaishnavi
shakthi,starts from Sahasrara goes to Mooladhara and while returning stops
at Anahatha chakra in the region of the chest.
The fifth swara is ``Panchama'' ``pa'' which is Varahi Shakthi, starts from
the same Sahasrara reaches Mooladhara and returns upto Manipura chakra and
stays there in the navel or umbilical region.
The sixth swara is ``Dhaivata'' ``Dha'' which is Indrani shakthi, leaves
Sahasrara travels upto Mooladhara, and stays in Swadhishtana chakra in the
region of the loins below the navel.
The seventh and the last swara ``Nishadha'' ``Ni'' Chamundi shakthi, also
starts like other swaras from Sahasrara, descends upto Mooladhara and
remains there itself. It has no upward motion.
The Rishabha ``Ri'' Gandhara ``Ga'' Madhyama ``Ma'' Panchama ``Pa'' Dhaivata
``Dha'' and Nishada ``Ni'' will be staying in their respective chakras for
the works of creation and maintenance upto the time of Laya (Dissolution of
disintegration) when they reunite finally with the Shadja swara, ``Sa''
i.e., Brahmi shakti in Sahasrara chakra. Thus, all these six swaras sprout
from Brahmi shakthi and finally go back to Brahmi shakthi at the time of
Laya destruction or dissolution of the whole world, and become part and
parcel of it as Parabrahma shakthi. Also from Mooladhara upto Sahasrara,
they are symbolical with the saptha lokas namely: Bhooloka,
Bhuvarloka,Suvarloka, mahaloka, Janaloka, Thapaloka and Sathyaloka, and the
six swara sakthis of Rishabha and its fellow shakthis take rise from the
Shadja i.e.,
Parabramha of Sathyam (Sathyaloka) and stay in their respective lokas of
Brahmananda to attend to their work of creation in their respective lokas.





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