New Music
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- “Is sound particular only to the physical world or is there sound in the other domains also?
There is sound there also.
- In the same way as here?
There certainly is a sound in all the manifested worlds, and when one has the appropriate organs one hears it.
There are sounds which belong to the highest regions, and in fact, the sound we have here gives the feeling of a noise in comparison with that sound.
For example, there are regions harmonious and musical in which one hears something which is the origin of the music we have here — but the sounds of material, physical music seem absolutely barbaric in comparison with that music! When one has heard that, even the most perfect instrument is inadequate. All constructed instruments, among which the violin certainly has the purest sound, are very much inferior in their expression to the music of this world of harmonies.
The human voice when absolutely pure is of all instruments the one which expresses it best; but it is still... it has a sound which seems so harsh, so gross compared with that. When one has been in that region, one truly knows what music is. And it has so perfect a clarity that at the same time as the sound one has the full understanding of what is said. That is, one has the principle of the idea, without words, simply with the sound and all the inflexions of the... one can’t call it sensations, nor feelings... what seems to be closest would be some kind of soul-states or states of consciousness. All these inflexions are clearly perceptible through the nuances of the sound.”[1]
“Yesterday, while I was working here in the morning (distributing the eggs!), they made me listen to music by Sahana, a hymn by their group which is in the line of ‘religious music’. There are sounds, certain sounds that may be called ‘religious sounds’; they are certain ‘associations of sounds’, which are universal, that is, they don’t belong to a particular time or a particular country. In all times and all countries, those who have had this religious emotion have spontaneously given out this sound. While the music was playing, that perception came to me very clearly (it’s an association of two or three sounds), it came with the very state of consciousness that produces these sounds, and which is always the same: the sounds reproduce the state of consciousness. The whole [instrumental] accompaniment is different, and naturally that always, always spoils it. But these two – two or three – sounds are wonderfully expressive, in a precise, exact way, of the religious feeling, the Contact (gesture to the Heights), the adoration: the contact of adoration.
It was very interesting.
And in her piece, this sound recurs two or three times. All the rest is padding. But that ... And I’ve heard it in churches, I’ve heard it in temples, I’ve heard it in mystic gatherings, I’ve heard it ... Always mixed with all kinds of other things, but that’s ... And these sounds are absolutely evocative of the effect – in fact it’s the other way around: it’s the state of consciousness that produces these sounds, but when you hear the sounds it puts you in contact with the state of consciousness. So then, I understood why people like to listen to this music: it’s because it suddenly gives them ... ah! they feel something unknown to them.
How interesting it was!
How different everything becomes! You live in the state of consciousness, and then everything becomes different. You see things ... yes, I think that’s what Sri Aurobindo calls seeing things from within outward. One causes the other.
Very interesting.
In Sunil’s music there are two or three of those associations of sounds that are evocative associations, and in his music it’s the splendor of the future creation, oh, it comes like a dazzling sun.
But even in very old music, or disjointed music, there is that association now and then: two sounds, a relationship between two sounds (two, sometimes three). And I don’t think people are aware of it, but that’s what puts them in contact with the state of consciousness.”[2]
- Ēriks Ešenvalds, “Stars”
- Ola Gjielo, “Serenity (O Magnum Mysterium)”
- Ēriks Ešenvalds, “Long Road”
- Frank La Rocca, “O Magnum Mysterium”
- ↑ Questions and Answers 1955, p.346
- ↑ Mother's Agenda 1966, 29 October 1966
- ↑ Narad's blog at savitri.in, "On the New Music - Part 1"
See also
External links