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Guru Granth Sahib
Composition, Arrangement & Layout
ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Sikh Sikhi Sikhism
Mathematics In Scripture?
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<blockquote data-quote="spnadmin" data-source="post: 126801" data-attributes="member: 35"><p>Thank you for your clarification roopsidhu ji.</p><p></p><p>mattqatsi ji can also find some information about Taals at the link provided earlier, specifically </p><p></p><p><a href="http://www.searchgurbani.com/raags/taal.php" target="_blank">Gurbani Raag:Taal : SearchGurbani.com</a></p><p></p><p><a href="http://www.searchgurbani.com/main.php?book=amrit_keertan&action=music_09" target="_blank">Amrit Keertan Gutka:- Page : -:SearchGurbani.com</a></p><p></p><p>roopsidhu ji</p><p></p><p>I am curious about your reaction to these paragraphs that try to connect the "resonance" of elements of musical structure to the achievement of a heightened state of inner consciousness. Thank you</p><p></p><p style="text-align: left"> Resonance</p> <p style="text-align: left"> Sacred music has two aspects; the outer and the inner. The outer side is the arrangement of words and notes, the welding of the substance and the tune which is a delight for the ear and the intellect. The inner side of this music is its mysterious process by which it opens the vista of inner consciousness and stabilises and wandering mind and brings joy and peace. Technically the result can be explained through the principle of resonance. It has been proved that in case of two instruments tuned identically, if the strings of one instrument are touched, the strings of the other instrument will automatically vibrate without any physical manipulation. Thus the mind will absorb the vibration of calmness through <strong>kirtan. </strong>One musicologist explains the process thus: “If two instruments, such as two <strong>sitars, </strong>are exactly in tune with each other and if one them is played upon, then it is observed that without touching each other, the wires of both the instruments vibrate in resonance automatically. Likewise, the mind is also constantly vibrating due to energy (<strong>shakti) </strong>manifested by the omnipotent in the soul <strong>(jiv-atma)-its cidabhasa.</strong></p> <p style="text-align: left">While music is being played or sung-going through the different notes of the various octaves-and one of notes comes into harmony and in identification with the vibrations of the mind of a person, the resonance becomes so strong that it holds the mind steadfast begins to flow gradually and flow gradually and follow the melody itself which is in tune with the external divine music, in perfect resonance and harmony with the raga and rhythm or melody (<strong>dhun) </strong>being heard externally. In this way internally the mind is gradually led, trained and channelised to attain calmness and repose. The result is that external joy begins to manifest itself slowly and steadily by itself. The more is the mind in tune, the greater is the mystic effect of the rhythm <strong>(ghar), </strong>modal music (<strong>raga)-</strong>reinforced with the Divine Word, the revelation (<strong>shabad) </strong>of the scripture”[40]. This joy creates in the mind a longing for a frequent repetition of the experience.</p> <p style="text-align: left"></p></blockquote><p></p>
[QUOTE="spnadmin, post: 126801, member: 35"] Thank you for your clarification roopsidhu ji. mattqatsi ji can also find some information about Taals at the link provided earlier, specifically [url=http://www.searchgurbani.com/raags/taal.php]Gurbani Raag:Taal : SearchGurbani.com[/url] [url=http://www.searchgurbani.com/main.php?book=amrit_keertan&action=music_09]Amrit Keertan Gutka:- Page : -:SearchGurbani.com[/url] roopsidhu ji I am curious about your reaction to these paragraphs that try to connect the "resonance" of elements of musical structure to the achievement of a heightened state of inner consciousness. Thank you [LEFT] Resonance Sacred music has two aspects; the outer and the inner. The outer side is the arrangement of words and notes, the welding of the substance and the tune which is a delight for the ear and the intellect. The inner side of this music is its mysterious process by which it opens the vista of inner consciousness and stabilises and wandering mind and brings joy and peace. Technically the result can be explained through the principle of resonance. It has been proved that in case of two instruments tuned identically, if the strings of one instrument are touched, the strings of the other instrument will automatically vibrate without any physical manipulation. Thus the mind will absorb the vibration of calmness through [B]kirtan. [/B]One musicologist explains the process thus: “If two instruments, such as two [B]sitars, [/B]are exactly in tune with each other and if one them is played upon, then it is observed that without touching each other, the wires of both the instruments vibrate in resonance automatically. Likewise, the mind is also constantly vibrating due to energy ([B]shakti) [/B]manifested by the omnipotent in the soul [B](jiv-atma)-its cidabhasa.[/B] While music is being played or sung-going through the different notes of the various octaves-and one of notes comes into harmony and in identification with the vibrations of the mind of a person, the resonance becomes so strong that it holds the mind steadfast begins to flow gradually and flow gradually and follow the melody itself which is in tune with the external divine music, in perfect resonance and harmony with the raga and rhythm or melody ([B]dhun) [/B]being heard externally. In this way internally the mind is gradually led, trained and channelised to attain calmness and repose. The result is that external joy begins to manifest itself slowly and steadily by itself. The more is the mind in tune, the greater is the mystic effect of the rhythm [B](ghar), [/B]modal music ([B]raga)-[/B]reinforced with the Divine Word, the revelation ([B]shabad) [/B]of the scripture”[40]. This joy creates in the mind a longing for a frequent repetition of the experience. [/LEFT] [/QUOTE]
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