About the Soundscape
Sounds and instruments that you learn from rather than learn them…
The special and beautiful thing about the Indian sound world is that it is perceived as a wholistic experience. Our body, which consists of 70–80% water, serves as our strongest and most familiar resonance chamber. It receives vibrations, allows them to resonate internally, and transmits them back outward. Simultaneously, he exerts his own vibrational energy within this intricate process. Therefore, this sound world can be experienced and learned without any prior musical knowledge and is thus accessible to people of all ages, even the Unborn. It developed from observations and imitations of nature (sounds) and unfolds through the art of systematic improvisation. Detached from words and language, one’s own voice, especially when singing and making sounds, can make the spirit resonate and can also be experienced as a spiritual level of expression, communication and perception […for the sake of becoming…]. In the Indian context, it is considered the highest form of “music”. Therefore, “music” is not only knowledge, but also realization, and opens up possibilities beyond the musical realm…
…self-realization…
…self-awareness…self-experience,
…self-overcoming…self-expression,
… self-encounter…self-knowledge,
… self-healing…self-liberation,
…self-fulfillment…
About THE `Music´…
On the depth of music … a Saṃskṛit-Subhāṣit (beautiful speech)
गानाब्धेस्तु परं पारं नोपेयाय सरस्वती
अतो निमज्जनभयात्तुंबी वहति वक्षसि|
[सुभाषित रत्नाकर; १८८८]
Unable to cross the ocean of music and afraid of drowning,
the goddess Saraswati carries two hollowed-out gourds (veena) on her chest.
[Subhāṣit Ratnākar 1888; for a detailed English translation, see To day’s Subhashit by Guru M.C. Joshi].
The roots of classical Indian sound theory and musical tradition extend deep into history and can be traced back to the Vedic tradition. This makes it one of the oldest musical systems in the world. Indian Raag Music (melodic signature) has been shaped over thousands of years by the diverse philosophies and mysticism of India and is characterised by complex tonal and rhythmic elements. It represents a concept based on creativity, improvisation and intuition. While the natural harmonic series (pure intervals) is preserved, the sound-centered approach of Raag Music is oriented around an individually chosen tonic, and thus does not assign fixed frequencies to its tones. The fluid interplay of tones and microtones as an essential component of Raag Music makes it impossible to record in writing. Even today, this knowledge, traditionally passed down orally, can therefore only be learned by listening attentively and imitating the teacher.
The accompaniment of the Tanpura gives my offerings a unique and distinctive character. Its enchanting vibrations are both my musical guide and the core sonic foundation woven into each of my offers. The natural harmonic series (pure intervals) unfolds from its mysterious ocean of overtone-rich vibrations – a silent awakening from the depths of sound. Through regular meditative merging with its multidimensional sound spectrum, the `inner ear´ can open up to the perception of the omnipresent sound of anahat Nāda.
Inspired by the creative improvisational mastery of my Gurus, I draw from the rich spectrum of improvisational techniques from Indian Raag Music to create individual designs for syllable singing. Each Sound Offer unfolds melodically and intuitively, tailored to the participants, the hour, and the spirit of the moment.
Miniature painting: Anonymous, Udaipur (editier); Personal Collection.
Background: “Flower of Life Infinite Pattern Sacred Geometry“; Douglas James Butner, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons; (edited & Image insertion: 2024 The Year of the Dragon by Hafize Daniel).
Logo: © Hafize Daniel.