Ancient Seers on Sastriyan Sangeet: Wisdom Beyond Music

Sastriyan Sangeet, also known as Indian Classical Music, is not merely an artistic expression but a divine science that transcends melody and rhythm. Rooted deeply in the Vedas, Upanishads, and ancient Indian scriptures, it is considered a pathway to spiritual awakening, emotional healing, and self-realization.

The ancient seers (Rishis) of India recognized the power of sound (Nada) as a cosmic force and developed Sastriyan Sangeet as a means to align human consciousness with the divine vibrations of the universe. Through precise notes, ragas, and rhythms, they unlocked a treasure trove of spiritual wisdom that continues to resonate with seekers and spiritual practitioners even today.

In this comprehensive exploration, let’s delve into the ancient seers’ profound insights on Sastriyan Sangeet, its spiritual significance, and how it offers wisdom beyond music.


The Divine Origins of Sastriyan Sangeet

1. Vedic Roots and the Science of Sound (Nada Yoga)

The origin of Sastriyan Sangeet can be traced back to the Sama Veda, where the ancient seers chanted hymns in specific melodies (Samagana) to invoke divine energies. These chants were designed not just for worship but also for healing, mental focus, and spiritual elevation.

According to Nada Yoga, the universe is made of sound vibrations, and by resonating with these vibrations through music, one can attain a state of cosmic harmony and spiritual bliss.

Inbond Link: Nada Yoga and Meditation
Outbound Link:
Significance of Sama Veda in Indian Music


2. Ragas: The Mystical Language of Emotions

The ancient seers believed that Ragas are more than just musical scales; they are the mystical language of emotions. Each raga is associated with a specific time of day, season, and emotion, capable of evoking profound spiritual experiences.

  • Morning Ragas (e.g., Bhairav, Todi) are designed to calm the mind and prepare it for spiritual practices.
  • Evening Ragas (e.g., Yaman, Kafi) evoke tranquility, aiding in meditation and introspection.
  • Seasonal Ragas (e.g., Raga Megh for monsoon) resonate with nature’s energies, connecting the human psyche with the cosmos.

These ragas were structured to harmonize the chakras (energy centers) and balance the doshas (bodily humors) as per Ayurveda.

Inbond Link: Chakra Healing with Sound
Outbound Link:
Science Behind Ragas and Emotions


Spiritual Significance of Sastriyan Sangeet

1. Nada Brahma: Sound as the Divine

The seers proclaimed “Nada Brahma”, meaning “Sound is God”. They viewed sound as the fundamental vibration of the universe, and Sastriyan Sangeet as a medium to connect with the divine consciousness.

  • Mantras were chanted in specific ragas to invoke cosmic energies.
  • Tantra practices incorporated musical notes to stimulate spiritual awakening and Kundalini activation.

2. Liberation through Sangeet (Moksha Sadhana)

Ancient scriptures like the Natya Shastra and Sangita Ratnakara mention music as a means of Moksha (liberation). It is believed that:

  • Listening to certain ragas dissolves karmic impressions and purifies the mind.
  • Singing with devotion (Bhakti Sangeet) transcends ego and unites the soul with the divine.

Inbond Link: Kundalini Awakening through Music
Outbound Link:
Natya Shastra and Indian Classical Music


Ancient Seers and Their Contributions to Sastriyan Sangeet

1. Bharata Muni – The Author of Natya Shastra

  • He codified the fundamental principles of Indian classical music, dance, and drama.
  • His Natya Shastra details the use of rasa (emotions) in music for spiritual elevation.

2. Matanga Muni – The Pioneer of Raga System

  • His work Brihaddeshi is the first to introduce the concept of Raga, explaining their emotional and spiritual impact.

3. Sage Narada – The Divine Musician

  • Narada is revered as the inventor of Veena and a master of Bhakti Sangeet.
  • His teachings emphasize the devotional and meditative aspects of music.

Inbond Link: Spirituality in Indian Classical Music
Outbound Link:
History of Indian Classical Music


Healing and Therapeutic Power of Sastriyan Sangeet

1. Raga Therapy: Healing Through Music

The ancient seers prescribed ragas for healing physical, mental, and emotional ailments:

  • Raga Darbari Kanada for stress relief and mental peace.
  • Raga Bhupali for boosting immunity and energizing the body.
  • Raga Hindol for emotional healing and heart chakra activation.

2. Mental and Emotional Healing

  • Shivaranjani soothes grief and anxiety.
  • Hamsadhwani brings joy and mental clarity.

Inbond Link: Emotional Healing with Music
Outbound Link:
Research on Raga Therapy


Experiencing Sastriyan Sangeet with Adwait Yoga

At Adwait Yoga, we offer:

  • Nada Yoga Sessions for spiritual awakening.
  • Raga Therapy Workshops for emotional and physical healing.
  • Meditative Music Sessions to experience the divine vibrations of Sastriyan Sangeet.

Join our Nada Yoga and Sound Healing Course and immerse yourself in the ancient wisdom of Sastriyan Sangeet.


Conclusion

Sastriyan Sangeet is not just music; it is a divine science of sound that leads to emotional healing, mental clarity, spiritual awakening, and ultimate liberation. The ancient seers created a symphony of spirituality by weaving cosmic vibrations into ragas and rhythms, allowing us to resonate with the universe itself.

In today’s chaotic world, reconnecting with this ancient wisdom through Nada Yoga and Raga Therapy can bring profound peace, harmony, and enlightenment.

Embrace the wisdom of the seers.
Resonate with the cosmic vibrations.
Experience Sastriyan Sangeet beyond music.


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Adwait Yoga

We are Adwait Yoga School, affiliated with Yoga Alliance USA and World Yoga Alliance. This school is run by a charitable trust - Adwait Foundation® registered with Government of India.

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About Chief Editor
Sri Yogi Anand
Sri Yogi Anand

Sri Yogi Anand is an ordained Yogi, Yoga, Mindfulness, Meditation and Spiritual Master. Formerly Software engineer, and musician. He is an eloquent orator, writer, and founder of Adwait Foundation and Adwait Yoga School.

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