It’s always all the music was in the praise of God. And that’s why Mohammed Sahib said that all the music should be in the praise of God and should not be…”
So we had other things like Ras and all that. But you find even at the time of Shri Krishna all the music was to be just done for Ras. Ra, ‘Ra’ is ‘energy’. Sa means ‘with’. With Radha they were playing together, playing Rasa and that’s how they were doing the circulation of the energy to integrate themselves and singing the music. It is for that but you find that people don’t understand. They use music for sensuousness: is anti-God. This music force has come to us to praise God, that’s all, for nothing else, [not] for doing all kinds of dirty things and singing all kinds of funny things. Imagine! And the reaction is built in so much. When He said that all the music should be in the name of God, we have a person like Aurangzeb who would not take to any music! He was such a staunchy (sic) fellow and the other Muslims who came in would not sing anything that is Qawali or anything, would sing horrible ghazals which are just describing the separation of a woman and a man and all kinds of dirty things!
With this disintegrated temperaments people took to anything that came to them just to please themselves. When the advent of this thing like Omar Khayam. Who is he? He’s anti-God absolutely anti-God man. Horrible! But people appreciate him very much, Omar Khayam what a poetry it is. They appreciate – why? Because the disintegrated part of their heart likes Omar Khayam when he sings, “Oh we should drink here. What is there in this life? We don’t know what is going to be there.” Because Mohammed Sahib has said not to drink, he must sing such a song. This is the poetry of Mr. Omar Khayam, who is being very much respected everywhere. And he’s very much regarded as a great poet in Iraq where today Khomeini is one great horrible man is born and he still respects this Omar Khayam; I don’t know how can he respect him. What a contrast it is, just see, what a contrast this Omar Khayam singing dirty songs. They are not in praise of God. Music which is not in the praise of God is not music. Is ashleed. Is filth. Is dirt. Our classical music in India was based on AUM. Even at Kundalini when it reaches here at the Vishuddhi Chakra it makes all the sounds, “am, aam, em, eem, um, oom, rim, reem, lrim, lreem, aye, ayee, ao, aou, ang, ah” All these sixteen vowels are coming from the sixteen chakras or the sub-chakras or the petals of this Vishuddhi Chakra. These are Bija mantras of the Vishuddhi Chakra. All the vowels come from here and when we sing dirty songs we spoil this chakra Vishuddhi.
That’s why all the people who sing these dirty songs have to take to drinking, because I think they can’t bear, or they can’t do it, they can’t sing these bad songs unless and until they take to some sort of an escape from God. So music and drinking started going hand in hand. In the West the music broke all its traditions because they had no sense left in them to recognise that music is meant only for God. Only for hymns to be sung in the praise of God. All music should be in the praise of God. All ragas should be in the praise of God. [In India] we had no namaz system of different times, but we have a system of music in different times. At different time, a certain music should be played where you describe a mood. And all the moods that are described have to relate themselves to God. There is no other mood that is enjoyable to the Spirit that does not relate to God. There’s no mood which one can enjoy. Even bibhatsa, the mood of bibhatsa is grotesque; even that mood one enjoyed, one can listen to when they see the filth and dirt, the left side.
It’s so scientific; our music system is extremely scientific because it was taken in the form of this music with actually the Kundalini moving into different these sapta swaras (meaning: 7 notes). These seven swaras are built in our seven chakras: It start with sa, then, re, ga, ma – Mother, pa, dha, ni. My name also starts with ni. These seven swaras are built in with seven notes and there are vrikrutis, vrikrut swaras, which are the other, what you call, chakras [so] that we have to make about twelve swaras. But nobody understood the real meaning of music.
Sharada the Goddess of Saraswati is the one who carries the message of Viraata within and tells us how to sing. She tells us what is appealing to God. How these ragas were made also? Just think of it. Because first they chose the notes the aroha and avrohas, the going up and down (ascending melody and descending melody), which was appealing to God. So the melodies were created. Melodies are fixed. You cannot change the melodies the notes because they found out that, at this point, the Spirit awakened; on the vibrations they found out. They found out that, when they sang this way it worked out. The Veena (primordial instrument of Shri Saraswati) they played and they found out the exact swaras. Exact swaras which would really make you feel nice. Now, you know that, those people have come from the West, don’t understand any Indian music on the mental level but they understand at the Spiritual level because their Spirits get filled with joy and the vibrations starts flowing.
The sense of music – this depiction of music was done by Shri Krishna. It is He the One who taught taala. Of course we can say that Shiva is the One who dances the taala, but the One who depicted it for human beings who gave the message to the world how the taala should be is Shri Krishna, through His dancing movements. He kept the taala all the time. Like the way He stands itself suggests how He kept the taala. And He played the murli (flute) also, to suggest that music is what God’s love is. His music is suggesting of God’s love, that soothes you, that clears you, that makes you happy, that gives you joy. And that’s what He suggested through His singing, through His music. …
H H Shri Mataji Nirmala Devi, Vishuddhi Chakra, Delhi (India), Public Programme, 2 February 1983.