Talk:Kīrttanaṃ (Sacred Music)
Every day, we speak thousands of words, most of which are useless and without much meaning. We whine, complain, yell, gossip, talk unnecessarily, and so on. A better use of the tongue is to sing the glories of Bhagavān with love and faith in our hearts.
Kīrttanaṃ means singing and chanting the glories of the Lord through Bhajans (devotional songs), Stotras (Sanskrit hymns), mantras (verses from the Vedas) or simply narrating the glories of the Lord to and with others with a melody. Note that the word ‘kīrtti’ also means ‘glorify’ and therefore this type of Bhakti resembles ‘Vandanaṃ’ which involves praising the Lord. Kīrttanaṃ however involves the use of music as well.
Devotional music is given a lot of importance in Hindu Dharma. In contrast, music is considered a sin in Islam. The Samaveda, one of the four Vedas, focuses on this religious music and is considered the oldest musical tradition in the whole world[1]. Today, there are almost 8000 melodies used for singing the Samaveda but there were many times more in ancient times. Scientists have found that chanting and religious music has the same beneficial effects on us as Yoga. The following quotations from sacred scripture highlight the importance of religious music in our tradition-
One who is accomplished in playing the Veena and is an expert in the 21 Shrutis, Jaati, and taala attains the path of Moksha without much effort. Yājnavalkya Smriti 3.115 The music expert who fails to attain Moksha through Yoga nevertheless becomes a companion of Rudra and rejoices with him. Yājnavalkya Smriti 3.116
The practice of singing laudatory songs to the Deities is referred to in the Vedas themselves. Here is an example-
O People! Worship Indra with melodious songs; sing, O Priyamedhas, with worshipful reverence. Let children also join in idolizing Indra, who is mighty and strong like an impregnable fortress. Rigveda 8.69.8
With righteousness, meditation, and laudatory songs, the devotees loudly extol the valiant and efficient Soma. Rigveda 9.63.21
An exemplary practitioner of Kīrttana in the Hindu tradition is Devarshi Nārada. Nārada was also a great musician. In his journeys, he constantly sang the praises of Bhagavān Vishnu and played the instrument Veeṇā, which is regarded as the oldest stringed musical instrument in the world. Nārada’s book on music is studied even today by scholars.
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It is often said that the practice of Kīrttanaṃ, as we practice and understand it today was vastly shaped by Saint Chaitanya Mahaprabhu (1486-1534 CE)[2]. He and his followers would sing beautiful hymns to Krishna to the accompaniment of music in large groups that would travel throughout the streets of their towns (‘Nagar Kīrttana), producing an uplifting effect on the residents. As the Bhakti movement swept through much of India, dozens of Saints adopted this mode of Bhakti resulting in numerous beautiful traditions of devotional singing in the Hindu and Sikh societies.
The Hindu tradition of Kīrttana and Bhajan singing is being adopted by numerous non-Hindus. There are Bhajan and Kirttana societies of non-Hindus in the United States and elsewhere whose members meet regularly to chant religious music from the Hindu tradition[3].
Difference between Japa and Kīrttana: Kīrttana is a public practice, whereas Japa is performed individually or privately as a chanting cum meditative practice[4]. Secondly, Japa may or may not be set to a melody but Kīrttana is set to music.
Glory of Kīrttana Kīrttana is particularly exalted in the Kaliyuga because it is an easy practice that can be adhered to even in the face of increasing peer pressure from evildoers in this age.
Kaliyuga, although abounding in evil, has one great advantage about it. For in this age, even by Kirtana alone man can gain release and attain Krishna. What an aspirant attains in Satyuga through meditation on Vishnu, in the Treta Yoga through Yajnas to Him, and in the Dwāpara Yuga through worship of Him, is attained in the Kali Yuga through singing the praise of Hari. Bhāgavata Purāṇa 12.3.51-52
Story: Kīrttana is a Bhakta’s True Treasure
For a true Bhakta, there is no greater joy than singing the glories of Bhagavān. No treasure of this world can equal the worth of Kīrtana. A beautiful story is told from the life of Bhakta Tyāgarāja (1747 – 1847), who lived in Tamil Nadu. He composed beautiful religious poetry in the praise of his chosen deity, Rāma. Hearing about his musical genius, the local king of Thanjavur sent an invitation to him to become his royal musician in the court. He sent the invitation with numerous costly presents. Had Tyagaraja accepted the invitation, he would have become very wealthy, but he would have had to sing the praises and glories of the King, instead of Rāma. Therefore Tyagaraja declined, with his reply in the form of a beautiful song that said that ‘Sannidhi’ (closeness to Rama) is worth much more and is more joyful than the royal ‘Nidhi’ (treasure).
Tyagaraja’s brother was very upset at his refusal of the job in the royal court. In anger, he threw the Mūrtis that Tyagaraja had worshipped in a river. Tyagaraja was very distressed to see the disappearance of his Mūrtis. He went on a religious pilgrimage all over South India and composed numerous songs in praise of Rama. By a miracle one day, Rama appeared to him in a dream and asked him to get the Mūrtis from the banks of that river. Tyagaraja discovered his original Mūrtis on the banks of a river and brought them home. His brother and sister-in-law were shocked to see the miraculous re-appearance of the Mūrti and did not trouble the musical Bhakta anymore.
Story: Kīrttana Without Any Selfish Motive A gentleman once asked Chaitanya Mahaprabhu, “What is the benefit of singing the name of Krishna?” Mahaprabhu responded, “This question has never come to my mind while chanting.” He asked the saint again, “Then why do you chant Krishna’s name the whole day?” The saint replied, “Because it has become a part of my nature.”[5]
Story: Effect Of Bhajans On Their Singer
Swami Dayanand Saraswati (1824 – 1883 CE) had a disciple named Amichandra, who sang very well and also played the Tabla. The Swami entrusted him with the task of singing bhajans in his sermons. Some other disciples of the Swami objected and said, “Gurudev, Amichandra is an alcoholic. Therefore, if we associate with him, our reputation will be harmed.” But Swami Dayanand replied, “Till now, Amichandra sang only for pleasure or for money. Today, he has started singing for the Divine. We should encourage him because, in this way, he will eventually give up his alcoholism and other bad habits.” This is what happened. Singing spiritual and religious songs at meetings, Amichandra himself reformed and gave up his bad habits. He became an active supporter of Swami Dayanand in his efforts to reform Hindu society.
Story: Miracle of Appar and Thirujnanasambandhar Likewise, there is a beautiful story of the saints Appar and Thirujnanasambandhar who sang hymns to Shiva, due to which the doors of the Mandir at Vedaranyam opened and closed miraculously. These doors had remained locked as no one was able to open them for a long time, till the Kīrttana of the two saints opened them.
References[edit]
- ↑ Beck, Guy L. Sonic Liturgy – Ritual and Music in Hindu Tradition. University of South Carolina Press, 2012, Columbia, South Carolina.
- ↑ Prime, Ranchor. The Birth of Kirtan. Mandala Publishing, 2012, San Rafael, California.
- ↑ Johnsen, Linda, and Maggie Jacobus. Kirtan! Chanting as a Spiritual Path. Yes International Publishers, 2007, St. Paul, Minnesota.
- ↑ Bryant, Edwin. Bhakti Yoga. North Point Press, 2017, p. 18, New York.
- ↑ Swami Akhandanand Saraswati. Karmayoga. Satsahitya Prakashan Trust, 1970, p. 27, Bombay, India.