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Swami Vivekananda And Music

Swami Vivekananda And Music

SKU: 9788188827398
₹650.00 Regular Price
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SwÈmi VivekÈnanda was equally a great thinker in philosophy and music. He was a votary of dhrupad music and Bengali kirtan. His musical aspect is less known to people. 
SwÈmiji's practical vision of music is very useful to the learners of vocal music. He wrote a book on music at the age of 23 called Sangeet Kalpataru in 1886-87. He says (Complete Works of SwÈmi VivekÈnanda, vol 5, page 361-363, conversation with Priya nath Sinha):
What real music we have lies in Kirtana and Dhrupada; the rest has been spoiled by being modulated according to the Islamic methods. Do you think that singing the short and light airs of Tappa songs in a nasal voice and flitting like lightning from one note to another by fits and starts are the best things in the world of music? Not so. Unless each note is given full play in every scale, all the science of music is marred.
Author's understanding of SwÈmiji's thought is 'Music of India reflects the same trend of choked activities on free thinking, as it was noticed in other disciplines of life and study.'
'... prottek pardÈy shurer bikÈsh nÈ korile shongite bigga`n thÈke nÈ. ...Tappä...te e`ktÈ s`harer upar Èr e`ktÈ s`har (svar-note) e`to shigghro ÈshiyÈ pare je, tÈhÈte shongiter mÈdhurjo kichhui thÈke nÈ, ...' (ref- ss, 1962 )
'Music does not remain a science unless every musical note is developed to its fullest. Earlier, in Indian music, each note could stand independently on its own feet to mesmerise the listeners with its inherent melodic brilliance.' Indirectly, it states that the essence of music solely depends on the indigenous tunefulness (surilÈpan) of a note and the prolongation of a note (thehrÈo).
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