http://www.voxmundiproject.com/recommended_readings_16.htm. acessado em 31/03/2008

RECOMMENDED READINGS

The Secret Power of Sound: Listen and Heal

By Silvia Nakkach, M.A., MMT(Voxmundiproject,2006)

"Sound is a uniquely potent form of energy medicine that entrains us to the vibrations of our own essence and that of the Universe. Sound is also the simplest, most direct route I know to achieve the sense of profound calm that allows us to move into that peaceful inner place, that I call our essence." Dr. Mitchell L. Gaynor, M.D. - Director of Medical Oncology and Integrative Medicine at the Strang-Cornell Cancer Prevention Center & author of Sounds of Healing

Sound is in the root of all existence. Consciousness as the universe is a vibratory dynamic system, and knowledge of sound encourages further exploration of the relationship between human and cosmic orders.

For centuries, the therapeutic value of music and sound were considered indivisible from their own nature. Specific sounds and music were played as a form of natural medicine. Music and chanting have been always implemented to induce, transmit, and transform diverse realms of perception (sensorial, emotional, cognitive), becoming one of the most effective mediators of emotional communication at an intra psychic, interpersonal, and transpersonal dimension of experience. Cross-cultural music has been always an essential part of community building, ritual, and to accompany life’s passages.

Sound has been used as a gateway to transcendence, and the exploration of consciousness by shamans, yogis, mystics, composers, and scientists. The ancients in China and Tibet imparted a sophisticated knowledge of how to tune and combine the metal “singing bowls”, bells and gongs together with chanting sacred syllables to generate a sonic vibration that could influence pulse rates and brain function. In India, and other ancient musical traditions, the music is based on the “tonic”, a sustained tone or drone that gives a ground to the melody and in the spiritual level becomes a reminder of being protected by the “breath of God”. The drone leads the musician and the listener into a state of contemplation, slowly clearing the mind to a state beyond thoughts and emotions.

Methods and rituals to access deep states of healing and to control outer forces of nature have been employed for thousands of years using the "low-tech" approach of what is today, a rapidly expanding science of high-tech applications of sound to expand consciousness and support therapeutic processes. As Dr Jeffrey Thompson states: “With far more sophisticated tools for measuring what happens in the brain during expanded states of consciousness, combined with more advanced tools for influencing the brain to travel to these states, we now have the ability to use our technological know-how to accelerate our own biological abilities and perhaps, our own evolution.”

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The Interdisciplinary Dialogue between Sound and Neuroscience Research

The fast growing public interest in sound and music therapies denotes a major shift in Western scientific and medical practices and a fruition of the development of consciousness studies. In Music Therapy, music is instrumental to assess and to access emotional states, creating an interactive and therapeutic container so that particular feelings can be explored.

“Sound is a nutrient for the brain and can either charge or discharge the nervous system. We can consciously use sound to enhance life”, Joshua Leeds

Dr Tomatis ground-breaking work shows how sound through the ear and the skin can stimulate the brain functions, as a result, the definite work on the discovery of the phenomenon of acoustic brainwave entrainment – the ability to change brainwaves and sates of consciousness and emotions with sound and music – and its effect on hemisphere synchronicity, is making possible profound changes in the body that are measurable with mapping equipment (EEG), blood tests, and bio-feedback procedures. These methods involve digital technology, advanced sound instruments, as well as sound tables, and sound tracks in recordings. All these sound therapies work to cause the brainwave entrainment response, affecting directly physiological systems and our vital pulses (i.e.: pulse rate, brainwaves, heart rate, respiration, EMG papillary dilation, EEG, body temperature, endocrinal functions, etc).

Integrating interdisciplinary research and the insights on the use of sound in secular and sacred musical ecstasy with new research on neuroscience, and the use of sound in medicine, have important implications on musicology, music cognition, music therapy, and the study of consciousness. These advances may suggest widespread implications as new and more accessible methods to treat conditions like: ADD, chronic fatigue, immune system diseases, brain dysfunctions, depression, anxiety, insomnia, and chronic pain, ways to cope with chemical intoxication, addictions, lessen pain, grief, anger, fear, and ease spiritual longing.

Rhythmically hypnotic, and repetitive pulses and vocal sounds are crucial for the healing process, that usually involves also movement. A single beat of a drum contains many frequencies an overtones which stimulates larger areas of the brain, more than a single frequency. Particularly, low frequencies pitches can be tolerated for a longer time, as a result of duration, more energy can be transmitted to the brain with a drum beat. The typical tempo of tribal drumming in an EEG measurements is close to a basic rhythm of an Alpha wave production (8-13cycles per second), the repetitive drumming produce an auditory driving of the Alpha waves leading to a trance like state that also can produce unusual perceptions.

In the course of illness the healthy flow of energy is constricted and creativity is diminished. Singing functions as a great barrier breaker. As the sound is made, it relaxes the mind, it harmonizes the perceptions, and unnecessary tensions find a release. Even one long note, or one syllable is enough to bring that “freedom” effect.

Jean Achterberg states that the finest sound medicine will be produce by those who take the best from the shaman and the scientist, and learn to travel through textures of experience and consciousness states.

The experience of music is multi-dimensional. We experience music with our skin, with our bones, with our body temperature, with our pulse rates. Music cognition (music as data) recognizes music as symbols affecting memory and the brain. We aim towards the phenomenon of musical embodiment and transcendence, while musical meaning stimulate psychological process. Music based therapies have the

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capacity to align auditory awareness, inducing different kinds of attention and trance-states that stimulate deep inner healing and a sense of spiritual liberation, devotion, reaffirming the belong-ness and preservation of the community.

The Benefits of Sacred Chant

Sacred chant is an integral expression of the healing power of the voice and the magic of tone. Chanting is an extremely satisfying sensory experience and can fill us with joy and love, purifying our senses and emotions, as well as our surroundings, leading us naturally to meditation, liberating a sense of divine light and happiness. In the physical level a balance of the brain functions takes place, sound waves and music in the form of electrical impulses impact the nervous system, and this in turn affects the heart rate, blood pressure, and muscle tension. The effect is a sense of relaxing and cleansing of the “whole”, the body and the mind as one.

In ritual and shamanic music healing the embodiment of Divine presence is welcome. Sacred chant stimulates meditative states that aim to bypass and transcends vigorous emotions promoting serenity, relaxation, and wellbeing. “Trancing is strenuously emotional while meditation aims to transcending emotions.” (Rouget)

As the fabric of breath, vibration and emotion, the singing voice can affect the body and mind more efficiently than any other form of sound. Vocal sounds are a primary source of energy, both balancing and stimulating to the brain. Chanting releases harmonic energy and triggers a spontaneous identification with the sacred; a dimension of consciousness characterized by a healing release of boundless radiance, openness, and love.

Sacred sound travels through consciousness and can transform everyday occurrences into a mythical dimension through modalities of vocal expression and rhythmic entrainment.

“In the most ancient Tibetan mythological cycles, sound is considered to be the original source of all existence. Sound, which from the beginning of time has vibrated in ineffable emptiness, arises through mutations of light, and then differentiates into rays of various colors from which the material elements that make up the entire universe originate. The complete sound that comes from the fusion of the expressive force of the voice, the drum and the bell, is able to cut through that type of membrane that separates different layers and textural states of consciousness, creating an atmosphere strongly permeated with magic and spirit.” Constantino Albini

Sacred chant is rooted in ancient melodic movements. In Indian music, those scales systems are called ragas, “that which colors the mind”. These vivid tonal arrangements evoke specific spiritual qualities or states of being. The experience of breathing deeply, dwelling in one note, feeling the musical vibrations that revitalize the body, and blending one’s own voice with other voices in essential harmonies, is deeply inspiring, offering rare glimpses of the sacred source.

The time is fast approaching when people will select their music with the same intelligent care and knowledge that they use to select their food. When that times comes, music will become the principal source of healing for many individuals and social ills, and human evolution will be tremendously accelerated.” Corrine Heline

The Practice;

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The Effortless Voice and The Practice of Droning from The Yoga of the Voice™, by Silvia Nakkach

In this exercise, you will allow for sound to follow breath, and voice to follow sound. Release a vocal tone through a relaxed and small lip opening, similar to humming (sounding like “Wuu”). Sustain your focus on that specific tone, sounding this tone over the subtle drone of an external instrument, such as a tamboura or a sound box. Chant just one or two notes, dwelling in that tonal space. Attune yourself to the awareness of tone, not yet exploring melody. You don’t need to change, just enjoy duration, dwelling, vibrating with one consistent tone The drone is a continuous tone or harmony, usually created with the simultaneous sound of the tonic and dominant (Fifth), or the tonic and the Fourth. If played on strings, it will involve many other partial harmonies and sonorities. In chanting with a drone, we immerse ourselves deeply into the experience of opening the voice, departing from the root tone, diving into subtle undulations of the same tone, and wandering through transformations of timbre and texture. Sounding into the realm of somatic and emotional resonance, the phrasing is simple, calm, and knowing. The tone always returns “home,” to the infinite tonal ground offered by the drone. Variation: use a variety of seed-sounds such as: Ah, E, Om, Ram, Bam, Yam, Lam, Tam. These sacred syllables are related to the embodiment of the divine qualities and the elements of nature. Duration: 5 to 10 min. This toning practice is recommended for enhancing deep listening, concentration, emotional clearing, and creativity.

Silvia Nakkach, MA, MMT, named by Utne Reader Magazine as one of forty cutting-edge artists that will shake the art world in the new millennium, is a pioneer in the field of sound and transformation of consciousness. Her innovative work is integrated in the comprehensive training, The Yoga of the Voice™. She is founder of the Vox Mundi School and the creator and coordinator of CIIS’s Sound, Voice, and Music Healing Certificate program.

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http://www.voxmundiproject.com/recommended_readings_15.htm. acessado em 31/03/2008

RECOMMENDED READINGS

Methods For Stimulation Of Brainwave Function Using Sound

Dr. Jeffrey Thompson, DC, BFA © 1990 Center for Neuroacoustic Research

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From previous evidence of effective human biological response using various sounds and sonic vibration frequencies, certain sounds have been found to have a direct effect upon physiological systems (i.e.: pulse rate, respiration, GSR, EMG pupillary dilation, EEG, EKG, body temperature, and others). Recent advances in technology and research have yielded a wealth of information concerning sonic waveforms and their effect on the body and the brain. A new science of psychoacoustics has arisen, parallel to the already established discipline of music therapy. Front-runners in the field of sonic vibration, sound and music for stimulating physical and subconscious response have shown positive results.

More recent evidence has shown physical and psychological responses using electronically disguised nature sounds. This includes ocean, wave, water, wind, animal human, organic, dolphin, etc. sounds processed electronically in different octaves, speeded up and slowed down, processed through different filters and embedded with specific frequencies for resonating brain waves into target states for opening the subconscious mind. Studies carried out in a variety of centers across the United States have seen positive physiologic responses to the application of sound frequencies and music.

One aspect of the current experimental projects with which we have seen powerful response is in the realm of "Primordial Sounds". These sounds consist of deeply recognizable sounds to the subconscious mind, i.e. nature sounds and physical organism sounds. It has been further found that these sounds have profound impact when they are disguised in such a way that the conscious mind does not recognize them. This then activates a mechanism similar to the subconscious programming response in which spoken phrases are speeded up or slowed down to unrecognizable values, yet the subconscious mind seems to easily hear the message and produce significant results in altered behavior. By exposing test subjects to sound environments of disguised "Primordial Sounds", a state of subconscious "openness" seems to occur in which a heightened suggestibility of the mind occurs. In some cases it appears that even neuro-hormone and autonomic body processes respond to specific sound frequency patterns. The possibilities for this level of communication with higher brain function and the implications for the fields of psychology, learning, and healing are too great to ignore.

Many of the sounds, which have been used thus far, have a striking similarity to a number of the space sound recordings from NASA. Indeed, one of the interesting peculiarities of disguising the primordial, nature, and

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organic sounds is that they tend to sound like one another at different octave levels. Dolphin/ocean sounds, slowed down 64 times, sound very similar to human voice sounds and some of the Voyager I and II space recordings. Normal dolphin sounds speeded up two octaves sound like birds. Seagull sounds slowed down two octaves, sound like dolphins. Human voice sounds speeded up, sound first like birds and then like dolphins, etc. - all with a powerful effect on the subconscious mind. More extensive research is needed to refine the existing, observed responses of the brain and central nervous system to external methods for opening more specific levels of higher brain function.

Since ancient times, human beings have been using sound to enhance altered states of consciousness. Methods for delving deeper into the mysteries of the power of human consciousness to change our lives and control inner and outer forces of nature have been employed for thousands of years. China used meditation gongs; in Tibet, metal "singing" bowls, bells, cymbals, and chanting; in India, tamboura drums and a whole wealth of musical traditions based on the "tonic" note and these and others were used in numerous other cultures across the planet.

The ancients imparted a sophisticated, intuitive knowledge of how the tuning of the bowls, bells, chanting etc. could create sonic vibration interference patterns whose pulse rates could influence brain function and states of consciousness. They were using the "low-tech" approach of; what is today, a rapidly expanding science of high-tech applications of sound to expand consciousness.

Previous research by numerous university and government research centers around the world has shown conclusive evidence that specific states of consciousness are associated with specific brainwave frequency patterns. Other research dating back as far as the 1940's has indicated the ability to influence these brainwave patterns, and be highly specific, using pulsed/modulated sound frequencies through speakers and/or headphones. This is the "high-tech" solution for what the ancients had already achieved with "low-tech" tools thousands of years before. With far more sophisticated tools for measuring what happens in the brain during expanded states of consciousness, combined with more sophisticated tools for influencing the brain to travel to these states, we now have the ability to use our technological know-how to accelerate our own biological abilities and perhaps, our own evolution.

One of the first experiences we have as a fetus growing in the womb, is the sensation of hearing sound. Before the fetus is large enough to touch the inside of the mother' womb, it is floating free in body temperature amniotic fluid - effectively a sensory deprivation chamber, a float tank, which would mean no sense of touch. Since the mouth and nose is filled with amniotic fluid, there would be no sense of taste or smell.

With multiple layers of tissue of the abdominal wall, placental walls, and closed eyes of the fetus, there would be darkness and no sense of sight. The amniotic fluid would also fill the ear canals and be pressed up against the eardrum. Since sound travels through water five times more efficiently then through air, the sense of hearing would be five times more acute.

Let's imagine what this sound environment might sound like. First there would be the swishing water sound of amniotic fluid, then the pulse sound of the arteries next to the eardrum, then the mother's pulse through the

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arteries of the placenta, then the large and small intestine sounds (the gurgles and gloops), then the mother's respiration sounds, voice sounds and heartbeat sounds resonating the chest cavity, and finally all the external world sounds amplified through the mother's stretched abdominal wall - pressurized amniotic fluid - eardrum of the fetus. "In the beginning was the Word": was SOUND. Sound can be used as a powerful tool for accessing deep levels of the subconscious mind.

The profound effect of the use of sounds recorded in space to tap the deepest regions of the subconscious mind, in part, may stem from an idea first put forth by psychologist Carl Jung. His idea of the "collective unconscious" was that, if one travels deep enough into the subconscious mind, one eventually reaches a level of the subconscious common to all people. One level of the collective unconscious is the deep, primordial recognition by the subconscious mind, of energy pattern vibrations, which are deeply familiar, both having arisen from the same primordial roots. It gives one an experience of being in a sound environment that is at once both utterly alien and deeply familiar at the same time, an experience of inner poise and deep relaxation of the mind. It may be in this way, that the similarities of recordings sent back from the planets in our solar system, can sound so hauntingly similar to nature recording electronically disguised so that only the subconscious mind can recognize them. For instance, some parts of the recordings sent back by Voyager from Jupiter sound very similar to dolphins. Sounds from the smallest moon of Uranus (Miranda) sound like choirs of voices singing, and parts of the rings of Uranus sound like giant Tibetan bowls and bells.

Repeated exposure to this type of sound begins to create a "learned response" in the mind - a familiar place to travel deep inside. This repeated experience appears to begin a process of "exercising" a deeper, more essential part of one's consciousness, which, like a muscle, begins to build up its functional ability It is this response which seems to be the reason for such profound experiences being reported by people who have used the space sound recordings on a regular basis.

The widespread acceptance of a biochemical basis for expanding higher brain function, including memory, has been increasing in scientific circles since the discovery of neuro-chemical transmitters in the 1960's and their effect on mind enhancement. A key factor contributing to this acceptance is the evidence of a link between specific brain states and brain function with specific methods of external stimulation of the brain. Some of the first experiments into affecting brain function through external stimulation were carried out by the U.S. Navy in the 1950's. These experiments gave the first indications that brainwave function could be controlled by strobe light stimulation that caused a "biological following response" in the brainwaves of test subjects. This phenomenon (termed "Sensory Evoked Potentials" indicated that the body's internal rhythm patterns would follow the strongest external, naturally occurring pulse patterns.

The early experiments carried out by Mark Rosenzwerg and his colleagues with rats in enriched and impoverished environments clearly demonstrated that there was a correlation between learning and brain chemistry. They also were able to show conclusively that specific stimulation of the brain could lead to increased brain functioning abilities.

Since this time a host of research projects carried out by such teams as the National Institute for Mental Health; the Veteran's Administration Hospital

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in Palo Alto, California; MIT, Cornell University; Cal Tech (Takiji Kasamatsu); U.C. Irvine (Gary Lynch); Northwestern University (Aryeh Routtenberg); Johns Hopkins (Dr. Solomon Snyder, Professor of Psychiatry & Pharmacology); Dr. Margaret Patterson, MD; and Marie Curie Cancer Memorial foundation, Surrey, England (Dr. Capel); have shown that brain electrical activity and neuro-chemical hormone function are involved in accessing deeper memory response and expanded brain function. From the standpoint of quantum physics, as we examine ever smaller particles of matter - people made of cells, made of molecules, made of atoms, made of protons/electrons, made of quarks, etc. - we eventually reach a state of reality where the smallest particles of matter, when broken further, do not yield smaller particles which we can put names on, but rather a universal energy matrix of relationships of vibration patterns. In actuality there is nothing solid in the universe at all. Consciousness itself is a vibration pattern.

More information:

Dr. Thompson is recognized as a worldwide expert in the field of brainwave entrainment frequencies incorporated into musical sound tracks. A consummate musician and composer in his own right, he has established a method for using modulated sound-pulses for Brainwave Entrainment for changing states of consciousness for optimal "Mind-Body" healing. He continues to compose music and soundscapes, to treat patients, to further the use of sound in a scientific manner through on-going research, and to develop scientific sound delivery systems for maximum results. Dr. Thompson's Center for Neuroacoustic Research is located in Encinitas, California.

http://www.voxmundiproject.com/recommended_readings_14.htm. acessado em 31/03/2008

RECOMMENDED READINGS

THE YOGA the VOICE™By Silvia Nakkach, December 2005

(Edited by Shara Gardner)

“Beyond cultural diversity, musicianship, form, and aesthetics there is an organic impulse to translate into sound, rhythm, and movement the emotion of being alive”. Mickey Hart

Since ancient times, every spiritual tradition of the world has used sound for healing and as a gateway to transcendence and exploration of consciousness, the therapeutic value of music was considered indivisible from its own nature. Specific chants and music were played as a form of natural medicine. Today sound is used extensively

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in scientific research and integrative medicine.

The singing voice is a vehicle to connect with the flow of life that can gush through our being at a full force. Like no other sound, the voice becomes a link with our spiritual life by revealing deeper aspect of the self. The singing voice through the function of breath and sound supports the process of transforming energy patterns, creates measurable effects in the physical body, and can affect consciousness more efficiently than any other form of sound.

As the field of healing with sound and music is rapidly re-emerging in our culture, it has becomes increasingly important to understand more about how sound and chanting can support therapeutic and growth processes. The yoga of the voice™ is a certificate program that offers the integration of the precise body-mind-spirit discipline of yoga with ancient and contemporary techniques of chanting, sound healing, music therapy, and voice development as a gateway to connect with our true energetic sound and light nature. Through an in-depth study of the use of the voice and the music of cultures that use sound to transform consciousness and realize healing, the program format includes intensive training, workshop settings, private study, and study abroad organized student’s travels to countries and cultures where sacred sound healing still abounds.

The 100 & 200-hour Yoga of the Voice™ Certificate is the only of its kind, providing the students with mindful, holistic, and stimulating education in an optimum environment for personal and professional development. Students become familiar with both practical and transcendental uses of sound, enabling them to go deeper into the experience of the transformative power of sound and the voice.

Students learn a selected repertoire of chants focused on distinct uses of sacred sound including Indian ragas and mantras, sonorous and melodious yogas (ancient yogic practices involving sound and movement), Afro-Brazilian ritual chants, and indigenous healing songs from many traditions of sound enlightenment. The curriculum highlights vocal improvisation, voice range and tone quality techniques, emphasizing the inherent connection with ancient sources of devotional wisdom and mystical uses of sound, including the music of the Sama Veda, the Sufi approach to vocal ritual and deep listening, the Hindustani system of raga–rasa, the theory of Rudolf Stainer on the etheric tone, and contemporary research on extended vocal techniques.

Students discover how through the practice and application of certain sounds, musical intervals, scales, rhythms, and chants is possible to impact specific areas of the brain and the body, recognizing immediate ways to transform energy

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patters and emotional states. Through a cross-cultural approach, practitioners of the Yoga of the Voice ™ learn shamanic and ceremonial forms of vocal expressions, like methods of toning and overtone singing, tuning to divine energy through seed syllables, invocations and medicine melodies, enabling them to incorporate these practices in their personal and professional life. The finest objective is to embody divinity through sound, enhancing vitality, and experiencing the liberating devotional nature of music.

Students will discover which musical culture opens personal doorways to free their voice and sing more, realizing how group chanting encourages kindness and respect for other cultures, nature and life.

How Yoga informs the VoiceThe word yoga means union, coming from the Sanskrit root yug-- to bind or yoke. This union refers to the merging of divine consciousness with the human spirit. As an integral science for human development, Yoga consists of a system of philosophical, physiological, spiritual and mystical practices (angas) toward the state of unconditional liberation. Through various techniques and modalities, Yoga teaches us to connect with the power and the light at our center, and that the path of enlightenment is a return to that source. All forms of yoga use a diverse display of ancient seed sounds and mantras that are especially effective when they are intoned while the body and the mind are at ease and relaxed. Those sound formulas become the vocal conduit to invoke and manifest the union with the Divine within. Students become familiar with the function on mantras and a musical practice that protects and purifies the mind. Their therapeutic value is unquestionable and constantly evolving.

Yoga is an integral science for human development and through various techniques and modalities the yoga of voice uses the voice as a gateway to connect to our true energetic and emotional nature, presenting a framework for understanding how practices that engage the voice as a yoga can affect one's state of consciousness, and emotions, bringing about deep healing, inspiration, and collective joy.

Through ancient breath and sound practices, the yoga of the voice guides the practitioners into the experience of devotional chants and sounds that clear, tune, and stimulate the brain and the energy of the chakras. As a result, the mind expands into luminous states of consciousness and an ecstatic sense of well-being, as chanting triggers a spontaneous identification with the sacred; a dimension of consciousness characterized by a release of openness, radiance and love.

Students discover innovative ways to open their voice by integrating diverse dimensions of healing with breath, sound and the voice; the contemplative, the expressive, the shamanic, and the ecstatic. Students share an original

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repertoire of chants from different traditions of contemplative singing, into the core of Nada and Shabda Yoga and Tibetan spiritual music, healing songs and deity invocations, including expressive chants from Afro-Brazil, the Amazon, and Sufi mystic sound poetry.

The music healing modalities presented through the Vox Mundi School programs are designed to free the practitioner from any personal memory of vocal constraint. Students learn to shift the focus from “the singer “ to the onset of tone. Is the voice, not the persona of the singer who is singing. This idea contributes to the progressive empowerment of the practitioner and student confidence and the willingness to sing under any circumstances. This attribute, the repertoire, and the method become instrumental in creating a safe therapeutic and educational atmosphere. Technique and knowledge empower the capacity of the voice, and there is an essential kind of listening that happens when the body and the mind are relaxed and focus on sound and expression.

Where you can learn this? The Vox Mundi School of the Voice, Emeryville, CaInner Vision Yoga, Chandler, AZVox Mundi- Soho, NYCVox Mundi-Rio, Rio de Janeiro, BrazilAlumine University, Buenos Aires, ArgentinaCalifornia Institute of Integral Studies, San Francisco (from Fall 2006)

Q. How can Yoga of the Voice™ transform your life?A. Through as daily as possible devotional practice of using the voice for energetic release, self-expression, medicine, and meditation, we become centered and balanced both physiologically and psychologically. Clarity, wisdom and a great sense of wellbeing become evident with a minimal practice of just 10-21 minutes per day. When we become familiar with the practice, it becomes “yoga”, and we are “united” with the practice, we are One with it. The day by day practice “centers” us more than anything else we do. We become aware of the improvement, we become more confident, as many other positive signs of the regular practice. The chanting voice becomes a natural vehicle of daily enlightenment and contemplation. Like a good habit that we can’t live without it.

Q. What are some practical examples of healing with sound?

A. Vocal Release; The Effortless Voice

The Practice of DroningAllow for sound to follow breath, and voice to follow sound. Release a vocal tone through a relaxed and small lip opening, like humming (sounding like “wuu”). Sustain your focus on that specific tone, toning over a subtle drone played by an external instrument or device. Keep a clear

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sense of sounding one or two notes, dwelling in that tonal space. We attune ourselves to tone, not yet exploring melody. [The drone is a continuous tone or harmony usually created with the simultaneous sound of the tonic and dominant (Fifth), or the tonic (Fourth). If played on strings, it will involve many other partial harmonies and sonorities. As an essential part of Indian classical music, the drone is sometimes described as “the breath of God,” leading the musician and the listener into a state of contemplation, and slowly clearing the mind to a state beyond thoughts and emotions]. We immerse ourselves deeply into the experience of opening the voice, departing from the root tone, diving into subtle undulations of the same tone, wandering through transformations of timbre and texture. Sounding into the realm of somatic and emotional resonance, the phrasing is simple, calm, and knowing. The tone always returns “home,” to the infinite tonal ground offered by the drone. Variation: use a variety of seed-sounds such as: Ah, Eh, Om, Ram, Bam, Yam, Lam, Tam. These sacred syllables are related to the embodiment of the qualities of the elements of nature. Duration: 5 to 10 min. This toning practice is recommended to enhance deep listening and concentration; the effect of relaxing the mind through this vocal meditation is enhanced creativity.

For more information on programs visit: www.voxmundiproject.com(Reviewed on March 17, 2006)

Silvia Nakkach, MA, MMT, named by Utne Reader as one of forty cutting-edge artists that will shake the art world in the new millennium, is a pioneer in the field of sound and transformation of consciousness. Her innovative work is integrated in the comprehensive training, The Yoga of the Voice™. She is founder of the Vox Mundi School and the creator and coordinator of CIIS’s Sound, Voice, and Music Healing Certificate program.

http://www.voxmundiproject.com/recommended_readings_13.htm. acesso em 31/03/2008

RECOMMENDED READINGS

What is a Mantra?Compilation of Definitions of mantra from the Web

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A sacred syllable or sequence of syllables (sometimes a name, a word, or a phrase) that is used in meditation (as in dhyana yoga), usually assigned by one's guru, and believed to tune one into the divine ground of existence. One of the most well known is the sacred sound Om (or Aum). www.aar-site.org/syllabus/syllabi/c/cannon/r201glos.htm

A syllable, word or verse which has been revealed to a seer in meditation, embodiment in sound of a deity; spell or incantation. www.sinc.sunysb.edu/Clubs/buddhism/glossary.html

Sacred words or sounds used as an object of meditation. In Hinduism and esoteric Buddhism, they are said to have transformative powers that aid the meditator. www.yogajournal.com/meditation/142_1.cfm

A sacred syllable or series of syllables which manifests certain cosmic forces and aspects. Recitation of mantras is a form of meditative practice in many schools of Buddhism. www.konchogrinchen.com/Glossery.htm

A word or phrase that is to be chanted repetitively in an effort to empty the mind and attain "cosmic con-sciousness" (oneness with God and the universe). logosresourcepages.org/na-dict.html

A series of syllables, considered sacred (and sometimes magical), used in meditation and rituals. www.well.com/user/jct/sageglo.htm

spiritual or sacred syllables or sounds which contain in their essence divine cosmic power hinduism.about.com/library/weekly/extra/bl-glossary-m.htm

(Skt) Sacred word or formula repeated often of only one or two syllables, used in certain Buddhist rituals. www.buddhanet.net/e-learning/history/glossary_lr.htm

sacred syllable, name or mystic formula; the intuitive and inspired rhythmic utterance; any of the verses of the Veda, revealed verses of power not of an ordinary but of a divine inspiration and source. www.miraura.org/lit/skgl/skgl-13.html

sacred word or phrase used in Hindu and Buddhist prayer or meditation; repetition of the mantra is believed to have the power to cause the mystic principle being evoked by the word into existence www.northern.edu/hastingw/indiaglos.html

Sacred words or sounds invested with the power to transform and protect the one who repeats them; God in the form of sound. Mantras are the condensed essence of the reality from which they spring. Power in the form of sound. www.hardlight.org/articles/glossary.html

The divine name; a potent vibration that resonates with the universal Truth and can reveal the same to those who meditate on it constantly. See the mantra page for more details. www.agasthiar.org/glossary.htm

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Sacred word by which a spiritual teacher initiates his disciple; Vedic Hymn; sacred word in general. www.vedanta-newyork.org/glos.htm

sacred words or sounds invested with the power to transform and protect the one who repeats them; God in the form of sound. www.symca.org/glossary.htm

Literally, 'mind protection'. Mantra protects the mind from ordinary appearances and conceptions. See Guide to Dakini Land and Tantric Grounds and Paths. www.vajralama.org/glossary.htm

A word or phrase which when repeated activates certain spiritual powers or states of consciousness, and is used in conjuction with meditation. An empowerment is required to make it effective. www.monasticreiki.info/glossary.htm

Repetition of a letter, word or group of words. Chanting a mantra differs from chanting (repeating) The Lord's Name (Namjapa). When chanting a mantra, rituals, rules and regulations, initiation from a Guru, correct pronunciation, need to keep a count, importance of time and place, and possibility of harm due to incorrect pronunciation are present. In contrast, chanting The Lord's Name can be done anywhere and anytime, with no restrictions. www.sanatan.org/en/glossary/m.htm

(Skt.; = Tib. ngak). Ritual formula used in Vajrayana practice (see SADHANA) to evoke a particular deity. pages.cthome.net/tibetanbuddhism/glossary.htm

Sometimes translated as a chant, it is the repeating of phrases or words to help one concentrate and achieve focus. www.siamese-dream.com/reference/buddhist_glossary.html

Holy Sanskrit text; also (with capital M) one of the two main sections of the Vedas, which describes the hymns used in the sacrifices. sanatan.intnet.mu/upanishads/glossary.htm

A short scripture, similar to a dharani, which is chanted to aid concentration, or to express the essence of a sutra. www.maximumbliss.com/zen%20dictionary.asp

A spell, a word or phrase that is to be chanted repetitively in an effort to attain mental peace, empty the mind and raise one's consciousness toward the Self or God; often called "names of God." Mantra is a sound or set of sounds which are believed to have the unique power to restore us to a state of pristine harmony. Mantra Yoga is traditionally regarded as a complete and perfect yoga path. www.aznewage.com/dictionary%20m-n.htm

A mantra is a word that is supposed to contain mystical capabilities. In my art, I often use a set of repeated words, which are usually isolated from the rest of the imagery. The words are meant to add another level of commentary to the feelings and situations that lead me to do the drawing in the first place. www.fliar.com/dictionary/dictionary_m.htm

The Sanskrit word is Dharani, i.e. esoteric incantation. It is a treatise with mystical meaning, and is regarded as every word and deed of a Bodhisattva. It is one of the most popular method of cultivation in Buddhism, especially in Shingon or "True

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Word" sect. www.buddhistdoor.com/passissue/9604/sources/glossary.htm

power-laden syllable or series of syllables that manifest certain cosmic forces or aspects of a buddha. www.io.com/~snewton/zen/zen-term.html

a commonly repeated word or phrase; "she repeated `So pleased with how its going' at intervals like a mantra"

www.cogsci.princeton.edu/cgi-bin/webwn

(Sanskrit) literally a `sacred utterance' in Vedism; one of a collection of orally transmitted poetic hymns www.cogsci.princeton.edu/cgi-bin/webwn

What is a mantra?

A Buddhist Perspective

A mantra is a powerful word or phrase that may or may not have meaning in the same way as a sentence. Compare spells, incantations and prayer formulas in other spiritual traditions.

The Indian metaphysical tradition explains that the body is composed of the combination of five elements (Skt. pancha mahabhuta). They are: ether, air, fire, water and earth. These contribute to the tanmatras or subtle properties: shabda (sound), sparsha (touch), rupa (form or seeing), rasa (taste), and gandha (smell). Notice that the first one is sound.

Mantra is a characteristic element of the complex of religions known today as Hinduism (Sanatana Dharma,) which uses Sanskrit as its holy language. Buddhism emerged from the Hindu context, and mantra is a characteristic, even an essential, part of it, too. The word comes from the Sanskrit mantram (from two roots meaning protection and mind.)

It is powerful, efficacious and deserving of respect. "A mantra is like meeting the Buddha or Bodhisattva himself." ~ Dzigar Kongtrul Rinpoche

Some may think that the practice of recitation of mantras was not an aspect of the dharma system that Buddha Shakyamuni taught, since it is rarely mentioned in the Sutras. Others may consider that the Heart Sutra mantra -- OM, Gate, gate, paragate, parasumgate, bodhi, Swaha -- is sufficient proof, but that condensed essence of the Prajanaparamita teaching is judged to be quite a late adjunct by scholars of historical Buddhism.

When the Young Panthaka (in Patisambhida) had difficulty memorizing even a short verse -- and there we see that the pronouncing of words was an essential teaching method -- the Buddha's personal instruction to him was to sweep or to launder while continuously reciting the phrase, "Dirt be gone!"

It is also written that, for the protection of those who were forest hermits or who lived in isolated places, the Buddha taught the use of protective dharanis or charms. Thus we find that in iconography, mantra is symbolized not only by the mala (beads) that a deity or bodhisattva may be holding, but also by small fence-like designs that appear as decorative elements.

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In the Tibetan Buddhist tradition, or any Vajrayana lineage -- indeed, in the Mahayana generally, there is the conviction that the sutras and especially the Pali canon only provide part of the information that we have concerning the methods taught by the Buddha.

The Paramadibuddha, the basic Kalachakra Tantra, says of Buddha Shakyamuni that "He showed the way of actualizing highest perfect enlightenment underneath the bodhi tree at Bodh Gaya in India, at early dawn on the full moon of April/May."

Then, "For one year he taught the general Paramitayana. In particular, at Mount Vulture Heap he turned the Dharma Wheel of the Perfection of Wisdom, the chief, ultimate Dharma Wheel of the Paramita system of the Mahayana." And,

"On the full moon of March/April, the twelfth month counted from the time he obtained buddhahood, the Buddha was teaching the Paramitayana at Mount Vulture Heap."

While there on Vulture Peak, as the Teacher demonstrated the dharma, teaching the Mahayana according to the Perfection of Wisdom system, "At the same time he manifested another form inside the great stupa near Shri Parvata called Shri Dhanyakataka, in South India where he taught the Mantrayana."

There ... "in the mandala of the sphere of phenomena. He dwelt in the house of universal vajra, in space, immaterial and very lucid, un-partitioned and radiant. He taught the tantra in the beautiful sphere of phenomena, for the merit and wisdom of human beings."

Therefore we know that, though mantra may originate in ancient Indian cultural tradition, it forms a genuine part of the Buddhist tradition. A.M. Butters: Mantra in Buddhism at Columbia U., 1992.

Seed Syllable

A mantra is made up of one or more syllables, and almost any syllable can be used as a mantra. However, the most usual mantras are associated with a particular deity and appear as part of the ritual of worship of that deity -- a formula of praise/ invocation.

Certain individual sounds known as bijas, referred to as 'seed-syllables,' are thought to contain the essence of a mantra and, by association, the essence of the deity. For example, the Sanskrit (or the Tibetan) letter A (see red image below) is considered to stand for the essence of the Prajnaparamita (Heart Sutra) formula.

In the higher yoga tantras, the seed syllable plays an important role in the profound meditative process known as "taking the three kayas as a path," which is a technique to transform death, bardo and rebirth. Out of Space, we visualize the deity's seed syllable, the Samboghakaya (Enjoyment Body) understood as the mind of a Buddha, and this purifies the bardo state. The seed grows into the Nirmanakaya form of the deity, the actual manifestation which is understood to purify rebirth.

This ancient technique that uses the emergent and growing bija is a brilliant invention -- a multi-layered process in which the visual sign of a sound creates a kind of sensory synthesis. As it grows and transforms, we have an actual example of creation as in a "Word made Flesh" (New Testament, 'Gospel of John.') However, this ability is not to be thought of as the exclusive activity of omnipotent beings.

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As we participate in this process of symbolizing symbols in which we draw out of Emptiness a name or label which then is made to grow into a form or object, in this case the actual form of a buddha, we are in immediate touch not only with the deity but with our own nature. We experience in an objective fashion, the basis and process by which all phenomena, including buddhas, arise.

Here is a link to the Kalachakra emblem which consists primarily of the interlinked 10 letters that comprise the bija.

Related to mantra is dharani [Skt. hold as one, or concentrate] so a dharani is an incantation acting as a charm. [ link is to the Great Dharani, a late Mahayana Buddhist scripture describing the virtues of devotion to Avalokiteshvara.}

OMThe most famous mantra, a bhija that also functions as a dharani is Om or more accurately, Aum. Hindu explanation sometimes relates its 3 letters to Brahma, Vishnu and Shiva. The three letters and their sounds are also believed to operate on the chakras or energy centers of the body.

The Hindu scripture, the Mandukya Upanishad, calls OM " ... this imperishable Word. OM is the universe, and this is the manifestation OM. The past, present and the future, all that was, all that is, all that will be is OM. Likewise all else that may exist beyond the bounds of time, that, too, is OM."

Also, the letters can be considered to stand for states of consciousness, such as A= alert, U = dreaming, M= asleep, and the throat's stop just before the "a," and the silence after the humming is gone, stand for Emptiness, or in a different system, the Absolute.

The 18 volumes of Indian myth in verse called the Puranas say that Aum or as we more usually write it, Om was the sound of the act of Creation, itself -- the grunt of The Mother giving birth.

And in fact, for Tibetan Buddhists, it is the sound that embodies the source of all manifestations of enlightening activity; that is, the Dharmakaya.

Khenpo Karthar Rinpoche (KTD) explains that the sound, Om, is not as unconditioned as is the sound of Ah.

AH is often marked on the backs of tangkas and bronze images.

Mantrayana

In Buddhism, the saying of mantras is considered in itself a complete way to enlightenment. For an individual to "accomplish the practice" of any deity means to have said 100 000 repetitions of each syllable of the deity's mantra. Therefore, in the case of Chenresik, 600 000 is the requirement (Ven. Bardor Tulku. A Teaching on the Tashi Prayer.)

The mounting total of mantras that are chanted, muttered and murmured is reckoned by means of the mala [Tibetan tenwa,] or string of prayer beads.

The bodhisattva of compassion, Avalokiteshvara who is called in Tibetan, Chenresi [often spelled Chenresig or Chenresik] is said to have given a special mantra to Nagarjuna who left it to Lion-face Dakini to transmit to Padmasambhava whose activity confirmed Buddhism as the predominant religion in Tibet.

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This is the 'Six Syllable - ' or the 'Mani Mantra' Om Mani Padme Hum.

In Tibetan: pron. Om Mahni Peh-meh HoonG

It can be found painted, carved and inscribed on every type of surface. In fact, in that mountainous part of the world one of the only uses found for the marvelous machine that is the wheel is to spin out the mantra by means of a hand-held device -- the prayer wheel. Thus we can see that to many people mantras do not even have to be sounded to be effective; their power may reside in their written form, even if the writing is not displayed.

Thin cotton small flags and also large banners that are activated by the wind, also are believed capable of sending out mantras and prayers.

Each one of the 6 syllables is directed at one of the six realms of existence. Saying the mantra is like praying for and helping individuals in all possible situations. When you say this mantra, you are behaving as a bodhisattva, with the mindful intention of working towards the enlightenment of all sentient beings, without exception.

Each syllable is considered to purify a specific human failing or "obscuration"

"It was not long after Godan [heir to Genghis Khan] was initiated into Mantrayana that a change was noted in Mongolian policy. For example, Tibetan histories report that Godan ceased the practice of throwing Chinese into rivers en masse (for purposes of ‘population control’) in response to [the] Sakya Pandita’s teachings on Buddhist ethics."

~ Albion Butters in Mongolian-Tibetan Relations

Origin of the 6-syllable Mantra

Once, when Buddha Shakyamuni was staying with his entourage at Anatapindika, in Jeta's Grove near Shravasti, he introduced the Six-Syllable Mantra to the assembly. Sarva.nivarana.vishkambhin, the high bodhisattva, made a request to the Exalted One. He paid homage and cried, "For the benefits of the beings in the six realms, please advise me how I may obtain this Great Mantra that is the wisdom of all the Buddhas, which will cut the roots of the samsara. May Buddha please bestow me this teaching. I offer the whole universe as Mandala. To whoever who wishes to write this Six-syllable Mantra, I offer my blood as ink, my bones as pen and my skin as paper. Please, Lord Buddha, grant me this teaching of the Six-syllable Mantra."

Buddha Shakyamuni then gave the teaching, "This is the most beneficial mantra. Even I made this aspiration to all the million Buddhas and subsequently received this teaching from Buddha Amitabha."

Benefits of the Six-Syllable Mantra

It is said that the merits of Om mani padme hum, the Six-Syllable mantra, are innumerable and cannot be fully described even by the Buddhas of the three times. Some of them are:

The body of those who keep this mantra will transform into a vajra body, the bones will transform into relics of the Buddha and ordinary mind will transform into the wisdom of the Buddhas.

Whoever recites the mantra even once will obtain immeasurable wisdom. He or she will eventually develop compassion and be able to perfect the Six Paramitas

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(virtues.) He or she will be born as a universal monarch. She or he will achieve the irreversible stage of a bodhisattva and finally attain Enlightenment.

If this mantra is carved onto rocks and mountains, and a human or non-human being comes into contact and sees it, he or she will develop the conditions to be a bodhisattva in the next life, and thereby relieve suffering.

It is said that the sands of the Ganges and drops of water in the ocean can be counted but not the merits resulting from the recitation of this mantra.

The Mantra is the speech manifestation and the wisdom energy of all buddhas. It purifies our impure perception of sound. It is a means of protecting our mind from delusions. It eliminates ignorance and opens the way to wisdom. It amplifies blessings and by it, tranquility can be obtained. It can save and alleviate beings from hundreds and thousands of miseries.

The aspiration of the deity, Avalokiteshvara, whose mantra this is, is likened to a hook with which he can liberate beings. When we have confidence in him, the mantra is said to be a "solid and unbroken ring." so that the hook can catch, and we can be fished from the ocean of suffering that is samsara.

Studholme on the Karandavyuha Sutra and the relation of Buddhist mantra to Hindu (Shivaite) practice.

The Lama on Mantras

Venerable Kalu Rinpoche from Secret Buddhism: Vajrayana Practices:

In Tibet, the Buddhist tradition is ancient, the result being that everyone acknowledges reciting mantras has beneficial effects. As for Westerners, they often see the mantras only as words, just an activity of speech, and do not understand their effect. They do not clearly see how these words can act on the mind. ... .

The importance words play in our studies is known; they are an indispensable vehicle. A Tibetan saying well emphasizes the power of speech: "Words are neither sharp nor cutting, but they can cut the heart of a human being."

Some Westerners, as previously stated, think that mantras are nothing but sounds without meaning, that reciting them is only wasting time, and that it is much better to meditate.

In a way, meditation should arouse even more doubts than mantras. One does nothing while meditating! Reticence concerning the recitation of mantras comes from two factors. 1. ignorance of the function and benefit of the mantras described by the Buddha 2. lack of reflection on the precious human existence, death and impermanence, law of karma and on the unsatisfactory nature of samsara [cyclic existence.]

Even if one has some knowledge of the Dharma [Buddhist teachings], but is lazy, reciting a mantra seems a difficult exercise.

~ Khyabje Kalu Rinpoche [d. 1989] at Samye Ling, March 1983

Bardor Tulku, on Mantra

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Forgive her; she doesn't know what she's saying!

There is a teaching story about an educated practitioner who was worried about his mother who was not too bright, was illiterate and knew nothing of the Buddha's teaching. He was worried that when she died, she would go to hell and suffer many lifetimes there, since she did not know how to pray.

He taught her that whenever she heard any kind of bell, she should immediately respond:

Om Ma-Ni Peh-Meh Hoong! [Tibetan pronunciation].

They would make a kind of game of it; he would ring the bell at the door; she would say the mantra; they would laugh.

He jingled a few coins; at that metallic sound, she said the mantra. They both got a kick out of it.

It got so that even when he was not there, like when she heard the collar bells of yaks and dris, she automatically responded: Om Mani Pemeh Hoong! .

Now it came to pass, that the good mother died. Due to her karma, she was whisked away to one of the hot hells where she found herself in a huge iron cauldron being stirred by a terrible demon with a great metal spoon.

But.Inevitably, the spoon struck the rim with a resounding CLANGGGG!!!

The woman responded without even thinking, just as she had been taught:

Om Mani Pemeh Hooong

and zzzziiip -

There she was - in the Pure Land of Dewachen, the heaven of Buddha Amitabha where eventually, like everyone there, she became one of the Enlightened Ones.

Foxglove writing to the kagyu email list said that:

[You] "can never say enough Om Mani Pedme Hungs. They all count towards practice even if [you were] not given a particular goal. My friend was given a million to do and has been living alone in a house by the stupa in order to do so, but he's not talking of moving on after to a 'next' level. He says he will probably just do it all again. "

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Mantras are not to be taken lightly. Nagarjuna in his Root (text on) Wisdom, Mulamadhyamaka, compares their use to snake-handling:

If one misconceives Emptiness,Persons with little wisdom will be ruined.Just as a person who mishandles a snakeOr is unskillful with mantras will suffer.

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During a teaching on Chenrezi, with reference to a possibility that the Buddhist doctrine of Emptiness could be misunderstood if improperly explained, Geshe Palden Dakpo also described what could happen when:

" ... one practices the so-called Sword Mantra, the practitioner places a sword in front of himself and starts reciting mantras. Now, when the sword starts moving through the power of the mantras, if the practitioner is able to hold it properly by the handle when the movement is moderate, he can travel wherever he wishes, but if instead he fails to hold it, there is a great danger of the sword swinging towards him and cutting off his head."

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Buddhism / Mantra

A mantra is a syllable or phrase that is repeated over and over again and which has spiritual significance. The use of mantras derives from Hinduism, the word itself deriving from the Sanskrit word 'man' which means 'to think'. Although mantras often has devotional significance, they are also used as a meditative tool for developing concentration or one-pointedness. Sometimes the word 'Buddha' can be used as a simple mantra to ward off distracting thoughts and to keep the mind concentrated. It is more usual - particularly in the Tibetan tradition - for more complex formulas to be used. One of the most widely known mantras is om mani padme hum, which can be loosely translated as meaning 'Hail to the Jewel of the Lotus'.

Definition of Mantra Meditation

The word mantra is said to come from a root meaning "that which protects the mind".

In Buddhist meditation, many things can be used as objects of concentration -- as "mind protectors". The breath is used in anapanasati (mindfulness of breathing), the sensations of walking are used in walking meditation, the emotions are used as a focus in metta bhavana (development of lovingkindness), and visual images are used in visualization. Mantras are sounds -- words or phrases --that are used as an object of concentration.

The sounds may be chanted out loud, or may be heard internally. Mantras can be associated with particular historical or archetypal figures, or may have no such associations. For example, there are mantras associated with the historical Buddha (Om muni muni maha muni Shakyamuni svaha), and the mythical figure Avalokiteshvara (Om mani padme hum). The Prajnaparamita mantra (Gate gate paragate parasamgate bodhi svaha) is associated not with an enlightened figure, but with a body of texts known as the Perfection of Wisdom (Prajnaparamita) sutras. The mantra Om shanti shanti shanti (Om peace peace peace) is not, as far as I'm aware, associated with any figure, and the Pali phrase Sabbe Satta Sukhi Hontu (May All Beings Be Happy) is chanted as a mantra, again without being associated with any particular figure.

From: http://www.wildmind.org/meditation/mantra/definition.htm

For more Informatio visit:~ Quiet Mountain web site~ - http://www.geocities.com/Athens/Parthenon/7534/mantras.html

~ http://www.wildmind.org/meditation/mantra/figures.html

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http://www.voxmundiproject.com/recommended_readings_10.htm. acesso em 31/03/2008

RECOMMENDED READINGS

THE SNOW LION NEWSLETTER

Sacred SyllablesAn Interview with Tenzin Wangyal Rinpoche

QUESTION: Sound is important in the world's spiritual traditions and is central to many Tibetan healing and spiritual practices. It seems that sound affects us on all levels-physical, mental, and spiritual.

TENZIN WANGYAL RINPOCHE: Yes, there are different levels of sound practice. Ancient Tibetan yogis who lived in the wilderness far from medical care used sound and other yogic techniques to maintain their health, for example.

We know that in acupuncture, when a needle is placed in a part of the body, it sends a vibration or message to another part, bringing balance and healing. In a similar way, the vibration of sound as it reverberates on the lips, in the head, and in the chest can affect the body and organs in a very healing way. As the health is affected, so are the mind and emotions. If you chant the syllable RAM for the fire element, for example, that vibration opens certain channels and chakras, affecting in turn certain organs, and brings a particular experience of higher consciousness.

Q: How does one know what sounds to use?

TWR: This is a very ancient system and is described in a number of Tibetan texts. I'm teaching primarily from the Bon Mother Tantra (Ma Gyud). The Mother Tantra describes specific sound practices to treat physical ailments such as headaches, chest pain, and other problems. The right sounds create balance between the five elements of earth, water, fire, air, and space. These elements, present in nature, are also present in each one of us. Our own particular balance of the elements strongly affects our mental and physical states - so maintaining this balance is essential to good health. There are practices of chanting certain sounds, certain syllables, which activate or pacify each of the elements. These have a subtle but potent effect on our organs, and on our mental and spiritual states.

Q: Please say more about how we should view sound from the point of view of spiritual practice.

TWR: As a practitioner, you can look at sound in three different ways. First, on the ordinary level, one should become aware of one's use of words and how these choices affect oneself and others. Secondly, on an energetic level, one may connect with the sounds themselves. These seed sounds contain elemental qualities that vibrate different parts of the body and different chakras, as I mentioned before. As

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our chakras are affected in this way, a higher vibration may be activated. Thirdly, and ultimately, the role of sound for the practitioner must be for self-realization.

Q: With the first of these, are you talking about "virtuous speech?"

TWR: Yes, partly. In the traditional teachings, four of the ten "non-virtuous actions" are connected with speech: lying, slander, harsh words, and meaningless chatter. But where do these arise? It says in the Dzogchen teachings that when the sound and innate awareness merge, it produces speech -enlightened speech and samsaric speech. If the realization of that union of sound and innate awareness (rigpa) is present, then speech is naturally very pure.

Q: Most of us are not at that level of awareness.

TWR: When someone is completely awakened, speech comes out spontaneously in response to circumstances, without a plan and without concept. For someone who is very mindful, having conscious awareness but without this complete awakening, speech is still very pure. Every word has meaning and purpose. It is not idle and certainly not hurtful. Then, if we are not able to achieve this level of mindfulness, discipline alone is a help, with rules guiding how we use our speech.

The main thing is that when there is a lack of awareness, when our inner space is not clear, wrong speech arises. If we observe ourselves, we see this clearly. When I am upset, it is easy for harsh or foolish words to come out if, at that moment, I also lack awareness. I cannot always change the outer circumstances that are upsetting me. But when I have awareness, I can change my inner space.

Q: It sounds like the relationship between sound and mind states goes both ways. Yogis use sound to express certain mind states or experiences. And, as practitioners, we can use these sounds to induce certain physical and mental states. Is this true?

TWR: Sound is one manifestation of certain qualities and essence, so there is a direct relationship there. This means that if you work with sound, you can connect with those qualities and essence. Also if you connect with certain enlightened qualities, you can express them through sound.

Using sound in spiritual practice is not unlike using your body in spiritual practice. Your body is not you in an ultimate sense, but it is an aspect of you. Through your body you can develop. Through your body you can also be sick. Speech is also like this. Physical sound originates directly in the physical body. The quality, energy, and vibration of sound relate to the pranic level. The essence of sound is the nature of mind, one's very being. But does working with one level work with all? That has to do with your level of awakening. You might be aware of the gross sound, but the nature of the sound, the deep quality of the sound can be obscured. When you say the sacred syllable A, it is easy for the ear to hear the gross sound, but to recognize the deeper energetic vibration, you need greater sensitivity.

Q: Mantras, strings of sacred syllables, are very important in the spiritual practices of Tibet, India, and other parts of Asia. Can you say anything about the origins of mantras?

TWR: Historically, there were enlightened individuals who themselves awakened in those sounds, who realized the power of those mantras, and saw how they could benefit sentient beings. They then developed whole cycles of teachings and practices related to those mantras. In essence, though, it is much deeper.

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Energetically, each individual sound is produced by its own root, which is beyond time and space.

Q: Rinpoche, in the generation stage of classic tantric sadhanas, sounds, in this case seed syllables, are used in a very specific way. There is space. Then the seed syllable arises, and from that the deity. Can you say more about this very special use of sacred sound?

TWR: One can look at this in different ways.

In the Bon Mother Tantra there is a beautiful commentary called "The Birthless Sphere of Light." It says, "From the body of the unborn essence arises the sphere of light, and from that sphere of light arises wisdom. From the wisdom arises the seed syllable and from the seed syllable arises the complete mandala, the deity and the retinue."

Another way of looking at it is like this. Radios and televisions work by picking up a certain frequency, right? There is space and in that space there is a frequency. In order to perceive that frequency you need a good receiver and a good color screen. In terms of the classic tantric sadhanas, it is not as if one letter just pops up in space. It is not like that. Sound and space are infinite. This subtle vibration that we humans, accustomed to sounds and images, perceive as the sacred seed syllable or as the deity exists in that space and appears in compassionate response to a need.

Q: My own experience with these practices is that, at first, I work hard to visualize something, to create a picture in my mind. But as my practice develops over time, I have a sense of connecting with something much greater than my mind could create. Is this what you are saying?

TWR: Yes. Basically one is tuning into something that already exists rather than making something up. We are trying to be in the right frequency ourselves so we can connect with what's there. Sometimes we are able to connect; sometimes we are not able to connect. Through practice, through cultivating certain qualities, certain kinds of stability, the ability to connect increases. It depends on the level of the practitioner. The beginner may be more like an old, blurry black and white TV while the advanced yogi perceives the high quality digital image. The frequency they perceive is the same -spontaneously existing in space and arising with wisdom and compassion.

It is not necessary to see this only in esoteric terms. We use this same process in generating any quality. For example, a person is sad and needs to develop joy. Joy may be present and perfect in its essence but is hidden in experience. How do we bring it into expression? First we try to connect with the seed of joy, like a small flame inside. Once that seed is discovered, we cultivate and develop it. Gradually, then, we act it out. Then it becomes complete, at least for human beings like us who have body, speech and mind. Samantabhadra probably doesn't need to express it in order to feel complete, but we humans do! The "Practice of the Five Warrior Syllables" [see sidebar] is helpful for developing such positive qualities. In this modern time, with the many stresses we face, we need to develop ways to balance and harmonize our energy. This is important of course for health. But, most important, it can support our spiritual growth.

Tenzin Wangyal Rinpoche is the author of Wonders of the Natural Mind; The Tibetan Yogas of Dream and Sleep; Healing with Form, Energy and Light; and a forthcoming book on practices of body, speech, and mind, all from Snow Lion Publications. He resides in Charlottesville, Virginia, and teaches worldwide.

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This interview with Tenzin Wangyal Rinpoche was conducted and edited by Helen Gatling-Austin. FOR MORE INFORMATION: email: info@snowlionpub.com

http://www.voxmundiproject.com/recommended_readings_9.htm. acesso em 31/03/2008

RECOMMENDED READINGS

VOICE and SONOROUS YOGIC Practices

Posture, Attitude, Practice, Chanting, Mantra

If you can sing divine songsMostly soulfully,

You are bound to get the same resultsAs for your sublime meditation

Sri Chinmoy

The Voice is the primordial instrument of transformation through sound,as a fabric of breath, vibration and emotion, our singing voice has the ability to affect the body and the mind more efficiently than any other form of sound. Whether the song is a prayerful call to spirit or a comforting non-verbal melody, the slow sounding of the voice helps to restore the vitality, reduce stress, stimulating a feeling of well-being and happiness

We only hear (the frequencies) what our own voice can produce. As we listen with our skin, the sound of the human voice massages the bones. Sound works as a vitamin for the brain. S.Nakkach

We are born with universal wisdom and universal truth. When we chant we connect internally with our own vibrational field of collective and individual experience. We are born with the capacity to liberate our energy. By chanting we are awakening and pulsing that life-force that sometimes is partially dormant. S.Nakkach.

"As we discover ways to invoke the spirit through the voice, we notice patterns emerging in our breath, the movement of our body and our brain waves ". Don Campbell

Chanting in an slow pace accompany by a soft drone, have been shown to slow brain waves down to meditative alpha (8–13 Hz) and theta (4–7 Hz) frequencies. Such wave patterns correspond to feelings of well-being and tranquility. A relaxed mind results in clearer thinking and increased creativity, as well as greater ease in recalling dreams.Chanting helps the release of hormones and enzymes that relax and balance our organs.

According to the French physician and ear specialist Dr. Alfred Tomatis, chants is nothing less than our “royal route “ to the divine. It is also a kind of vocal art that we all can do well. Dr. Tomatis affirms that Gregorian chants are a fantastic food for the brain. All the monasteries that closed down are the ones where the monks

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didn’t chant. Greogorian chants contain all the frequencies of the voice spectrum, roughly from 70 cycles per second up to 9,000 cycles per second, but with a very different envelop curve from that of the normal speech. These timbres, rich in overtones, charge our brain, revitalizing our main functions and providing a benefit to whoever listens to it. Gregorian chants are an awakening of the field of expanded consciousness, inducing concentration and sharpening the capacity for self-awareness.

The Voice is the primordial instrument of transformation through sound.

We only hear (the frequencies) what our own voice can produce. As we listen with our skin, the sound of the human voice massages the bones.

“Devotion is the simplest form of awareness. It is most natural. There is nothing more thorough, nothing more innocent, nothing more divine. Devotion is not practiced. It is the spontaneous dignity of a purified life.”Maharishi Mahesh Yogi

Creative expression is essentially devotional. Devotional energy is proportional to the self-confidence it generates. Practicing more of the same creates more confidence.

In music and art, devotion is felt as longing, and there are many dimension and textures of the emotion of longing, from longing for a lover that left us, to longing for the Beloved, an invisible mystical love.

The Magic of Tone

THE BIRTH POINT OF TONE. A focal point on the lower lip where the inner air meets the outer. According to indications of Rudolf Steiner the tone has its place of origin in the pineal gland. It is the combination of ear, pineal gland, and embouchure which creates the birth of tone. We can enhance the magic of tone with emotion, mood, and directing the awareness to breathing and sound.

THE POSTURE. The motion is minimal and perpetual, a focused and subtle movement of breath and deep muscles. The arms and hands become wings. We embody the bird in fly . The “presence” is relaxed, but alert, conscious of no distractions. The mind is focused on the dimension of intoning breath into sound.

THE PRACTICE : Call and response ( in group or with yourself). Conscious repetition. Listening and sounding. Sounding and listening. Exploring texture. Pace. Time and duration. Exploring the connection we make in between tones, and in between breath, sound, tone and beauty. Departure from the drone, up and down. Slow. Soft. Returning to the drone. Resting in the drone. Be one with the drone.

Opening with: AOM

Seed syllables are conceived as containing both the qualities of the female and the male, solar and lunar. The vowels are female and illuminate, bring light, radiance into the natural state of mind as consciousness. The male quality is present in the consonants. Like the “H”, or “M”, this is very important. Every seed-sound has to be experienced as both female and male energies, they are the moment of conception of breath into sacred sound.

We want to sound to vibrate in both qualities to bring out that into consciousness.

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Chanting Practice Session: From TONE to CHANT

1. AKANDA SWARA PRACTICE - the Practice of the Unbroken Tone

Practice slow and focus on the space in between each syllable and producing the whole phrase with one exhalation

SA, A, NA ,RI, NUM, OUM

2. DHRUPAD, ALAPTA, NA, RI, RE, RE, Na, NOM, TOM

Dhrupad: means true composition. It is an old style of North Indian classical music based of the slow movement of the voice or the instrument from one note to the other. It requires a severe routine of practice, the practitioner starts the practice daily at 4AM for an hour, with the intention to connect with the inner silence, and according to the cosmic cycle of light, during day and night. It is the highest form of vocal meditation

3. VEDIC PRAYER - SARVE SHAAM

OM: (welcome to the Divine through sound)SARVESHAAM SVASTIR BHAVATUSARVESHAAM SHAANTIR BHAVATUSARVESHAAM PURNAM BHAVANTUSARVESHAAM MANGALAM BHAVANTU

OM SHAANTIH SHAANTIH SHAANTIH

The VEDIC chants are very old forms of devotional recitation of the sacred books called Vedas. They are ways to pray band connect with the Divine. They feel like tonal doctors, or spirit doctors

4. DHYANAM – means contemplationin the name of the four Mahadevas

OM NAMAS CHANDIKAYAI DHYANAM

OM MAHAKALI DHYANAM

OM MAHALAKSHMI DHYANAMDANDAM SHAKTIM ASIM CHA CHARMAJALAJAM GHANTAM SURABHAJANAMMAHALAKSHMIM SAROJA STHTAM

OM MAHASARASWATI DHYANAM: prosperity

LAXMI MANTRAOM SRIM HRIM MAHALAKSHMI KAI TENAMA NAMAHI (we did this with ornamental singing)

This piece is on Pentatonic Minor scale - SA – RE – ga - Pa – Dha It is based on the dancing energy of Shiva, serpentine, kundalini, dancing, beyond gender, close to rapture, is sensual to the dimension of sound, and the combination of spirituality and SENSUALITY of tone help to keep your commitment to music.

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- IMPORTANT TO REMEMBER – comparative music concepts

In Indian music, the most important is tuning the voice, the instrument, and the mind to the “swaras”, the natural tones, which we know as the notes of the musical scale, Sanskrit system SA, RE, GA, MA, PA, DA, NI related to European system DO, RE, MI, FA, SOL, LA, SI. There are 22 microtones in the space of an octave in the Indian scale, those microtones are called: Shrutis, they are only performed by designated string instruments and the voice. It takes many years of solid practice to be able to listen to them and to identify them. The shrutis create the rich ornaments that characterize the Indian music, they constitute the main difference between the Easter and the Western sound and an approach to vocal music, and they induce a kind of spiritual emotional consciousness to the experience of chanting and listening to music. Is specially the awareness, the performance, and the subtle “touch” of the shrutis that conveys the different ragas and “rasas”.

Discussion:On the power of 21 minutes per day minimum chanting

EFFECTS:

Cenesthesia; refers to the generalized feeling of well-being that results when all the body’s organs systems function properly, in synergetic alignment to one another, and vibrate in same frequency. Chanting moves us in that direction.

In this class on SONOROUS YOGAS we are honoring the vocal traditions that use sound and chant for personal liberation, as all the yogas does.

The repetitive Mantra- form is the most common vehicle for liberation through sound, accessible to us.

Sonorous Yoga is the technology that involves this FORMULA:

~ Respect for the tradition and the teacher that transmit the lineage. Honoring~ Intonation is pure and clear~ Consciousness and continuous awareness in the dimension of sound~ Intention of liberation of conditions. Healing and/or Transformation energy

“ Chanting is a significant and mysterious practice. It is the highest nectar, a tonic that fully nourishes our inner being . Chanting opens the heart and makes loves flow within us. It releases such intoxicating inner bliss and enthusiastic splendor, that simply through the nectar it generates, we can enter the abode of the Self.”Swami Muktananda

Chanting the sounds affects more of body than just listeningRepetition helps the mind to be tamed. The mind immerses itself in sound and relaxes

Intention creates different dimensions of devotionThe intention makes a chant into a prayer, invocation, mantra, or medicine

MANTRA

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The seed syllable is also a MANTRA The Seed Syllable leads Sound into Consciousness and Consciousness melts into Sound.From the Rig Veda: “The master of revelation (Brahman) recites the mantra in which all the deities have made their home”.“May the mantras taught by the wise protect us”.

MantraImplies repetition, we repeat to remember, we repeat to forget what we need or want, we repeat to resonate and to connect with the nature of mind – pure clear space with no obscurations – the space of no-ego grasping or attachments.

Recommended Reading: The Mystery of Mantra By Muz Murray

Mantra involves rhythmic periodicity by creating a groove in the mind that guides and leads the mind into a more extended sense of inner- self and consciousness, it protects us from our own negative emotions and frees us from the pollution of our thoughts. This periodic order of beats entrains the brain inducing trance-states.

Mantra also means word. There is a difference between the word and the thing, and the word and its effect, or how it affects consciousness. That protective and magnetic effect is what we called mantric.

Mantras generate a sense of ecstatic intensity what makes their practice different from the contemplative mental energy of the vocal meditation, transforming energy, and creating a circular sense of motion.

MANTRA creates is a flow, a current of energy, a loop, we can’t stop chanting the mantra. You are riding on your own prana, life-force, while clearing it, and strengthening its power. Mantra practitioners cultivate long life.

Mantra as a musical form is part of every music, in every culture, and in every tradition of vocal transformation.

THE FUNCTION of MANTRA

The mantra will protect the mind from obscuration cause by: passions, anger, greed, delusion, jealousy, pride, malice,

MAN means the mind that is confinedTRA means cutting through beyond any condition or control of the mind that thinks.

Mantra has to groove in the mind and body

Mantra “gets you” through its magic, mystic power of repetitionMantra illuminates and protects us.

Benefits from Mantra

Shuddhi natural, purification of mind and bodyBhudhi awakening mind, intelligenceShutti magic powers, liberation

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The PURIFICATION and CLEANLINESS of mental impurities towards the attainment of inner serenity. This intention involves a cause of transformation and in many cases of healing, this is the reason why all these three forms use of sound can be considered “Shamanic” in nature.

MANTRA ASSIGMENT:---- Try to practice the same mantra for a long time, for a minimum of 21 min if possible each time, until it becomes familiar.

VOCAL MEDITATION

The intention is to dwell, abide, and vibrate. We move slowly and with a gentle dance with sound. Drone becomes our home. Slowly we are discovering the art and emotional power of melody, a melodic movement that unfolds naturally and effortlessly. Is the melody in music what delivers the spirit. Vocal meditation becomes the threshold between sonorous yogas and melodious yogas. It prepares ones and our musical imagination to be receptive to receive and remember divine melodies.

“Every tone is an event. A tone contains limitless possibilities. Musical tones are conveyers of forces. Hearing music means hearing an action of forces.” Zuckerkandl

The practice of vocal meditation consists in singing with a drone (a continuous sound, which contains myriads of harmonics and overtone). The voice moves in a very slow pace allowing for a sensitive connection between feeling and the vitality within toning. It is like the experience of tuning an instrument, and it is based on the art of scales and raga singing. RAGA: is an ancient tonal arrangement of ascending and descending patterns and micro-tonal ornaments that evokes the color of the mind.

We explore “meending,” the space in between notes. In North Indian music, meend is the art of connecting notes. We visualize our voice as a string, and we approach each note as a complete piece of music in itself, sliding into and out of it. In Western music, meend is referred to as “portamento.” We also refer this practice as microtonal singing. The slow glissando, “buttery”, and wavering motion of the voice approaching one note from the other conveys deep emotion, giving rise to feelings that often are not associated with anything in particular. It helps to release the emotion that needed to be expressed.

“ Meend vivifies melodies, making them sanguine and glossy and velvety by turns, saturating them with feeling. Even a small dose of this practice can significantly change the way you listen to music, specially sung music, by opening up the deep world that lies underneath the surface” . —W. A. Mathieu, Harmonic Experience.

CHANTING.birdsong brings reliefto my longingI am just as ecstatic as they are,but with nothing to say!please, universal soul, practicesome song, or something, through me!RUMIChanting is a form of vocal meditation based on simple melody lines which allow variations on rhythm, harmonies and expressions. It creates a contagious sense of unity, and well-being. Chanting is a devotional practice that had been preserved for centuries, and can be found in all cultures, sharing similar attributes.

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To mention some examples; the Hebrew’s davennen, the kirtans and mantras from India, the Tibetan ritual prayers, the zhikrs from the Sufis, the Heart Sutras from the Zen Buddhism, and the African and Amazonian chants. Robert Gass defines chanting as “discovering spirit in sound”, understanding “discovering “ as awakening.

Musically chanting includes mantras, invocations, prayers, as well as the sustained vocalization of a sacred seed syllables such as AUM or OM. The rhythm is repetitive, with subtle alterations of tempo, pace, and pulse, according to the intensity of the collective experience. The sacred meaning of the words or syllables adds to the magnetic and ecstatic effect enhanced by the group sound, as well as the particular kind of ”intoning “, breathing in and out sound. In some occasions, the meaning of the chant is understood at a higher cognitive level, as a spiritual transmission, and it is translated simultaneously in the dimension of sound healing and spiritual resonance.

In chanting the voice connects with the transpersonal dimension of the self, facilitating non-ordinary states of consciousness. As a healing modality, chanting charges the brain cells, lowers the blood pressure, and balance the heart rhythm, inducing relaxation, and elevating the mood. The healing power of chanting resides also in its capacity to open us to go beyond our ego-boundaries to access transcendent states of consciousness and subtle manifestations of wholeness. Page 8

According to the French physician and ear specialist Dr. Alfred Tomatis, chanting is nothing less than our “royal route “ to the divine. It is also a kind of vocal art that we all can do well. Dr. Tomatis affirms that Gregorian chants are a fantastic food for the brain. All the monasteries that closed down are the ones where the monks didn’t chant. Greogorian chants contain all the frequencies of the voice spectrum, roughly from 70 cycles per second up to 9,000 cycles per second, but with a very different envelop curve from that of the normal speech. These timbres, rich in overtones, charge our brain, revitalizing our main functions and providing a benefit to whoever listens to it. Gregorian chants are an awakening of the field of expanded consciousness, inducing concentration and sharpening the capacity for self-awareness.

In a music therapy session or sound healing session, the introduction of chanting becomes a way to induce positive transference in the therapeutic relationship, and to generate a safe musical container. It is a preliminary practice, which has the ability to elevate the mood and to activate deep emotional connections and memories. The therapist can accompany her /himself ‘with a drone, any instrument, or a’capella. The steady and energetic pulse of the chant, can harmonize the timing of our thoughts, our movements, breathing cycle, regulating the nervous system, and inducing a sense of vitality and hope.

Chants are specially indicated to help to bridge the transition between life and death, with terminally ill patients.

The therapeutic value of using chanting in music therapy will depend upon the selected cross-ethnic repertoire, which will also can include chants that are improvised and created on the spot, these are relevant to the particular clinical technique; clinical chant improvisation.

“Chanting is a significant and mysterious practice. It is the highest nectar, a tonic that fully nourishes our inner being. Chanting opens the heart and makes loves flow within us. It releases such intoxicating inner bliss and enthusiastic splendor, that simply through the nectar it generates, we can enter the abode of the Self.” Swami Muktananda

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Chanting is defined as the continuous recitation of a specific phrase or phrases. It is used in meditation and religious or ritual ceremonies. Some use chanting as a method of altering consciousness and raising psychic power or energy. Others claim it connects them with the Divine.

Various chants in Hinduism and Buddhism use Om, which represent the Brahman.

Followers of Islam chant the ninety-nine names of Allah called "the Beautiful Names."

Diadochus of Photice recommended the chanting of the name of Jesus in prayer for Christians during the fifth century. Included in Christian chants are four Western forms - Gregorian, Gallican, Mozarabic, and Ambrosian; three Eastern forms - Byzantine, Syrian, and Armenian; and the Coptic and Ethiopian chants of northern Africa.

Jewish chants are composed of Biblical texts.

Sound-Remedies has included this section because we believe that chant is a wonderful psychoacoustic process for creating relaxation.Through the process of auditory pattern recognition, mental habituation takes place in listening to repeating patterns. Habituation leads to passive hearing which contributes to a relaxation response.

Per Dr. Alfred Tomatis, Gregorian chant is actually a wonderful soundtrack for focused attention and accelerated learning. Un-intented, Gregorian chant contains all the sound ingredients necessary for the ideal state known as 'Mind alert/Body relaxed."

Voxmundiproject.com, 1999© - REPRODUCTION is PROHIBITED.

http://www.voxmundiproject.com/vocal.html. acessado em 31/03/2008

VOCAL PRACTICE

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THE SUBTLE VOICE OPENINGITS PATH THROUGH SOUND ENERGY

IT FEELS LIKE LIGHT.SWEET RADIANCE

SUBTLE OPENNESSJOY IS UNVEILED

SINGING BREATH

You can do this practice accompainied by a drone tape in the background, that would help you focusing.

1. Sit or stand in a comfortable position. 2. Bring your awareness to your breath, breathing in and out in a

steady, natural cycle while relaxing your facial muscles and jaw. 3. Focus on listening to your breath, slowly allowing it to become softly

audible. Remain focused on the breath-voices that you produce as a complete experience of "openness to new sounds". Keep your intention focused only on your breath.

4. Effortlessly start Ahhhing (the breathy sound of "Ah"). From the lower register of your voice, a slow, clear, sustained and luminous Ahhh. Notice your voice in your chest, in your throat, in your head, in your hands, and in your whole body. A repetitive melody may emerge.

5. Allow for music to come, but always come back to Ahhh, until the sound of Ahhh feels open, clear and relaxed. Remember to sing from your belly, while listening, always listening to the inner heart.

6. Remain in some moments of silence afterwards

Duration of the practice: 15min (minimum)

These therapeutic sounds are gentle vibrations that help us relax into our own voice, releasing unwanted emotions while stimulating the energy flow. In many cultures, the sustained sounding of "Ah" is one of the most powerful healing sounds generated by the voice.

SINGING AND SONIC MEDITATION ON THE LAYERS OF SOUND

1. You will need a drone tape or CD or Silvia Nakkach's "Ah" CD to work with

2. Find a comfortable position, sitting or lying down 3. Focus your awareness on the panormama of drones, listening with

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your whole being 4. After a few minutes, tune in to each specific layer of sound. Then

listen to the whole drone environment again. Notice your natural movement from discrete to global listening

5. Now explore the healing power of your own voice by toning along with the recording. Alternate between bringing your voice forward as a "figure" and then dissolving it into the drone as "background".

This meditation is recommended to enhance deep listening and sustained focus. It encourages creativity while allowing us to relax slowly into a feeling of fulfillment and inspiration. It is also especially effective in reducing stress before or after surgery.

By Silvia Nakkach, M.A.,M.T. Extracted from "The Healing Voice", Vox Mundi, 1999

http://www.voxmundiproject.com/links.html. acessado em 31/03/2008

LINKS

Vox Mundi recommends that you visit the following websites.

www.ammp.com/aak.html - The official website of the Ali Akbar Khan College with life and work of the great musician and master, besides calendar of academic and performatic activities.

www.healingmusic.org - a complete address in the web for themes related to music and health, besides a huge list of interesting links

www.mayanhealer.com - Healer Flordemayo`s website is a wonderful possibility of starting a relationship with a truthful, delicate and wise indigenous woman that has a lot to teach and help with regard to the healing power of sacred herbs. Flordemayo will honor with her presence forthcoming Vox Mundi´s retreat in Colorado (see front page)

www.morgenlicht.com.br - A resort in the mountains of Southeast Brazil for retreats and workshops with best organic food and eco-turism.

http://planeta.terra.com.br/turismo/vilangelim - All of Bahias beauty, charm and hospitality in one place

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www.sunriseranch.org - Moste all the hospitality, best nutrition and highest vibrations in the hearts of Colorado.

www.gaiam.com - website specialized in environment, health and arts subjects and products.

www.purenaturemusic.com

 

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