Ohm, Nada, Sadhana, the essence of sound
"Real music is not for wealth, not for honours or even the joys of the mind, but as a path for realization and salvation."
— Ustad Ali Akbar Khan
Modern physics, particularly quantum mechanics, has provided new insights into the fundamental nature of reality, reinforcing the ancient idea that creation is rooted in vibrations. At the quantum level, all matter and energy exist as dynamic fields of vibrating particles, resonating through space and time. String theory, an advanced framework in theoretical physics, suggests that the basic constituents of the universe are not point-like particles but rather tiny vibrating strings, each with its own frequency. In essence, everything in existence—including sound—is governed by vibration.
Indian classical music deeply reflects this principle, as its instruments are designed to produce and enhance resonances that interact with natural harmonics. The jawari process, for example, which shapes the bridge of instruments like the sitar, tanpura, rudra veena and surbahar, is a physical manipulation of surface vibrations that optimises sustain, overtones, and the rich, complex timbre unique to Indian music. The resulting sound is not just a mechanical phenomenon but an interplay of string oscillations, sympathetic vibrations, and acoustic coupling, aligning closely with quantum principles of wave interactions and resonance.
In India, the essential creative vibration is known as the syllable OHM or AUM and has played a significant role in the Holy Scriptures and philosophies for the past 3000 years or more. Deep concentration on this fundamental, primordial vibration can be musically and spiritually very rewarding. Accompanied by the tanpura, the practitioner sings the low tonic with as much resonance as possible. This special type of meditation is also recognised as a form of yoga and is known by the names Karaj (the lowest-tuned string), Sur-Sadhana (the concentration on tuning), or Mandra-Sadhana (concentration on the lower octave).
P.B. Mukharji, in his introduction to the book "Japasutram" by Swami Pratyagatmananda Saraswati, writes that the syllable OHM is, in fact, a mantra—an animated or charged word—and its sound resembles, as nearly as possible, the all-enveloping harmony of all the dissonances and differences in the disjointed and discordant sounds of the universe. He further explains that it can also be heard. He continues:
“The metaphysics of sound, technically known in India as Mantram, and the Japam is the use of the technique and the basic principles of sound to liberate the mind to a total awareness of all times, all spaces, and the timeless and spaceless status which is the eternal matrix to which all Creation returns in dissolution."
In fact, as a yogic practice, this spiritual sadhana, or Japa, involves a very precise and scientific way of producing the sounds—specifically, the rising and falling pitches. The rising pitch should be pronounced loudly and resonantly from the navel, acting as the rousing factor. The falling pitch should gradually mellow down into the silence between the eyebrows, serving as the soothing factor. These two basic principles should be strictly balanced and adhered to. If done incorrectly, one may become imbalanced—either too much "fire" from the rising pitch or too much "sedation" from the falling pitch. To restore balance, simply concentrate more on the opposite pitch. If performed correctly, one can expect to gain the full benefits of this dynamic spiritual practice.