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The knowledge of Sabda Brahm – Nada Brahm is an important branch of the Indian school of spirituality. The science and philosophy of Sabda Brahm encompasses the methodology and effects of mantra-japa, prayers, collective chanting and sadhanas of the veda-mantras and that of the Nada Brahm deals with the genesis, expansion and influence of music. The volume 19 of the
“Pt. Shriram Sharma Acharya Vangmaya” series presents truly rare and detailed information and guidance on this topic. The present book is compiled from the English translation of the first two chapters of this volume that focus on the cosmic dimensions of sound and the sceince of mantras.
Linguistically, the word mantra in Sanskrit implies a specific structure of sonic patterns – coded in syllables and vowels, that works as an spiriutal tool to liberate the mind from ignorance, illusion and evil instincts. The specific configurations of syllables and the corresponding combinations of phonemes in the mantras make the latter powerful ‘carriers’ of the cosmic energy of sound. The book presents a perspicuous introduction with analysis of multiple aspects of the physical and subliminal impact of sound and the structure of mantras. It also highlights authentic reports on scientific experiments in this direction.
Different methods of rhythmic enunciation (japa) and spiritual practices (sadhanas) of vedic
mantras are described here with adept guidance. The author, Pt. Shriram Sharma Acharya also focuses on mantra yoga as an effective endeavor to master the generation and utilization, without any external means or instruments, of the immense powers of sound for specific noble purposes. Although the vedic mantras could be well expressed vocally as prose or verse, the method of singing them in specific rythms as hymns was given principal importance by the –iÌis. Hence the
unique spectrum of vedic swaras and the gamut of chanting patterns for mantras were evolved and encoded in the Sama Veda.
The Sama Veda contains divine knowledge of the miraculous spiritual flow of music that can effectuate a vivid connection of the individual ‘self’ with thy-self. The author highlights the crucial role of this Veda and discusses the present status of the schools of sama gana in the
context of the difficulties faced today in identifying the best chanting patterns for the Vedic Mantras.