Meditation Music

This was originally published in the November 2008 issue of The Wire. (To read more of my journalism, click here.)

A heavy synthesizer drone fills the air, like something out of early Tangerine Dream. For a moment I can’t believe I’m actually hearing it. I’m standing in the bookstore at the Aurobindo Ashram in Pondicherry, India. An elephant at the temple next door is giving blessings with his trunk. There is music in ashrams of course – devotional singing in groups, bhajans, chants – but this is different, the music unfolds slowly, some strange kind of fusion of Debussy, prog rock and raga, powerful and heavy. I ask one of the staff who it is and I’m told that it’s by Sunil, a former scientist who lived in the ashram for decades and began composing keyboard and later synthesizer music at the encouragement of one of the ashram’s two founders, The Mother, partner of the ashram’s namesake, Bengali poet, mystic and nationalist hero Sri Aurobindo. Sunil composed music in honor of the New Year each year from 1959 to 1998, and also set many hours of Aurobindo’s remarkable epic poem Savitri to music. I ask where I can buy the music but no one knows. They just call the music “ashram music”. I’m told that maybe someone at another office can burn me some mp3s, but nothing is for sale.
Although the ashram itself has proved itself adapt at running guest and publishing houses and a variety of other businesses which sustain the community, Sunil’s music was made as an act of devotion, and outside the visionary community founded by Aurobindo and the Mother it is almost unknown. It’s a remarkable story, but not unique. There is Alice Coltrane’s retreat from the jazz scene and commercial recordings to a California ashram where she sang and played, occasionally issuing cassettes of devotional music under the name of Swamini Turiyasangitananda that were available only at the ashram. Or Oliver Messiaen, who played the church organ at services at La Trinité in Paris from 1931 to his death in 1992. And this was not Messiaen’s only work outside of the conventional space of the concert hall. His famous “Quartet for the End of Time” was composed in the Stalag VIII-A concentration camp where the composer was interned during World War II, and received its performance in the camp for an audience of prisoners and prison guards with Messiaen playing a busted up old piano.
Many performers have had parallel careers performing and participating in religious communities – Nusrat Fateh Ali Khan continued performing at Sufi shrines in Pakistan after his recordings became a fixture of yoga classes in the West. In other religious communities, including Christian Pentecostal churches, everybody sings and everybody participates and there is no audience. The line between producer and consumer is erased — and participants would probably claim that God (or Gods, or spirits) is the producer and the audience too. Communes offer another version of this — Amon Duul in Munich 1967, the early Faust in Würme emerged as “rock groups” out of much more undefined sets of collective activities, of which making music was one kind of ritual, complete with “om” chants, “tribal” percussion jams and other spiritual elements. Or Father Yod and Ya Ho Wa 13, a group emerging out of a commune of 100 people living in a mansion in Los Angeles, selling home made LPs for $1 in their health food restaurant. Or the Sun Ra Arkestra in Philadelphia, whose performances always felt like looking in on a private festival or ritual, complete with esoteric language and style. Although not overtly religious, such groups made music as a way of exploring and expressing an ecstatic community that was an end in itself, and a “spiritual” one at that. Making and selling recordings could be an act of evangelism, a crazy get-rich-quick scheme fuelled by “cosmic” intuitions, or simply a humble attempt to make a living and support the community.
Indian classical vocalist Pandit Pran Nath thought that students recording his lessons, or even notating what he was singing, was a bad idea and a corruption of what the music really is. Furthermore, he was against the recording of music and found even amplification problematic. He lived for a while in a famous Siva cave in the foothills of the Himalaya, singing for God and the community living in the cave – supporting himself with occasional trips to Delhi to perform for All India Radio. Practice, and the perfection of it also becomes an end in itself. Practice is of course a part of many music cultures from the decades of finger studies of classical pianists to weekly punk rock band practice. But the word practice also has a religious meaning, when the discipline of making music is performed with the intention of perfecting oneself before God. In such a practice, one might never actually utter a sound – in some traditions, the repetition of mantras, sacred or magical phrases, is thought to be more powerful if it is entirely mental; I’ve also been told of Indian classical musicians who mentally practice scales hundreds of octaves above or below those found on a piano, as an act of concentration.
At the highest level the mystery of music concerns the manifestation of sound as a set of powerfully affective structures that come from … who knows where? But if music is a gift then the act of listening also becomes creative and potentially devotional. Thus Cage’s 4’ 33” or Philip Corner’s “I Can Walk Through the World as Music”, both pieces where music and meditation come close to one another, in the act of paying attention to the actually existing sound environment. This act of paying attention could take you a long way – in various yogic traditions, one is advised to listen to “the unstruck sound”, the sound that remains when all that is temporary fades away again after manifesting … the original drone, Nad Brahma – “sound is God”.