6. 印度的古典音樂和音樂療法 ③ <<關於印度音樂 by Waka>>

印度的節奏理論—Tala認為宇宙的節奏是一種循環表現。一種說法是取自集中於天體、季節、自然及生命界裡循環要素，而形成的Tala，共有365種。普遍來說，Tala是一種無可比擬，包含極度複雜的數學、邏輯理論的系統；同時，Tala也是天體運行的具體表現。

在印度古典音樂中，所使用的打擊樂器，其樂音全部都可以用嘴巴去表現，被稱之為Bol。Bol是源自於古印度神聖的Mantra(指的是帶有符咒性質的真言)；透過其各式樂音的組合，深具影響力的作用遍及了世界各地。

北 印度最有名的樂器Tabla，是守護財富及智慧、知識之神—Ganesa的樂器。據說，Ganesa能夠表現Mantra。各式各樣的Tala具有不同的 能量型式及作用。一般相信，在正確的狀態下，當Tala被刻畫出來時，Shakti(神聖的波動)充滿全場，能為世界帶來諧和。





TablaWaka部落：
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5. 印度的古典音樂和音樂療法 ② <<關於印度音樂 by Waka>>

在音樂療法的領域裡，我認為存在著一部份區塊，是關於印度音樂對於肉體及精神影響的討論。從前，在印度音樂中指稱旋律的Raga，在梵語中，具有「為心靈上色」的意涵。Raga是奠基於自然界循環的旋律理論。演出時，Raga深受時間、季節、情緒等要素的影響。在這當中，有著鬱者非聽不可的Raga、亦有使大地萬物生長的Raga。相傳，古印度的演奏者，透過音樂駕馭著自然界的要素：使雨落下，使風吹拂，甚至使火災發生。

在印度醫學裡，自然萬物是由五大元素：空、風、火、水、地所構成的；而生命的能量，據說是三種Dosha的結合。三種Dosha分別是Vata、Pitta、Kapha。五大元素則如下所示，構成Dosha:

Vata所含元素:風和空

Pitta所含元素:火和水

Kapha所含元素:水和地

Dosha在一日之中，依照Kapha、Pitta、Vata的順序，變化循環；一年之中，亦存有規律。人的一生當中，同樣是不斷地被改變著。

一般來說，印度的古典音樂，對應著既定的時間、季節及環境所帶出的波動組合。可以用來調整及淨化場域之內的能量。在歐美的研究中，同樣發表了各式的Raga，分別具備使性情安定/興奮，活化/抑制內分泌系統等作用的結論。

另外，印度的傳統醫學Aayurveda和Yoga的結合，使其本身療效提昇的概念，也受到世界各地的注目。(最初，印度古典音樂本身也有自己的一套Aayurveda,Yoga)




Raga和醫療效果：
http://www.herbcu.com/music.htm


●Raga---Disease(s) it helps cure


*Ahir Bhairav---Indigestion,Rheumatic Arthritis,Hypertension

*Asavari--- to build confidence

*Bageshri---insomnia

*Basant Bahar---Gall Stones (Cholecystitis)

*Bhairavi---Rheumatic Arthritis,Sinusitis,encourages detachment

*Bhim palas---Anxity, Hypertension

*Brindabani Sarang---Depression

*Chandrakauns---Anorexia

*Darbari---Sedetive

*Darbari Kanada---Headache,Asthama

*Deepak---Indigestion,Anorexia,Hyperacidity,Gall Stones(Cholecystitis)

*Gujari Todi---Cough

*Gunakali---Rheumatic Arthritis ,Constipation ,Headache ,Piles or Hemorrhoids

*Hindol--- Rheumatic Arthritis,Spondilitis,Backache,Hypertension

*Jaunpuri---Intestinal Gas,Diarrhoea,Constipation

*Jaijawanti---Rheumatic Arthritis,Diarrhoea,Headache

*Kafi---Sleep disorders

*Kausi Kanada---Hypertension,Common Cold

*Kedar---Headache,Common Cold,Cough,Asthma

*Khamaj---Sleep disorders

*Madhuvanti---Piles or Hemorrhoids

*Malkauns---Intestinal Gas

*Malhar---Asthma

*Marwa---Indigestion,Hyperacidity

*Nat Bhairav---Indigestion,Rheumatic Arthritis,Colitis

*Puriya---Colitis,Anaemia,Hypertension

*Puriya Dhanashri---Anaemia

*Ramkali---Colitis,Piles or Hemorrhoids

*Shree---Anorexia,Common Cold,Cough,Asthma

*Shudh Sarang---Anorexia,Gall Stones (Cholecystitis)

*Shyam Kalyan---Cough,Asthma

*Sohani---Headache

*Yaman---Rheumatic Arthritis


TablaWaka部落：
http://tablawaka.blogspot.com/

4. 印度的古典音樂和音樂療法 ① <<關於印度音樂 by Waka>>

某位學者操控某項變因，於完全相同的環境下，種植著相同的植物。該項控制變因是，使各個植物分別持續聽著不同的音樂。其中一盆聽的是充斥著負面俚語的重金屬搖滾，另一盆聽的是莫查特的音樂，還有一盆則是持續聆聽北印度的古典音樂。

幾週後，該植物們在成長的過程上，出現了明顯的差異性。聽莫查特的植物，長得既健康又充滿生命力；聽重金屬的植物，則瀕臨死亡、極盡枯萎；而聽北印度古典音樂的植物，在盆中茂盛、洋溢的開展著。

這是我在接觸印度音樂之前，高中時從某位老師那聽來的。雖然無法判定實驗的真偽，但後來又陸續從許多人那得知相同的訊息，應該可說是個有名的實驗吧。



發現了!!　稍微不同。
↓

http://www.dovesong.com/positive_music/plant_experiments.asp


●About Positive Music
by Don Robertson


The Plant Experiments

In 1973, a woman named Dorothy Retallack published a small book called The Sound of Music and Plants. Her book detailed experiments that she had been conducting at the Colorado Woman’s College in Denver using the school’s three Biotronic Control Chambers. Mrs. Retallack placed plants in each chamber and speakers through which she played sounds and particular styles of music. She watched the plants and recorded their progress daily. She was astounded at what she discovered.

Her first experiment was to simply play a constant tone. In the first of the three chambers, she played a steady tone continuously for eight hours. In the second, she played the tone for three hours intermittently, and in the third chamber, she played no tone at all. The plants in the first chamber, with the constant tone, died within fourteen days. The plants in the second chamber grew abundantly and were extremely healthy, even more so than the plants in the third chamber. This was a very interesting outcome, very similar to the results that were obtained from experiments performed by the Muzak Corporation in the early 1940s to determine the effect of "background music" on factory workers. When music was played continuously, the workers were more fatigued and less productive, when played for several hours only, several times a day, the workers were more productive, and more alert and attentive than when no music was played.

For her next experiment, Mrs. Retallack used two chambers (and fresh plants). She placed radios in each chamber. In one chamber, the radio was tuned to a local rock station, and in the other the radio played a station that featured soothing "middle-of-the-road" music. Only three hours of music was played in each chamber. On the fifth day, she began noticing drastic changes. In the chamber with the soothing music, the plants were growing healthily and their stems were starting to bend towards the radio! In the rock chamber, half the plants had small leaves and had grown gangly, while the others were stunted. After two weeks, the plants in the soothing-music chamber were uniform in size, lush and green, and were leaning between 15 and 20 degrees toward the radio. The plants in the rock chamber had grown extremely tall and were drooping, the blooms had faded and the stems were bending away from the radio. On the sixteenth day, all but a few plants in the rock chamber were in the last stages of dying. In the other chamber, the plants were alive, beautiful, and growing abundantly.

Mrs. Retallack’s next experiment was to create a tape of rock music by Jimi Hendrix, Vanilla Fudge, and Led Zeppelin. Again, the plants turned away from the music. Thinking maybe it was the percussion in the rock music that was causing the plants to lean away from the speakers, she performed an experiment playing a song that was performed on steel drums. The plants in this experiment leaned just slightly away from the speaker; however not as extremely as did the plants in the rock chambers. When she performed the experiment again, this time with the same song played by strings, the plants bent towards the speaker.

Next Mrs. Retallack tried another experiment again using the three chambers. In one chamber she played North Indian classical music performed by sitar and tabla, in another she played Bach organ music, and in the third, no music was played. The plants "liked" the North Indian classical music the best. In both the Bach and sitar chambers, the plants leaned toward the speakers, but he plants in the Indian music chamber leaned toward the speakers the most.

She went on to experiment with other types of music. The plants showed no reaction at all to country and western music, similarly to those in silent chambers. However, the plants "liked" the jazz that she played them. She tried an experiment using rock in one chamber, and "modern" (dischordant) classical music of negative composers Arnold Schönberg and Anton Webern in another. The plants in the rock chamber leaned 30 to 70 degrees away from the speakers and the plants in the modern classical chamber leaned 10 to 15 degrees away.

I spoke with Mrs. Retallack about her experiments a few years after her book was published, and at that time I began performing my own experiments with plants using a wood-frame and clear-plastic-covered structure that I had built in my back yard. For one month, I played three-hours-a-day of music from Arnold Schönberg’s negative opera Moses and Aaron, and for another month I played three-hours-a-day of the positive music of Palestrina. The effects were clear. The plants subjected to Schönberg died. The plants that listened to Palestrina flourished.

In these experiments, albeit basic and not fully scientific, we have the genesis of a theory of positive and negative music. What is it that causes the plants to thrive or die, to grow bending toward a source of sound or away from it?



TablaWaka部落：
http://tablawaka.blogspot.com/

3. 共鳴的法則 <<關於印度音樂 by Waka>>

在「波動的原理」之中，有所謂「共鳴的法則」。這是說，同樣波長的物體，彼此會合而為一。舉例來說，以塔不拉定調敲打Do音，即便沒有觸摸西塔琴，但其Do弦在瞬間會震動且開始發出聲響。

西塔琴本身就張著許多共鳴絃。非常適合調音的西塔琴，本身音色在添上共鳴音的厚實，創造出難以言喻的獨特波動。

演奏者將本身所感受到的，融入樂音之中，和合作伙伴在跳脫樂器之後，常可感覺到共時性(Synchronize)此種狀態。此外，演奏環境也大大左右著音樂表現；因此，會冀望當演奏達到某一種特定的狀態時，能和聽眾成為一體，共享一個巨大的「音樂場域」。此正意味著一起獲得共鳴的聽眾，事實上是和演奏者一同在創作音樂；而相對於演奏者，這也是在實現一項即為重要的任務。由於我們每個人心中，皆有不同的個性；彼此共鳴，就好像是彼此內心裡皆存在著一條共鳴的琴弦一樣。

擅於溝通者，想必在演奏上也會是個能手。

想要相互理解，然而，綜觀世界情勢，卻可見不諧和的聲音此起彼落，阻礙前進。難道，真的沒有讓彼此共鳴的方法存在嗎?不過，憤怒與恐懼所引起的波動，算是種共鳴吧……

不是常說「互稱同類為友。」



TablaWaka部落：
http://tablawaka.blogspot.com/

2. 大海的寬廣 <<關於印度音樂 by Waka>>

北印度的古典音樂，從數千年前的古代到現今，受到各式各樣時代的影響，而持續存在。

Veda的時代，佛教的時代，王國的時代，以及中世紀蒙兀兒(Mughal)皇帝時代的時候，深受伊斯蘭文化影響，而不斷發展；今天，也有許許多多的天才們，在這個狀態下，年年持續改變。而音樂本質上要素，至今仍維持其根基繼續流傳。

列舉印度音樂中最重要的要素之一 —Drone。

Drone指的是音樂之中，以單音演奏出單調的長音。

彈奏Drone樂音之樂器，首推即是弦樂器的坦布拉琴(Tambura)，其他像是鍵盤樂器中的印度手風琴(Harmonium)，以及印度竹笛/班舒李笛(Bansuri)，和嗩吶(Shehnai)等木管樂器也能演奏Drone。

以Drone的音為基調，去調西塔琴及塔不拉鼓等樂器的音，多少會出現音不準的現象，因此即便身處演奏之中，演奏者也會停下來，開始調音。我剛開始接觸印度音樂的時候，曾經覺得「那樣些微的走音也沒什麼關係吧……」然而，長年學習印度音樂後，對於些微的走音，我也甚感厭惡。那是種好像消除了所謂放不下，無法進入演奏的狀態。

Drone的寬廣就好比大海的寬廣，是由音所波動的大海。在這片海洋，演奏者潛入其中，即興地創造出各式各樣的故事。那是印度烏帕尼沙德(Upanisad)哲學中，所謂宇宙意識的梵天(Brahman)和自我意識的我(Atman)合而為一，具體實現「梵我一如」。

印度音樂也可以說是音的瑜珈(Nada Yoga)。

Yoga這個詞彙原至起梵語(Sanskrit)中的「結合」。演奏印度音樂的要領，與如何融入這片大海有關。為此，演奏者常常要反覆意識著大海的波長。



TablaWaka部落：
http://tablawaka.blogspot.com/

1. Prologue <<關於印度音樂 by Waka>>

Prologue是自古以來，由師傅傳承給徒弟，途經數千年的東洋藝術。雖社會環境和樂器構造不斷變遷，但其精神依舊長在。

恩……真是浩瀚啊!

或許是存活下來的妖魔也不一定・・・・・。




印度音樂是一種Veda(梵語: "知識")科學，期中包含哲學、宗教、科學、自然、心理學、數學、語言學、邏輯學、催眠、醫療等要素。Veda指的是自古代印度所流傳下來的神聖知識。

接下來，心血來潮地，請讓我在此書寫對於印度音樂，我個人粗淺的見解。所寫內容，完全出之於我，不足之處，敬請見諒



TablaWaka部落：
http://tablawaka.blogspot.com/