The inspiring practical philosophy of Sufi Hazrat Inayat
Khan (Baroda 1882-Delhi 1927) in this guidebook is pre- sented in terms of music, sound and mysticism, and yet it relates to daily life and spirituality in general.
It presents you with insights into the metaphysical foundation of music and sound and its effects upon our daily doings. You may acquire a deeper understanding of both the cosmical manifestation and the rhythm and harmony of everyday life. Although his philosophy is thorough and deep yet the unaccustomed reader will find himself inspired and understanding. The author combines depth and simplicity and speaks to the heart of the reader. You may find new dimensions to your everyday speech, thoughts and actions. The book contains four parts: The Mysticism of Sound; Music; The Power of the Word; and Cosmic Language.
The Mysticism of Music, Sound, and Word presents an essential part of the-highly practical-philosophy of Hazrat lnayat Khan. Born a musician music and sound were for him the essence of life. Even when later he had to give up his practice of what in Indian philosophy is called struck music the unstruck music remained with him, and increasingly so.
Not only did he enjoy it in his meditations and all through life, whether in silent nature or in the roaring streets of Manhattan. In its fullness it came out in his discourses and other presentations he made to the amazed and yet not fully understanding public of the West in the 'twenties. Hi's realization of sound and music transformed his words into living beings, attuning the atmosphere, bringing inspiration to the public.
'I gave up my music because I had received from it all that I had to receive. To serve God one must sacrifice what is dearest to one; and so I sacrificed my music. I had composed songs; I sang and played the vina; and practising this music I arrived at a stage where I touched the Musiof the Spheres. Then every soul became for me a musical note, and all life became music. Inspired by it I spoke to the people, and those who were attracted by my words listened to them instead of listening to my songs. Now, if I do anything, it is to tune souls instead of instruments; to harmonize people instead of notes. If there is anything in my philosophy, it is the law of harmony: that one must put oneself in harmony with oneself and with others. I have found in every word a certain musical value, a melody in every thought, harmony in every feeling; and I have tried to interpret the same thing, with clear and simple words, to those who used to listen to my music. I played the vina until my heart turned into this very instrument; then I offered this instrument to the divine Musician, the only musician existing. Since then I have become His flute; and when He chooses, He plays His music. The people give me credit for this music, which in reality is not due to me but to the Musician who plays on His own instrument.'
This music is presented in this volume in its many and various aspects.
It contains four parts. In the Mysticism of Sound the basic philosophy is given in a wide context. Both the abstract and some very practical aspects are covered. Music presents the mystic aspects of music besides relating its philosophy to the practical side again. It presents a beautiful early view on Indian music and it relates music and color. Moreover the psychic and healing powers are discussed. The Power of the Word and in Cosmic Language elaborates these influences both philosophically and practically. The hook really may be called mysticism in daily life.
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