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Music (Books)

Srimad-Bhagavatam

SB Canto 2

SB 2.4.15, Purport:

The sublime form of religious performances to free oneself from all reactions of sins is suggested herein by the greatest authority, Śrī Śukadeva Gosvāmī. Kīrtanam, or glorifying the Lord, can be performed in very many ways, such as remembering, visiting temples to see the Deity, offering prayers in front of the Lord, and hearing recitations of glorification of the Lord as they are mentioned in the Śrīmad-Bhāgavatam or in the Bhagavad-gītā. Kīrtanam can be performed both by singing the glories of the Lord in accompaniment with melodious music and by recitation of scriptures like Śrīmad-Bhāgavatam or Bhagavad-gītā.

SB 2.4.24, Purport:

Śrīla Śrīdhara Svāmī has commented that the respectful obeisances are offered to Śrīla Vyāsadeva, who is the incarnation of Vāsudeva. Śrīla Jīva Gosvāmī has agreed to this, but Śrīla Viśvanātha Cakravartī Ṭhākura has made a further advance, namely that the nectar from the mouth of Lord Kṛṣṇa is transferred to His different consorts, and thus they learn the finer arts of music, dance, dressing, decorations and all such things which are relished by the Lord. Such music, dance and decorations enjoyed by the Lord are certainly not anything mundane, because the Lord is addressed in the very beginning as para, or transcendental. This transcendental knowledge is unknown to the forgotten conditioned souls. Śrīla Vyāsadeva, who is the incarnation of the Lord, thus compiled the Vedic literatures to revive the lost memory of the conditioned souls about their eternal relation with the Lord. One should therefore try to understand the Vedic scriptures, or the nectar transferred by the Lord to His consorts in the conjugal humor, from the lotuslike mouth of Vyāsadeva or Śukadeva.

SB 2.4.24, Purport:

This transcendental knowledge is unknown to the forgotten conditioned souls. Śrīla Vyāsadeva, who is the incarnation of the Lord, thus compiled the Vedic literatures to revive the lost memory of the conditioned souls about their eternal relation with the Lord. One should therefore try to understand the Vedic scriptures, or the nectar transferred by the Lord to His consorts in the conjugal humor, from the lotuslike mouth of Vyāsadeva or Śukadeva. By gradual development of transcendental knowledge, one can rise to the stage of the transcendental arts of music and dance displayed by the Lord in His rāsa-līlā. But without having the Vedic knowledge one can hardly understand the transcendental nature of the Lord's rāsa dance and music. The pure devotees of the Lord, however, can equally relish the nectar in the form of the profound philosophical discourses and in the form of kissing by the Lord in the rāsa dance, as there is no mundane distinction between the two.

SB Canto 3

SB 3.12.38, Purport:

The Vedas contain perfect knowledge, which includes all kinds of knowledge necessary for the human society, not only on this particular planet but on other planets as well. It is understood that military art is also necessary knowledge for the upkeep of social order, as is the art of music. All these groups of knowledge are called the Upapurāṇa, or supplements of the Vedas. Spiritual knowledge is the main topic of the Vedas, but to help the human being's spiritual pursuit of knowledge, the other information, as above mentioned, forms necessary branches of the Vedic knowledge.

SB 3.12.47, Translation:

Brahmā's soul was manifested as the touch alphabets, his body as the vowels, his senses as the sibilant alphabets, his strength as the intermediate alphabets and his sensual activities as the seven notes of music.

SB 3.20.38, Purport:

The musicians in the upper planetary systems are called Gandharvas, and the dancing girls are called Apsarās. After being attacked by the demons and evolving a form of a beautiful woman in the twilight, Brahmā next created Gandharvas and Apsarās. Music and dancing employed in sense gratification are to be accepted as demoniac, but the same music and dancing, when employed in glorifying the Supreme Lord as kīrtana, are transcendental, and they bring about a life completely fit for spiritual enjoyment.

SB 3.22.33, Purport:

This custom is still prevalent in India in some of the royal families and temples. Professional musicians sing with śahnāīs, and the sleeping members of the house gradually get up from their beds in a pleasing atmosphere. During bedtime also the singers sing songs in relationship with the pastimes of the Lord, with śahnāī accompaniment, and the householders gradually fall asleep remembering the glories of the Lord. In every house, in addition to the singing program, there is an arrangement for Bhāgavatam lectures in the evening; family members sit down, hold Hare Kṛṣṇa kīrtana, hear narrations from Śrīmad-Bhāgavatam and Bhagavad-gītā and enjoy music before going to bed. The atmosphere created by this saṅkīrtana movement lives in their hearts, and while sleeping they also dream of the singing and glorification of the Lord. In such a way, perfection of Kṛṣṇa consciousness can be attained. This practice is very old, as learned from this verse of Śrīmad-Bhāgavatam; millions of years ago, Svāyambhuva Manu used to avail himself of this opportunity to live householder life in the peace and prosperity of a Kṛṣṇa consciousness atmosphere.

SB Canto 4

SB 4.22.3, Purport:

Pṛthu Mahārāja is compared to such a conditioned soul, not because he was a conditioned soul but because he was so anxious to receive the Kumāras that it was as if without them he would have lost his life. The conditioned soul is attracted by the objects of sense gratification. His eyes are attracted to see beautiful things, his ears are attracted to hear nice music, his nose is attracted to enjoy the aroma of a nice flower, and his tongue is attracted to taste nice food. Similarly, all his other senses—his hands, his legs, his belly, his genitals, his mind, etc.—are so susceptible to the attraction of the objects of enjoyment that he cannot restrain himself. Pṛthu Mahārāja, in the same way, could not restrain himself from receiving the four Kumāras, who were bright by dint of their spiritual progress, and thus not only he himself but also his officers and associates all received the four Kumāras. It is said, "Birds of a feather flock together." In this world, everyone is attracted by a person of the same category. A drunkard is attracted to persons who are also drunkards. Similarly, a saintly person is attracted by other saintly persons. Pṛthu Mahārāja was in the topmost position of spiritual advancement, and as such, he was attracted by the Kumāras, who were of the same category. It is said, therefore, that a man is known by his company.

SB Canto 9

SB 9.23.7-10, Translation:

From Diviratha came a son named Dharmaratha, and his son was Citraratha, who was celebrated as Romapāda. Romapāda, however, was without issue, and therefore his friend Mahārāja Daśaratha gave him his own daughter, named Śāntā. Romapāda accepted her as his daughter, and thereafter she married Ṛṣyaśṛṅga. When the demigods from the heavenly planets failed to shower rain, Ṛṣyaśṛṅga was appointed the priest for performing a sacrifice, after being brought from the forest by the allurement of prostitutes, who danced, staged theatrical performances accompanied by music, and embraced and worshiped him. After Ṛṣyaśṛṅga came, the rain fell. Thereafter, Ṛṣyaśṛṅga performed a son-giving sacrifice on behalf of Mahārāja Daśaratha, who had no issue, and then Mahārāja Daśaratha had sons. From Romapāda, by the mercy of Ṛṣyaśṛṅga, Caturaṅga was born, and from Caturaṅga came Pṛthulākṣa.

SB Canto 10.1 to 10.13

SB 10.12.35, Translation:

When Lord Brahmā heard the wonderful ceremony going on near his planet, accompanied by music and songs and sounds of "Jaya! Jaya!" he immediately came down to see the function. Upon seeing so much glorification of Lord Kṛṣṇa, he was completely astonished.

SB Cantos 10.14 to 12 (Translations Only)

SB 10.15.39, Translation:

Hearing of this magnificent feat of the two brothers, the demigods and other elevated living beings rained down flowers and offered music and prayers in glorification.

SB 10.18.13, Translation:

While the other boys were dancing, O King, Kṛṣṇa and Balarāma would sometimes accompany them with song and instrumental music, and sometimes the two Lords would praise the boys, saying, "Very good! Very good!"

SB 10.21.19, Translation:

My dear friends, as Kṛṣṇa and Balarāma pass through the forest with Their cowherd friends, leading Their cows, They carry ropes to bind the cows' rear legs at the time of milking. When Lord Kṛṣṇa plays on His flute, the sweet music causes the moving living entities to become stunned and the nonmoving trees to tremble with ecstasy. These things are certainly very wonderful.

SB 10.35.14-15, Translation:

O pious mother Yaśodā, your son, who is expert in all the arts of herding cows, has invented many new styles of flute-playing. When He takes His flute to His bimba-red lips and sends forth the tones of the harmonic scale in variegated melodies, Brahmā, Śiva, Indra and other chief demigods become confused upon hearing the sound. Although they are the most learned authorities, they cannot ascertain the essence of that music, and thus they bow down their heads and hearts.

SB 10.35.18-19, Translation:

Now Kṛṣṇa is standing somewhere counting His cows on a string of gems. He wears a garland of tulasī flowers that bear the fragrance of His beloved, and He has thrown His arm over the shoulder of an affectionate cowherd boyfriend. As Kṛṣṇa plays His flute and sings, the music attracts the black deer's wives, who approach that ocean of transcendental qualities and sit down beside Him. Just like us cowherd girls, they have given up all hope for happiness in family life.

SB 10.35.20-21, Translation:

O sinless Yaśodā, your darling child, the son of Mahārāja Nanda, has festively enhanced His attire with a jasmine garland, and He is now playing along the Yamunā in the company of the cows and cowherd boys, amusing His dear companions. The gentle breeze honors Him with its soothing fragrance of sandalwood, while the various Upadevas, standing on all sides like panegyrists, offer their music, singing and gifts of tribute.

SB 10.42.37, Translation:

Enthused by the pleasing music, Canura, Muṣṭika, Kūṭa, Śala and Tośala sat down on the wrestling mat.

SB 10.47.43, Translation:

Does He recall those nights in the Vṛndāvana forest, lovely with lotus, jasmine and the bright moon? As we glorified His charming pastimes, He enjoyed with us, His beloved girlfriends, in the circle of the rāsa dance, which resounded with the music of ankle bells.

SB 10.53.32, Translation:

The King, upon hearing that Kṛṣṇa and Balarāma had come and were eager to witness his daughter's wedding, went forth with abundant offerings to greet Them as music resounded.

SB 10.58.49, Translation:

Conchshells, horns and drums resounded, along with vocal and instrumental music and the sounds of brāhmaṇas, invoking blessings. The joyful men and women adorned themselves with fine clothing and garlands.

SB 10.75.9, Translation:

During the avabhṛtha celebration, the music of many kinds of instruments resounded, including mṛdaṅgas, conchshells, panavas, dhundhuris, kettledrums and gomukha horns.

SB 10.81.24, Translation:

As he continued to ponder in this way, the beautiful men—and maidservants, as effulgent as demigods, came forward to greet their greatly fortunate master with loud song and instrumental music.

SB 10.90.12, Translation:

Afterward, Lord Kṛṣṇa and His wives would give the ornaments and clothing they had worn during their water sports to the male and female performers, who earned their livelihood from singing and from playing instrumental music.

SB 11.8.17, Translation:

A saintly person dwelling in the forest in the renounced order of life should never listen to songs or music promoting material enjoyment. Rather, a saintly person should carefully study the example of the deer, who is bewildered by the sweet music of the hunter's horn and is thus captured and killed.

Sri Caitanya-caritamrta

CC Adi-lila

CC Adi 13.96, Translation:

While all the ladies vibrated the holy name of Hari on earth, in the heavenly planets dancing and music were going on, for the demigods were very curious.

CC Adi 13.106, Translation:

In outer space all the demigods, including the inhabitants of Gandharvaloka, Siddhaloka and Cāraṇaloka, offered their prayers and danced to the accompaniment of music, songs and the beating of drums. Similarly, in Navadvīpa city all the professional dancers, musicians and blessers gathered together, dancing in great jubilation.

CC Adi 17.173, Translation:

“In your city there is always congregational chanting of the holy name. A tumultuous uproar of music, singing and dancing is always going on.

CC Madhya-lila

CC Madhya 1.35, Purport:

In the sixth vilāsa, the required practices for inviting the transcendental form of the Lord and bathing Him are given. In the seventh vilāsa, one is instructed on how to collect flowers used for the worship of Lord Viṣṇu. In the eighth vilāsa, there is a description of the Deity and instructions on how to set up incense, light lamps, make offerings, dance, play music, beat drums, garland the Deity, offer prayers and obeisances and counteract offenses. In the ninth vilāsa, there are descriptions about collecting tulasī leaves, offering oblations to forefathers according to Vaiṣṇava rituals, and offering food. In the tenth vilāsa there are descriptions of the devotees of the Lord (Vaiṣṇavas, or saintly persons). In the eleventh vilāsa, there are elaborate descriptions of Deity worship and the glories of the holy name of the Lord. One is instructed on how to chant the holy name of the Deity, and there are discussions about offenses committed while chanting the holy name, along with methods for getting relief from such offenses. There are also descriptions of the glories of devotional service and the surrendering process. In the twelfth vilāsa, Ekādaśī is described. In the thirteenth vilāsa, fasting is discussed, as well as observance of the Mahā-dvādaśī ceremony. In the fourteenth vilāsa, different duties for different months are outlined.

CC Madhya 1.82, Purport:

Similarly, those who are overly attracted to material enjoyment, to enhancement of material opulence, to family maintenance or to liberation from the entanglements of this material world take shelter of the Supreme Personality of Godhead. But such activities and motivations are unknown to the gopīs; they are not at all expert in executing such auspicious activities. Already transcendentally enlightened, they simply engage their purified senses in the service of the Lord in the remote village of Vṛndāvana. The gopīs are not interested in dry speculation, in the arts, in music, or other conditions of material life. They are bereft of all understanding of material enjoyment and renunciation. Their only desire is to see Kṛṣṇa return and enjoy spiritual, transcendental pastimes with them. The gopīs want Him simply to stay in Vṛndāvana so that they can render service unto Him, for His pleasure. There is not even a tinge of personal sense gratification.

CC Madhya 6.73, Purport:

A sannyāsī who has dipped into the ocean of the Absolute Truth and collected some valuable stones of knowledge from that ocean, who never falls from the regulative principles of a sannyāsī, is called Sāgara. One who has learned the classical art of music, who engages in its culture, and who has become expert and completely aloof from material attachment is called Sarasvatī. Sarasvatī is the goddess of music and learning, and in one hand she holds a musical instrument called a vīṇā. A sannyāsī who is always engaged in music for spiritual elevation is called Sarasvatī. One who has become completely educated and is freed from all kinds of ignorance and who is never unhappy, even in a distressed condition, is called Bhāratī. One who has become very expert in absolute knowledge, who is situated in the Absolute Truth, and who always discusses the Absolute Truth is called Purī.

CC Madhya 8.14, Translation:

At that time, accompanied by the sounds of music, Rāmānanda Rāya came there on a palanquin to take his bath.

CC Madhya 10.116, Purport:

Svarūpa Dāmodara Gosvāmī was very expert in music as well as the Vedic scriptures. Śrī Caitanya Mahāprabhu used to call him Dāmodara because of his expert singing and musical skills. The name Dāmodara was given by Śrī Caitanya Mahāprabhu and added to the name given by his sannyāsa-guru. He was therefore known as Svarūpa Dāmodara, or Dāmodara Svarūpa. He compiled a book of music named Saṅgīta-dāmodara.

CC Madhya 14.225, Translation:

“In Vṛndāvana, the natural speech of the people sounds like music, and their natural motion resembles a dance.

CC Madhya 19.210, Translation:

“"Dear Kṛṣṇa, we gopīs have neglected the order of our husbands, sons, family, brothers and friends and have left their company to come to You. You know everything about our desires. We have come only because we are attracted by the supreme music of Your flute. But You are a great cheater, for who else would give up the company of young girls like us in the dead of night?"

CC Madhya 24.207, Translation:

“"My dear friend, Kṛṣṇa and Balarāma are passing through the forest leading Their cows with Their cowherd boyfriends. They both carry ropes with which, at the time of milking, They bind the rear legs of the cows. When They play on Their flutes, all moving living entities are stunned, and nonmoving living entities experience ecstatic jubilation by Their sweet music. All these things are certainly very wonderful."

CC Antya-lila

CC Antya 7.42, Translation:

“"O dear Kṛṣṇa, we gopīs have neglected the order of our husbands, sons, family, brothers and friends and have left their company to come to You. You know everything about our desires. We have come only because we are attracted by the supreme music of Your flute. But You are a great cheater, for who else would give up the company of young girls like us in the dead of night?"

CC Antya 10.48, Translation:

Because of the pastimes in the water, there was great jubilation on the shore, with music, singing, chanting and dancing creating a tumultuous sound.

Other Books by Srila Prabhupada

Teachings of Lord Caitanya

Teachings of Lord Caitanya, Chapter 18:

"Well, Sir," Prakāśānanda Sarasvatī continued, "You belong to our Śaṅkara sect, and You are living in Benares—so why don't You mix with us? What is the reason? Another thing—You are a sannyāsī and are supposed to engage simply in the study of Vedānta, but we see that instead You are always engaged in chanting and dancing and playing music. What is the reason? These are the activities of emotional and sentimental people but You are a qualified sannyāsī. Why not engage in the study of Vedānta? By Your effulgence it appears to us that You are just like the Supreme Nārāyaṇa, the Personality of Godhead, but by Your behavior, You appear to be otherwise. So we are inquisitive to know why You act in this way."

"My dear sir, My spiritual master considered Me a great fool (CC Adi 7.71)," Lord Caitanya replied. "Therefore he has more or less punished Me by saying that because I am such a fool I have no capacity to study Vedānta. So in turn he gave Me the chanting of Hare Kṛṣṇa, Hare Kṛṣṇa, Kṛṣṇa Kṛṣṇa, Hare Hare/Hare Rāma, Hare Rāma, Rāma Rāma, Hare Hare. My spiritual master told Me, 'Just go on chanting this Hare Kṛṣṇa mantra: it will make You all-perfect.' "

Krsna, The Supreme Personality of Godhead

Krsna Book 13:

After this manifestation of Lord Viṣṇu, Brahmā saw that many other Brahmās and Śivas and demigods and even insignificant living entities down to the ants and very small straws—movable and immovable living entities—were dancing, surrounding Lord Viṣṇu. Their dancing was accompanied by various kinds of music, and all of Them were worshiping Lord Viṣṇu. Brahmā realized that all those Viṣṇu forms were complete in mystic power, from the aṇimā perfection of becoming small like an atom up to becoming infinite like the cosmic manifestation. All the mystic powers of Brahmā, Śiva, all the demigods and the twenty-four elements of cosmic manifestation were fully represented in the person of Viṣṇu. By the influence of Lord Viṣṇu, all subordinate mystic powers were engaged in His worship. He was being worshiped by time, space, the cosmic manifestation, reformation, desire, activity and the three qualities of material nature. Lord Viṣṇu, Brahmā also realized, is the reservoir of all truth, knowledge and bliss.

Krsna Book 33:

The gopīs wanted to please Kṛṣṇa, and therefore as Kṛṣṇa sang, they responded and encouraged Him by saying "Well done! Well done!" Sometimes they presented beautiful music for His pleasure, and He responded by praising their singing.

When some of the gopīs became very tired from dancing and moving their bodies, they placed their hands on the shoulders of Śrī Kṛṣṇa. Then their hair loosened and flowers fell to the ground. When they placed their hands on Kṛṣṇa's shoulder they became overwhelmed by the fragrance of His body, which emanated from the lotus, other aromatic flowers and the pulp of sandalwood. They became filled with attraction for Him, and they began to kiss Him. Some gopīs touched Kṛṣṇa cheek to cheek, and Kṛṣṇa began to offer them chewed betel nuts from His mouth, which they accepted with great pleasure by kissing. And by accepting those betel nuts, the gopīs spiritually advanced.

Krsna Book 58:

The queens of King Nagnajit were also very much pleased because their daughter Satyā got Kṛṣṇa as her husband. Since the King and queens were very much pleased on this auspicious occasion, there was a celebration all over the city in honor of the marriage. Everywhere were heard the sounds of the conchshell and kettledrum and various other vibrations of music and song. The learned brāhmaṇas showered their blessings upon the newly married couple. In jubilation, all the inhabitants of the city dressed themselves with colorful garments and ornaments. King Nagnajit was so much pleased that he gave a dowry to his daughter and son-in-law, as follows.

First of all he gave them 10,000 cows and 3,000 well-dressed young maidservants, ornamented up to their necks. This system of dowry is still current in India, especially for kṣatriya princes. When a kṣatriya prince is married, at least a dozen maidservants of similar age are given along with the bride. After giving the cows and maidservants, the King enriched the dowry by giving 9,000 elephants and a hundred times more chariots than elephants. This means that he gave 900,000 chariots. And he gave a hundred times more horses than chariots, or 90,000,000 horses, and a hundred times more menservants than horses.

Krsna Book 83:

As I have already informed you, from the very beginning my mind was attracted by Lord Kṛṣṇa, and thus I considered the garlanding of the Lord my great victory. As soon as I placed my garland on the neck of the Lord, there sounded immediately the combined vibration of mṛdaṅgas, paṭaha and ānaka drums, conchshells, kettledrums and other instruments, causing a tumultuous sound, and while the music played, expert male and female dancers began to dance, and singers began to sing sweetly.

“My dear Draupadī, when I accepted Lord Kṛṣṇa as my worshipable husband and He accepted me as His maidservant, there was a tumultuous roaring among the disappointed princes. All of them were very agitated because of their lusty desires, but without caring for them, my husband, in His form as the four-handed Nārāyaṇa, immediately took me on His chariot, which was drawn by four excellent horses. Expecting opposition from the princes, He armored Himself and took up His bow, named Śārṅga, and then our celebrated driver, Dāruka, drove the beautiful chariot, without a moment's delay, toward the city of Dvārakā.

Page Title:Music (Books)
Compiler:Mayapur, RupaManjari
Created:12 of Oct, 2011
Totals by Section:BG=0, SB=24, CC=13, OB=5, Lec=0, Con=0, Let=0
No. of Quotes:42