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Musical (CC and other books)

Sri Caitanya-caritamrta

CC Adi-lila

CC Adi 7.95-96, Purport:

It is to be understood that when Śrī Caitanya Mahāprabhu chanted and danced, He did so by the influence of the pleasure potency of the spiritual world. Śrī Caitanya Mahāprabhu never considered the holy name of the Lord to be a material vibration, nor does any pure devotee mistake the chanting of the Hare Kṛṣṇa mantra to be a material musical manifestation. Lord Caitanya never tried to be the master of the holy name; rather He taught us how to be servants of the holy name.

CC Adi 17.99, Translation:

On another day a great devotee of Lord Śiva, chanting of Lord Śiva's qualities, came to Lord Caitanya's house, where he began dancing in the courtyard and playing his ḍamaru (a musical instrument).

CC Adi 17.205, Translation:

“‘When we keep a night-long vigil to observe religious performances for the worship of Maṅgalacaṇḍī and Viṣahari, playing on musical instruments, dancing and chanting are certainly fitting customs.

CC Madhya-lila

CC Madhya 4.56, Translation:

When the Deity was being installed, nine hundred pots of water were brought from Govinda-kuṇḍa. There were musical sounds of bugles and drums and the singing of women.

CC Madhya 6.73, Purport:

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 8.138, Purport:

In Vṛndāvana, Kṛṣṇa is the Supreme Person and is the husband of all the gopīs and the goddess of fortune. The trees in Vṛndāvana are wish-fulfilling trees. The land is made of touchstone, and the water is nectar. Words are musical vibrations, and all movements are dancing. The flute is the Lord's constant companion. The planet Goloka Vṛndāvana is self-luminous like the sun and is full of spiritual bliss.

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 11.95, Purport:

All the pure devotees are as bright as sunshine, and their bodily luster is very effulgent. In addition, their performance of saṅkīrtana is unparalleled. There are many professional chanters who can perform congregational chanting with various musical instruments in an artistic and musical way, but their chanting cannot be as attractive as the congregational chanting of pure devotees. If a devotee sticks strictly to the principles governing Vaiṣṇava behavior, his bodily luster will naturally be attractive, and his singing and chanting of the holy names of the Lord will be effective.

CC Madhya 13.14, Translation:

While the Lord was transported from the throne to the car, tumultuous sounds were made on various musical instruments. Śrī Caitanya Mahāprabhu was chanting "Maṇimā! Maṇimā!" but He could not be heard.

CC Madhya 13.50, Translation:

When the saṅkīrtana resounded, it filled the three worlds. Indeed, no one could hear any sounds or musical instruments other than the saṅkīrtana.

CC Madhya 14.110, Translation:

“Collect all kinds of small and large flags and ringing bells. Then decorate the carrier and have various musical and dancing parties accompany it. In this way decorate the carrier attractively.

CC Madhya 24.334, Purport:

(48) Evening ārati should be offered. (49) The Lord should be fanned with a cāmara fan, and an umbrella should be placed over His head. (50) The Hare Kṛṣṇa mantra and approved songs should be sung. (51) Musical instruments should be played. (52) One should dance before the Deity. (53) One should circumambulate the Deity. (54) One should again offer obeisances. (55) One should offer different types of prayers and hymns at the Lord's lotus feet.

Other Books by Srila Prabhupada

Teachings of Lord Caitanya

Teachings of Lord Caitanya, Chapter 18:

According to the principles of the Māyāvādī sannyāsīs, singing, dancing and playing musical instruments are strictly prohibited, for they are considered to be sinful activities. The Māyāvādī sannyāsī is simply supposed to engage in the study of Vedānta. Therefore when the Māyāvādī sannyāsīs in Benares saw that Lord Caitanya was indulging in singing, dancing, playing musical instruments and always chanting Hare Kṛṣṇa, Hare Kṛṣṇa, Kṛṣṇa Kṛṣṇa, Hare Hare/Hare Rāma, Hare Rāma, Rāma Rāma, Hare Hare, they concluded that He was not educated and that, out of sentiment, He was misleading His followers.

Krsna, The Supreme Personality of Godhead

Krsna Book 1:

While the bride and bridegroom were passing along on the chariot, there were different kinds of musical instruments playing to indicate the auspicious moment. There were conchshells, bugles, drums and kettledrums; combined together, they were vibrating a nice concert. The procession was passing very pleasingly, and Kaṁsa was driving the chariot, when suddenly there was a miraculous sound vibrated from the sky which especially announced to Kaṁsa: "Kaṁsa, you are such a fool! You are driving the chariot of your sister and your brother-in-law, but you do not know that the eighth child of this sister will kill you."

Krsna Book 33:

As the gopīs and Kṛṣṇa danced together, a very blissful musical sound was produced from the tinkling of their bells, ornaments and bangles. It appeared that Kṛṣṇa was a greenish sapphire locket in the midst of a golden necklace decorated with valuable stones.

Krsna Book 35:

The gopīs used to discuss Kṛṣṇa amongst themselves, and their talks were as follows. "My dear friends," one gopī said, "do you know that when Kṛṣṇa lies on the ground He rests on His left elbow, and His head rests on His left hand? He moves His attractive eyebrows while playing His flute with His delicate fingers, and the sound He produces creates such a nice atmosphere that the denizens of the heavenly planets, who travel in space with their wives and beloveds, stop their airplanes, for they are stunned by the vibration of the flute. The wives of the demigods who are seated in the planes then become very much ashamed of their singing and musical qualifications. Not only that, but they become afflicted with conjugal love, and their hair and tight clothes immediately loosen."

Krsna Book 35:

One of the gopīs told mother Yaśodā, "My dear mother, your son is very expert among the cowherd boys. He knows all the different arts of how to tend the cows and how to play the flute. He composes His own songs, and to play them He puts His flute to His mouth. When He plays, either in the morning or in the evening, all the demigods, including Lord Śiva, Brahmā, Indra and Candra, bow their heads and listen with great attention. Although they are very learned and expert, they cannot understand the musical arrangements of Kṛṣṇa's flute. They simply listen attentively and try to understand, but they become bewildered and nothing more."

Krsna Book 42:

Some of the famous wrestlers were Cāṇūra, Muṣṭika, Śala, Kūṭa and Tośala. Being enlivened by the musical concert, they passed through with great alacrity. All the respectable cowherd men who came from Vṛndāvana, headed by Nanda, were also welcomed by Kaṁsa. After presenting Kaṁsa with the milk products they had brought with them, the cowherd men also took their respective seats by the side of the King, on a platform especially meant for them.

Krsna Book 45:

Kṛṣṇa and Balarāma also learned how to make various syrups and beverages required at various times, having various tastes and intoxicating effects. They also learned different types of sewing and embroidery work, as well as how to manipulate thin threads for dancing puppets. This art includes how to string wires on musical instruments, such as the vīṇā, sitar, esarāja and tamboura, to produce melodious sounds.

Krsna Book 47:

Śrīmatī Rādhārāṇī continued to speak to the black messenger of Kṛṣṇa: "Please do not talk anymore about Kṛṣṇa. It is better to talk about something else. We are already doomed, like the black-spotted she-deer in the forest who are enchanted by the sweet musical vibration of the hunter. In the same way, we have been enchanted by the sweet words of Kṛṣṇa, and by thinking of the rays of His toenails again and again, we are becoming more and more lusty for His association. Therefore, I request you not to talk of Kṛṣṇa anymore."

Krsna Book 50:

The citizens of Mathurā organized the combined services of professional singers like sūtas and māgadhas, along with poets who could compose nice songs, and they began to chant the victory glorification of Lord Kṛṣṇa. When Lord Kṛṣṇa entered the city after the victory, many bugles, conches and kettledrums sounded, and the vibrations of various musical instruments like bherīs, tūryas, vīṇās, flutes and mṛdaṅgas all joined together to make a beautiful reception.

Krsna Book 53:

As Rukmiṇī proceeded toward the temple, she was silent and grave. Her mother and her girlfriends were by her side, and the wife of a brāhmaṇa was in the center; surrounding her were royal bodyguards. (This custom of a would-be bride's going to the temple of a demigod is still practiced in India.) As the procession continued, various musical sounds were heard. Conchshells, drums such as paṇavas, and bugles of different sizes, such as tūryas and bherīs, combined to make a sound which was not only auspicious but very sweet to hear. Thousands of wives of respectable brāhmaṇas were present, all dressed very nicely with suitable ornaments. They presented Rukmiṇī with flower garlands, sandalwood pulp and a variety of colorful garments to assist her in worshiping Lord Śiva and goddess Durgā. Some of these ladies were very old and knew perfectly well how to chant prayers to goddess Durgā and Lord Śiva; so, followed by Rukmiṇī and others, they led these prayers before the deity.

Krsna Book 67:

While creating such great disturbances all over the country, sometimes he heard very sweet musical sounds from Raivataka Mountain, and so he entered that mountainous region. There he saw Lord Balarāma in the midst of many beautiful young girls, enjoying their company while singing and dancing. He became captivated by the beauty of Lord Balarāma's body, whose every feature was very beautiful, decorated as He was with a garland of lotus flowers. Similarly, all the young girls present, dressed and garlanded with flowers, exhibited much beauty. Lord Balarāma seemed fully intoxicated from drinking the vāruṇī beverage, and His eyes appeared to be rolling in a drunken state. Lord Balarāma appeared just like the king of the elephants in the midst of many she-elephants.

Krsna Book 70:

In the midst of all the great heroes of the Yadu dynasty, Kṛṣṇa resembled the full moon in the sky surrounded by multiluminaries. In the assembly house were professional jokers, dancers, musicians and ballet girls, and as soon as the Lord sat on His throne they would begin their respective functions to please the Lord and put Him in a happy mood. First of all the jokers would talk in such a way that the Lord and His associates would enjoy their humor, which would refresh the morning mood. The dramatic actors would then play their parts, and the dancing ballet girls would separately display their artistic movements. All these functions would be accompanied by the beating of mṛdaṅga drums and the sounds of the vīṇā, flutes and bells, followed by the sound of the muraja, another type of drum. To these musical vibrations, the auspicious sound of the conchshell would be added. The professional singers called sūtas and māgadhas would sing, and others would perform their dancing art. In this way, as devotees, they would offer respectful prayers to the Supreme Personality of Godhead.

Krsna Book 71:

The audience of the Supreme Personality of Godhead, Kṛṣṇa, is not at all commonplace. Therefore, when King Yudhiṣṭhira heard that Lord Kṛṣṇa had arrived in his capital city, Hastināpura, he became so joyful that all his bodily hairs stood on end in great ecstasy, and he immediately came out of the city to properly receive the Lord. He ordered the musical vibration of different instruments and songs, and the learned brāhmaṇas of the city began to chant the hymns of the Vedas very loudly. Lord Kṛṣṇa is known as Hṛṣīkeśa, the master of the senses, and King Yudhiṣṭhira went forward to receive Him exactly as the senses meet the consciousness of life.

Krsna Book 75:

The city of Hastināpura stands today on the bank of the Yamunā, and the statement of Śrīmad-Bhāgavatam that King Yudhiṣṭhira went to bathe in the Ganges indicates, therefore, that during the time of the Pāṇḍavas the river Yamunā was also known as the Ganges. While the King was taking the avabhṛtha bath, different musical instruments vibrated, such as mṛdaṅgas, conchshells, paṇava drums, kettledrums and bugles, and the ankle bells of the dancing girls jingled. Many groups of professional singers sang as vīṇās, flutes, gongs and cymbals were played, and thus a tumultuous sound vibrated in the sky.

Krsna Book 81:

While the learned brāhmaṇa was considering this, a group of beautiful men and women with features resembling those of the demigods, accompanied by musical chanters, approached to welcome him. All were singing auspicious songs. The wife of the brāhmaṇa was very glad on hearing the tidings of her husband's arrival, and with great haste she came out of the palace. The brāhmaṇa's wife appeared so beautiful that it seemed as if the goddess of fortune herself had come to receive him.

Krsna Book 84:

When everything was complete, there was heard the vibration of mṛdaṅgas, conchshells, kettledrums and other musical instruments. Professional dancers, both male and female, began to dance. The sūtas and māgadhas, who were professional singers, began to offer prayers by singing. And the Gandharvas and their wives, whose voices were very sweet, began to sing many auspicious songs. Vasudeva anointed his eyes with black cosmetic, smeared butter over his body and then, along with his eighteen wives, headed by Devakī, sat before the priests to be purified by the abhiṣeka ceremony.

Krsna Book 90:

When Lord Kṛṣṇa was engaged in such enjoyment, the Gandharvas and professional musicians would glorify Him with melodious musical concerts, accompanied by kettledrums, mṛdaṅgas and other drums, along with stringed instruments and brass bugles, and the whole atmosphere would change into a greatly festive celebration.

Page Title:Musical (CC and other books)
Compiler:Visnu Murti, Rishab
Created:24 of Jun, 2010
Totals by Section:BG=0, SB=0, CC=12, OB=17, Lec=0, Con=0, Let=0
No. of Quotes:29