Every Word is a Song…

Songs & Hymns in the Vaiṣṇava Tradition Kathā gānaṁ nāṭyaṁ gamanam, “in Govinda’s spiritual abode every word is a song and every step is a dance.” With these words, Brahma concludes his hymn in praise of the original person, Govinda. In the Third Canto of Śrīmad-Bhāgavatam (3.23.33), Prabhupāda writes: “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.” Music, expressed through the voice and instruments, lies at the heart of every culture. It is a powerful way to express thoughts, emotions, and desires. Devotional songs form an essential aspect of any spiritual culture, especially the Vaiṣṇava tradition of Bengal. Consequently, we find that most of the devotional songs are written in Bengali. Self-realized souls like Bhaktivinoda Ṭhākura, Narottama dāsa Ṭhākura and Locana dāsa Ṭhākura wrote their songs in simple Bengali language and were thus able to convey complex philosophical truths to the common people who otherwise had no access to the spiritual knowledge contained in the Sanskrit texts of the Vedas. Most of the Vaisnava songs are short, comprised of four to six verses, and some even less, like Jaya Radha-Madhava, by Bhaktivinoda Ṭhākura which consists of only one four-line stanza. Nevertheless, even short songs like this one are perfect and complete. Śrīla Prabhupāda remarked that Jaya Radha-Madhava is “a picture of Vṛndāvana. Everything is there: Śrīmatī Rādhārāṇī, Vṛndāvana, Govardhana, Yaśodā, and all the cowherd boys.” He was so fond of this song that he used to sing it before every lecture. Once, while staying in Vṛndāvana, he quoted the last two verses from the song Gaurāṅga bolite habe by Narottama dāsa Ṭhākura and then added: “Prārthana karaye sadā narottama dāsa. Narottama dāsa's songs, although written in Bengali, are considered śruti, Vedic. Śrīnivāsa Ācārya has eulogized Narottama dāsa Ṭhākura: ‘Your songs are Vedic evidences.’ Whatever Narottama dāsa Ṭhākura has said in his simple Bengali songs, is

Vedic injunction. Therefore Narottama dāsa Ṭhākura's Prārthanā is very popular and famous amongst the Vaiṣṇavas.” Prabhupāda introduced the songs of the Vaiṣṇava ācāryas early on in ISKCON. In fact, the earliest recording and purport we have is of Bhajahu re mana, dated March 30, 1966, before ISKCON was founded and before the first devotees were initiated. Bhajahu re mana is an instructive poem by Govinda dāsa Kavirāja who reminds us of the futility of material life and encourages us to take shelter of the lotus feet of Kṛṣṇa and thus become free from anxiety. All the ācāryas have composed similar songs, and Prabhupāda used to sing them regularly and quote from them in his lectures. Spiritual songs, like the Vedic Hymns, are written for the purpose of praise, adoration, enlightenment and prayer, and address the Supreme Lord, His associates and devotees. And there are many mantras meant for meditation and to elevate the reciter to a higher state of consciousness. First and foremost among all kinds of songs, hymns and mantras is, of course, kṛṣṇa- kīrtana, the chanting of Kṛṣṇa’s name: kṛṣṇot-kīrtana-gāna-nartana-parau.

Śrīnivāsa Ācārya begins his Prayer to the Six Gosvamis praising them for always being engaged in chanting the holy name of the Lord and dancing. In this way, he says, they dipped into the ocean of love of Kṛṣṇa: premāmṛtāmbho-nidhi. Nonetheless, although the chanting of Kṛṣṇa’s name is the most important practice for the followers of Śrī Caitanya Mahāprabhu, many ācāryas wrote poems and songs in support of the Hare Kṛṣṇa mahā-mantra. Śrīla Prabhupāda introduced the songs of the Vaiṣṇava ācāryas to his disciples by frequently singing bhajanas accompanying himself with karatālas, mṛdānga, or playing the harmonium or the tambura. In the early 1970s, one of his disciples, Acyutānanda Swami, became one of the first devotee to stay in India. While residing in Mayapur, he learned to play the traditional instruments, like the clay drum (mṛdāṅga), and he learned to sing the songs of the Vaiṣṇava ācāryas. In 1974, he released audio recordings of the most popular songs, along with a songbook entitled Songs of the Vaiṣṇava Ācāryas. In the Preface of this compilation of songs, which has remained standard in most ISKCON temples until today, Śrīla Prabhupāda writes:

“I am greatly pleased to see this collection of songs composed by Ṭhākura Bhaktivinoda, Narottama dāsa, and other great ācāryas of the Gauḍīya Vaiṣṇava community (sampradāya). Songs composed by the ācāryas are not ordinary songs. When chanted by pure Vaiṣṇavas who follow the rules and regulations of Vaiṣṇava character, they are actually effective in awakening the Kṛṣṇa consciousness dormant in every living entity. I have advised Srīmān Acyutānanda Swami to sing more songs of the Vaiṣṇava Padāvalī (collection of verses) and record them in books so that my disciples and others in the Western countries may take advantage of this chanting and thus advance in Krsṇa consciousness more and more. … We should always remember the danger of Māyā's influence and endeavor to save ourselves from her great power. We must therefore always merge in the transcendental mellow of kīrtana-rasa, for kīrtana-rasa is the safest situation within this material world.”

Here we find several valuable instructions. Singing songs is an appealing method to transmit spiritual knowledge, and when chanted purely can create a shield of transcendental sound that will protect both chanters and listeners from the influence of the illusory energy. Śrīla Bhaktisiddhānta Sarasvatī said about the literary works by Bhaktivinoda Ṭhākura: “His works belong to the class of the eternal revealed literature of the world.” (The Harmonist, December 1931, vol. XXIX No.6') As far as the tunes for many of his songs go, Bhaktivinoda Ṭhākura mentions in his autobiography that his disciples put music to his songs. Indian music, both classical and folk, is based on rāgas, musical scales that express different moods according to the time of the day. Thus many times the melody for a particular song is composed with the appropiate rāga in mind. For example, early morning songs like Vibhāvarī-śeṣa or Aruṇodaya- kīrtana are generally sung with what we know as the “morning melody”, which is based on the rāga Bhairavi, and is being used in ISKCON during mangala-arati. Another popular rāga is Dhanaśrī which is based on an uplifting and joyful pentatonic scale. When Bhaktivinoda Ṭhākura went to Orissa, the devotees there informed him that many of the local people found it difficult to sing in Bengali. As a solution, he told them that they could translate his songs into their own language and accompany them with local instruments. As a general rule, instruments should be used for accompaniment, especially in the temple room. At times, a short instrumental part may serve as an introduction, a bridge, or an expression to underline the message conveyed by the song. Devotees are not interested in solo performances which are generally meant to show off the skills of the musician. On another note, unlike Western music, Indian music is more fluid and open to individual improvisation. Although a song may be based on a specific rāga, providing the basic scale, the melody, phrasing and instrumentation may vary according to the singer. During the time of Śrī Caitanya Mahāprabhu, kīrtanas were usually accompanied by mṛdaṅgas and kāratālas (drums and hand cymbals), and bugles, all instruments that are monophonic and can be played while walking in procession. In his magazine Sajjana Toṣaṇī (6/2), Bhaktivinoda Ṭhākura explains how the use of other musical instruments was introduced by the previous ācāryas:

“Singing with musical instrument began during the time of Śrinivāsa Ācārya. Śrinivāsa Ācārya, Narottama dāsa Thākura, and Śyāmānanda Prabhu were close friends and studied for some time under Jīva Gosvāmī in Vṛndāvana. By the approval of Jīva Gosvāmī these three, who were also proficient in the classical music of North India, started the process of performing kīrtana accompanied by musical instruments.”

Prabhupāda introduced the use of the harmonium and tambura, in addition to mṛdaṅga and kāratālas. In all the songs we recorded for Sacred Song Symphony, these four instruments form the musical foundation.

Because we also want to attract those who are not yet devotees, we have used here and there other timbres as a sweetener. Prabhupāda was not only fond of singing bhajanas himself, but he also had plans to use devotional songs for propagating Kṛṣṇa consciousness. Govinda Dasi writes in one of her Vyāsa-puja offerings:

“I remember how in 1968 you told me of your plans for a World
Sankirtana Party—at a time when we had no money even for renting
our small flat in Montreal. You wanted to build an auditorium for
bhajanas and cultural events at a time when there was no money, no
manpower, nor prospects of such things. […] You would often say,
‘So, we shall make our plans, and then we shall see what Krsna
desires.’ Your attitude was always one of humility. You would say, ‘We
are simply trying and if Krsna wants it, it will be successful, and
otherwise, whatever Krsna desires.’”
In the beginning of 1968, Śrīla Prabhupāda had written to Hansadutta
about his plans for a World Sankirtana Party:
“I want to form a sankirtana party in which two members will play
mrdanga, eight will play the cymbals, two will play on tampura, and
one harmonium, besides that there will be the leader of the party. This
party will be so trained that exhibitions of our chanting and dancing
along with distribution of prasadam will be performed on a stage and
for this performance we will sell tickets to the public. It will be known
as a spiritual movement.”
A few months later, in March of 1968, he wrote to his disciple again:
“We shall have varieties of show along with the kirtana, and all the
varieties will be picked up from Śrīmad-Bhāgavatam and Bhagavad-
gītā. We have to teach the Brahmacaris and the Brahmacarinis to
speak in Sanskrit some of the verses in this connection, and we
explain the verses by singing, chanting, and speaking also.
Sometimes in the middle of chanting and singing, we shall speak also.
So, all these varieties show will be so attractive with melodious
musical sounds, and above all our good behavior and advanced
Krishna Consciousness, will make this show very successful. In the
meantime, you train the Kirtana party as you are doing, and the
responsive method is all perfect. I have already written you in my last
letter in this connection, and again I say that the responsive method
should be practiced. There may be more than one singer, just like you
may take the leader's seat, sometimes Jaya Govinda may take the
leader's seat, sometimes others may take the leader's seat, but the
method of chanting and responding, then chanting, should always be
followed.”
Although Prabhupāda wanted devotees to practice and be trained how to
perform kīrtana perfectly, his main concern was the spiritual purity of the
singers, not their musical ability. In the summer of 1968, three married
couples (Mukunda & Janakī, Syāmasundara & Malatī and Gurudasa &
Yamunā) came to stay with Prabhupāda in Montreal before their departure
to Europe. He wanted them to open a temple in London, and for two weeks
he trained them personally on the finer points of kīrtana and bhajana. But
his idea was not merely musical proficiency. In a letter to Mukunda
Prabhupāda made it clear that he did not envision “a concert party or
musical party that may go to a city, have some performances and collect
some money without any permanent effect.” Rather, the kīrtana party
“should consist of members who can impress spiritual ecstasy in the hearts
of the people so that some of them may come forward and agree to
establish a center where the Sankirtana party may go on continually.” As
he would point out in the Preface to the first ISKCON songbook: “When
these songs are chanted by pure Vaiṣṇavas who follow the rules and
regulations of Vaiṣṇava character, they are actually effective in awakening
the Kṛṣṇa consciousness dormant in every living entity.
Many years later, in 1977, only months before leaving this world,
Prabhupāda emphazised again the importance of spiritual substance vs.
material expertise. The following is a conversation that took place in
February of 1977, in Mayapur, India:
Rāmeśvara: What about the idea that "You do not have to move into a
temple, give up your family and everything, but you can actually chant Hare
Kṛṣṇa in your own home, the idea that "It is available to you..."
Prabhupāda: No. Chanting of Hare Kṛṣṇa does not mean whimsical.
Offenseless! You must be properly initiated. It does not mean that you
should not be initiated and chant. That is not the idea. You must be initiated,
either you are a gṛhastha or sannyāsī or brahmacārī. Not that without being
initiated you'll whimsically chant and the effect will be the same. No. You
must be initiated. Ādau gurvāśrayam. You must accept a guru.
Rāmeśvara: If you want to sell some product, you may make so many
claims, and then the public will buy. So sometimes we quote these
psychologists who have done studies that "If you chant Hare Kṛṣṇa, there
are some good effects."
Prabhupāda: Good there is undoubtedly. If you eat something, there will be
some effect of eating. But if it is properly eaten, properly made, it will have
better effect. That is the idea.
Rāmeśvara: We were thinking that something is better than nothing.
Prabhupāda: No.
Hari-śauri: If you advertise the mahā-mantra gives some material benefit,
isn't that an offense?
Prabhupāda: Then that is aparādha.
Hari-śauri: Yes.
Prabhupāda: That is aparādha.
Hari-śauri: One of the ten offenses.
Rāmeśvara: 'Cause sometimes when we interview these people who are
chanting, they speak from their own realization, and it is not exactly the
version of Śukadeva Gosvāmī, but it is their own realization, whatever little
bit they have realized.
Prabhupāda: No, no. They may chant, but they must understand that there
is a chanting process, that will be more effective. That they must know.
Chanting is open. Anyone can chant, but they must know it, that "If I chant
in the proper process, then it will be effective."
Rāmeśvara: It must be clear to them that the goal is love of God, not
something material.
Prabhupāda: Yes. Premā pum-artho mahān. That is wanted. There is one
word by Bhaktivinoda Ṭhākura, nāmākṣara bahir haya nāma nāhi haya:
"Simply the letters of the alphabet are coming, but that is not nāma."
Nāmākṣara, Hare Kṛṣṇa, the letters of the alphabet are coming out, but it is
not the holy name. […]
Prabhupāda: Another thing is that it is aparādha. Nāmno balād yasya hi
pāpa-buddhiḥ. Unless you follow the process, you may think, "I am chanting
Hare Kṛṣṇa mantra, so whatever sinful activities I commit, it will be
controlled."
Brahmānanda: That's the worst offense.
Prabhupāda: Yes. That is very bad offense.
Hari-śauri: So we're actually advertising the process of devotional service,
not just simply haphazard chanting.
Prabhupāda: First of all we are chanting just to make a person little
attracted. Ādau śraddhā.
Rāmeśvara: Just to popularize it.
Prabhupāda: Yes, that's it. Then, if the heart is little cleansed, then people
will understand. It will be effective, but when it is properly it will give real
effect. Outsiders who are chanting, we don't discourage them.
Rāmeśvara: We want them to chant more.
Prabhupāda: Yes. But they must know the science also.
Rāmeśvara: Just like Alice Coltrane. She has done her small part. She
made this record album with Govinda jaya jaya and Hare Kṛṣṇa.
Prabhupāda: That will be a good thing. But when she does it properly, it will
be more effective. If one does not chant in the process, then gradually it
degrades. The offense will increase. There is chance.
Rāmeśvara: So in the past, in the magazine, we have only shown people
chanting if they were initiated devotees, shaven-headed, living in temple.
And recently they have adopted to show people who have jobs outside the
movement, and they are not brahmacārī or sannyāsī. They're also chanting,
to give the public the idea that...
Prabhupāda: So, we are giving the facility to chant and take prasādam, but
at the same time, gradually, if chanting is effective, then next we have to
make it in the process. […] In the beginning you may be very liberal: "All
right, chant." We do like that, and I have done it. There is no regulation. But
that does not mean that the process should be neglected. The person
should be given clear explanation: "By simply, whimsically chanting this..."
No, that is not.
Hari-śauri: Niyamāgraha.
Prabhupāda: Yes. Don't make it cheap. It has got a science. It has got a form.
One month before his first visit to England in September of 1969,
Prabhupāda wrote to Śyāmasundara, who had been instrumental in
arranging for the release of the Radha Krishna Temple record produced by
George Harrison:
“Now when I shall go to London I shall carry with me various other
recordings sung by me, and if these recordings can be attuned in the
same technical perfection, then under my direction we can produce
at least one dozen Hare Krishna recordings in varieties of tunes. I am
sure people will like them very much when they are presented through
Mr. George Harrison and his company. I am very glad to learn that
Mr. George Harrison was playing on harmonium and guitar; Digvijaya
and Gurudasa were playing karatalas; Yamuna and Malati were
singing; and you were playing dilruba. Kulasekhara is so nice khole
player. (Letter to Śyāmasundara Aug 13, 1969)
It appears that Śrīla Prabhupāda was not per se against including other
instruments if they served to enhace the attractive quality of the
presentation without compromising the spiritual substance.
During his visit to the Los Angeles temple from Dec. 21 1968 to Jan. 31
1969, he had recorded 18 songs and given their purports. In those days,
there were no songbooks with the transliterated Bengali and thus no
devotees participated. Personal, meditative singing without a responding
choir is one way of chanting bhajanas, but any of the songs can be sung
also with others responding. Over the years, some of the Vaiṣṇava songs
have become popular, such as Yasomati-nandana, Vibhavari-sesa and Je
anilo prema dhana, and many devotees have become familiar with them.
Hopefully, the Sacred Song Symphony project will help to popularize less
known song and encourage devotees to sing them together.
To facilitate congregational singing, we have recorded each of the 108
songs presented in this songbook with a choir. For those songs that are
well-known to most devotees, we have used the same melody, for the songs
that Prabhupāda recorded we used his tunes, some songs were
constructed around a traditional Bengali melody and for all others we relied
on inspiration.
It was important that all recordings feature a clear song structure, a steady
rhythm section, and a melody that is easy to follow, supported by a choir
who shows an example of responsive singing. For those who know how to
read sheet music we have provided music scores for all of the songs.
Bhakti Gauravani Goswami in Mar del Plata, Argentina