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NADA YOGA intro INTRODUCTION TO NADA YOGA

Nada, in sanskrit, means vibration, that is sound: Nada Yoga is a musictherapy discipline from India and Tibet, which uses sound, music and physical consciousness, in order to bring harmony and balance between body, mind and spirit, resolving or relieving many psychological, physical and physiological problems in a natural way.

We can find Nada Yoga theoretical foundations in very ancient treatises (Gandharva Veda, Upanishad, Naradiya Shiksha, Sangita Ratnakara ecc.), in which was formulated a general theory of sound on mathematical, physical and metaphysical bases. In recent times the famous musician and musictherapist Vemu Mukunda, from Bangalore, has developed a very interesting system, based on the so called “Tonica”.

Nada Yoga fundamental basis is the Tonica, the ground frequency (different for every person), upon which are planned all the techniques, that include the use of voice and elementary chant: the first result is reaching the mind making it quiet and free from emotions and intellectual inhibitions (unconditioned mind).

Then the use of proper mantras (sonor vibrations which act the correct and functional movement of prana with consequent energy redistribution) and specific musical scales taken from Melakarta South Indian pattern (based and performed on personal tonic note), permits to touch particular points of physical and psycho-etherical body (nadi) and of emotional sphere (shrutis), removing from subconscious the negative energy blocks, converting them into positive for autotherapeutical purposes and for improving creativity.

Nada Yoga allows us to find and use Natural Rhythm, (also different for each person), by which is possible to make every activity with a specific resting rhythm, very useful for physical resistance and mental lucidity. Particular rhythm phonetic techniques induce a strong neurosensorial activation which increases cerebral synapses, improving attention, concentration, memory and intelligence.

Strictly musictherapeutic techniques are moreover enriched by a series of exercises that allow a progressive development of mental strenght for activation and distribution of ionic energy, helpful for alignment and reinforcement of human body’s electromagnetic fields: this promotes blood circulation, works on bones and muscular structures, slows down the cellular aging process and secures a valid physical and mental protection. At last, training with meditation exercises, by Overtones Singing practice, allows to get a particular mind rest state (niroda) equivalent to that you can reach only in a special sleeping level (delta brain waves).


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NADA YOGA intro OVERTONES SINGING
OVERTONES THEORY

Overtones singing is the subtlest and transformative way to utilize Sound: it is the top level of Nada Yoga, or Yoga of Sound. There we can find the principle of anahata sound, the unstrucked sound of hindu theory. In overtones singing we see the splitting and multiplying of sound in all its deeper and etherical components: the harmonics. They are the atomic components of fundamental sound which is divided in the so called partials, the harmonic frequencies.

The overtones progression follows universal and mathematical laws, by a particular scalar structure which spreads from basic components (Tonic, Fifth and Octave) including the third, the seventh and then a real eight-notes scale, that links the character of Lydian mode to scale n.64 [Vachaspati] of South India Melakarta System.

First of all, Overtones singing practice induces the amplification of self and external world hearing capacity: this aptitude allows to go deep inside consciousness and to reach meditative levels that expand the conscience. Harmonic sound produces a gradual transformation of the person, opening and making active all chakras and subtle bodies, harmonizing and balancing them. That’s why we speak of harmonics (Overtones).

ALCHEMYCAL SOUND
Meditative and transformative aspects of Sound: Contemplation

The first harmonic that produces a changing, a transformation, is the III°HARMONIC, which produces a perfect fifth interval.

The first two harmonics identify themselves with the fundamental, the tonica: with II° HARMONIC we are at a first diversified level, since the second sound of harmonic superimposes to the tonica sound.

But is with the III° that we have the effective transmutation, where something really changes the sound “quality”.

And as sound changes and transform itself, creating something else (another note at a different pitch is produced), so in the same way something changes in our essence, our consciousness moves in another level of perception. The physical, gross bond, that is expressed in a strong way by the tonica, breaks making place to a link with something external us, on the outside, at a subtler level, at a higher vibration.

All this, however, staying well linked to the base, the physical centre, since harmonic sound is always in connection with the fundamental, the tonica.

The first step in knowledge and application of harmonic sounds for a “transformation” purpose consists just in hearing, recognizing and reproducing this second sound (the fifth) which is added at the base note.

Depending on the pitch of the tonic note you start with, there are different techniques for sing this III° harmonic and so an interval of fifth. By the moment one is able to identified it, it will be necessary to proceed with a kind of “contemplation” of this interval, focalising the harmonic sound and making it become a kind of new tonica which is overimposed to the base-sound.

In one sense we must invert the process: it’s no more the harmonic to proceed from the fundamental but it’s like if it had its own autonomous life, emerging and so placing in the foreground.

By this way also the power and vitality of harmonic sound is improved compared with the generative tonica, that becomes a background. The same process is applied to all other harmonics we produce.

CHAKRAS & HARMONIC SOUND

The word “Chakra”, in Sanskrit, literally means “wheel”: it’s a vocable
used to represent specifically one energy vortex which, exactly, has its own rotating movement. Chakra has got no a proper physical essence but is intended as a psychic centre, associable to some zones in the physical body and to some organs or glands.

Indian and Tibetan texts describe them as lotuses provided with a precise number of petals, related to particular colours, sounds, musical notes and sacred-mythological images.

To the very orthodox western mentality these matchings are not so easy, but we must think that eastern mind, discussing about transcendental concepts and experiences, normally uses mythological images and situations, which better can express what words with difficulty can do. Regarding then physiological and anatomical notions, we consider what seers affirm they have experienced in particular overconsciousness states.

Our system is based on 7 major Chakras to whom we associate 7 notes (corresponding on n.64 Melakharta Sud India scale chart (“Vachaspati”): the tonic note (G) is located at III°Chakra, and the last two notes of this scale are taken in the bass octave range for the first two Chakras. We use vocalic sounds (u o a e i e la "m" ) to make different centres vibrating. Then, according to the production of overtones, for each sound is possible a range of “links” between some Chakras, so it’s permitted the subtle bodies harmonization and their increasing power.

FUNDAMENTAL PRINCIPLES

We can find so many theories about chakras and sound utilization: in our system we postulate some fundamental principles:

· Everything is in vibration, sound is vibration

· Everything is in sound

· 7 major Chakras are considered

· Use of vocalic sounds for each Chakra, in this sequence: U, O (closed), O (nasal), A, E, I, M

· Linkage chakra/note based on musical scale n.64 of Melakharta (“Vachaspati”), which reproduces the natural progression of harmonic sounds

· Chakras Visualization and concentration during corresponding sound chanting

· Use of harmonics (overtones) to link chakras each other, on the basis of the correspondence between harmonic sung and respective chakra’s note

· Practice for itself, without expectations

TONING & OVERTONING

Toning is a vocal technique in which the purpose is rebalancing gross and subtle body vibrational models, inducing them to a normal electromagnetic level. In this way, voice’s sound becomes an instrument for Spiritual evolution. The chant of so called “Sacred Sounds” requires the use of vowels and other particular phonetic sounds, able to make psychoetherical centres (Chakras) to vibrate, opening (if they are closed), balancing and linking them. Practicing toning we may correct discord which acts on organs and physical systems functions, interfering on psychic-mental sphere.

By OVERTONING we mean that particular method of overtones singing where you can enter in a “meditation of sound” system, which is used by ancient traditions (from Mongolia, Tibet, Tuva and Sciamanic people) as a means to connect themselves with super-ego, reaching and activating deep consciousness levels which allow inner transformation and spiritual increasing.

Toning and Overtoning are also very good techniques for brain “recharging” and promoting lack of thinking, with production of Alpha, Theta and Delta cerebral waves.

Constant practice with these systems (that are included in Nada Yoga, the yoga of sound), brings a greater and greater self-consciousness, of external world and cosmo: it’s the very essence of Pytagora’s spheres harmony.

VOWELS AND THE KABBALA

The chant of particular vowels has, in magic practice of kabbala, the capacity of link the singer with divine energies. By means of vocalic chanting based on Maestro Codex of the “word” A.E.I.O.U., we could have a totally cosmic knowledge.

"A" Vocalising is connected with Earth element and North direction.

"E" with Air element and East direction.

"I" Fire, South

"O" Water, West

"U" Ether, everywhere

In Egypt, when they were singing hymns to deities, priest used seven vocalisms to activate energetic centres (Chakras): they sang them with a precise sequence.

EFFECTS OF OVERTONES SINGING

· Cerebral cortex charging

· Heart rhythm reduction (about three pulsations for minute)

· Respiratory rhythm reduction (oxygen consumption decrease)

· Cerebral waves reduction (alfa waves increase)

· Metabolic general rhythms reduction

· Temporal perception slowing down

· Action on spinal fluid arriving to brain (Kundalini?)

· Physiological alterations on the connective tissue, very important for

cerebral synapses

· Creation of new neuronal synapses in the brain

· Hearing capacity improvement (modified consciousness states)

· Meditative state induction

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ARMON NADA YOGA - Yoga of Sound
WELCOME, AT THIS MOMENT ARE ACTIVATED THESE TOPICS:

Riccardo Misto biodata
Introduction to Nada Yoga

Overtones Singing
Personal Tonica
Vemu Mukunda Story
Sarod page
The New Times of India: Drums and Tabla Connection
Guitar Page
Beyond the Mind

AS SOON AS POSSIBLE YOU WILL FIND OTHER PAGES...

FURTHER INFORMATIONS :

Dr.Riccardo Misto
Padova, Italy
Tel./Fax: +39 049 600491 mobile: +39 328 2074908
E-mail: ricmisto@tin.it

© 2008 Riccardo Misto
design by Silvia Refatto


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Il Suono della Vita

Antichi popoli hanno sempre dato grande importanza al suono, anche nella Bibbia vi è dato grande risalto e potere, questa senzazionale notizia, secondo noi, conferma queste conoscenze tramandate da secoli.

Roma, 18 dic. (Adnkronos Salute) - Il suono della vita, una sorta di musica proveniente dai movimenti del Dna, è stato registrato e brevettato per la prima volta da un team di ricercatori italiani e statunitensi guidato da Carlo Ventura, docente di Biologia molecolare dell'università di Bologna, e dal fisico James Gimzewski, dell'università di Los Angeles, California. La scoperta, oltre a essere curiosa, potrebbe in futuro portare gli scienziati a trasformarsi in 'direttori d'orchestra' capaci di indirizzare le cellule a differenziarsi seguendo un suono di riferimento ben preciso.
Ventura ha illustrato i risultati dei suoi studi in occasione del convegno 'Aspetti biologici, clinici e sociali dell'allungamento della vita media', organizzato a Roma dall'Istituto nazionale biostrutture e biosistemi (Inbb). "Il nostro genoma - spiega - è fatto da una miriade di anse, di ripiegamenti che non hanno solo la funzione di 'impacchettare' i circa due metri della molecola del Dna in poche decine di millesimi di millimetro di diametro del nucleo. Per molto tempo - aggiunge - si è pensato che queste anse servissero a guadagnare spazio, ma oggi sappiamo che, pur facendo parte del cosiddetto Dna 'spazzatura', cioè che non codifica alcuna proteina, hanno una precisa funzione di 'architettura'''.
"I ripiegamenti del Dna - afferma l'esperto - sono dinamici nell'assemblarsi e nel disassemblarsi e questo loro muoversi in continuazione viene trasmesso a strutture del citoscheletro fino a creare una vibrazione sulla superficie della cellula. Questa vibrazione è compresa nell'arco di frequenze udibili dall'orecchio umano: dunque, non abbiamo fatto altro che sviluppare un approccio in grado di rilevare questi suoni. E quello che emerge è che questi rumori sono in qualche modo 'specifici' per quello che la cellula sta facendo in termini di espressione di geni, in quel momento". In futuro i ricercatori mirano a capire se il 'suono' può indirizzare le cellule e far comprendere loro cosa fare. In pratica, con il suono giusto si potrebbero impartire precisi ordini. "Bisognerà capire - conclude Ventura - se a differenziamenti specifici corrispondano frequenze sonore specifiche. Qualora fosse così, solo in un secondo momento si potrà vedere se, facendo ascoltare alla cellula questi suoni, la si potrà trasformare in quello che vogliamo".
(fonte: www.adnkronos.com)
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Pubblicazioni Articoli e Pubblicazioni

ricmisto@gmail.com cell. +39 328 2074908 * cell. +39 340 5415084 - Tel.+39 049 600491 - Via T. Vecellio 77, 35132 Padova (Italy)

L'ESPERIENZA ESTETICA DEL RAGA

sabato 19, domenica 20 febbraio 2016, ore 14.00 RADIO TRE, PASSIONI: INTERVISTA A RICCARDO MISTO "Il corpo e la parola", a cura di Carla Fioravanti Parte 1 La Danza e la Vocalizzazione - Parte 2 Il Ritmo e il Linguaggio

A SCUOLA DA MUKUNDA: Appunti dalle lezioni di Vemu Mukunda (1990 - 1992)
(Trascrizione a cura di Riccardo Misto)
YANTRA DEL TAMBURO COSMICO (Cosmic Sound Drum Yantra) E KALI-YANTRA

OLTRE LA MENTE - Principi e tecniche meditative col suono e la musica

QUATTRO DOMANDE SUL SESSO - Intervista a Riccardo Misto (articolo pubblicato sul sito "Sex & Food Beautiful, maggio 2012
CANTO ARMONICO TIBETANO E MEDITAZIONE (di Chen-Gia Tsai - Traduzione e adattamento di Riccardo Misto)

L'USO DEL CANTO ARMONICO IN MUSICOTERAPIA- Estratto dalla tesi di laurea di Alessandra Faresin - Università degli Studi di Padova, anno Accademico 2007 -2008 - Il documento non è disponibile in quanto non è ancora pervenuta l'autorizzazione dell'Università, unica proprietaria del testo.
MUSICOTERAPIA AL VILLAGGIO S.ANTONIO - Intervista di Sabina Fadel e Cristina Sartori a Riccardo Misto sul Messaggero
L'EQUILIBRIO MENTE-CORPO ATTRAVERSO IL SUONO (Riccardo Misto in ENCICLOPEDIA DELLA MEDICINA ALTERNATIVA, Edizioni Jackson gruppo Futura , 8 pag.)
MUSICA, LUCE, COLORI - LA NUOVA ENERGIA (R. Misto pagg.13-24)- I Nuovi Delfini, Tascabili Gruppo Futura, 1998
LE TECNICHE NADA YOGA NELLA PRATICA MUSICOTERAPEUTICA (estratto dalla tesi di diploma al corso quadriennale di Assisi)
acquista su www.tesionline.it
PROGETTO UOMO MUSICA:
TECNICHE NADA YOGA NELLA PRATICA MUSICOTERAPEUTICAdi Riccardo Misto
(dalla tesi di diploma al Corso Quadriennale di Musicoterapia di Assisi)
Pubblicato sul n.2 (luglio 1992)
LA TERAPIA MUSICALE NEI RAPPORTI INTERPERSONALI (articolo di Riccardo Misto)
LA BELLEZZA NELLA SCIENZA E LA SCIENZA NELLA BELLEZZA (articolo di R.Misto)
LA CASCATA: FENOMENO NATURALE, MUSICALE E TERAPEUTICO - Misto, R. (2005). Pubblicato su PsicoLAB
Viene analizzato il fenomeno naturale della cascata, sotto il profilo acustico, sonoro, musicale e musicoterapeutico. Si mettono in luce gli aspetti vibratori, dati dalla struttura atomica del componente“acqua” e dal suo movimento fisico-geologico, rilevandone la corrispondenza sonora, trasformabile in una serie di note musicali che vengono a formare la sua “tonica” peculiare. Viene evidenziata la presenza di ulteriori elementi sonori dati dagli “armonici”, che vanno ad arricchire la complessità acustica del fenomeno e che contribuiscono a conferire all’ascolto complessivo una valenza terapeutica, concretizzata nell’induzione di stati meditativi, caratterizzati dalla modificazione delle onde cerebrali.
LA MEDITAZIONE DEL SUONO (estratto dal saggio omonimo, R. Misto, Ed.Armon)
LA MEDITAZIONE DEL RITMO (estratto dal testo "Dimmi Takadimi", sistema ritmofonetico del Sud India, R. Misto, Ed. Armon 2008)

IL FIORE DELLA VITA, PRIMO STEREOGRAMMA NELLA STORIA DELL'UMANITA'
(documenti Area Riservata)


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