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DSR#162 | vibrational challenge

by Stefan Strasser - Antonella Eye Porcelluzzi

supported by
MPlanetarian
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SirGayBeard
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Santo DiPiazza
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forsak3noath
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/
1.
challenge 1 07:17
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2.
challenge 2 03:32
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3.
challenge 3 03:24
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4.
challenge 4 05:30
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5.
challenge 5 02:30
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6.
challenge 6 02:09
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7.
challenge 7 02:06
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8.
challenge 8 02:01
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9.
challenge 9 02:30
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10.
challenge 10 03:56
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about

Antonella Eye Porcelluzzi - voice on yoga and veda theory texts, mixed with own lyrics
linktr.ee/AntonellaEyePorcelluzzi
antonellaeyeaynilporcelluzzi.bandcamp.com
aeplab.bandcamp.com

Stefan Strasser – guitar on tracks 1+3+6, azzam bells mpa 019 on tracks 2+4, casio sk-1 on track 5, bento softsynth on track 7, monos synth on track 8+9, random radio on track 9, piano on track 10

Recorded by the artists, mixed and mastered by Stefan Strasser
stefanstrasser.bandcamp.com/album/vibrational-challenge

credits

released July 21, 2022

vibrational challenge
by Stefan Strasser and Antonella Eye Porcelluzzi
was initial released on July 15, 2022
with 20 tracks, Vibration 1-10 are the original instrumental tracks and Challenge 1-10 are the mixed with vocals ones.
You can listen to the first 10 tracks here:
aeplab.bandcamp.com/album/vibrational-challenge
Album released with only the "challenge" tracks after artists' suggestion.

LYRICS

Challenge . 1
Text from RAJAYOGA
various states of meditation, and how the first will be the
gross, and the second the fine objects, and from them the
advance is to still finer objects of meditation, and how, in all
these meditations, which are only of the first degree, not very
high ones, we get as a result that we can meditate as easily on
the fine as on the grosser objects. Here the Yogi sees the three
things, the receiver, the received, and the receiving,
corresponding to the Soul, the object, and the mind. There are
three objects of meditation given us. Firs the gross things, as
bodies, or material objects, second fine things, as the mind,
the Chitta, and third the Purasa qualified, not the Purasa
itself, but the egoism. By practice, the Yogi gets established in
all these meditations. Whenever he meditates he can keep out
all other thought; he becomes identified with that on which he
mediates; when he meditates he is like a piece of crystal;
before flowers the crystal becomes almost identified with
flowers. If the flower is red, the crystal looks red, or if the
flower is blue, the crystal looks blue.
tatra shabdarthajnanavikalpaih sankeerna savitarka
samapattih
Sound, meaning, and resulting knowledge, being
mixed up, is (called Samadhi) with reasoning.


Challenge N. 2-3-5-6-7-8-9-10

The Vedas are called "Sruti. " That which is heard is Sruti. "Srotra" means the "ear". The Vedas have been handed down orally from generation to generation and have not been taught or learned from any written text. That is how they got the name of "Sruti". Why were these scriptures not permitted to be written down?

Because the sound of the Vedas cannot be properly transcribed. There are sounds or phonemes that cannot be accurately represented in any script. For instance, the one between "zha" and "la".

Such sounds have to be learned by listening. Besides there are svaras for Vedic mantras (tonal variations, proper accentuation):"udatta" (raised syllable), "anudatta"(lowered syllable) and "svarita"(falling syllable). Mistakes in enunciation are likely even if diacritical or some other marks are used in the printed text. Wrong chanting will not bring the desired results.

There is much difference in the vibrations caused by pronouncing a syllable laying stress on it and pronouncing it without any stress. Correspondingly, there will be changes in our feelings and urges and the divine forces that rule nature. There is a story in the Taittiriya Samhita of the Vedas which illustrates how wrong chanting can produce results contrary to what is intended.

Tvasta, the divine carpenter, chanted a mantra with the object of begetting a son who would be the slayer of Indra. But he went wrong in the intonation of some syllables.

So, unwittingly, he prayed for a son who would be slain by Indra instead of one who would slay that celestial. And his prayer (that had gone wrong in the intonation) was answered. When the wavelength shifts even minutely on our radio we receive the broadcast of a different transmitting station.

Fine-tuning has to be done to get the required station. So is the case with the intonation of Vedic mantras. There should not be the slightest mistake in the svaras.

Just as we receive a different station on our radio when the wavelength is changed, so the result is different when we go wrong in the intonation.


Challenge n. 4
Dear, don’t be surprised if I go rapidly
For me the work in music is always an intuition
And when I have clear ideas it’s easy to find the appropriate lyrics

By listening at your work I had an experience in vibration
Vibration makes a big part of your work, and partition of time

The Vedas, the hindi writings, came into my mind

A general introduction to the theme in the first voice track is meant for your track 1

The other voice track should be cut to let every track of yours contain a fragment of the reading, you might leave some track without voice

The content of the reading is about the exactitude of pronunciation in order to have exact results in prayers and invocations

Since your music is modern, you come from jazz, I like to have a paradox between what I do and what I read

Since one of the peculiarities of my work is to accept errors in pronunciation

I m quite faithful that God stays in every one of our errors and that errors are responsible for a personal variation in the blessing, and not for catastrophes

I know that much in music and art is reached through errors, therefore my faith in our capability to guide reality through the unknown and the unconscious, more than a blind fear to be mistaken in relationship to the previewed path

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