Song Aum
- « The syllable Om corresponds to what in the Western tradition we call the Logos, the Creator Word. In the Hindu tradition, it represents the original sound and is associated with Kalahamsa, the mythical bird that laid the primordial egg from which the universe came out. Om is a syllable with very powerful vibrations which the Hindus have made into a mantra. They repeat it tirelessly in their meditations. You too can pronounce this mantra either out loud or mentally. You concentrate on this word without thinking of anything else and repeat: Om, Om, Om... You can also associate it with a breathing exercise. You breathe in through your nose while mentally pronouncing Om four times, then you breathe out through your mouth very slowly, repeating Om again. After a while, you will feel soothed and recharged with energy. The syllable Om also breaks down into Aum, and it is in this form that we sing it. He who is aware of the magical power of sounds, can gradually feel what perfect form this chant produces in his soul. Aum can be related to the word Amen that Christians pronounce at the end of each prayer. ».[1]
Contents
Aoum (D Major)
Explanations of the Song[2]
History
- «The word Aum represents the word of the Spirit. The origin of the song goes back to time immemorial and comes from an old sacred song adapted by Peter Deunov. It is a song that produces beautiful forms in the soul. It connects us to the cosmos, elevates us to the divine plane and adoration. It acts on the chakra of a thousand petals and it also has the property of soothing and calming our cells. It is a song with which we can begin all our prayers»[3]
Because of its simplicity, Aum can be sung spontaneously at any time in our spiritual life.
Theme: The Word of the Spirit
- «When you sing this word (Aoum), which belongs to his language, the Spirit hears you and helps you, for He knows and understands your needs».[4]
With Aum, we ascend in search of solar blessings and divine graces to bring them down to earth.
- «After having ascended to the divine world thanks to this instrument which is thought, we come down to better orient ourselves and refine our own matter. Again we move away and again we come closer, and each time we bring more strength and light».[5]
Keywords
Simplicity, balance, spiritual quest, inner peace.
- Simplicity and balance are demonstrated by the arpeggiated melody of the polarized D major chord in two parts: the first requiring an effort of intonation in the interval jumps, and the second offering a restful joint melodic line.
- The spiritual quest is represented musically by the melodic ascent in steps.
- Inner peace is experienced musically by the joint descent in movement of the second part of the song.
Structure
The whole song is sung 4 times. On the fourth time, it is sung in a softer shade. Then, after a short silence, the song is sung four additional times. The only word spoken during the whole song is the word Aum and it is repeated 32 times. This process of repeating the same word gives the song the form of a mantra. What is a mantra?
- « A mantra, a sacred formula, is like a mould that must be filled with intense life, that is to say, with love and faith. And because sound acts on matter, it is important to pronounce this formula aloud. A word can only be a displacement of air, it is true, but for the invisible powers to be able to act, the word is necessary. When spoken aloud, a formula triggers currents that, through the heavenly Hierarchies, rise up to the Throne of God. And it is pronounced at least three times, so that it can touch the three worlds: physical, psychic and divine. A formula that we repeat tirelessly acts in the depths of the subconscious, where the roots of our being are located. The knowledge of this law is very important for spiritual work, because it is by touching the roots of our being that we have great possibilities of transformation. » [6]
The melodic structure made visual
Aum is built on 2 segments forming a double movement:
- The first segment in ascending movement, represents our spiritual quest and the ascent towards a subtle essence. Musically, this ascension is built in arpeggiated steps with a fourth just as a starting interval, then a major sixth, and then a perfect fifth.
- The second segment represents the descent of this essence that we received, to assimilate it and bring it to earth. We experience the grace of feeling connected to Heaven. Musically, this descent is done with longer note values and in joint movement. It represents a form of relaxation and peace, a period of integration.
The silence of Aum, a link between the worlds
The song is repeated four times, then after a short silence, it is repeated four more times. This forms an evolutionary and then involutionary movement. The silence allows a short meditative pause. It creates a void during which our consciousness can taste the subtle flavour of passing from the visible to the invisible world.
Related articles
- Songs by Peter Deunov
- Song_Aum
- Song_Blagoslaviaï_Douché_Moïa_Gospoda
- Song_Blagosloven_Gospod_Bog_Nach
- Song_Bratstvo_Edinstvo
- Song_Douheut_Boji
- Song_Hodi_Hodi
- Song_Napred_za_Slava
- Song_Pravda
- Song_Ranen_Tchass
- Song_Stani
- Song_Vehadi
- Song_V’Natchalo_Be_Slovoto
- Silence
External Links
- Aoum chanté par Omraam Mikhaël Aïvanhov
- Le quinzième mouvement de la Paneuritmie (conçu par Peter Deunov), dansait sur le thème musical de l'Aum de Peter Deunov.
Notes
- ↑ O.M. Aïvanhov, Pensées quotidiennes 2001, pensée du 27 décembre « Om, Aoum, utilisation de ce mantra », éditions Prosveta (2000).
- ↑ The authors of the original version of this article are Gilles Hainault and Marie Kinique
- ↑ O. M. Aïvanhov, P. Deunov, Commentaires des chants (Fraternité Blanche Universelle).
- ↑ O. M. Aïvanhov, P. Deunov, Commentaires des chants (Fraternité Blanche Universelle).
- ↑ O.M. Aïvanhov, Pensées quotidiennes 2016, pensée du 30 novembre 2016 " Le travail spirituel " aux éditions Prosveta (2015).
- ↑ O.M. Aïvanhov, Pensées quotidiennes 2017, Pensée du 23 octobre 2017 « Les mantras » aux Editions Prosveta (2016)
Reader's note: the writing of this entry is temporary and limited to only a starting point, since the topic is taken from the work of Omraam Mikhael Aïvanhov in the context of thousands of lectures he gave between 1937 and 1986. The researcher will find important aspects of further interest by reading or listening directly to his lectures, published by Prosveta, the sole and exclusive owner of the rights to his work. Therefore, this article does not fully and comprehensively describe Omraam Mikhael Aïvanhov's thought on the subject.
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