Of all the elements that commend music to our sensibility, that which pulls
strongest on the soul is melody.
Rhythm appeals to our vitality, the pulse of life, the heartbeat coursing
through our veins.
The mode or scale impacts directly our emotional response.
Harmony satisfies our moral sense, the urge to bring order into our universe
of potential chaos.
Form appeases our mental need for understanding and control, circumscribing
the boundaries within which emotion can range.
Style is a means through which composer, performer and listener can colour
the musical experience, embracing it to the degree it conforms to the
aesthetic sense of the individual.
But all these exist only to support melody. Melody is the essence of music.
It is melody that sets the strings of the soul in resonance, the more so
the closer the melody conforms to the qualities of the soul –
simplicity, purity, sweetness and light. (Light here can be understood as
truth, authenticity, clarity).
The purest and simplest melodies rise like beacons above and beyond the
mists of time, nationality, the cultures and composers that discovered them.
They are like the great scientific theories, eternal spiritual truths that
are shared by all humanity forever.
They exist deep within us, and call us to that state. They are wordless
mantras, witnesses to the immortality of both music and the soul. Each of
us is, at last, a melody.
Throughout Sri Chinmoy’s Magnum Opus of 17,000 songs, melody reigns
supreme. Here the most sublime poetry itself defers to melody. While the
poetry dips its hat to demands of style and form, melody flies beyond,
eschewing the constraints of harmony and the seduction of rhythm.
Thus Sri Chinmoy’s songs sing directly to the soul, in the soul and
for the soul, appealing to the vital, mind and heart insomuch as these parts
of our being are also tuned to the soul’s divine resonance.
Returning and immersing us in our satisfaction-source, Sri Chinmoy’s
songs are the highest gift bestowed on mankind.