sound

music, chanting, hearing

On Silence

There are precious few moments of silence in this life. So rare are the places we can find it, that some people complain of its deafening nature when stumbled upon, that it is too quiet to tolerate. We hold silence at times in church, for a few minutes at the end of a yoga class, and in pockets of the library. If we have a meditation practice we carve time out for inner silence, a space between the thoughts. I used that expression with a neuroscientist friend a few weeks ago and he asserted there is no space between thoughts, that thought goes on all the time, even if we’re not conscious of it.

Once again, this business of discussing minds requires precise language, often necessitating defining terms we bandy about on a daily basis. In his book, The Mind’s Past, Michael Gazzaniga makes the sweeping declaration “all concur that the left brain is the site for language and thought.”1 (emphasis mine). I will take this to mean that either the right brain has no thoughts at all or he equates thought with internal verbalization. If so, I’m not sure I agree, but this definition works nicely for the purpose of an essay on the role of silence in contemplative practices. It’s like equating thought with inner speech. To avoid confusion I will abandon the expression space between the thoughts for the duration of this essay and replace it with inner silence, by which I mean the instances during which we choose not to engage our internal verbalization, judgment, narrative, planning, problem solving, dialog, and chatter. Notice I did not say that such things will not arise. They will. The practice is to meet them with silent observation. At first the dialog is continuous but without a foil (you) to engage with, there is a bit of tiring out of the chattering self. There are only so many balls you will bounce off the chest of a playmate before giving up.

It seems an unattainable goal to reach total inner silence, but, whether attainable or not, it is not a goal I’m advocating. Instead, I am suggesting that inner silence is the fruit of a regular practice which combines external silence and attentive unmediated observation. The method of practice I describe is an open, global, present-moment attentional focus in which all the inner noise makers above are simply observed along with everything else that arises in one’s experience, whether interior in origin (the pain in one’s back) or exterior (the breeze on one’s face). The practice is simply to observe experience, unmediated by judgment.

As a communal practice, the act of moving into silence is limited to the world’s spiritual and religious traditions and the kindergarten classroom. For some reason, once we get to the first grade it’s considered that we no longer require quiet time. Many who have embarked on a practice of silent sitting, whether alone or in community, discover there is anything but silence in their inner experience. Full blown narratives abound. Plans are hatched, problems solved, rationalizations spun, even when there is nothing pressing to do or solve or judge. It’s as if one’s brain (or at least one’s ego) abhors a vacuum. But what of it? Why is a periodic cultivation of inner silence a good thing? The conflation of this inner dialog with one’s sense of self provides a good argument for an engagement with silence. This is my contention, that in silence we cultivate a connection with our original selves, the one that existed before all the layers of crud weighed it down.

While there might be times when outer silence is observed or even demanded, as when expression is suppressed, inner silence can only be cultivated by personal intention. It is unenforceable by others. As a practice, this cultivation of inner silence can happen anywhere at all, even places devoid of outer silence though this seems to be orders of magnitude more difficult, especially if one is required to speak and interact. Nothing creates inner dialog faster than outer dialog, which might be a significant reason for the prevalence of silent retreats among contemplative traditions.

During silent retreats and in monastic life, there is a prolonged respite from outer dialog, a break from language. My own experience of breaking silence at the end of a ten day silent retreat was of curiosity at the apparent return of my personality, its return pointing to the departure I had not noticed. I wonder if this is not specifically due to abstinence from speech, after all, song and prayer are permitted in monastic settings. It’s only dialog that is refrained from. This brings me to my point, however late in this essay it might be, that the whole reason for choosing a silent practice is in fact to peel off the layers of you that are peelable, in affect, to get to the essential you, the you that is authentic and uniquely you.

As it turns out, the important part here is practice, not silence. Peace is a gift that arrives through countless thresholds. A practice of chanting or song holds our attention in a way that leaves a deep and embracing silence in its aftermath. A practice of effort in yoga poses or in focused breathing can do the same, as can one of fly fishing or trail running. But all of these can just as easily be plain doing, leaving us happier, calmer, or more buff but no more connected to our essential selves. There is a paradox here, that to arrive at one’s authentic self, one must move beyond the self we have created. I am not certain if silence is the path to the essential self or the gift of a practice of seeking self or if silence is, in fact Self itself. A days from now I will be engaging in the second silent retreat of my life which I hope will bring fresh insight into the benefits of silence.

about the sound pages

Here you will find an ever growing font of information on contemplative practices incorporating sound and hearing. In addition to descriptions of specific practices, you can also read our periodic articles, essays and ruminations on music and sound.

devotional chanting
Contemplative practices that incorporate sound call us to awareness of our sense of hearing, physical sensations of vibration, and breath. The devotional chanting traditions of Hinduism (kirtan) & Sufism (qawwali) are powerful and accessible practices for finding your center - the silence between the notes. Nationally known artists such as Krishna Das, Jai Uttal, and Wah! are giving kirtan wider exposure and as a result, many local chanting communities are popping up, mostly in urban yoga studios including our own sruti which has played at Baltimore venues: quantum yoga, charm city yoga, and soon, breathe books. What is it about chant that brings us into stillness? Western scientists are studying the possibility that it’s as simple as slowing down our breathing to the optimal rate of 6 breaths per minute. Regardless of the reasons, the pervasiveness of chanting practices in contemplative traditions might be enough to entice you to experience them for yourself. check out the calendar for kirtan events.

musical improvisation
In addition to the contemplative chanting practices, there are a curious group of academics exploring the creative practices of musical composition and improvisation. If you are interested in musical improvisation, inspiration, and consciousness, we invite you to visit Ed Sarath’s website where he describes his efforts to introduce the study of these aspects of contemplation into academia.

music & cognition
The field of music cognition is busting at the seems with new research. Until we find time to fill this section in, here’s a link to wikipedia’s entry on music cognition

harmonium
A hand-operated version of the curious (and curious sounding) instrument, the harmonium, has been adopted by the Sikhs, Hindus, and Sufis as a backdrop to the chanting traditions of kirtan, bhajan, and qawwali. It’s related to the family of “free reed” instruments of which the accordion is also a member. Since the harmonium bellows are pumped with one hand, there is only one hand free to play and so the harmonium tends to act like a drone, which, while limited musically, adds quite a bit to the fullness of sound when chanting. In the coming months we’ll be fleshing out this area of our site with information for budding harmonium players.

following Lohengrin’s breadcrumbs

I recently met a German conductor who told me the story of an opera. What I remembered of his telling was that it was about princess who is rescued (from what, I could not recall) by a man who asks her to marry him on the condition that she vows to never ask his name or from whence he came. On their wedding night she breaks her vow and asks the question, forcing the knight to leave forever, returning to the castle of the holy grail.

Being a lover of myth and symbol I’ve been mining this story for some recognition of its meaning but I’ve found myself stuck in the literal, feeling I was missing key parts of the story. Why wouldn’t she be able to ask him where he’s from and what do he and the holy grail represent anyway? Not remembering its name, I ended up reading the story lines of countless Wagner operas until I found Lohengrin. It turns out that this nameless knight only existed in her dreams but, despite this, Elsa calls on him to defend her life when she is accused of murdering her brother who has gone missing. She acts entirely out of faith, trusting that her fantasy man will appear as, of course, he does, saving the day and popping the question with his special conditions.

I am a good sleeper but tonight, after snoozing soundly from only 11 to 12:30 I awoke to a clear understanding of Elsa’s arc. I absolutely love the unique clarity that seems to come only at the moment of waking. At the beginning of the story, we find Elsa in a place of uncertainty and peril but one in which she relies completely on a message from her soul. As so often happens in our real, non-operatic lives, Elsa begins to think her way into doubt and before long finds herself fearing the unknown origins of her savior, Lohengrin. It really makes no sense but it’s almost mind-boggling what we humans will do to our own lives simply to avoid not knowing. Who among us hasn’t experienced moments so perfect they feel pre-ordained. Moments where we find ourselves (possibly despite our selves) in exactly the right place at precisely the perfect moment only to think our way into the future and onto one of two paths of self sabotage: thinking we must forge ahead on the current path despite the soul’s red flags or, as Elsa did, thinking our way into fear and doubt.

So what was Elsa to DO once she found herself wracked with anxiety and fear about Lohengrin… about the unknown, really? I believe the way to weather these moments is to trace their emotions, stories, and doubts back into sensation. Simply giving our undivided attention to the sensations inside our mouths can be remarkably effective at snapping us back into the present and it is in the present moment that we reside in both the known and the unknown simultaneously - a space blissfully beyond thought. You will find that when fully in the present moment, no matter what you think is looming large, the vast majority of the time absolutely nothing bad is happening. The unknown, when not graciously invited, is like a vacuum that our narrative-loving minds fill with either escapist fantasies or dreaded possibilities, depending on our habits and disposition. Elsa began by narrating the unknown with a beautiful knight to rescue her and in fact, this is the reality that found her. She later allowed her fears to narrate a story of darkness in the unknown of Lohengrin’s origins and, by doing so, invited her own sad ending. My observations might lead you to believe I am advocating the power of positive thinking but no, instead of inviting flowery narratives and positive outcomes, I believe our true power is to be found in the much more difficult realm of not knowing.

It’s true that the opera ends by giving us a choice on how will we spin Elsa’s story: the sad one, in which we focus on the fact that Lohengrin must leave her forever, or the silver lining delivered when he breaks the spell that had turned her brother into a swan. But what if the story just is, like almost all the moments of our lives, neither happy nor sad? What if we choose to stay in the unknown of this moment, thereby holding space for limitless possibilities for Elsa and, in turn, for ourselves. Lohengrin is the call of our own soul, ever present but completely unknowable. It is not at all sad to know we each possess such powerful guidance but, of course, we fear its price. Reuniting with your own soul… what is it worth to you? Rumi said it beautifully:

I would love to kiss you.
The price of kissing is your life.

Now my love is running toward my life shouting,
What a bargain, let’s buy it.

sue borchardt
out of the closet

Music as meditation has been an ongoing practice here at contemplate this… but the leap to share it feels like a big one, no doubt, due to cultural stereotypes of chanting hare krishna’s. If it hadn’t been for an almost imperceptibly slow introduction to the practice of chanting in yoga classes we probably wouldn’t have ever lowered our guards long enough to discover their joy.

It feels like the time has come to leave the closet and embrace the fact that music is pretty freakin’ moving, even to science types like us. Creating music is even more so and in the spirit of abandoning our own fears of looking foolish we are putting our first musical noodlings out in the world. Enjoy.

kirtan at greenbelt om
September 16, 2007 5:00 pm to 6:00 pm

sue borchardt will be hauling her harmonium down to greenbelt om yoga studio to join in their growing kirtan community. see their website for details.

mysticism of sound. fall 2007 in Vancouver, BC

Sue Borchardt (currently the only worker bee behind contemplate this…) will be attending the mysticism of sound conference in Vancouver (Fall 2007). If you are interested in sufi chanting you will not want to miss it! Check out their more…

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