The Amritabindu Upanishad distinguishes between the audible Om (svara) and the inaudible Om (asvara), which is imperceptible in the conscious world but perceptible in the subtle planes in deeper states of meditation. The audible Om is perishable (kshara), whereas the subtle one is imperishable (akshara). Only by meditating upon the latter, it is possible to reach the state of equanimity and experience oneness with God. The Amritanadabindu Upanishad describes Om as the chariot to reach the Absolute. By chanting the sacred sound, disengaged from the first three letters of Aum, one enters into the subtle state through the last letter m which is also the bindu (the seed or focal point). Withdrawing the senses, practicing breath control, seated on the ground, free from defects and guarding oneself from harmful thoughts, one should focus one's attention fully on Om and contemplate upon it. The Om should not be exhaled because it has the ability to purify and remove the defects.
Since modern sound level meters rely heavily on digital signal processing for sound analysis, it seems reasonable to expect that results of equal or greater accuracy can be realized on computer platforms.
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The tantras describe the primordial sound Aum as pure vibration (spanda), without cause and the source of all sounds and vibrations. They explain the origin of primeval sounds like dhvani , nada and subtle alphabets called matrikas and their association with Siva and Shakti. The ShÄrada Tilaka Tantra reveals the source of all sounds to be the bindu (point) which has three constituent parts, namely nada (subtle sound), bija (seed) and bindu (point). Nada has the predominance of Siva consciousness (Siva), bindu has the predominance of energy or Shakti while bija contains both of them in equal parts. The Kirana Tantra describes Aum as divine in itself, which resides in the throat of Siva and which is the root of all mantras and also the source of all speech (vac).
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The Production of Sound: Sound is the vibration of waves moving through air or water caused by a vibrating source which produces rhythmic vibrations in pressure.
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For example, when a guitar string is plucked, the string starts vibrating violently creating a pressure wave which travels through the medium and to an ear were the sound is heard.
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Sound and Score brings together music expertise from prominent international researchers and performers to explore the intimate relations between sound and score and the artistic possibilities that this relationship yields for performers, composers and listeners. Considering “notation” as the totality of words, signs, and symbols encountered on the road to an accurate and effective performance of music, this book embraces different styles and periods in a comprehensive understanding of the complex relations between invisible sound and mute notation, between aural perception and visual representation, and between the concreteness of sound and the iconic essence of notation.