Sonic Liturgy: Ritual and Music in Hindu Tradition builds on the foundation of Guy L. Beck's earlier work, which described the theoretical role of sound in Hindu thought. Sonic Liturgy continues the discussion of sound into the realm of Hindu ritual and musical traditions of worship. Beginning with the chanting of the Sama-Veda alongside the fire sacrifices of the ancient Indo-Aryans and with the classical Gandharva music as outlined in the musicological texts of Bharata and Dattila, Beck establishes a historical foundation for an in-depth understanding of the role of music in the early Puja rituals and Indian theater in the vernacular poetry of the Bhakti movements in medieval temple worship of Siva and Vishnu in southern India, and later in the worship of Krishna in the northern Braj region. By surveying a multitude of worship traditions, Beck reveals a continuous template of interwoven ritual and music in Hindu tradition that he terms "sonic liturgy," a structure of religious worship and experience that incorporates sound and music on many levels. In developing the concept and methods for understanding the phenomenon of sonic liturgy, Beck draws from liturgical studies and ritual studies, broadening the dimensions of each, as well as from recent work in the fields of Indian religion and music. As he maps the evolution of sonic liturgy in Hindu culture, Beck shows how, parallel to the development of religious ritual from ancient times to the present, there is a less understood progression of musical form, beginning with Vedic chants of two to three notes to complicated genres of devotional temple music employing ragas with up to a dozen notes. Sonic liturgy in its maturity is manifest as a complex interactive worship experience of the Vaishnava sects, presented here in Beck's final chapters.

A vibrant example of living literature, the Bhagavata Purana is a versatile Hindu sacred text written in Sanskrit verse. Finding its present form by the tenth century C.E., the work inspired several major north Indian devotional (bhakti) traditions as well as schools of dance and drama, and continues to permeate popular Hindu art and ritual in both India and the diaspora. Introducing the Bhagavata Purana's key themes while also examining its extensive influence on Hindu thought and practice, this collection conducts the first multidimensional reading of the entire text. Each essay focuses on a key theme of the Bhagavata Purana and its subsequent presence in Hindu theology, performing arts, ritual recitation, and commentary. The authors consider the relationship between the sacred text and the divine image, the text's metaphysical and cosmological underpinnings, its shaping of Indian culture, and its ongoing relevance to contemporary Indian concerns.

This book is one of the first wide-ranging academic surveys of the major types and categories of Hindu contemplative praxis. It explores diverse spiritual and religious practices within the Hindu traditions and Indic hermeneutical perspectives to understand the intricate culture of meditative communion and contemplation, devotion, spiritual formation, prayer, ritual, and worship. The volume extends and expands the conceptual reach of the fields of Contemplative Studies and Hindu Studies. The chapters in the volume cover themes in Hindu contemplative experience from various texts and traditions including classical Sāṃkhya and Patañjali Yoga, the Bhāgavata Purāṇa, the role of Sādhana in Advaita Vedānta, Śrīvidyā and the Śrīcakra, the body in Tantra, the semiotics and illocution of Gauḍīya Vaiṣṇava sādhana, mantra in Mīmāṃsā, Vaiṣṇava liturgy, as well as cross-cultural reflections and interreligious comparative contemplative praxis. The volume presents indigenous vocabulary and frameworks to examine categories and concerns particular to the Hindu contemplative traditions. It traces patterns that cut across Hindu traditions and systems and discusses contrasting methods of different theological/philosophical schools evincing a strong plurality in Hindu religious thought and practice. The volume provides intra-religious comparisons that reveal internal complexity, nuances, and a variety of contemplative states and transformative practices that exist under the rubric of Hindu practices of interiority and reflection. With key insights on forms and functions of the contemplative experience along with their theologies and philosophies, the volume suggests new hermeneutical directions that will advance the field of contemplative studies. This book will be useful to scholars and researchers of religious and theological studies, contemplative studies, Hindu studies, consciousness studies, yoga studies, Indian philosophy and religion, sociology of religion, philosophy of religion, comparative religion, and South Asian studies, as well as general readers interested in the topic.

The small town of Vṛndāvana is today one of the most vibrant places of pilgrimage in northern India. Throngs of pilgrims travel there each year to honour the sacred land of Kṛṣṇa’s youth and to visit many of its temples. The Building of Vṛndāvana explores the complex history of this town’s early modern origins. Bringing together scholars from various disciplines to examine history, architecture, art, ritual, theology, and literature in this pivotal period, the book examines how these various disciplines were used to create, develop, and map Vṛndāvana as the most prominent place of pilgrimage for devotees of Kṛṣṇa. Contributors are: Guy L. Beck, Måns Broo, David Buchta, John Stratton Hawley, Barbara A. Holdrege, Rembert Lutjeharms, Cynthia D. Packert, and Heidi Pauwels.

Embodying Transnational Yoga is a refreshingly original, multi-sited ethnography of transnational yoga that obliges us to look beyond postural practice (āsana) in modern yoga research. The book introduces readers to three alternative, understudied categories of transnational yoga practice which include food, music, and breathing. Studying these categories of embodied practice using interdisciplinary methods reveals transformative “engaged alchemies” that have been extensively deployed by contemporary disseminators of yoga. Readers will encounter how South Asian dietary regimens, musical practices, and breathing techniques have been adapted into contemporaneous worlds of yoga practice both within, but also beyond, the Indian Ocean rim. The book brings the field of Modern Yoga Studies into productive dialogue with the fields of Indian Ocean Studies, Embodiment Studies, Food Studies, Ethnomusicology, and Pollution Studies. It will also be a valuable resource for both scholarly work and for teaching in the fields of Religious Studies, Anthropology, and South Asian Religions.

Living Mantra is an anthropology of mantra-experience among Hindu-tantric practitioners. In ancient Indian doctrine and legends, mantras perceived by rishis (seers) invoke deities and have transformative powers. Adopting a methodology that combines scholarship and practice, Mani Rao discovers a continuing tradition of visionaries (rishis/seers) and revelations in south India’s Andhra-Telangana. Both deeply researched and replete with fascinating narratives, the book reformulates the poetics of mantra-practice as it probes practical questions. Can one know if a vision is real or imagined? Is vision visual? Are deity-visions mediated by culture? If mantras are effective, what is the role of devotion? Are mantras language? Living Mantra interrogates not only theoretical questions, but also those a practitioner would ask: how does one choose a deity, for example, or what might bind one to a guru? Rao breaks fresh ground in redirecting attention to the moments that precede systematization and canon-formation, showing how authoritative sources are formed.

This book features original papers from 25th International Symposium on Frontiers of Research in Speech and Music (FRSM 2020), jointly organized by National Institute of Technology, Silchar, India, during 8–9 October 2020. The book is organized in five sections, considering both technological advancement and interdisciplinary nature of speech and music processing. The first section contains chapters covering the foundations of both vocal and instrumental music processing. The second section includes chapters related to computational techniques involved in the speech and music domain. A lot of research is being performed within the music information retrieval domain which is potentially interesting for most users of computers and the Internet. Therefore, the third section is dedicated to the chapters related to music information retrieval. The fourth section contains chapters on the brain signal analysis and human cognition or perception of speech and music. The final section consists of chapters on spoken language processing and applications of speech processing.