Re: Nityananda Triyodoshi Bhajan In Scotland Video

Nityaananda! Gauraanga! Hare Krishna! Trraditionally Shrila Bhaktisiddhanta Sarasvati Prabhupada also did not allow harmonium to be played with singing kirtana or even bhajana in the Gaudiya Math temples as harmonium was considered a musical instrument which was introduced later and not was present in the original Sankirtana of Lords Nitaai Gaura, five hundred years ago. Nor did Shrila Narottama Dasa Thakura and the other great Kirtana stalwart Acharyas later make use of the harmonium. My personal realization is that the voice of the harmonium and other similar new instruments is of a little different dimension than our Gaudiya Bhajans and Kirtans and the sound of these kind of instruments drowns off the voice of the devotee singing the kirtana. We tend to hear or focus on the instrument voice more than the Holy Names. Karatals (cymbals) and Mridanga (a specific drum) are the most sweetest for our Gaudiya Kirtana. Even similar drums like Dhola or Tabla are not used simply because Lord Gauraanga did not use them and wanted to keeo Sankirtana simple and sublime.

Of course as one cannot prevent newer things from being introduced as the time changes, and to attract the people to the Holy Names being the main consideration, our Shrila Swami Prabhupada used the harmonium for singing Bhajans. But as quoted above, he did not allow it for the Sankirtana of the Holy Names because Lord Gaura or the Acharyas did not use it for Naama Sankirtana. This instruction of Shrila Swami Prabhupada is sometimes forgotten and harmonium is used in a widespread manner even during Sankirtana of the Holy Names. Even in the present age, you will not see a harmonium or other new age instruments in the traditional Gaudiya Math kirtans or the temples.

Shrila Bhaktivinoda Thakura writes in Sajjana Toshani 6/2:

"Singing accompanied by musical instrument began only during the time of Srinivasa Acarya. Srinivasa Acarya, Sri Narottama dasa, and Sri Syamananda Prabhu resided for some time in Vrndavana as students of Sri Jiva Gosvaml. With his approval, these three began to perform kirtana accompanied by musical instruments. All three were expert in musical science. Moreover, they were proficient in the Indian classical music of Delhi. They were also intimate friends and shared a single life goal.

"Srinivasa Acarya illumined the province of Katwa through his preaching. His area fell under the jurisdiction of the manoharasahi subdivision. Therefore the process of singing he inaugurated is called manoharasahi. Sri Narottama dasa was a resident of Kheturi village, which was under the jurisdiction of the garanahati subdivision in the district of Rajashahi, Bangladesh. That is why the process of singing he inaugurated is called garanahati. Sri Syamananda Prabhu belongs to the district of Midnapur. The process of singing he inaugurated is called reneti. In order to encourage these three musical dcdryas, Sri Jiva Gosvaml awarded them each titles. Srinivasa became known as Acarya, Sri Narottama dasa as Thakura, and Syamananda as Sri Syamananda Prabhu."

Some may ask that how can there be good accompanying music without harmonium and other new age instruments, the answer is simple. Lord Gaurahari simply desires the devotion of the devotee who sings the Kirtana, not even the tune in which he or she may be singing what to speak of the tune of the accompanying musical instruments. And if the Lord is pleased by our kirtana, then the audience will be moved and pleased. That should be our goal. Of course the devotee does try to also sing and play as melodiously as he or she can for the pleasure of the Lord and His devotees. I hope this helps.

Daaso'smi, Swami Gaurangapada.

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