mere thielemann og helligbogen

s. 111: No [Sanskrit] treatise, however, lays down the aesthetics of Indian music.
Med citater fra Bhagavata Purana 10.33.10 kan hun udtale følgende om den æstetiske holdning til musikken, der her kommer til udtryk: "The concept expressed at the core of this statement is the dominance of the devotional aspaect over the aspect of musical perfection, i.e. the central criterion for any Indian music performance."
Verset: kacit samam mukundena svara-jatir amisritah unninye pujita tena priyata sadhu sadhv iti tad eva dhruvam unninye tasyai manam ca bahvadat (mangler diakritiske tegn, je sais)
Thielemann:
A certain (gopi) sang together with Krsna (in a way that) the notes of the scale did not harmonize. She was honored by him, as she had pleased him (with the words) "splendid! excellent!" (When) she proceeded to sing to the measured beat (dhruva), he paid much respect to her.
Prabhupada: One gopî together with Krishna raising [her voice relative to His] in pure tones of close harmony was praised by Him who pleased exclaimed: 'excellent, excellent!' and another one who vibrated along with a special metre He gave a lot of special attention.
... det springende punkt er adjektivet amisrita - ublandet, som Thielemann læser som om, pigen synger falsk. Herefter følger en typisk Vaisnavit-exegese: "Music, being the most abstract of all forms of human expression, is characterized by its emotional rather than rational appeal, which explains the precedence of the devotional content of music over its technical aspects. Thus, music becomes the primary expression of bhakti, devorion to god. etc."
s. 115: Nu er vi helt inde i templet: [efter at have forklaret, hvorledes ordet dhruva i ovenstående vers kan (og bør) oversættes dhrupad - dvs. en langsom sang i Cautal - og derfor markerer at genren både i den klassiske og den devotionelle tradition har forrang i relation til alle andre]: According to the explanation on verse 10.33.10 given by the formost leader of the Caitanya Sampradaya, Shri Purushottam Goswami-ji Maharaja of Vrindaban, the spiritual power of dhrupada is derived from the energy inherent in the twelve matras or metric units to which these songs are set, and verse 10.33.10 of the Bhagavata Purana confirms the theological relevance of the dhrupada songs. Herefter ovenikøbet: Despite the absence of supporting evidence in musicological treatises, the prior position of dhruva (pada) is nevertheless made explicit at the end of verse 10.33.10, where it is stated that Krsna paid much respect to the gopi as she proceeded to sing dhruva.

Og hun konkluderer på s. 116: The primary aesthetic criterion for the evaluation of an Indian music performance is therefore the strength of the religious message conveyed through it. ... hmmm.

Hun forsimpler altså tingene: s. 119: The dual function of music [as offering and revelation] can be developed only in religious traditions that presuppose a personal relationship between man and god.
s. 120: Og maler med meget brede pensler: The concept of bhakti is a very old one, already evident in the Vedas ... Rg Veda (6.47.11 - hvor Griffith har: " 11 Indra the Rescuer, Indra the Helper, Hero who listens at each invocation,
Sakra I call, Indra invoked of many. May Indra Maghavan prosper and bless us.")