Chant

A transcription of Leonin's "Viderunt Omnes" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription.

For a recording and score-video see the link below:
https://www.youtube.com/watch?v=_p9WQlyVPrA

PREMISE: How can music allow a man to see the face of God? How can music direct the spirituality of those creating, practicing, and listening to it? Music and sound have played a significant role in religious practice throughout and across human history and culture, but this sonic aspect of religious and spirituality has been significantly ignored. This thesis attempts to explore spiritual manifestations of people, both generally and specifically, through musical and sonic experiences, redirecting the focus of study in religion and spirituality from the visual to the aural, creating a concept of Spirosonance as compared to Theosonance. METHODS: Part One of this dialogue begins by deconstructing and reconstructing notions of religions, religion, and spirituality along with music, sound, and noise to first lay a foundation of definitions for the study, while also questioning common notions of these human constructs. This section hopes to begins creating better tools to define, discuss, and understand these constructed notions, employing subjectivity as a priority to objectivity in forming definitions. This sections ends by outlining the general concept of Spirosonance and how it can be used to better understand people's spiritual experience of sound. In Part Two of this discourse, a particular case study is used to demonstrate concepts discussed in Part One, outlining Christian monastic practices and experiences of music as related to their spirituality. Further in this section, outsider's experience of this same monastic music is examined to understand how people outside this tradition are also gaining spiritually from this same music. CONCLUSION: Many possible reasons can be given as to why monastic chant is so popular among such wide varieties of people as a spiritual enhancer. The reasons given here are just a few, focusing on the most cited characteristics of chant that people find attractive or exceptional. Ultimately, why someone is moved or attracted to the chant is personal and could be for any reason. What was attempted here was to show how, in a few ways, people are perhaps experiencing something personal, something spiritual, within this chant that does not necessarily tie itself to religious practice. There is clearly something about this music that speaks to people beyond the terms of religion, moving into more "spiritual" realms. Most importantly, what was attempted here is the creation of better tools of understanding music as both a tool of religion and a catalyst for spirituality, forming spirituality as a character of those experiencing the music, not a character of the music itself.

This is my PhD dissertation. The third chapter might be interesting since it shows that the natural scale was the primary scale used in European antiquity (the so-called Folk Music Scale). It combined with the early diatonic scale (stacking thirds on the diatonic scale that those instruments couldn’t play) to create our modern scale. The Highland bagpipe is an ossified hybrid between the two.

The fourth chapter might be of interest to composers because it explains the rhythm of languages (especially English) and also the pitch-patterning of the spoken word which is used as the basis of melody.

The link brings you to the University of Otago library which is open and non-private. So you have to force your web browser to continue to the site.

ABSTRACT:
The purpose of this study was to investigate through archival and musicological analysis the audio recordings of Fenian lays made in the middle of the last century. These recordings were made from informants who learned the material orally; they contain cultural elements that assist in comprehending the musical mechanics of Fenian lays at a time when their performance practices were being extirpated by foreign musical influences. These elements include Indo-European (IE) thematic material, poetics, language register, pitch structuring, rhythm, and vocal techniques. Audio recordings of Fenian lays from Ireland, Scotland, and Nova Scotia, Canada were analysed in terms of their linguistic-musical material. Results show that the rhythm of the lays did not display a repetitive musical metre but the more complex structure of speech. However, rhythmic patterns did alter with volume. Also, resonance tuning was apparent. Many characteristics associated with volume in lay recordings exist in declaimed speech as well; both may be seen to act as a bridge between speech and metered song. Lay poetry appeared to be syllabic, which is unusual for a stress-timed language; this reflects an Indo-European genesis that is supported by the presence of oral formulaic language. Both stress and accent shifted pitch by poetic line to match spoken characteristics. A high language register was present, which does not indicate composition by the intelligentsia for use at court, but rather a fear-induced protective linguistic device apparent in all social classes. Moreover, the addition of delineated pitch to spoken declamation may be seen as an attempt to further increase the communicative register. The pitch structure was seen to be anachronistic, matching the linear scales played by pastoral instruments, particularly that of wooden shepherd trumpets used since at least the beginning in the Early Neolithic Age.

How could we manage the Orpheus’ heritage? How to handle a voice that charms the wild beasts and the gods, moving the rocks and silencing the mermaids?
Apparently it’s easy: it’s enough turning back to look and deal with one’s own Eurydice. But the path is more mysterious and fraught with pitfalls than one could imagine.
This short summary about the birth of opera and the development of artistic voice through the centuries and history of music is described throughout half-serious reflections of a modern ”grandchild of Orpheus”. It begins from the ‘glottal stop’, that is the origin of the voice (and many other things), following through the multifaceted phases of the challenges and trials every singer has to experience to become an artist, and therefore deserving the heritage of the most famous singer of mythology.

This study explores the idea of music being used in interreligious engagements involving Muslims, both so non-Muslims can be aware of Muslim sensitivities and so Muslims can positively contribute to such types of engagement. After explaining Muslim reservations, I identify four genres of sound art (Qurʾān recitation, the call to prayer, liturgical chants, and eulogy chants) which are deeply engrained in the Islamic tradition such that Muslims are united in attesting to their sacredness. I explain a little about the important features of the sacred music of the Islamic tradition and note that the type of Muslims who risk being left out of dialogue are the same Muslims who are most sensitive regarding music. I argue that Muslims can be both engaged and engaging through the use of music, without their musical sensitivities being side lined.

As the global interest in the interfaith communication especially in the Post 9/11 Era is increasing, the ethos of inter-religiosity in Malaysia, a country that encompasses a diversity of ethnicity and belief systems, is still undercharacterised. In a state where interfaith dialogues have almost lost their political influences, an unorthodox
inquiry emerges from a hypothetical consideration: can Buddhist music with a nature to accentuate the universality in most popular faiths weld the vulnerable status of interfaith communication in a non-Buddhist state? Can Buddhist music that sounds more philosophical and less religious refills the ‘in-betweens’ without causing discomfort, offence and intrusion for an audience of a diversified background? And what lesson can be learned from the inter-religious encounters with Buddhist music in 21st-century Malaysia?

This qualitative study presents a scenario of interfaith dialogues as well as efforts of institutions and organisations to promote an inter-religious understanding in Malaysia. The author also aims to invoke thoughts based on selected samples of diverse styles and languages which are available in the Buddhist music soundscape, and to suggest how a Buddhist’s comprehensive approach towards ‘sentient beings’ potentially
allows its music to connect with major faiths in the least insensitive way. With a consideration on the complication caused by social stigmas in the current world, this study is hopefully to offer an preliminary discussion on a possibility whether Buddhist music can operate as an inspirational rhetoric for an inter-religious understanding in a cosmopolitan society post COVID-19.

An important Rosicrucian teaching advocates working with "vowel intonations" to aid the student in meditation and to create physical and spiritual harmony. Modern science, especially in the realm of quantum physics, has begun to confirm some of the ancient mystery school teachings about the power of vibration and sound. This paper attempts to connect recent thought, demonstrated through experiments with sound, with Rosicrucian teaching in its exploration of how sound affects the cell.

Die Studie verdankt sich der Identifizierung des ʽHeltauer Marienliedesʼ in zwei Handschriften, die wie die von CAROLA L. GOTTZMANN 1991 bekannt gemachte Grazer Handschrift Ms. 1972 dem bairisch-österreichischen Raum entstammen: Paris, BN, Ms. lat. 16664, fol. 4r und Wien, ÖNB, Cod. 3835, fol. 82v-84r. Mein besonderes Augenmerk gilt der Vorstellung der überlieferten Handschriften des ʽHeltauer Marienliedesʼ (die Handschrift aus Heltau [rumänisch Cisnădie, ungarisch Nagydisznód] ist seit 1916 verschollen), geben sie doch Aufschluss wenn auch nicht über die funktionale Einbindung, so doch über die Überlieferung dieses Textes, der im deutschen Südosten nachweislich als Lied wahrgenommen wurde. Mir geht es also nicht (bzw. nicht in erster Linie) darum, ob das Lied in liturgischen oder außerliturgischen Kultzusammenhängen verwendet wurde oder der privaten Lektüre diente, denn die untersuchten Handschriften bieten keine eindeutigen Indizien, die es erlauben würden, diese im Zusammenhang der Diskussion um die Funktionsbestimmung des mittelalterlichen geistlichen Liedes aufgekommene Frage zu beantworten. Ergiebiger scheint mir, die Orte der Überlieferung in den Blick zu nehmen. Gefragt werden soll also nach der Verortung unseres Textes innerhalb der jeweiligen Handschrift und der Zuordnung der jeweiligen Handschrift zu einer bestimmten sozialen Formation. Diese Untersuchungen zur Überlieferung werden durch eine Edition komplettiert, die das ʽHeltauer Marienliedʼ in synoptischer Form präsentiert, indem auf der einen Seite die durch den Heltauer Text vertretene ostmitteldeutsche, auf der anderen die durch die Handschriften aus Graz, Paris und Wien repräsentierte bairisch-österreichischen Texttradition dargeboten wird.

The paper deals with the contemporary church music repertoire and practices at the divine services of the Valaam Monastery in Finland, based on the author’s participant observation as a singer, chanter, and reader, carried out in multiple periods since 2013. The topic is further contextualized with the historical traditions of Valaam church singing as they appear in archived musical materials, catalogued and researched also by myself, and other relevant documents.

The article aims to identify and characterize musical symbolization of chanting notation by examining correspondence between the symbolic systems representing on the manuscript and intonational chanting of Maha Chat Khamluang (Jataka epic) which is part of the research on "A Study of Mahachat (Mahajataka) Khamluang Chanting: Its Melodic Concepts, Musical Articulation, and Notation on Ancient Manuscript." The study was based on an antique

This is why I, my host families, and cultural informants throughout East and North Kalimantan are rushing to preserve the oral texts so that they can be passed on to the next generation (see also Okushima 2015) in order that the latter will realize that they are Vol. 49 Borneo Research Bulletin 103 descended not from primitive, isolated inlanders, but rather from civilized, international inhabitants living in one of the oldest and largest centers of trade and migration in all of ancient Asia. 1. Kayanic peoples and their Indic-Indochinese cultural background 1-1. Kayanic peoples and their oral literature Kayanic peoples today live in Sarawak (Malaysia), East Kaimantan, and North Kalimantan, 1 and also partially in West Kalimantan (Indonesia). As inland-dwellers, they engage in rice cultivation, as well as hunting and collecting forest products for trade with coastal regions. They used to have social stratification (nobles, commoners, and slaves) and hereditary chieftainship. The nobles, including village chiefs, frequently led their followers to wars and headhunting for reasons of hegemony. In Dutch and British colonial times, they were renowned as ferocious warriors or headhunters, because the Kayanic peoples were often disobedient to, and virtually independent from, coastal kingdoms, as well as colonial governments (for details, see Okushima 1999, 2006, 2008). The Kayanic peoples consist of three main subgroups: the Ga'ay / Mengga'ay (also called Menggaè, Segay, Modang, etc.); the Kayan-Busang (Kaya:n, Kiya:n, Busa:ng, etc.); and the Bahau (Baw, Hwang Tembaw, Wehèa, Ngorèk, etc.). 2 It seems that these subgroups originally had different languages and cultures in early Sarawak, especially in the Baram basin and surrounding regions like the upper Rejang. However, the groups gradually became mixed through a process of frequent intermarriages, wars, and migration to the Central Borneo ranges, including the headwaters of the Kayan (North Kalimantan), which they named "Kaya:n / Kiya:n / Kejin / Kejuyñ / Kinjin etc.," or 'our place, territory.' In the surrounding regions, there also existed many other groups, whom the Kayanic peoples distinguished from themselves, by calling them "Ken'yâh / Ken'yah / Kenyah / Lembueh / Lembus etc.," or 'peoples of virgin lands, barbarians.' After concentrating and prospering for some time in the upper Kayan, the Kayanic peoples dispersed again to East, North, and West Kalimantan, with a portion returning to Sarawak. The most dominant and hierarchical subgroups, mainly Ga'ay like the Long Way and Long Gelat, settled largely in the Mahakam basin (East Kalimantan), leading their long-time allies, such as the Busa:ng (Uma:' Tua:n, U. Lekwè:, U. Mehak, U. Wak), the Hwang Sa' / Bahau Sa' (Hwang Anah, H. Tering / Tri:ng, H. Siraw, etc.), and the Wehèa or Ga'ay-ized Bahau. Their rivals, as well as the other less hegemonic subgroups, mainly Kayan-Busang and Bahau, preferred North and West Kalimantan, or Sarawak itself. In this process, a part of the Kayanic peoples changed linguistically and culturally, like the Kaya:n Meka:m (or, Kayan Long Metun) and Uma:' Pala:' who mixed with the Aoheng / Penihing, the Uma:' Urut and Bang Kelaw (originally the Muruts or Kenyah?) who were Kayanized and assimilated into the Busang, the Hwang Boh, H. Meka:m and H. Temha: (some early settlers of the upper Mahakam), and so on. 1 North Kalimantan is a new province that split from East Kalimantan in 2013. 2 Part of the Kenyah people today also used to be called "Kayan," according to Kayanic oral histories,

Stichera are hymns that constitute a major part of the changing hymnography in Eastern Orthodox divine services Vespers and Orthros. In the liturgical tradition of the Valaam Monastery in the 19th–20th century, the practice was to sing all stichera that were appointed for the given occasion, which means that none of them were left out or read. The present paper explores to which music this extensive amount of hymns were sung, what were the performance practices, and how the music and manner of performance depended on the context and sub-genre of the hymns in question. While the inquiry concentrates on Valaam, it is likely that the standard was similar in other pre-Revolutionary Russian monasteries.

Latin conducti do not typically come to mind when considering the medieval practice of French refrain citation; intertextual refrains were conventionally interpolated into French songs, narratives, and the upper voices of motets. Yet three conducti copied in late thirteenth-century northern French manuscripts intervene in this traditional narrative by engaging compositionally with French refrains: Veni sancte spiritus spes in GB-Lbl Egerton 274 (known as LoB or Trouv`ere F), and Marie preconio and Superne matris gaudia in F-Pn lat. 15131 (the St. Victor Miscellany). Previously identified as contrafacts of French refrain songs, Veni sancte spiritus spes shares its melody with a widely cited French refrain, while Marie preconio and Superne matris gaudia are rubricated with French refrains and scribal cues that suggest a musical relationship with French refrains. However, the poems of these conducti exhibit significant relationships not with French refrains but with homonymous and widely sung liturgical sequences. These conducti are not simply contrafacts but reflect a compositional negotiation between variously borrowed and new elements, resulting in Latin songs implicated within citational networks of liturgical chant and French refrains. Significantly, the repeated refrain serves in each song as the site for intertextual and intermusical processes, with borrowed material from French refrains and Latin sequences shaping the music and poetry of the new refrain-form conducti. Considered together, these conducti shed light on understudied Latin contexts for practices of multilingual intertextuality and intermusicality in late thirteenth-century France.

Prior to the establishment of the Roman rite with its Gregorian chant, in the Iberian Peninsula and Southern France the Mozarabic rite, with its own tradition of chant, was dominant from the sixth until the eleventh century. Few of these chants are preserved in pitch readable notation and thousands exist only in manuscripts using adiastematic neumes which specify only melodic contour relations and not exact intervals. Though their precise melodies appear to be forever lost it is possible to use computational machine learning and statistical sequence generation methods to produce plausible realizations. Pieces from the León antiphoner, dating from the early tenth century, were encoded into templates then instantiated by sampling from a statistical model trained on pitch-readable Gregorian chants. A concert of ten Mozarabic chant realizations was performed at a music festival in the Netherlands. This study shows that it is possible to construct realizations for incomplete ancient cultural remnants using only partial information compiled into templates, combined with statistical models learned from extant pieces to fill the templates.

Abstract Contemporary technology allows for simple means to measure "a capella" intervals, durations and vocal inflections in sound samples obtained from authentically traditional psaltis, recorded at the turn of the 20th century, and provides, besides any acoustic proof, visual proof, as well, as to an ongoing tradition, at least as can be attested to by Gregorian chant paleaography, and as provided by, for instance, the recordings and pædagogy of Iakovos Nafpliotis, which is in agreement with the theory of the Three Teachers (Contemporary Psaltic Notation) and in contrast to other, modern theories and vocal performances of various academic researchers or professional singers.  Simultaneous use of measured results from audio-visual ("μετροφωνία", asymmetrical interval sequences, "διπλοπαραλλαγή") and somatokinetic ("cheironomia", "foot-hand-voice" lever effect, "ἄλογος χρόνος" and "καταλλαγὴ χρόνου") components is a key to memorisation, transmission as well as traditional performance of Psaltic and Gregorian chant, both of which are complementary aspects of a common formular database, differentiated by "rhythmic emphasis" and "polar note" variations, which provide for quite asymmetrical rhythm in "ecphonetic", and lesser so in "papadic" formular contraction/expansion renderings, respectively.

Quels sont les marqueurs acoustiques du doublement de consonnes, technique décrite au XVIII ème siècle en musique baroque vocale française, à des fins expressives ? Ces marqueurs s'assimilent-ils à la gémination ? Nous avons enregistré 5 chanteurs baroques produisant un air de Lully en parole et chant, sans et avec doublement consonantique. La durée des consonnes doublées rapportée à celle du mot de ces 50mn de productions a été mesurée, puis analysée statistiquement en fonction de la modalité (chanté vs. parlé), de la condition (avec doublement vs. sans doublement) et du type de consonne (/s,f,v/, /l,m/, /r/, et /p,t,k,b,d,g/). Nos résultats montrent une augmentation significative de la durée relative consonantique avec le doublement, surtout pour le chant, mais variant selon le chanteur et le type consonantique. En chant et parole, la voyelle précédente est plus courte quand elle est suivie d'une consonne doublée que quand elle ne l'est pas.

Sydney Fisher RB 357 is a miscellany comprising four parts each probably deriving from different books. Parts 1 to 3 contain notated mass chants. Part 1, probably of 15th-century origin, is of particular interest for the changes that have been made to chants and for the role of red notes. It is proposed here that Part 1 may be related to liturgical manuscripts belonging to the city of Florence.

In this paper, I examine the background of music theorist Johannes de Grocheio and the circumstances surrounding the production and preservation of his only known treatise, the Ars musice (c. 1275). I survey three institutions in Normandy — the Benedictine monastery at Lessay, the Premonstratensian monastery at Ardenne and the Trinitarian hospice at La Perrine — that Grocheio may have been associated with in his youth. I consider the two monks responsible for preserving his only known treatise: Guy, a monk of Saint-Denis, whose role in this regard is well established, and Johannes de Botis, a monk of the Charterhouse in Cologne, whose role has only now come to light. I then look at Grocheio's disputed magisterial standing in the university city of Paris and review the evidence for his employment as a teacher in that city. I also focus on Grocheio's treatment of chant theory, which has received scant attention in the literature compared with his remarks on secular music and h...

The paper discusses various aspect of musical experience, both passive (attention, intelligence, imagination, relationships),  and active (humility, creativity, community), in reference to their possible spiritual meaning, as a passage from experience towards prayer.

In this paper, I examine the background of music theorist Johannes de Grocheio and the circumstances surrounding the production and preservation of his only known treatise, the Ars musice (c. 1275). I survey three institutions in Normandy — the Benedictine monastery at Lessay, the Premonstratensian monastery at Ardenne and the Trinitarian hospice at La Perrine — that Grocheio may have been associated with in his youth. I consider the two monks responsible for preserving his only known treatise: Guy, a monk of Saint-Denis, whose role in this regard is well established, and Johannes de Botis, a monk of the Charterhouse in Cologne, whose role has only now come to light. I then look at Grocheio's disputed magisterial standing in the university city of Paris and review the evidence for his employment as a teacher in that city. I also focus on Grocheio's treatment of chant theory, which has received scant attention in the literature compared with his remarks on secular music and h...

The liturgical celebration of the Mass, a multifarious spiritual, artistic, and intellectual manifestation, had a central position in the cultural life of medieval Europe. The 'Gregorian Chants', mostly words from passages of the Old Testament, were reinterpreted and ornamented by means of new lyrics, and became the basis for new literary and musical genres, such as tropes, sequences, and other new lyrics. In spite of all the unifying efforts made by the Carolingian reformers, it is the rich variety in practice that came to characterize the performance of the Mass in the ninth through the twelfth centuries. Extensive repertories of new texts and melodies were spread in manuscripts all over Europe. Until now this fascinating material has been the preserve of a small circle of specialists in musicology and philology. With this volume, the author introduces and analyses these hidden treasures to make them available to a wider public. It is directed to those with an interest in the expressions of spiritual, musical, and poetic creativity of the European Middle Ages, and in the philosophy, theology, and history of medieval Latin literature.

吟誦是中國傳統讀書人誦讀、創作及講授古典詩詞文用的讀書調，同時具旋律性及隨意發揮的性質，其旋律因方言、師承及個人喜好形成各種流派。吟誦調日漸式微，曾在私塾學習的老人逐漸故去，搶救吟誦調的工作刻不容緩。關注及保育粵語吟誦調者尚少，零星研究未有系統地收集各派及各文體的吟誦調，亦忽略粵語吟誦調的詞樂特徵(平最高/最低，仄中)與其他方言(平高仄低/平低仄高)的相異之處。本計畫從語言學的角度入手，分析粵語吟誦的詞樂特徵，並收集何叔惠、蘇文擢、陳湛銓、常宗豪等二十世紀與香港有關之學者及其傳人的吟誦錄音、訪談，撰寫全面且深入淺出的入門書，書中涵括各家吟誦的特色、入門提示及粵語吟誦參考資料彙編。本項計畫亦擬舉辦吟誦會，向學界及一般大眾介紹本研究之成果，並在大專院校以至中學推廣粵語吟誦。

Vincent of Saragossa was the first Spanish martyr. A deacon under bishop Valerius of Saragossa, Vincent was martyred at Valencia on 22 January in 304; he underwent a considerable series of tortures, including the gridiron, which are first described by the poet Prudentius (348-405) in his Peristephanon. Vincent's contemporary, St Augustine (354-430), mentioned him in a number of sermons, and attests that there is no Roman province where his cult is not found. 1 Indeed, Vincent's cult spread throughout Europe early on and was widespread, but liturgical material for him is not necessarily found in every antiphoner or gradual. An early Hispanic office in honor of Vincent is preserved in the antiphoner of León. 2 Possibly as a consequence of the suppression of the Hispanic rite by the Roman rite in 1085, a new prose office Sacram presentis diei, named after the first responsory of Matins, was introduced in Spanish and Aquitanian sources, as well as in other regions of Europe. The earliest complete sources in which the Vincent office is preserved are the eleventh-century antiphoners presently kept in Toledo, Chapter Library, Mss. 44.1 and 44.2. Two other South European sources, the antiphoners of Marseille and Florence, date from the twelfth century. Sources from Northern Europe date from the twelfth

In the scriptorium of the Abbey of Saint-Matthias of Trier paper manuscripts continued to be produced long after the invention of the printing press. These manuscripts were the result of a hybrid fabrication process approaching the manufacturing model and are of great interest to the study of media in the Early Modern Era. Of particular interest, however, is the importance of these manuscripts in perpetuating devotion to local saints within the liturgy of patron churches and abbeys.
An office in honour of Saint Eucher has come down to us in such a paper manuscript form (Trier, Bischöfliches Priesterseminar Bibl. Hs. 14 ; ff. 20v-33r), and is shown to have been copied in 1667 at the scriptorium of the Benedictine abbey of Saint-Matthias (formerly Saint-Eucher). This exemplar is both rare and unfathomed, and is likely to shed some light on issues related to the stability and evolution of plainchant repertoire.
Not only does this manuscript display traces of ancient repertoires consigned to a later collection; it is witness to the direct continuity of an uninterrupted tradition dating back to the origin of plainchant and to the creation of a relatively uniform chant repertoire between late Antiquity and the medieval period. In the High Middle Ages, especially, new compositions relating to the Proper Offices and dedicated to the Holy Martyrs or to locally important saints accrued to the existing liturgy.
Eucher founded the diocese of Trier along with the deacons Valerius and Maternus, probably around the middle of the 3rd century. Devotion to Eucher survived in the church, to which a monastery was associated and where his basilical sepulcher remains. Apart from this, the patronage of Saint Eucher is a rather rare phenomenon. Hildegard of Bingen did, however, compose a response and a sequence in his honor, perhaps for the consecration by Pope Eugene III of the said church in 1148.
A 14th century Liber ordinarium (London, Brit. Museum Harley 2958) provides texts and incipits for First Vespers, Matins, Lauds, and Second Vespers. The same chants for First Vespers as well as all of the Mass were notated in the later 17th-century manuscript discussed here, and in which the office of Saint Eucher appears in its entirety in Gothic neumes. This being considered, the manuscript could prove to be of particular interest in the context of this conference on plainchant across the ages.

"Om Mani Padme Hum" is one of the most recited mantra among all faith traditions combined. Interestingly even within Sufi tradition we have instances where this mantra has been recited (for example: Omar Ali Shah's Tariqa). What does the mantra translate to from Sufi gnosis? In this paper the author explores various sources and come to conclusion that esoterically speaking, this mantra points to the reality of Secret (Sirr, Precious Jewel) Within the Heart (Lotus).