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Bharatiya Sangita Shastra (भारतीयसङ्गीतशास्त्रम्) (view source)
Revision as of 17:39, 23 April 2018
, 17:39, 23 April 2018Added a basic structure for 'Natyashastra and Music'
The roots of Indian classical music are traced back to the Vedic literature.The [[सामवेद]], भरतमुनि's [[नाट्यशास्त्रम्]], and सारङ्गदेव’s [[सङ्गीतरत्नाकरम्]] are three very important texts in the purview of Indian Classical Music.
The roots of Indian classical music are traced back to the Vedic literature.The [[सामवेद]], भरतमुनि's [[नाट्यशास्त्रम्]], and सारङ्गदेव’s [[सङ्गीतरत्नाकरम्]] are three very important texts in the purview of Indian Classical Music.
== सामवेद and Music ==
Generally, the word 'Sama' means 'Stuti' or 'musical composition in Stuti form'. The Samaveda has much relation to music.
Generally, the word 'Sama' means 'Stuti' or 'musical composition in Stuti form'. The Samaveda has much relation to music.
अङ्गिरसो न सामभिः। (10.78.5)<ref>http://ignca.nic.in/vedic_heritage/Jaiminiyasamagana_origin_Prof_CMNeelakandan.pdf Pg.no.1-2</ref>
अङ्गिरसो न सामभिः। (10.78.5)<ref>http://ignca.nic.in/vedic_heritage/Jaiminiyasamagana_origin_Prof_CMNeelakandan.pdf Pg.no.1-2</ref>
=== सामगानम् ===
The oral Gāna tradition of Sāmaveda is very unique, elaborate and musical.
The oral Gāna tradition of Sāmaveda is very unique, elaborate and musical.
Gramageyagana and Aranyagana are connected with purvarcika and are called Prakriti gana.<ref name=":0" />
Gramageyagana and Aranyagana are connected with purvarcika and are called Prakriti gana.<ref name=":0" />
=== Evolution of the Svara Saptaka ===
All standard musical works in Sanskrit mention that Brahma derived music from the samaveda. Hence, the original source for the art music of India is the Samaveda.<ref>Prof.P.Sambamoorthy, South Indian Music, Book IV, The Indian Music Publishing House, Chennai, Eighth Edition, July 1998, Reprint May 2007, Pg no.80</ref>
All standard musical works in Sanskrit mention that Brahma derived music from the samaveda. Hence, the original source for the art music of India is the Samaveda.<ref>Prof.P.Sambamoorthy, South Indian Music, Book IV, The Indian Music Publishing House, Chennai, Eighth Edition, July 1998, Reprint May 2007, Pg no.80</ref>
संपूर्णः सप्तभिश्चैव विज्ञेयोगीतयोक्तृभिः ॥<ref>Prof.P.Sambamoorthy, South Indian Music, Book IV, The Indian Music Publishing House, Chennai, Eighth Edition, July 1998, Reprint May 2007, Pg.no.84</ref>
संपूर्णः सप्तभिश्चैव विज्ञेयोगीतयोक्तृभिः ॥<ref>Prof.P.Sambamoorthy, South Indian Music, Book IV, The Indian Music Publishing House, Chennai, Eighth Edition, July 1998, Reprint May 2007, Pg.no.84</ref>
=== Precursors of Sapta Svaras ===
All the seven Svaras of classical music are found and used in its primitive form in Sāma chanting. ''Krustha, Prathama, Dviteeya, Trteeya, Caturtha, Mandra and Atisvara are the seven Svaras used in Sāma chanting''. Krustha is the Svara in the highest pitch. Trteeyasvara is considered the basic Svara (Àdharasvara) and it is also known as Dhrutapracaya.
All the seven Svaras of classical music are found and used in its primitive form in Sāma chanting. ''Krustha, Prathama, Dviteeya, Trteeya, Caturtha, Mandra and Atisvara are the seven Svaras used in Sāma chanting''. Krustha is the Svara in the highest pitch. Trteeyasvara is considered the basic Svara (Àdharasvara) and it is also known as Dhrutapracaya.
('''वेदानां सामवेदोऽस्मि।''').<ref>http://ignca.nic.in/vedic_heritage/Jaiminiyasamagana_origin_Prof_CMNeelakandan.pdf Pg.no.9-11</ref>
('''वेदानां सामवेदोऽस्मि।''').<ref>http://ignca.nic.in/vedic_heritage/Jaiminiyasamagana_origin_Prof_CMNeelakandan.pdf Pg.no.9-11</ref>
== Natyashastra and Music ==
=== Music for drama ===
* basic melody types and music parts of purvaranga
* time-measure, stage songs, and their application in female performance
* Dhruva songs
=== Gandharva music ===
1. Establishment of Shadja as the first, defining note of the scale or grama.
2. Principle of Consonance: Consists of two principles:
a. The first principle states that there exists a fundamental note in the musical scale which is Avinashi (अविनाशी) and Avilopi (अविलोपी) that is, the note is ever-present and unchanging.
b. The second principle, often treated as law, states that there exists a natural consonance between notes; the best between Shadja and Tar Shadja, the next best between Shadja and Pancham.
3. Musical modes or jatis, which are the origin of the concept of the modern melodic structures known as ragas and their role in invoking emotions
=== Instruments ===
* Hollow Instruments
* Covered Instruments
While much of the discussion of music in the ‘‘Natya Shastra’’ focuses on musical instruments, it also emphasizes several theoretical aspects that remained fundamental to Indian music.
== References ==
== References ==