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Line 314: − − == Rtvik (Priest) of Samaveda == − The [[Rtvik (ऋत्विक्)|rtvik]] of Samaveda is called Udgaata. He has three assistants: the presenter, the counterpart and the subramanya. The group of these four priests was called 'Udgatrimandal' or 'Udgatrivarga'. − − Their function is to chant the Sama in auspicious rituals such as [[Yajna (यज्ञः)|yajnas]]. The Samaveda is also called 'Udgaatriveda' because it is associated with a priest named Udgaata. − #https://sanskritdocuments.org/sites/prkannan/Sama%20Veda-%20An%20Introduction.pdf Book by Sri P.R. Kannan found at https://sanskritdocuments.org/sites/prkannan/
→SaamaVikara (Alteration in Saamagana)
=== Number of Mantras ===
=== Number of Mantras ===
Total number of mantras in Purvarchika (640) and Uttararchika (1225) put together are 1875. Of these 1771 mantras are from Rigveda, thus Samaveda is said to have only 104 mantras that are unique to it. Most of the mantras in the Samaveda taken from the Rigveda are from mandalas 8 and 9. Apart from them, 237 mantras are taken from the first mandala and 110 mantras from the tenth mandala.<ref name=":0" />
Total number of mantras in Purvarchika (640) and Uttararchika (1225) put together are 1875. Of these 1771 mantras are from Rigveda, thus Samaveda is said to have only 104 mantras that are unique to it. Most of the mantras in the Samaveda taken from the Rigveda are from mandalas 8 and 9. Apart from them, 237 mantras are taken from the first mandala and 110 mantras from the tenth mandala.<ref name=":0" />
=== Rtvik (Priest) of Samaveda ===
The [[Rtvik (ऋत्विक्)|rtvik]] of Samaveda is called उद्गाता Udgaata. He has three assistants: the प्रस्तोता (Prastota), प्रतिहर्ता (Pratiharta) and सुब्रह्मण्य (Subramanya). The group of these four priests was called 'Udgatrimandal' or 'Udgatrivarga'.
Their function is to chant the Sama in auspicious rituals such as [[Yajna (यज्ञः)|yajnas]]. The Samaveda is also called 'Udgaatriveda' because it is associated with a priest named Udgaata.
=== Types of Samagana ===
=== Types of Samagana ===
Among these, Grama and Aranyagaana are Prakritik gaana, and Uha and Uhya are called vikritik gaana.
Among these, Grama and Aranyagaana are Prakritik gaana, and Uha and Uhya are called vikritik gaana.
# '''Gramagana''' – It is based on the mantras of Agneya, Aindra and Pavman Kand of Purvarchik. It was sung in villages or public places. Hence it is also called 'Gramageyagan', 'Prakritigaan' and 'Veyagan'.
# '''ग्रामगान ।''' '''Gramagana''' – It is based on the mantras of Agneya, Aindra and Pavman Kand of Purvarchik. It was sung in villages or public places. Hence it is also called 'Gramageyagan', 'Prakritigaan' and 'Veyagan'.
# '''Aranyagana''' - It is based on the mantras of Purvarchik's Aranya kand. It was sung only in forests or holy places. Hence it is also called 'Aranyakageyagan', 'Rahasyagan'.
# '''आरण्यगान ।''' '''Aranyagana''' - It is based on the mantras of Purvarchik's Aranya kand. It was sung only in forests or holy places. Hence it is also called 'Aranyakageyagan', 'Rahasyagan'.
# '''Uhaagana''' - 'Uha' means a setting based on the situation. Whenever Sama-Mantras are sung on any special occasion by changing it according to the occasion, it is called Uhaagan. It is dependent on the mantras of Agneya etc. Kandas of Purvarchika. Uhgaan is considered a vikriti. The nature or basis of Uha is the Gramagaana. That is, Uhagaan is created by taking the help of swararaga etc. used in Gramagaana. It was used only during Somayaga and special dharmic occasions.
# '''ऊहगान ।''' '''Uhaagana''' - 'Uha' means a setting based on the situation. Whenever Sama-Mantras are sung on any special occasion by changing it according to the occasion, it is called Uhaagan. It is dependent on the mantras of Agneya etc. Kandas of Purvarchika. Uhgaan is considered a vikriti. The nature or basis of Uha is the Gramagaana. That is, Uhagaan is created by taking the help of swararaga etc. used in Gramagaana. It was used only during Somayaga and special dharmic occasions.
# '''Uhyagaana''' - Like uhagaana, uhyagaana is also considered a vikriti song because it is not original. The nature or basis of Uhya is Aranyagaana. That is, Uhyagana has been composed on the basis of Swararagadi of Aranyagana. Due to being mysterious like Aranyagana, it is also called 'Rahasyagan'. Therefore, singing it in front of the general public is considered prohibited.
# '''ऊह्यगान ।''' '''Uhyagaana''' - Like uhagaana, uhyagaana is also considered a vikriti song because it is not original. The nature or basis of Uhya is Aranyagaana. That is, Uhyagana has been composed on the basis of Swararagadi of Aranyagana. Due to being mysterious like Aranyagana, it is also called 'Rahasyagan'. Therefore, singing it in front of the general public is considered prohibited.
=== SaamaVikara (Alteration in Saamagana) ===
=== SaamaVikara (Alteration in Saamagana) ===
'''स्तोभ । Stobha''' - To give Richa the form of a song, some additional song-appropriate words like 'औहोवा', 'हाउ' etc. are included with the mantra. These are called 'Stobha'. Stobha is the main kind of Samavikara. These are considered to be the decoration of the Samagana. These are chanted during the aalap (a prelude to the actual mantra) of the mantra, which increases the beauty of the mantra. There is a difference in the positions of Stobha as per the Veda shaka. For example, the Kauthumiya branch adds 'हाउ', 'राइ' etc. and the Ranayaniya branch add 'हावु', 'रायि' etc.<ref name=":1" />
'''स्तोभ । Stobha''' - To give Richa the form of a song, some additional song-appropriate words like 'औहोवा', 'हाउ' etc. are included with the mantra. These are called 'Stobha'. Stobha is the main kind of Samavikara. These are considered to be the decoration of the Samagana. These are chanted during the aalap (a prelude to the actual mantra) of the mantra, which increases the beauty of the mantra. There is a difference in the positions of Stobha as per the Veda shaka. For example, the Kauthumiya branch adds 'हाउ', 'राइ' etc. and the Ranayaniya branch add 'हावु', 'रायि' etc.<ref name=":1" />
=== Divisions of Sama ===
Generally, Samagana has five parts.<ref name=":1" />
# प्रस्ताव । Prasthava
# उद्गीथ । Udgitha
# प्रतीहार । Pratihar
# उपद्रव । Upadrava
# निधन । Nidhana
These are sung by Ritviks named Prastota, Udgaata and Pratiharta together. These three have different duties at the time of singing.
'''Prastava''' – This is the initial part of the mantra which starts with 'हुँ'. Its song is sung by a Prastota. Like- 'हुँ ओग्नाइ'.
'''Udgitha''' - Udgitha means ॐ. In Udgitha, 'ॐ' is placed before the mantra. Its song is sung by the main Ritvik, Udgaata of Sama. For example, 'ॐ आयाहि वीतये गृणानो हव्यदातये'.
'''Pratihara''' - Pratihara means connecting two parts. Example - 'नि होता सत्सि बर्हिषि ॐ'. Sometimes the Pratihara part is divided further into two parts. These are- 1. Upadrava and 2. Nidhana.
* '''Upadrava''' - The first part in the above example - 'नि होता सत्सि ब'. Udgata sings this part.
* '''Nidhana''' - The remaining part is called 'Nidhaan' like 'र्हिषि ॐ'. It is sung by the Prastota, Udgaata and Pratiharta together. By adding Hinkar and Omkar to these, there are 7 types of Samgaan.
== Samaveda as an Independent Veda ==
== Samaveda as an Independent Veda ==
== Shakas of Samaveda ==
== Shakas of Samaveda ==
It is said that many branches of Samaveda existed in ancient times. Maharishi Patanjali has mentioned 1000 branches of Samaveda <nowiki>''</nowiki>सहस्रवर्त्मा सामवेदः । Sahasravarma Samavedah "(Mahabhashya Paspashahnika).<ref name=":0" />
It is said that many branches of Samaveda existed in ancient times. Maharishi Patanjali has mentioned 1000 branches of Samaveda <nowiki>''</nowiki>सहस्रवर्त्मा सामवेदः । Sahasravartma Samavedah "(Mahabhashya Paspashahnika).<ref name=":0" /><ref name=":2">https://sanskritdocuments.org/sites/prkannan/Sama%20Veda-%20An%20Introduction.pdf Book by Sri P.R. Kannan found at https://sanskritdocuments.org/sites/prkannan/</ref>
At present only three branches of Samaveda are available
At present only three branches of Samaveda are available
== Contents of Samaveda Samhita ==
== Contents of Samaveda Samhita ==
Being a music-oriented Veda, considerable literature was written on the singing of the mantras of Samveda. This theme is also the root of Indian musicology. Some essential elements related to Samagana have been instructed in Naradiya Shiksha. Due to which the importance of its theory and practical aspects can be easily understood. According to Naradiya Shiksha, the swaramandal of Samagaan i.e. the spectrum of notes consists of<ref name=":1"><nowiki>https://egyankosh.ac.in/bitstream/123456789/103107/1/Unit-2.pdf</nowiki> </ref> <blockquote>सप्त स्वराः, त्रयो ग्रामाः, मूर्छनास्त्वेकविंशतिः।
Being a music-oriented Veda, considerable literature was written on the singing of the mantras of Samveda. This theme is also the root of Indian musicology. Music is of two kinds
- vaidika
- loukika
Vaidika Gana (Sama) is called Maargi and Loukika Gana is referred to as Desi. Sangita Ratnakara author Sri Saarangadeva mentions that Vaidika Gana is the basis of Loukika Gana. Both of them have seven svaras.<ref name=":2" />
Some essential elements related to Samagana have been instructed in Naradiya Shiksha. Due to which the importance of its theory and practical aspects can be easily understood. According to Naradiya Shiksha, the swaramandal of Samagaan i.e. the spectrum of notes consists of<ref name=":1"><nowiki>https://egyankosh.ac.in/bitstream/123456789/103107/1/Unit-2.pdf</nowiki> </ref> <blockquote>सप्त स्वराः, त्रयो ग्रामाः, मूर्छनास्त्वेकविंशतिः।
ताना एकोनपंचाशत् , इत्येतत् स्वरमण्डलम् ।। नारदीय शिक्षा</blockquote>- 7 स्वर (Swaras or notes)
ताना एकोनपंचाशत् , इत्येतत् स्वरमण्डलम् ।। नारदीय शिक्षा</blockquote>- 7 स्वर (Swaras or notes)
To represent these notes, numbers 1,2,3 are given on the Samavedic mantras. Their meaning is 1 = उदात्त - Sublime, 2 स्वरित - Swarit 3 अनुदात्त - Anudatta. Similarly, numbers like 1, 2, 3 etc. respectively represent the seven notes like Madhyam, Gandhar, Rishabh etc. (in the order of Ma Ga Re..).
To represent these notes, numbers 1,2,3 are given on the Samavedic mantras. Their meaning is 1 = उदात्त - Sublime, 2 स्वरित - Swarit 3 अनुदात्त - Anudatta. Similarly, numbers like 1, 2, 3 etc. respectively represent the seven notes like Madhyam, Gandhar, Rishabh etc. (in the order of Ma Ga Re..).
The fundamental difference between the seven notes of Samagana and the seven notes of secular classical music is that the notes of Sama are in the 'अवरोहारोह'- Avaroharoh' descending-ascending order and the notes of the secular song are in the 'आरोहावरोह '- Aarohavaroh' order or ascending-descending order.<ref name=":1" />
The fundamental difference between the seven notes of Samagana and the seven notes of secular classical music is that the notes of Sama are in the 'अवरोहारोह'- Avaroharoh' descending-ascending order (Ma, Ga, Ri, Sa, Da, Ni, Pa) and the notes of the secular song are in the 'आरोहावरोह '- Aarohavaroh' order or ascending-descending order (Sa, Ri, Ga, Ma, Pa, Da, Ni).<ref name=":1" /><ref name=":2" />
=== ग्राम । Grama ===
=== ग्राम । Grama ===
=== तान । Taana ===
=== तान । Taana ===
The combination of seven notes (7 times 7) is called Taana. By generating a combination with each other the number of threads becomes 49.
The combination of seven notes (7 times 7) is called Taana. By generating a combination with each other the number of threads becomes 49.
==References==
==References==
<references />
<references />
#http://www.hindunet.org/vedas/samveda/index.htm
#http://www.hindunet.org/vedas/samveda/index.htm
[[Category:Vedas]]
[[Category:Vedas]]