Changes

The oral chanting methods slightly changes with each of the existing shakhas ie. the Jaimineeya, Kauthuma and Ranayaneeya. Again, the chanting tradition and the Svaras and the peculiarities of accents change according to each region. Kerala Namboothiris have a particular way of chanting of Sāmaveda which is not found in other places. Similarly Jaimineeya of Tamil Nadu tradition is again different in the style of chanting. The same Jaimineeya tradition of Tamil Brahmins settled in Kerala at Koduntirappully village near Palakkad has minor differences from that of the Jaimineeya tradition of Tamil Brahmins settled in Tamil Nadu. Regional cultures, social environments, historical aspects, accentuation, food habits and the like surely influence the method of articulation of letters and words which is invariably found in the chanting tradition of Sāmaveda also. The Prāceenakauthuma retaining its original tradition in its prestine purity in the Puthukkode village near Palakkad and the same subjected to change in Maharashtra and other regions, as noted above, are the best examples for these tendencies.

The oral chanting methods slightly changes with each of the existing shakhas ie. the Jaimineeya, Kauthuma and Ranayaneeya. Again, the chanting tradition and the Svaras and the peculiarities of accents change according to each region. Kerala Namboothiris have a particular way of chanting of Sāmaveda which is not found in other places. Similarly Jaimineeya of Tamil Nadu tradition is again different in the style of chanting. The same Jaimineeya tradition of Tamil Brahmins settled in Kerala at Koduntirappully village near Palakkad has minor differences from that of the Jaimineeya tradition of Tamil Brahmins settled in Tamil Nadu. Regional cultures, social environments, historical aspects, accentuation, food habits and the like surely influence the method of articulation of letters and words which is invariably found in the chanting tradition of Sāmaveda also. The Prāceenakauthuma retaining its original tradition in its prestine purity in the Puthukkode village near Palakkad and the same subjected to change in Maharashtra and other regions, as noted above, are the best examples for these tendencies.

But the common and most important factor related to the Gāna tradition of Sāmaveda in general is invariably found in all these shakhas in all parts of India in all its stages of development and evolution. This is its close relationship with the music tradition of India, expecially classical music. 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.  

But the common and most important factor related to the Gāna tradition of Sāmaveda in general is invariably found in all these shakhas in all parts of India in all its stages of development and evolution. This is its close relationship with the music tradition of India, expecially classical music.

 

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.  

Naradeeyashiksha states that the seven Svaras of Sāma are respectively the seven Svaras of classical music.

Naradeeyashiksha states that the seven Svaras of Sāma are respectively the seven Svaras of classical music.

('''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>

Indian music tradition in the North as well as in the South, remembers and cherishes its origin in the Samaveda - the musical version of the Rigveda, says V.Raghavan.<ref>Guy Beck (1993), Sonic Theology: Hinduism and Sacred Sound, University of South Carolina Press,  

Indian music tradition in the North as well as in the South, remembers and cherishes its origin in the Samaveda - the musical version of the Rigveda, says V.Raghavan.<ref>Guy Beck (1993), Sonic Theology: Hinduism and Sacred Sound, University of South Carolina Press,  

  ISBN 978-0872498556

  ISBN 978-0872498556

Gana is of 4 kinds – Gramageyagana, Aranyagana, Uhagana and Uhya or Rahasyagana.

Gana is of 4 kinds – Gramageyagana, Aranyagana, Uhagana and Uhya or Rahasyagana.

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" />

== References ==

== References ==