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Line 36: − − ==== सामगानम् and गान्धर्वगानम्। ==== − 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. − − '''प्रथमश्च द्वितीयश्चतृतीयोऽथ चतुर्थकः।''' − − '''मन्द्रः क्रुष्टो ह्यतिस्वारः एतान् कुर्वन्ति सामगाः॥''' − − (Prapathaka I, Khanda 1, shloka 12) − − '''यः सामगानां प्रथमः स वेणोर्मध्यमः स्वरः।''' − − '''यो द्वितीयः स गान्धारः तृतीयस्त्वृषभः स्मृतः॥''' − − '''चतुर्थः षड्ज इत्याहुः पञ्चमो धैवतो भवेत्।''' − − '''षष्ठो निषादो विज्ञेयः सप्तमः पञ्चमः स्मृतः॥''' − − (Prapathaka I, Khanda 5, shloka 1, 2) − {| class="wikitable" − !Saman Svaras − !Svaras of Classical music − |- − |Prathama − |Madhyama − |- − |Dviteeya − |Gandhara − |- − |Trteeya − |Rishabha − |- − |Caturtha − |Shadja − |- − |Mandra − |Dhaivata − |- − |Krstha − |Nishada − |- − |Atisvara − |Panchama − |} − Thus the oral Gāna tradition of Sāma chanting is related to classical music in many ways. − − Close relationship of Sāma chanting with music is highlighted by many earlier scholars in their authoritative statements. Some examples are given here. − − '''सामभ्यो गीतमेव च।''' (Natyashastram) − − '''सामवेदात् स्वरो जातः स्वरेभ्यो ग्रामसम्भवः।''' (Brhaddeshi of Matanga) − − '''सामवेदादिदं गीतं संजग्राह पितामहः।''' (Sangeetaratnakara of Sarngadeva) − − '''सप्तस्वरास्तु गीयन्ते सामभिस्सामगैर्बुधैः।''' (Mandukyashiksha) − − It is taking into consideration this musical importance of Sāmaveda that in Bhagavadgeetā Lord Krshna identifies himself with Sāmaveda among the four Vedas. − − ('''वेदानां सामवेदोऽस्मि।''').<ref>http://ignca.nic.in/vedic_heritage/Jaiminiyasamagana_origin_Prof_CMNeelakandan.pdf Pg.no.9-11</ref> − + Line 159:
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Bharatiya Sangita Shastra (भारतीयसङ्गीतशास्त्रम्) (view source)
Revision as of 19:43, 22 January 2018
, 19:43, 22 January 2018Rearranged sub sections
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.
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.
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
Pg.s 107-108
Pg.s 107-108
</ref>
</ref>
Samagana is primarily music. It contains musical structures. The text (mantras) were extracted from the Rgveda to sing these structures in the form of songs.<ref name=":0">History of Music – Samskrta Tradition, Institute of Distance Education, University of Madras, Chennai. Pg.83-85</ref>
Samagana is primarily music. It contains musical structures. The text (mantras) were extracted from the Rgveda to sing these structures in the form of songs.<ref name=":0">History of Music – Samskrta Tradition, Institute of Distance Education, University of Madras, Chennai. Pg.83-85</ref>
औडवः पश्चभिश्चैव षाडवः षट् स्वरो भवेत् ।
औडवः पश्चभिश्चैव षाडवः षट् स्वरो भवेत् ।
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.
Naradeeyashiksha states that the seven Svaras of Sāma are respectively the seven Svaras of classical music.
'''प्रथमश्च द्वितीयश्चतृतीयोऽथ चतुर्थकः।'''
'''मन्द्रः क्रुष्टो ह्यतिस्वारः एतान् कुर्वन्ति सामगाः॥'''
(Prapathaka I, Khanda 1, shloka 12)
'''यः सामगानां प्रथमः स वेणोर्मध्यमः स्वरः।'''
'''यो द्वितीयः स गान्धारः तृतीयस्त्वृषभः स्मृतः॥'''
'''चतुर्थः षड्ज इत्याहुः पञ्चमो धैवतो भवेत्।'''
'''षष्ठो निषादो विज्ञेयः सप्तमः पञ्चमः स्मृतः॥'''
(Prapathaka I, Khanda 5, shloka 1, 2)
{| class="wikitable"
!Saman Svaras
!Svaras of Classical music
|-
|Prathama
|Madhyama
|-
|Dviteeya
|Gandhara
|-
|Trteeya
|Rishabha
|-
|Caturtha
|Shadja
|-
|Mandra
|Dhaivata
|-
|Krstha
|Nishada
|-
|Atisvara
|Panchama
|}
Thus the oral Gāna tradition of Sāma chanting is related to classical music in many ways.
Close relationship of Sāma chanting with music is highlighted by many earlier scholars in their authoritative statements. Some examples are given here.
'''सामभ्यो गीतमेव च।''' (Natyashastram)
'''सामवेदात् स्वरो जातः स्वरेभ्यो ग्रामसम्भवः।''' (Brhaddeshi of Matanga)
'''सामवेदादिदं गीतं संजग्राह पितामहः।''' (Sangeetaratnakara of Sarngadeva)
'''सप्तस्वरास्तु गीयन्ते सामभिस्सामगैर्बुधैः।''' (Mandukyashiksha)
It is taking into consideration this musical importance of Sāmaveda that in Bhagavadgeetā Lord Krshna identifies himself with Sāmaveda among the four Vedas.
('''वेदानां सामवेदोऽस्मि।''').<ref>http://ignca.nic.in/vedic_heritage/Jaiminiyasamagana_origin_Prof_CMNeelakandan.pdf Pg.no.9-11</ref>
== References ==
== References ==