Bharatiya Sangita Shastra (भारतीयसङ्गीतशास्त्रम्) - Revision history

Ckanak93 at 11:26, 7 November 2020

2020-11-07T11:26:46Z

Ckanak93: Ckanak93 moved page Bharatiya Sangita Shastra (धार्मिकसङ्गीतशास्त्रम्) to Bharatiya Sangita Shastra (भारतीयसङ्गीतशास्त्रम्) over a redirect without leaving a...

2020-11-07T11:25:38Z

Ckanak93 moved page Bharatiya Sangita Shastra (धार्मिकसङ्गीतशास्त्रम्) to Bharatiya Sangita Shastra (भारतीयसङ्गीतशास्त्रम्) over a redirect without leaving a...

Pṛthvī: Pṛthvī moved page Bharatiya Sangita Shastra (भारतीयसङ्गीतशास्त्रम्) to Bharatiya Sangita Shastra (धार्मिकसङ्गीतशास्त्रम्): Text replacement - "भारत...

2020-06-18T09:42:26Z

Pṛthvī moved page Bharatiya Sangita Shastra (भारतीयसङ्गीतशास्त्रम्) to Bharatiya Sangita Shastra (धार्मिकसङ्गीतशास्त्रम्): Text replacement - "भारत...

P16459 at 11:30, 17 February 2019

2019-02-17T11:30:27Z

Fordharma at 11:54, 27 December 2018

2018-12-27T11:54:23Z

Ckanak93: Category

2018-12-10T08:03:58Z

P16459: Text replacement - "Indian" to "Bharat's"

2018-12-04T10:21:47Z

Text replacement - "Indian" to "Bharat's"

Ckanak93: Added Category

2018-08-09T18:21:46Z

Added Category

Ckanak93: Added content from old page

2018-08-09T16:31:27Z

Added content from old page

Ckanak93: Added a basic structure for 'Natyashastra and Music'

2018-04-23T12:09:26Z

Added a basic structure for 'Natyashastra and Music'

← Older revision		Revision as of 11:26, 7 November 2020
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−	{{ToBeEdited}}The roots of Bharat's 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 ~~Bharat~~'s ~~Classical~~ Music.	+	{{ToBeEdited}}The roots of Bharat's 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 Bharata's traditional Music.

	== सामवेद and Music ==		== सामवेद and Music ==

← Older revision		Revision as of 11:30, 17 February 2019
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−	The roots of Bharat's 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 Bharat's Classical Music.	+	{{ToBeEdited}}The roots of Bharat's 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 Bharat's Classical Music.

	== सामवेद and Music ==		== सामवेद and Music ==

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 <references />
 [[Category:64 Kalas]]
 [[Category:Kala]]

← Older revision		Revision as of 08:03, 10 December 2018
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	<references />		<references />
	[[Category:64 Kalas]]		[[Category:64 Kalas]]
		+	[[Category:Art]]
		+	[[Category:Kala]]

@@ Line 1: / Line 1: @@
-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 Bharat's 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 Bharat's Classical Music.
 == सामवेद and Music ==
@@ Line 36: / Line 36: @@
 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,
+Bharat's 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
 Pg.s 107-108
@@ Line 51: / Line 51: @@
 Gana is of 4 kinds – Gramageyagana, Aranyagana, Uhagana and Uhya or Rahasyagana.[[File:Flow chart-page-001.jpg|frameless|750x750px|centre|link=http://qassist.cse.iitb.ac.in/dharmawiki/index.php/File:Flow_chart-page-001.jpg]]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 Bharat's Music, Book IV, The Bharat's Music Publishing House, Chennai, Eighth Edition, July 1998, Reprint May 2007, Pg no.80</ref>
-The scale of the Samagana is the primordial scale of Indian music. However, the sama saptaka itself was arrived at after many centuries of experiments. In the very early stages, the Rigveda was recited plainly (ie. using one svara), then with two svaras before three notes were standardised in the recitation of the Rigveda.<ref name=":1">Prof.P.Sambamoorthy, South Indian Music, Book IV, The Indian Music Publishing House, Chennai, Eighth
+The scale of the Samagana is the primordial scale of Bharat's music. However, the sama saptaka itself was arrived at after many centuries of experiments. In the very early stages, the Rigveda was recited plainly (ie. using one svara), then with two svaras before three notes were standardised in the recitation of the Rigveda.<ref name=":1">Prof.P.Sambamoorthy, South Bharat's Music, Book IV, The Bharat's Music Publishing House, Chennai, Eighth
 Edition, July 1998, Reprint May 2007, Pg.no.81</ref>
@@ Line 66: / Line 66: @@
 in this context.
-Arciko gayana simply meant that the music substantially centred around one note. Likewise Gathika and Samika indicated that the compass of the music extended substantially over 2 and 3 notes.<ref name=":2">Prof.P.Sambamoorthy, South Indian Music, Book IV, The Indian Music Publishing House, Chennai, Eighth Edition, July 1998, Reprint May 2007, Pg.no.82</ref> The Gathika gayana used udatta and anudatta svaras and samika included the third variety of svara, svarita. Thus, udatta, anudatta and svarita were the three notes used in the recitation of the Rigveda.
+Arciko gayana simply meant that the music substantially centred around one note. Likewise Gathika and Samika indicated that the compass of the music extended substantially over 2 and 3 notes.<ref name=":2">Prof.P.Sambamoorthy, South Bharat's Music, Book IV, The Bharat's Music Publishing House, Chennai, Eighth Edition, July 1998, Reprint May 2007, Pg.no.82</ref> The Gathika gayana used udatta and anudatta svaras and samika included the third variety of svara, svarita. Thus, udatta, anudatta and svarita were the three notes used in the recitation of the Rigveda.
 उदात्तश्चानुदात्तश्च स्वरितश्च स्वरास्त्रयः । (Panini and Narada Siksha)
@@ Line 78: / Line 78: @@
 However, the scale of three notes first developed into a pentatonic scale (g-rsn-d) and later into a heptatonic scale (m-g-rsn-d-p) with addition of one note above and below.
-The scale of samagana was a downward scale and mgrs and sndp were perfectly symmetrical and balanced tetracords. When the phrase sndp was sung an octave higher, the idea of a complete octave was immediately perceived. The dawn of the concept of the octave constitutes an important land-mark in the history of Indian music. We have the real beginnings of classical music from this period.<ref name=":2" />
+The scale of samagana was a downward scale and mgrs and sndp were perfectly symmetrical and balanced tetracords. When the phrase sndp was sung an octave higher, the idea of a complete octave was immediately perceived. The dawn of the concept of the octave constitutes an important land-mark in the history of Bharat's music. We have the real beginnings of classical music from this period.<ref name=":2" />
-In the Rik Pratishakya, mention is made of three octaves and seven notes for each octave. It is also mentioned that the same seven notes of one octave are repeated in the other octaves. The notes of the samagana were styled the suddha svaras and the other notes that gradually came into use in secular music were styled vikrta svaras (changed notes). Thus, the suddha svara saptaka of Ancient Music is the scale of Samagana.<ref>Prof.P.Sambamoorthy, South Indian Music, Book IV, The Indian Music Publishing House, Chennai, Eighth Edition, July 1998, Reprint May 2007, Pg.no.83</ref>
+In the Rik Pratishakya, mention is made of three octaves and seven notes for each octave. It is also mentioned that the same seven notes of one octave are repeated in the other octaves. The notes of the samagana were styled the suddha svaras and the other notes that gradually came into use in secular music were styled vikrta svaras (changed notes). Thus, the suddha svara saptaka of Ancient Music is the scale of Samagana.<ref>Prof.P.Sambamoorthy, South Bharat's Music, Book IV, The Bharat's Music Publishing House, Chennai, Eighth Edition, July 1998, Reprint May 2007, Pg.no.83</ref>
 A single note prayoga was reffered to as Arcika, a scale of two notes as Gathika and a scale of three notes as Samika. Scales of four, five, six and seven notes were reffered to as svarantara, audava, shadava and sampoorna.
@@ Line 92: / Line 92: @@
 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 Bharat's Music, Book IV, The Bharat's 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.
@@ Line 170: / Line 170: @@
 * 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.
+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 Bharat's music.
 == References ==
 <references />
 [[Category:64 Kalas]]

← Older revision	Revision as of 11:25, 7 November 2020
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← Older revision	Revision as of 09:42, 18 June 2020
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← Older revision		Revision as of 18:21, 9 August 2018
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	== References ==		== References ==
	<references />		<references />
		+	[[Category:64 Kalas]]

@@ Line 29: / Line 29: @@
 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.
@@ Line 50: / Line 49: @@
 The Purvarcika portion of the text has 585 rks (single stanza verses) and is organized in order of deities.<ref>Guy Beck (1993), Sonic Theology: Hinduism and Sacred Sound, University of South Carolina Press, <nowiki>ISBN 978-0872498556</nowiki>, page 230 note 85</ref> Each of them form the text (sahitya) for the samagana songs. While in uttararcika, the rks sung for sacrifices which are based on samagana are given in a sequence.
-Gana is of 4 kinds – Gramageyagana, Aranyagana, Uhagana and Uhya or Rahasyagana.
+Gana is of 4 kinds – Gramageyagana, Aranyagana, Uhagana and Uhya or Rahasyagana.[[File:Flow chart-page-001.jpg|frameless|750x750px|centre|link=http://qassist.cse.iitb.ac.in/dharmawiki/index.php/File:Flow_chart-page-001.jpg]]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>
 The scale of the Samagana is the primordial scale of Indian music. However, the sama saptaka itself was arrived at after many centuries of experiments. In the very early stages, the Rigveda was recited plainly (ie. using one svara), then with two svaras before three notes were standardised in the recitation of the Rigveda.<ref name=":1">Prof.P.Sambamoorthy, South Indian Music, Book IV, The Indian Music Publishing House, Chennai, Eighth
@@ Line 78: / Line 72: @@
 Here, the middle note was the svarita (modern shadja – s), Udatta was the higher note (rishabha – r) and Anudatta was the lower note (modern Nishada – n)
 उच्चैरुदात्तः नीचैरनुदात्तः ।<ref name=":1" />
 When later, the samika scale was repeated from Madhyama (g-m-p) and Panchama (m-p-d) as the fundamental notes, the way was paved for development of the svara saptaka.
@@ Line 86: / Line 80: @@
 The scale of samagana was a downward scale and mgrs and sndp were perfectly symmetrical and balanced tetracords. When the phrase sndp was sung an octave higher, the idea of a complete octave was immediately perceived. The dawn of the concept of the octave constitutes an important land-mark in the history of Indian music. We have the real beginnings of classical music from this period.<ref name=":2" />
 In the Rik Pratishakya, mention is made of three octaves and seven notes for each octave. It is also mentioned that the same seven notes of one octave are repeated in the other octaves. The notes of the samagana were styled the suddha svaras and the other notes that gradually came into use in secular music were styled vikrta svaras (changed notes). Thus, the suddha svara saptaka of Ancient Music is the scale of Samagana.<ref>Prof.P.Sambamoorthy, South Indian Music, Book IV, The Indian Music Publishing House, Chennai, Eighth Edition, July 1998, Reprint May 2007, Pg.no.83</ref>
 A single note prayoga was reffered to as Arcika, a scale of two notes as Gathika and a scale of three notes as Samika. Scales of four, five, six and seven notes were reffered to as svarantara, audava, shadava and sampoorna.
@@ Line 99: / Line 93: @@
 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.
@@ Line 144: / Line 137: @@
 |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.
@@ Line 160: / Line 152: @@
 ('''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 ===
 . Establishment of Shadja as the first, defining note of the scale or grama.
@@ Line 178: / Line 167: @@
 . 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 ==