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Bharatiya Sangita Shastra (भारतीयसङ्गीतशास्त्रम्) (view source)
Revision as of 13:30, 15 January 2018
, 13:30, 15 January 2018added content
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('''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>
+
+==== सामगानम् and गान्धर्वगानम्। ====
+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.
+
+The Samaveda comprises two major parts. The first part include four melody collections
+(gāna, गान) and
+the second part three verse "books" (ārcika, आर्चिक).[2] A melody in the song books corresponds to a verse
+in the arcika books.[2] The Gana collection is subdivided into Gramageya and
+Aranyageya, while the Arcika portion is subdivided into Purvarcika and
+Uttararcika portions.[13] The Purvarcika portion of the text has 585 single
+stanza verses and is organized in order of deities, while Uttararcika text is
+ordered by rituals.[13] The Gramageya melodies are those for public
+recitations, while Aranyageya melodies are for personal meditative use such as
+in the solitude of a forest.[13] Typically, the Purvarcika collection were sung
+to melodies described in the Gramageya-Gānas index, and the rules of how the
+verses mapped to verses is described in the Sanskrit texts such as the
+Puspasutra.[13]
+
+The purpose of
+Samaveda was liturgical, and they were the repertoire of the udgātṛ or
+"singer" priests.[2]
+
+Samaveda samhita is
+not meant to be read as a text, it is like a musical score sheet that must be
+heard.[1]
+
+Staal states that the
+melodies likely existed before the verses in ancient India, and the words of
+the Rigveda verses were mapped into those pre-existing melodies, because some
+early words fit and flow, while later words do not quite fit the melody in the
+same verse.[1] The text uses creative structures, called Stobha, to help
+embellish, transform or play with the words so that they better fit into a
+desired musical harmony.[18][19] Some verses add in meaningless sounds of a
+lullaby, for probably the same reason, remarks Staal.[1] Thus the contents of
+the Samaveda represent a tradition and a creative synthesis of music, sounds,
+meaning and spirituality, the text was not entirely a sudden inspiration.[1]
+
+The portion of the
+first song of Samaveda illustrates the link and mapping of Rigvedic verses into
+a melodic chant:[1]
+
+Vina (lute) is
+mentioned in Samaveda.[20]
+
+अग्न आ याहि वीतये –
+Rigveda 6.16.10[21]
+
+Agna ā yāhi vītaye
+
+Samaveda
+transformation (Jaiminiya manuscript):
+
+o gnā i / ā yā hi vā
+i / tā yā i tā yā i /
+
+Translation:
+
+O Agni, come to the
+feast.
+
+— Samaveda 1.1.1,
+Translated by Frits Staal[1]
+
+Our music tradition
+[Indian] in the North as well as in the South, remembers and cherishes its
+origin in the Samaveda... the musical version of the Rigveda.
+
+— V. Raghavan, [7]