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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.

{{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 ==

अङ्गिरसो न सामभिः। (10.78.5)<ref>http://ignca.nic.in/vedic_heritage/Jaiminiyasamagana_origin_Prof_CMNeelakandan.pdf Pg.no.1-2</ref>

अङ्गिरसो न सामभिः। (10.78.5)<ref>http://ignca.nic.in/vedic_heritage/Jaiminiyasamagana_origin_Prof_CMNeelakandan.pdf Pg.no.1-2</ref>

=== सामगानम् ===

=== सामगानम् ===

The oral Gāna tradition of Sāmaveda is very unique, elaborate and musical.

The oral Gāna tradition of Sāmaveda is very unique, elaborate and musical.

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,  

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

  ISBN 978-0872498556

Pg.s 107-108  

Pg.s 107-108  

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.

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" />

 

[[File:Flow chart-page-001.jpg|frameless|750x750px|centre]]

 

Gramageyagana and Aranyagana are connected with purvarcika and are called Prakriti gana.<ref name=":0" />

 

=== Evolution of the Svara Saptaka ===

=== 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>

Edition, July 1998, Reprint May 2007, Pg.no.81</ref>

in this context.

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)

उदात्तश्चानुदात्तश्च स्वरितश्च स्वरास्त्रयः । (Panini and Narada Siksha)

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)

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" /> 

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.

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.

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.

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.

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.

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 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 ===

=== 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.  

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.  

|Atisvara

|Atisvara

|Panchama

|Panchama

|}

|}Thus the oral Gāna tradition of Sāma chanting is related to classical music in many ways.

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.

Close relationship of Sāma chanting with music is highlighted by many earlier scholars in their authoritative statements. Some examples are given here.

('''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>

== Natyashastra and Music ==

== Natyashastra and Music ==

=== Music for drama ===

=== Music for drama ===

* basic melody types and music parts of purvaranga

* basic melody types and music parts of purvaranga

* time-measure, stage songs, and their application in female performance

* time-measure, stage songs, and their application in female performance

* Dhruva songs

* Dhruva songs

=== Gandharva music ===

=== Gandharva music ===

1. Establishment of Shadja as the first, defining note of the scale or grama.  

1. Establishment of Shadja as the first, defining note of the scale or grama.  

3. 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

3. 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 ===

=== Instruments ===

* Hollow Instruments

* Hollow Instruments

* Covered 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 ==