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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.

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

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]

(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

The purpose of Samaveda was liturgical, and they were the repertoire of the udgātṛ or "singer" priests.[2]

Samaveda was liturgical, and they were the repertoire of the udgātṛ or

"singer" priests.[2]

Samaveda samhita is

Samaveda samhita is not meant to be read as a text, it is like a musical score sheet that must be heard.[1]

not meant to be read as a text, it is like a musical score sheet that must be

heard.[1]

Staal states that the

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]

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

The portion of the first song of Samaveda illustrates the link and mapping of Rigvedic verses into a melodic chant:[1]

first song of Samaveda illustrates the link and mapping of Rigvedic verses into

a melodic chant:[1]

Vina (lute) is

Vina (lute) is mentioned in Samaveda.[20]

mentioned in Samaveda.[20]

अग्न आ याहि वीतये –

अग्न आ याहि वीतये – Rigveda 6.16.10[21]

Rigveda 6.16.10[21]

Agna ā yāhi vītaye

Agna ā yāhi vītaye

Samaveda

Samaveda transformation (Jaiminiya manuscript):

transformation (Jaiminiya manuscript):

o gnā i / ā yā hi vā

o gnā i / ā yā hi vā

Translation:

Translation:

O Agni, come to the

O Agni, come to the feast.

feast.

— Samaveda 1.1.1,

— Samaveda 1.1.1, Translated by Frits Staal[1]

Translated by Frits Staal[1]

Our music tradition

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.

[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]

— V. Raghavan, [7]