Bharatiya Sangita Shastra (भारतीयसङ्गीतशास्त्रम्)
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.
सामवेद and Music
Generally, the word 'Sama' means 'Stuti' or 'musical composition in Stuti form'. The Samaveda has much relation to music.
Scholars have explained the word 'Sama' based on different derivative meanings.
- According to one opinion, the word Sama has been derived from the root 'Ṣa' meaning 'to destroy' (षो अन्तकर्मणि). Thus it means that the chanting of the Veda 'destroys all evils and sins'.
- Panini derives the word from the root 'sa͞m' meaning 'to sooth or give comfort' (साम् सान्त्वप्रयोगे). It is meant here that through the melodies of music, the Veda, while chanting or when hearing, sooths the heart or gives comforts of all kind to the mind.
- Another derivation is from the root 'syati' which means that it destroys all worries by its musical melody (स्यति च्छिनत्ति दुःखं गेयत्वात्, स्यति खण्डयति दुःखानि येन तत्).
- Some give the meaning 'sorrow' or 'pain' to the root 'syati' with the hint that it is very difficult or painful to learn Samaveda (स्यति दुःखयति दुरध्येयत्वात्).
- The word also means that the gods are pleased by hearing the chanting of Sama (सामयति देवान् अनेन).
- The word 'Sāma' is the combination of the words 'sā' and 'ama'. This is referred to in Aitareyabrāhmana (12. 12), Atharvaveda (14. 2. 71) and Brhadaranyakopanishad (1.3.22).
- According to Sayanabhashya, 'sā' refers to the Mantras or Rks and 'ama' refers to the Svaras or accents while the Rks are chanted.
In many contexts in Rgveda, the word Sāma is referred to:
अङ्गिरसां सामभिः स्तूयमानः। (1.107.2)
aṅgirasāṁ sāmabhiḥ stūyamānaḥ। (1.107.2)
सामगा इव गायत्रञ्च त्रैष्टुभञ्च। (2.43.1)
sāmagā iva gāyatrañca traiṣṭubhañca। (2.43.1)
उद्गातेव... साम गायसि। (2.43.2)
शुद्धेन साम्ना। (8.84.7)
इन्द्राय बृहत् साम गायत। (8.87.1)
अङ्गिरसो न सामभिः। (10.78.5)[1]
सामगानम्
The oral Gāna tradition of Sāmaveda is very unique, elaborate and musical.
The oral chanting methods slightly changes with each of the existing shakhas ie. the Jaimineeya, Kauthuma and Ranayaneeya. Again, the chanting tradition and the Svaras and the peculiarities of accents change according to each region. Kerala Namboothiris have a particular way of chanting of Sāmaveda which is not found in other places. Similarly Jaimineeya of Tamil Nadu tradition is again different in the style of chanting. The same Jaimineeya tradition of Tamil Brahmins settled in Kerala at Koduntirappully village near Palakkad has minor differences from that of the Jaimineeya tradition of Tamil Brahmins settled in Tamil Nadu. Regional cultures, social environments, historical aspects, accentuation, food habits and the like surely influence the method of articulation of letters and words which is invariably found in the chanting tradition of Sāmaveda also. The Prāceenakauthuma retaining its original tradition in its prestine purity in the Puthukkode village near Palakkad and the same subjected to change in Maharashtra and other regions, as noted above, are the best examples for these tendencies.
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. 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)
| 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।).[2]
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]