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Bharatiya Sangita Shastra (भारतीयसङ्गीतशास्त्रम्) (view source)
Revision as of 13:30, 15 January 2018
, 13:30, 15 January 2018added content
('''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]