Indian classical music - Revision history

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	==See also==		==See also==
	~~{{Portal\|India\|Music}}~~
	* [[List of Indian classical music festivals]]		* [[List of Indian classical music festivals]]
	* [[List of rāgas in Indian classical music]]		* [[List of rāgas in Indian classical music]]

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	==History==		==History==
	The root of music in ancient India are found in the Vedic literature of Hinduism. The earliest Indian thought combined three arts, syllabic recital (''vadya''), melos (''gita'') and dance (''nrtta'').{{Sfn\|Rowell\|2015\|p=9}} As these fields developed, ''sangeeta'' became a distinct genre of art, in a form equivalent to contemporary music. This likely occurred before the time of [[Yāska]] (c. 500 BCE), since he includes these terms in his [[nirukta]] studies, one of the six [[Vedanga]] of ancient Indian tradition. Some of the ancient texts of Hinduism such as the ''[[Samaveda]]'' (c. 1000 BCE) are structured entirely to melodic themes,<ref name="Thompson1694">{{cite book\|author=William Forde Thompson\|title =Music in the Social and Behavioral Sciences: An Encyclopedia\|url =https://books.google.com/books?id=kpmlBQAAQBAJ&pg=PT1694\| year=2014 \|publisher=Sage Publications\|isbn=978-1-4833-6558-9\|pages=1693–1694}}</ref>{{Sfn\|Beck\|1993\|pages=107–109, Quote: "it is generally agreed that Indian music indeed owes its beginnings to the chanting of the ''Sama–Veda'', the vast collection of verses (Sama), many from the Rig–veda itself, set to melody and sung by singer–priests known as udgata".}} it is sections of ''[[Rigveda]]'' set to music.<ref>Frits Staal (2009), Discovering the Vedas: Origins, Mantras, Rituals, Insights, Penguin, {{ISBN\|978-0-14-309986-4}}, pp. 4–5</ref>		The root of [[music in ancient India]] are found in the Vedic literature of Hinduism. The earliest Indian thought combined three arts, syllabic recital (''vadya''), melos (''gita'') and dance (''nrtta'').{{Sfn\|Rowell\|2015\|p=9}} As these fields developed, ''sangeeta'' became a distinct genre of art, in a form equivalent to contemporary music. This likely occurred before the time of [[Yāska]] (c. 500 BCE), since he includes these terms in his [[nirukta]] studies, one of the six [[Vedanga]] of ancient Indian tradition. Some of the ancient texts of Hinduism such as the ''[[Samaveda]]'' (c. 1000 BCE) are structured entirely to melodic themes,<ref name="Thompson1694">{{cite book\|author=William Forde Thompson\|title =Music in the Social and Behavioral Sciences: An Encyclopedia\|url =https://books.google.com/books?id=kpmlBQAAQBAJ&pg=PT1694\| year=2014 \|publisher=Sage Publications\|isbn=978-1-4833-6558-9\|pages=1693–1694}}</ref>{{Sfn\|Beck\|1993\|pages=107–109, Quote: "it is generally agreed that Indian music indeed owes its beginnings to the chanting of the ''Sama–Veda'', the vast collection of verses (Sama), many from the Rig–veda itself, set to melody and sung by singer–priests known as udgata".}} it is sections of ''[[Rigveda]]'' set to music.<ref>Frits Staal (2009), Discovering the Vedas: Origins, Mantras, Rituals, Insights, Penguin, {{ISBN\|978-0-14-309986-4}}, pp. 4–5</ref>

	The ''Samaveda'' is organized into two formats. One part is based on the musical meter, another by the aim of the rituals.{{Sfn\|Rowell\|2015\|pp=59–61}} The text is written with embedded coding, where ''swaras'' (octave notes) are either shown above or within the text, or the verse is written into ''parvans'' (knot or member); in simple words, this embedded code of swaras is like the skeleton of the song. The swaras have about 12 different forms and different combinations of these swaras are made to sit under the names of different ragas. The specific code of a song clearly tells us what combination of swaras are present in a specific song. The lyrical part of the song is called "sahityam" and sahityam is just like singing the swaras altogether but using the lyrics of the song. The code in the form of swaras have even the notation of which note to be sung high and which one low. The hymns of ''Samaveda'' contain melodic content, form, rhythm and metric organization.{{Sfn\|Rowell\|2015\|pp=59–61}} This structure is, however, not unique or limited to ''Samaveda''. The ''Rigveda'' embeds the musical meter too, without the kind of elaboration found in the ''Samaveda''. For example, the [[Gayatri mantra]] contains three metric lines of exactly eight syllables, with an embedded ternary rhythm.{{Sfn\|Rowell\|2015\|pp=62–63}}		The ''Samaveda'' is organized into two formats. One part is based on the musical meter, another by the aim of the rituals.{{Sfn\|Rowell\|2015\|pp=59–61}} The text is written with embedded coding, where ''swaras'' (octave notes) are either shown above or within the text, or the verse is written into ''parvans'' (knot or member); in simple words, this embedded code of swaras is like the skeleton of the song. The swaras have about 12 different forms and different combinations of these swaras are made to sit under the names of different ragas. The specific code of a song clearly tells us what combination of swaras are present in a specific song. The lyrical part of the song is called "sahityam" and sahityam is just like singing the swaras altogether but using the lyrics of the song. The code in the form of swaras have even the notation of which note to be sung high and which one low. The hymns of ''Samaveda'' contain melodic content, form, rhythm and metric organization.{{Sfn\|Rowell\|2015\|pp=59–61}} This structure is, however, not unique or limited to ''Samaveda''. The ''Rigveda'' embeds the musical meter too, without the kind of elaboration found in the ''Samaveda''. For example, the [[Gayatri mantra]] contains three metric lines of exactly eight syllables, with an embedded ternary rhythm.{{Sfn\|Rowell\|2015\|pp=62–63}}
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	*{{cite book \|first=Ananda\|last=Lal \|title=The Oxford Companion to Indian Theatre \|url=https://books.google.com/books?id=DftkAAAAMAAJ\| year=2004\| publisher=Oxford University Press \|isbn=978-0-19-564446-3}}		*{{cite book \|first=Ananda\|last=Lal \|title=The Oxford Companion to Indian Theatre \|url=https://books.google.com/books?id=DftkAAAAMAAJ\| year=2004\| publisher=Oxford University Press \|isbn=978-0-19-564446-3}}
	*{{cite book \|first=Peter\|last=Lavezzoli\|title=The Dawn of Indian Music in the West\|url=https://books.google.com/books?id=OSZKCXtx-wEC \|year=2006\|location=New York\|publisher=Continuum\|isbn=978-0-8264-1815-9}}		*{{cite book \|first=Peter\|last=Lavezzoli\|title=The Dawn of Indian Music in the West\|url=https://books.google.com/books?id=OSZKCXtx-wEC \|year=2006\|location=New York\|publisher=Continuum\|isbn=978-0-8264-1815-9}}
	*{{cite ~~document~~\|first=Natalia\|last=Lidova\|publisher=Oxford University Press \|year=2014 \|doi=10.1093/obo/9780195399318-0071 \|title= Natyashastra }}		*{{cite book\|first=Natalia\|last=Lidova\|publisher=Oxford University Press \|year=2014 \|doi=10.1093/obo/9780195399318-0071 \|title= Natyashastra }}
	*{{cite book\|first=José Luiz\|last=Martinez\|title=Semiosis in Hindustani Music\|url=https://books.google.com/books?id=OwJRnFIcM4cC \|year=2001\|publisher=Motilal Banarsidass \|isbn=978-81-208-1801-9}}		*{{cite book\|first=José Luiz\|last=Martinez\|title=Semiosis in Hindustani Music\|url=https://books.google.com/books?id=OwJRnFIcM4cC \|year=2001\|publisher=Motilal Banarsidass \|isbn=978-81-208-1801-9}}
	*{{citation \|first=Tarla\|last=Mehta \|title=Sanskrit Play Production in Ancient India \|url=https://books.google.com/books?id=l7naMj1UxIkC \|year=1995\|publisher=Motilal Banarsidass \|isbn=978-81-208-1057-0 }}		*{{citation \|first=Tarla\|last=Mehta \|title=Sanskrit Play Production in Ancient India \|url=https://books.google.com/books?id=l7naMj1UxIkC \|year=1995\|publisher=Motilal Banarsidass \|isbn=978-81-208-1057-0 }}

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← Older revision		Revision as of 21:12, 17 April 2022
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	{{short description\|Classical music from the Indian subcontinent}}		{{short description\|Classical music from the Indian subcontinent}}
	{{Hatnote\|Indian classical music is one of many forms of art music that have their roots in particular regional cultures. For other "classical" and art music traditions, see [[List of classical and art music traditions]].~~}}{{Culture of India~~}}		{{Hatnote\|Indian classical music is one of the many forms of art music that have their roots in particular regional cultures. For other "classical" and art music traditions, see [[List of classical and art music traditions]].}}
	{{Use Indian English\|date=March 2020}}		{{Use Indian English\|date=March 2020}}
	{{Use dmy dates\|date=October 2013}}		{{Use dmy dates\|date=October 2013}}
	{{Indian classical music}}		{{Indian classical music}}
	{{Indian music\|state=collapsed}}		{{Indian music\|state=collapsed}}
	'''Indian classical music''' is the [[classical music]] of the [[Indian subcontinent]].{{sfn\|Nettl et al.\|1998\|pp=573–574}} It has two major traditions: the North Indian classical music tradition is called ''[[Hindustani classical music\|Hindustani]]'', while the South Indian expression is called ''[[Carnatic classical music\|Carnatic]]''.{{Sfn\|Sorrell\|Narayan\|1980\|pp=3–4}} These traditions were not distinct until about the 16th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a [[raga]], while Carnatic performances tend to be short composition-based.{{Sfn\|Sorrell\|Narayan\|1980\|pp=3–4}} However, the two systems continue to have more common features than differences.{{Sfn\|Sorrell\|Narayan\|1980\|pp=4–5}}

	The roots of the classical music of India are found in the [[Vedas\|Vedic]] literature of [[Hinduism]] and the ancient ''[[Natyashastra]]'', the classic Sanskrit text on ~~performance~~ arts by [[Bharata Muni]].{{Sfn\|Rowell\|2015\|pp=9–10, 59–61}}<ref name="Beck1995p107">{{harvnb\|Beck\|2012\|pages=107–108}}, Quote: "The tradition of Indian classical music and dance known as ''~~Sangita~~'' is fundamentally rooted in the sonic and musical dimensions of the Vedas (Sama veda), Upanishads and the Agamas, such that Indian music has been nearly always religious in character".</ref> The 13th century Sanskrit text ''~~Sangita~~-Ratnakara'' of [[Sarangadeva]] is regarded as the definitive text by both the [[Hindustani music]] and the [[Carnatic music]] traditions.<ref name=bod116>{{cite book\|author=Rens Bod\|title=A New History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present\|url= https://books.google.com/books?id=321oAgAAQBAJ&pg=PA116\| year=2013\|publisher=Oxford University Press\|isbn=978-0-19-164294-4\|page=116}}</ref><ref name="MasseyMassey1996">{{cite book\|author1=Reginald Massey\|author2=Jamila Massey\|title=The Music Of India\|url=https://books.google.com/books?id=yySNDP9XVggC&pg=PA42\|access-date=23 July 2013\|year= 1996\|publisher=Abhinav Publications\|isbn=978-81-7017-332-8\|page=42}}</ref>		'''Indian classical music''' is the [[art music\|classical music]] of the [[Indian subcontinent]].{{sfn\|Nettl et al.\|1998\|pp=573–574}} It has two major traditions: the North Indian classical music known as ''[[Hindustani classical music\|Hindustani]]'' and the South Indian expression known as ''[[Carnatic classical music\|Carnatic]]''.{{Sfn\|Sorrell\|Narayan\|1980\|pp=3–4}} These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a [[raga]], while Carnatic performances tend to be short composition-based.{{Sfn\|Sorrell\|Narayan\|1980\|pp=3–4}} However, the two systems continue to have more common features than differences.{{Sfn\|Sorrell\|Narayan\|1980\|pp=4–5}}

			The roots of the classical music of India are found in the [[Vedas\|Vedic]] literature of [[Hinduism]] and the ancient ''[[Natyashastra]]'', the classic Sanskrit text on performing arts by [[Bharata Muni]].{{Sfn\|Rowell\|2015\|pp=9–10, 59–61}}<ref name="Beck1995p107">{{harvnb\|Beck\|2012\|pages=107–108}}, Quote: "The tradition of Indian classical music and dance known as ''Sangeeta'' is fundamentally rooted in the sonic and musical dimensions of the Vedas (Sama veda), Upanishads and the Agamas, such that Indian music has been nearly always religious in character".</ref> The 13th century Sanskrit text ''Sangeeta-Ratnakara'' of [[Sarangadeva]] is regarded as the definitive text by both the [[Hindustani music]] and the [[Carnatic music]] traditions.<ref name=bod116>{{cite book\|author=Rens Bod\|title=A New History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present\|url= https://books.google.com/books?id=321oAgAAQBAJ&pg=PA116\| year=2013\|publisher=Oxford University Press\|isbn=978-0-19-164294-4\|page=116}}</ref><ref name="MasseyMassey1996">{{cite book\|author1=Reginald Massey\|author2=Jamila Massey\|author2-link=Jamila Massey\|title=The Music Of India\|url=https://books.google.com/books?id=yySNDP9XVggC&pg=PA42\|access-date=23 July 2013\|year= 1996\|publisher=Abhinav Publications\|isbn=978-81-7017-332-8\|page=42}}</ref>

	Indian classical music has two foundational elements, ''[[raga]]'' and ''[[Tala (music)\|tala]]''. The ''raga'', based on a varied repertoire of ''[[swara]]'' (notes including microtones), forms the fabric of a deeply intricate melodic structure, while the ''tala'' measures the time cycle.{{Sfn\|Sorrell\|Narayan\|1980\|pp=1–3}} The ''raga'' gives an artist a palette to build the melody from sounds, while the ''tala'' provides them with a creative framework for rhythmic improvisation using time.{{Sfn\|Nettl\|2010}}<ref>{{cite book\|author=James B. Robinson\|title=Hinduism\| url=https://books.google.com/books?id=GmQ_yp4vVhsC&pg=PA104\| year=2009\|publisher =Infobase Publishing\| isbn=978-1-4381-0641-0\|pages=104–106}}</ref><ref>{{cite book\|author=Vijaya Moorthy\|title=Romance of the Raga\|url=https://books.google.com/books?id=2s2xJetsy0wC \|year=2001\|publisher=Abhinav Publications\|isbn=978-81-7017-382-3\|pages=45–48, 53, 56–58}}</ref> In Indian classical music the space between the notes is often more important than the notes themselves, and it traditionally eschews Western classical concepts such as [[harmony]], counterpoint, chords, or modulation.<ref>{{cite web\|url=http://www.austinifa.org/AboutIndianMusic/carnaticmusic.htm\|title=Austin IFA : Introduction to Carnatic Music\|website=www.austinifa.org\|access-date=30 July 2018}}</ref><ref>{{cite web\|url=http://www.ravishankar.org/-music.html\|title=Music\|website=Ravi Shankar\|access-date=30 July 2018}}</ref><ref>{{cite web\|url=https://www.trinity.nottingham.sch.uk/music/gcse/indianClassicalAndGamelan.aspx\|title= Music (GCSE – Indian music and Gamelan)\|website=www.trinity.nottingham.sch.uk\|access-date=30 July 2018}}</ref>		Indian classical music has two foundational elements, ''[[raga]]'' and ''[[Tala (music)\|tala]]''. The ''raga'', based on a varied repertoire of ''[[swara]]'' (notes including microtones), forms the fabric of a deeply intricate melodic structure, while the ''tala'' measures the time cycle.{{Sfn\|Sorrell\|Narayan\|1980\|pp=1–3}} The ''raga'' gives an artist a palette to build the melody from sounds, while the ''tala'' provides them with a creative framework for rhythmic improvisation using time.{{Sfn\|Nettl\|2010}}<ref>{{cite book\|author=James B. Robinson\|title=Hinduism\| url=https://books.google.com/books?id=GmQ_yp4vVhsC&pg=PA104\| year=2009\|publisher =Infobase Publishing\| isbn=978-1-4381-0641-0\|pages=104–106}}</ref><ref>{{cite book\|author=Vijaya Moorthy\|title=Romance of the Raga\|url=https://books.google.com/books?id=2s2xJetsy0wC \|year=2001\|publisher=Abhinav Publications\|isbn=978-81-7017-382-3\|pages=45–48, 53, 56–58}}</ref> In Indian classical music the space between the notes is often more important than the notes themselves, and it traditionally eschews Western classical concepts such as [[harmony]], counterpoint, chords, or modulation.<ref>{{cite web\|url=http://www.austinifa.org/AboutIndianMusic/carnaticmusic.htm\|title=Austin IFA : Introduction to Carnatic Music\|website=www.austinifa.org\|access-date=30 July 2018}}</ref><ref>{{cite web\|url=http://www.ravishankar.org/-music.html\|title=Music\|website=Ravi Shankar\|access-date=30 July 2018}}</ref><ref>{{cite web\|url=https://www.trinity.nottingham.sch.uk/music/gcse/indianClassicalAndGamelan.aspx\|title= Music (GCSE – Indian music and Gamelan)\|website=www.trinity.nottingham.sch.uk\|access-date=30 July 2018}}</ref>
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	\|-		\|-
	\| ''Samaveda''		\| ''Samaveda''
	\| ~~Unknown~~		\| Vyasa
	\| c. 1000 BCE		\| c. 1000 BCE
	\| [[Hinduism]]		\| [[Hinduism]]
	\| Scripture set to music		\| Scripture set to music
			\|-
			\| ''Dattilam''
			\| Dattila
			\| c. 4th century BCE-2nd century CE
			\| [[Hinduism]]
			\| The text marks the transition from the sama-gayan (ritual chants), to gandharva music
	\|-		\|-
	\| ''Natyasastra''		\| ''Natyasastra''
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	==Reception outside India==		==Reception outside India==
	According to Yukteshwar Kumar, elements of Indian music arrived in China in the 3rd century, such as in the works of Chinese lyricist [[Li Yannian (musician)\|Li Yannian]]. <ref>A History of Sino-Indian Relations: 1st Century A.D. to 7th Century A.D. by Yukteshwar Kumar, APH Publishing, p. 76, {{ISBN \| 978-8176487986}}</ref>		According to Yukteshwar Kumar, elements of Indian music arrived in China in the 3rd century, such as in the works of Chinese lyricist [[Li Yannian (musician)\|Li Yannian]]. <ref>A History of Sino-Indian Relations: 1st Century A.D. to 7th Century A.D. by Yukteshwar Kumar, APH Publishing, p. 76, {{ISBN \| 978-8176487986}}</ref>
			In 1958, [[Ravi Shankar]] came to the US and started making albums. These started a 1960s penchant for Indian classical music in the States. By 1967 Shankar and other artists were performing at rock music festivals alongside Western rock, blues, and soul acts. This lasted until the mid-1970s. Ravi Shankar performed at Woodstock for an audience of over 500,000 in 1969.
	In the 1980s, 1990s and particularly the 2000s onwards, Indian Classical Music has seen rapid growth in reception and development around the globe, particularly in [[North America]], where immigrant communities have preserved and passed on classical music traditions to subsequent generations through the establishment of local festivals and music schools.<ref>{{Cite news\|last=Bennett\|first=Geetha Ramanathan\|date=2010-12-23\|title=Carnatic music in America -then and now\|language=en-IN\|work=The Hindu\|url=https://www.thehindu.com/features/friday-review/music/Carnatic-music-in-America-then-and-now/article15605571.ece\|access-date=2021-02-05\|issn=0971-751X}}</ref> Numerous musicians of American origin, including [[Ramakrishnan Murthy]], [[Sandeep Narayan]], [[Abby V]], and [[Mahesh Kale]] have taken professionally to Indian Classical Music with great success. In his 2020 released video, Canadian singer [[Abby V]] demonstrated 73 different Indian Classical ragas in a live rendering, which went viral on the internet; further establishing the growing prominence of Indian Classical Music around the globe. <ref>Abby V: Carnatic Ragas have so much versatility, https://timesofindia.indiatimes.com/entertainment/tamil/music/carnatic-ragas-have-so-much-versatility-abby-v/articleshow/74243055.cms </ref>		In the 1980s, 1990s and particularly the 2000s onwards, Indian Classical Music has seen rapid growth in reception and development around the globe, particularly in [[North America]], where immigrant communities have preserved and passed on classical music traditions to subsequent generations through the establishment of local festivals and music schools.<ref>{{Cite news\|last=Bennett\|first=Geetha Ramanathan\|date=2010-12-23\|title=Carnatic music in America -then and now\|language=en-IN\|work=The Hindu\|url=https://www.thehindu.com/features/friday-review/music/Carnatic-music-in-America-then-and-now/article15605571.ece\|access-date=2021-02-05\|issn=0971-751X}}</ref> Numerous musicians of American origin, including [[Ramakrishnan Murthy]], [[Sandeep Narayan]], [[Abby V]], and [[Mahesh Kale]] have taken professionally to Indian Classical Music with great success. In his 2020 released video, Canadian singer [[Abby V]] demonstrated 73 different Indian Classical ragas in a live rendering, which went viral on the internet; further establishing the growing prominence of Indian Classical Music around the globe. <ref>Abby V: Carnatic Ragas have so much versatility, https://timesofindia.indiatimes.com/entertainment/tamil/music/carnatic-ragas-have-so-much-versatility-abby-v/articleshow/74243055.cms </ref>

	==Organizations==		==Organizations==
	A few of the organizations that promote classical music include Saptak, Sangeet Sankalp established in 1989.<ref>{{cite web\|title=Sangeet Sankalp – An Artiste Co-Operative\|url=http://www.smitabellur.com/sangeet-sankalp.html\|publisher=smitabellur.com}}</ref><ref>{{cite web\|title=Announcement of The 17th Sangeet Sankalp Saptaah 2012\|url=http://saptak.org/news.php#33\|archive-url=https://web.archive.org/web/20100611205213/http://saptak.org/news.php#33\|url-status=dead\|archive-date=2010-06-11\|publisher=saptak.org}}</ref> [[SPIC MACAY]], established in 1977, has more than 500 chapters in India and abroad. SPIC MACAY claims to hold around 5000 events every year related to Indian classical music and dance.<ref>{{cite web\|title=About Spic Macay and Indian classical music\|url=http://www.spicmacay.com/about\|publisher=SPIC MACAY}}</ref>		[[SPIC MACAY]], established in 1977, has more than 500 chapters in India and abroad. SPIC MACAY claims to hold around 5000 events every year related to Indian classical music and dance.<ref>{{cite web\|title=About Spic Macay and Indian classical music\|url=http://www.spicmacay.com/about\|publisher=SPIC MACAY}}</ref>

	[[Prayag Sangeet Samiti]] is also a well established ~~organisastion~~ promoting Indian Classical Music.		[[Prayag Sangeet Samiti]] is also a well established organizastion promoting Indian Classical Music.
	~~Music Academy Madras' Sangeetha Kalanidhi Award is a well regarded award~~.

	==See also==		==See also==
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	* [[List of Indian classical music festivals]]		* [[List of Indian classical music festivals]]
	* [[List of rāgas in Indian classical music]]		* [[List of rāgas in Indian classical music]]
	~~{{clear}}~~

	== References ==		== References ==

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	==History==		==History==
	The root of music in ancient India are found in the Vedic literature of Hinduism. The earliest Indian thought combined three arts, syllabic recital (''vadya''), melos (''gita'') and dance (''nrtta'').{{Sfn\|Rowell\|2015\|p=9}} As these fields developed, ''sangeeta'' became a distinct genre of art, in a form equivalent to contemporary music. This likely occurred before the time of [[Yāska]] (c. 500 BCE), since he includes these terms in his [[nirukta]] studies, one of the six [[Vedanga]] of ancient Indian tradition. Some of the ancient texts of Hinduism such as the ''[[Samaveda]]'' (c. 1000 BCE) are structured entirely to melodic themes,<ref name="Thompson1694">{{cite book\|author=William Forde Thompson\|title =Music in the Social and Behavioral Sciences: An Encyclopedia\|url =https://books.google.com/books?id=kpmlBQAAQBAJ&pg=PT1694\| year=2014 \|publisher=Sage Publications\|isbn=978-1-4833-6558-9\|pages=1693–1694}}</ref>{{Sfn\|Beck\|1993\|pages=107–109, Quote: "it is generally agreed that Indian music indeed owes its beginnings to the chanting of the ''Sama–Veda'', the vast collection of verses (Sama), many from the Rig–veda itself, set to melody and sung by singer–priests known as udgata".}} it is sections of ''[[Rigveda]]'' set to music.<ref>Frits Staal (2009), Discovering the Vedas: Origins, Mantras, Rituals, Insights, Penguin, {{ISBN\|978-0-14-309986-4}}, pp. 4–5</ref>		The root of [[music in ancient India]] are found in the Vedic literature of Hinduism. The earliest Indian thought combined three arts, syllabic recital (''vadya''), melos (''gita'') and dance (''nrtta'').{{Sfn\|Rowell\|2015\|p=9}} As these fields developed, ''sangeeta'' became a distinct genre of art, in a form equivalent to contemporary music. This likely occurred before the time of [[Yāska]] (c. 500 BCE), since he includes these terms in his [[nirukta]] studies, one of the six [[Vedanga]] of ancient Indian tradition. Some of the ancient texts of Hinduism such as the ''[[Samaveda]]'' (c. 1000 BCE) are structured entirely to melodic themes,<ref name="Thompson1694">{{cite book\|author=William Forde Thompson\|title =Music in the Social and Behavioral Sciences: An Encyclopedia\|url =https://books.google.com/books?id=kpmlBQAAQBAJ&pg=PT1694\| year=2014 \|publisher=Sage Publications\|isbn=978-1-4833-6558-9\|pages=1693–1694}}</ref>{{Sfn\|Beck\|1993\|pages=107–109, Quote: "it is generally agreed that Indian music indeed owes its beginnings to the chanting of the ''Sama–Veda'', the vast collection of verses (Sama), many from the Rig–veda itself, set to melody and sung by singer–priests known as udgata".}} it is sections of ''[[Rigveda]]'' set to music.<ref>Frits Staal (2009), Discovering the Vedas: Origins, Mantras, Rituals, Insights, Penguin, {{ISBN\|978-0-14-309986-4}}, pp. 4–5</ref>

	The ''Samaveda'' is organized into two formats. One part is based on the musical meter, another by the aim of the rituals.{{Sfn\|Rowell\|2015\|pp=59–61}} The text is written with embedded coding, where ''swaras'' (octave notes) are either shown above or within the text, or the verse is written into ''parvans'' (knot or member); in simple words, this embedded code of swaras is like the skeleton of the song. The swaras have about 12 different forms and different combinations of these swaras are made to sit under the names of different ragas. The specific code of a song clearly tells us what combination of swaras are present in a specific song. The lyrical part of the song is called "sahityam" and sahityam is just like singing the swaras altogether but using the lyrics of the song. The code in the form of swaras have even the notation of which note to be sung high and which one low. The hymns of ''Samaveda'' contain melodic content, form, rhythm and metric organization.{{Sfn\|Rowell\|2015\|pp=59–61}} This structure is, however, not unique or limited to ''Samaveda''. The ''Rigveda'' embeds the musical meter too, without the kind of elaboration found in the ''Samaveda''. For example, the [[Gayatri mantra]] contains three metric lines of exactly eight syllables, with an embedded ternary rhythm.{{Sfn\|Rowell\|2015\|pp=62–63}}		The ''Samaveda'' is organized into two formats. One part is based on the musical meter, another by the aim of the rituals.{{Sfn\|Rowell\|2015\|pp=59–61}} The text is written with embedded coding, where ''swaras'' (octave notes) are either shown above or within the text, or the verse is written into ''parvans'' (knot or member); in simple words, this embedded code of swaras is like the skeleton of the song. The swaras have about 12 different forms and different combinations of these swaras are made to sit under the names of different ragas. The specific code of a song clearly tells us what combination of swaras are present in a specific song. The lyrical part of the song is called "sahityam" and sahityam is just like singing the swaras altogether but using the lyrics of the song. The code in the form of swaras have even the notation of which note to be sung high and which one low. The hymns of ''Samaveda'' contain melodic content, form, rhythm and metric organization.{{Sfn\|Rowell\|2015\|pp=59–61}} This structure is, however, not unique or limited to ''Samaveda''. The ''Rigveda'' embeds the musical meter too, without the kind of elaboration found in the ''Samaveda''. For example, the [[Gayatri mantra]] contains three metric lines of exactly eight syllables, with an embedded ternary rhythm.{{Sfn\|Rowell\|2015\|pp=62–63}}
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	*{{cite book \|first=Ananda\|last=Lal \|title=The Oxford Companion to Indian Theatre \|url=https://books.google.com/books?id=DftkAAAAMAAJ\| year=2004\| publisher=Oxford University Press \|isbn=978-0-19-564446-3}}		*{{cite book \|first=Ananda\|last=Lal \|title=The Oxford Companion to Indian Theatre \|url=https://books.google.com/books?id=DftkAAAAMAAJ\| year=2004\| publisher=Oxford University Press \|isbn=978-0-19-564446-3}}
	*{{cite book \|first=Peter\|last=Lavezzoli\|title=The Dawn of Indian Music in the West\|url=https://books.google.com/books?id=OSZKCXtx-wEC \|year=2006\|location=New York\|publisher=Continuum\|isbn=978-0-8264-1815-9}}		*{{cite book \|first=Peter\|last=Lavezzoli\|title=The Dawn of Indian Music in the West\|url=https://books.google.com/books?id=OSZKCXtx-wEC \|year=2006\|location=New York\|publisher=Continuum\|isbn=978-0-8264-1815-9}}
	*{{cite ~~document~~\|first=Natalia\|last=Lidova\|publisher=Oxford University Press \|year=2014 \|doi=10.1093/obo/9780195399318-0071 \|title= Natyashastra }}		*{{cite book\|first=Natalia\|last=Lidova\|publisher=Oxford University Press \|year=2014 \|doi=10.1093/obo/9780195399318-0071 \|title= Natyashastra }}
	*{{cite book\|first=José Luiz\|last=Martinez\|title=Semiosis in Hindustani Music\|url=https://books.google.com/books?id=OwJRnFIcM4cC \|year=2001\|publisher=Motilal Banarsidass \|isbn=978-81-208-1801-9}}		*{{cite book\|first=José Luiz\|last=Martinez\|title=Semiosis in Hindustani Music\|url=https://books.google.com/books?id=OwJRnFIcM4cC \|year=2001\|publisher=Motilal Banarsidass \|isbn=978-81-208-1801-9}}
	*{{citation \|first=Tarla\|last=Mehta \|title=Sanskrit Play Production in Ancient India \|url=https://books.google.com/books?id=l7naMj1UxIkC \|year=1995\|publisher=Motilal Banarsidass \|isbn=978-81-208-1057-0 }}		*{{citation \|first=Tarla\|last=Mehta \|title=Sanskrit Play Production in Ancient India \|url=https://books.google.com/books?id=l7naMj1UxIkC \|year=1995\|publisher=Motilal Banarsidass \|isbn=978-81-208-1057-0 }}