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{{Use dmy dates|date=March 2015}}
{{Infobox religious text
| religion = [[Hinduism]]
| image = [[File:Four vedas.jpg|Four vedas|280px]]
| alt = Four Vedas
| language = [[Vedic Sanskrit]]
| caption = Four Vedas
| period = [[Wiktionary:circa|c.]] 1200–1000 BCE{{sfn|Witzel|2001|p=6}}
| chapters = 6 adhyayas
| sutras =
| verses = 1,875 mantras<ref>https://sites.google.com/a/vedicgranth.org/www/what_are_vedic_granth/the-four-veda/interpretation-and-more/construction-of-the-vedas?mobile=true</ref>
}}
{{multiple image
| align = right
| direction = vertical
| width = 320
| footer = Samaveda is a Hindu scripture in the Vedic Sanskrit language. Samaveda manuscripts exist in many Indic scripts. Above: [[Devanagari]], Below: [[Grantha script|Grantha]].

| image1 = 1636 CE Samaveda, Sadvimsha Brahmana, Varanasi Sanskrit college, Edward Cowell collection, sample iii, Sanskrit, Devanagari.jpg
| image2 = 1863 CE palm leaf manuscript, Jaiminiya Aranyaka Gana, Samaveda (unidentified layer of texts), Sanskrit, Southern Grantha script, Malayali scribe Kecavan, sample ii.jpg
}}

The '''Samaveda''' ([[Sanskrit]]: सामवेद, ''sāmaveda'', from ''{{IAST|sāman}}'' "song" and ''{{IAST|veda}}'' "knowledge"), is the Veda of melodies and chants.<ref name=staal107/> It is an ancient Vedic Sanskrit text, and part of the scriptures of [[Hinduism]]. One of the four [[Vedas]], it is a liturgical text which consists of 1,549 verses. All but 75 verses have been taken from the [[Rigveda]].<ref name=witzelsamaveda/> Three recensions of the Samaveda have survived, and variant manuscripts of the Veda have been found in various parts of [[India]].<ref name=rgriffith/><ref name=hastings/>

While its earliest parts are believed to date from as early as the Rigvedic period, the existing compilation dates from the post-Rigvedic Mantra period of [[Vedic Sanskrit]], between c. 1200 and 1000 BCE or "slightly rather later," roughly contemporary with the [[Atharvaveda]] and the [[Yajurveda]].{{sfn|Witzel|2001|p=6}}{{sfn|Dalal|2014|loc="The Rig Veda is considered later than the Rig Veda"}}

Embedded inside the Samaveda is the widely studied [[Chandogya Upanishad]] and [[Kena Upanishad]], considered as primary Upanishads and as influential on the six schools of [[Hindu philosophy]], particularly the [[Vedanta]] school.<ref name=maxmullerfull/> The Samaveda set important foundations for the subsequent Indian music.<ref name=guybeck107/>

It is also referred to as '''Sama Veda'''.<ref>John Stevenson, {{Google books|Q8VVAAAAcAAJ|Translation of the Sanhita of the Sama Veda|page=PR12}}, page XII</ref>

==Dating and historical context==
[[Michael Witzel]] states that there is no absolute dating for Samaveda and other Vedic texts.<ref name=mwitzel68/> He estimates the composition of the [[samhita]] layer of the text chronologically after the Rigveda, and in the likely range of 1200 to 1000 BCE, roughly contemporary with the [[Atharvaveda]] and the [[Yajurveda]].<ref name=mwitzel68>Michael Witzel (2003), "Vedas and Upaniṣads", in The Blackwell Companion to Hinduism (Editor: Gavin Flood), Blackwell, {{ISBN|0-631215352}}, pages 68-70</ref>{{sfn|Witzel|2001|p=6}}{{sfn|Dalal|2014|loc="The Rig Veda is considered later than the Rig Veda"}}

There were about a dozen styles of Samavedic chanting. Of the three surviving versions, the Jaiminiya preserves the oldest surviving tradition of Samavedic chanting.<ref name=brunonettle>Bruno Nettl, Ruth M. Stone, James Porter and Timothy Rice (1999), The Garland Encyclopedia of World Music, Routledge, {{ISBN|978-0824049461}}, pages 242-245</ref>

==Text==
[[Image:Early Vedic Culture (1700-1100 BCE).png|thumb|upright=1.5|Geography of the Early Vedic period. Samaveda recensions from the '''Kauthuma''' (north India) and '''Jaiminiya''' (central India) regions are among those that have survived, and their manuscripts have been found in different parts of India.]]
The ''Samaveda'' is the Veda of Chants, or "storehouse of knowledge of chants".<ref>Frits Staal (2009), Discovering the Vedas: Origins, Mantras, Rituals, Insights, Penguin, {{ISBN|978-0143099864}}, page xvi-xvii, Quote: "The Vedas are an Oral Tradition and that applies especially to two of the four: the Veda of the Verse (Rigveda) and the Veda of Chants (Samaveda). (...) The Vedas are not a religion in any of the many senses of that widespread term. They have always been regarded as storehouses of knowledge, that is: ''veda''."</ref> According to [[Frits Staal]], it is "the [[Rigveda]] set to music".<ref name=fritsstaal4>Frits Staal (2009), Discovering the Vedas: Origins, Mantras, Rituals, Insights, Penguin, {{ISBN|978-0143099864}}, pages 4-5</ref> It is a fusion of older melodies (''sāman'') and the Rig verses.<ref name=fritsstaal4/> It has far fewer verses than Rigveda,<ref name=hastings>James Hastings, {{Google book|5D4TAAAAYAAJ|Encyclopaedia of Religion and Ethics}}, Vol. 7, Harvard Divinity School, TT Clark, pages 51-56</ref> but Samaveda is textually larger because it lists all the chant- and rituals-related score modifications of the verses.<ref name=fritsstaal4/>

The Samaveda text contains notated melodies, and these are probably the world's oldest surviving ones.<ref name=brunonettle/> The musical notation is written usually immediately above, sometimes within, the line of Samaveda text, either in syllabic or a numerical form depending on the Samavedic ''Sakha'' (school).<ref>KR Norman (1979), Sāmavedic Chant by Wayne Howard (Book Review), Modern Asian Studies, Vol. 13, No. 3, page 524; Wayne Howard (1977), Samavedic Chant, Yale University Press, {{ISBN|978-0300019568}}</ref>

===Recensions===
R. T. H. Griffith says that there are three recensions of the text of the Samaveda Samhita:<ref name=rgriffith>Griffith, R. T. H. ''The {{IAST|Sāmaveda Saṃhitā}}'', {{ISBN|978-1419125096}}, page vi</ref>
* the Kauthuma recension is current in [[Gujarat]], [[Uttar Pradesh]], [[Odisha]], [[West Bengal]] and since a few decades in Darbhanga, [[Bihar]],
* the {{IAST|Rāṇāyanīya}} in the [[Maharashtra]], [[Karnataka]], [[Gokarna, India|Gokarna]], few parts of [[Odisha]], [[Andhra Pradesh]]
* and the Jaiminiya in the [[Karnataka|Carnatic]], [[Tamil Nadu]] and [[Kerala]]

===Organization===
The Samaveda comprises two major parts. The first part include four melody collections (gāna, गान) and the second part three verse "books" (ārcika, आर्चिक).<ref name=witzelsamaveda/> A melody in the song books corresponds to a verse in the ''arcika'' books.<ref name=witzelsamaveda/> The ''Gana'' collection is subdivided into ''Gramageya'' and ''Aranyageya'', while the ''Arcika'' portion is subdivided into ''Purvarcika'' and ''Uttararcika'' portions.<ref name=guybeck/> 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.<ref name=guybeck/> The Gramageya melodies are those for public recitations, while Aranyageya melodies are for personal meditative use such as in the solitude of a forest.<ref name=guybeck/> 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''.<ref name=guybeck>Guy Beck (1993), Sonic Theology: Hinduism and Sacred Sound, University of South Carolina Press, {{ISBN|978-0872498556}}, page 230 note 85</ref>

Just like Rigveda, the early sections of Samaveda typically begin with Agni and Indra hymns but shift to abstract speculations and philosophy, and their meters too shifts in a descending order.<ref name=witzelsamaveda/> The later sections of the Samaveda, states Witzel, have least deviation from substance of hymns they derive from Rigveda into songs.<ref name=witzelsamaveda/> The purpose of Samaveda was liturgical, and they were the repertoire of the [[udgatr|''{{IAST|udgātṛ}}'']] or "singer" priests.<ref name=witzelsamaveda/>

The Samaveda, like other Vedas, contains several layers of text, with [[Samhita]] being the oldest and the [[Upanishads]] the youngest layer.<ref name=staal74/>

{| class="wikitable"
|+ Samaveda<ref name=staal74>Frits Staal (2009), Discovering the Vedas: Origins, Mantras, Rituals, Insights, Penguin, {{ISBN|978-0143099864}}, pages 80, 74-81</ref>
|-
! Vedic School!![[Brahmana]]!![[Upanishad]]s!! Shrauta Sutras
|-
| Kauthuma-Ranayaniya|| Pancavimsa Sadvimsa|| [[Chandogya Upanishad]] || Latyayana Drahyayana
|-
| Jaiminiya or Talavakara|| Jaiminiya || [[Kena Upanishad]] Jaiminiya Upanishad || Jaiminiya
|}

===Analytics===
The Samaveda consists of 1,549 unique verses, taken almost entirely from Rigveda, except for 75 verses.<ref name=witzelsamaveda>[[Michael Witzel]] (1997), "[http://www.people.fas.harvard.edu/~witzel/canon.pdf The Development of the Vedic Canon and its Schools : The Social and Political Milieu]" in ''Inside the Texts, Beyond the Texts: New Approaches to the Study of the Vedas'', Harvard University Press, pages = 269-270</ref><ref>Axel Michaels (2004), Hinduism: Past and Present, Princeton University Press, {{ISBN|0-691-08953-1}}, page 51</ref> The largest number of verse come from Books 9 and 8 of the Rig Veda.<ref name=mwitzel76>Michael Witzel (2003), "Vedas and Upaniṣads", in The Blackwell Companion to Hinduism (Editor: Gavin Flood), Blackwell, {{ISBN|0-631215352}}, page 76</ref> Some of the Rigvedic verses are repeated more than once. Including these repetitions, there are a total of 1,875 verses numbered in the Samaveda recension translated by Griffith.<ref>For 1875 total verses, see numbering given in Ralph T. H. Griffith. Griffith's introduction mentions the recension history for his text. Repetitions may be found by consulting the cross-index in Griffith pp. 491-99.</ref>

==Contents==
{{Hindu scriptures}}
Samaveda [[samhita]] is not meant to be ''read'' as a text, it is like a musical score sheet that must be ''heard''.<ref name=staal107>Frits Staal (2009), Discovering the Vedas: Origins, Mantras, Rituals, Insights, Penguin, {{ISBN|978-0143099864}}, pages 107-112</ref>

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.<ref name=staal107/> 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.<ref>R Simon and JM van der Hoogt, [http://www.ibiblio.org/guruguha/MusicResearchLibrary/Books-English/BkE-Faddegon-StudiesOnTheSamaveda-1951-0022.pdf Studies on the Samaveda] North Holland Publishing Company, pages 47-54, 61-67</ref><ref>Frits Staal (1996), Ritual and Mantras, Motilal Banarsidass, {{ISBN|978-8120814127}}, pages 209-221</ref> Some verses add in meaningless sounds of a lullaby, for probably the same reason, remarks Staal.<ref name=staal107/> 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.<ref name=staal107/>

The portion of the first song of Samaveda illustrates the link and mapping of Rigvedic verses into a melodic chant:<ref name=staal107/>
[[File:Veena.png|thumb|The [[veena]] (''vīṇā'') is mentioned in Samaveda.<ref>Guy Beck (1993), Sonic Theology: Hinduism and Sacred Sound, University of South Carolina Press, {{ISBN|978-0872498556}}, pages 107-109</ref>]]

{{Quote|
<poem>
अग्न आ याहि वीतये – [[Rigveda]] 6.16.10<ref>[https://sa.wikisource.org/wiki/ऋग्वेद:_सूक्तं_६.१६ ६.१६ ॥१०॥] Wikisource, Rigveda 6.16.10; Sanskrit: '''अग्न आ याहि वीतये''' गृणानो हव्यदातये <nowiki>।</nowiki> नि होता सत्सि बर्हिषि <nowiki>॥१०॥</nowiki></ref>
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.
</poem>
|Samaveda 1.1.1|Translated by [[Frits Staal]]<ref name=staal107/>}}Multiple melodies were created by clans of sages from a Yonimantra, which is a base Mantra for Sama Chanting. Gautama's Parka was one such example cited by Dr. Damodar Satwalekar in his book Samveda.<ref>{{Cite web|title=Illustration on Samveda Musical Notes|url=https://sheetaluwach.com/veda-samveda-marathi/|url-status=live}}</ref>

===Upanishads===
Two primary Upanishads of Hinduism are embedded inside the Samaveda – the Chandogya Upanishad and the Kena Upanishad. Both are notable for the lifting metric melodic structure, but it is Chandogya which has played a historic role in the evolution of various schools of [[Hindu philosophy]]. The embedded philosophical premises in Chandogya Upanishad have, for example, served as foundation for [[Vedanta]] school of Hinduism.<ref name=maxmullerfull>Max Muller, [https://archive.org/stream/upanishads01ml#page/n93/mode/2up Chandogya Upanishad], The Upanishads, Part I, Oxford University Press, pages LXXXVI-LXXXIX, 1-144 with footnotes</ref> It is one of the most cited texts in later ''Bhasyas'' (reviews and commentaries) by scholars from the diverse schools of Hinduism. [[Adi Shankara]], for example, cited Chandogya Upanishad 810 times in his ''Vedanta Sutra Bhasya'', more than any other ancient text.<ref>Paul Deussen, The System of Vedanta, {{ISBN|978-1432504946}}, pages 30-31</ref>

====Chandogya Upanishad====
{{main|Chandogya Upanishad}}
The Chandogya Upanishad belongs to the ''Tandya'' school of the Samaveda.<ref name=patrickolivellepreface/> Like [[Brhadaranyaka Upanishad]], the Chandogya Upanishad is an anthology of texts that must have pre-existed as separate texts, and were edited into a larger text by one or more ancient Indian scholars.<ref name=patrickolivellepreface>Patrick Olivelle (2014), The Early Upanishads, Oxford University Press, {{ISBN|978-0195124354}}, page 166-169</ref> The precise chronology of Chandogya Upanishad is uncertain, but it is the youngest layer of text in the Samaveda, and it is variously dated to have been composed by 8th to 6th century BCE in India.<ref name=olivelleintro>Patrick Olivelle (2014), The Early Upanishads, Oxford University Press, {{ISBN|978-0195124354}}, page 12-13</ref><ref name=stephenphillips>Stephen Phillips (2009), Yoga, Karma, and Rebirth: A Brief History and Philosophy, Columbia University Press, {{ISBN|978-0231144858}}, Chapter 1</ref>

The Chandogya text combines a metric, melodic structure with a wide range of speculations and philosophical topics. The text in eighth and ninth volumes of the first chapter, for example, describes the debate between three men proficient in ''Udgitha'', about the origins and support of ''Udgitha'' and all of empirical existence.<ref name=roberthume19>Robert Hume, [https://archive.org/stream/thirteenprincipa028442mbp#page/n205/mode/2up Chandogya Upanishad] 1.8.7 - 1.8.8, The Thirteen Principal Upanishads, Oxford University Press, pages 185-186</ref> The text summarizes their discussion as,

{{quote|
<poem>
What is the origin of this world?<ref name=maxmuller19>Max Muller, [https://archive.org/stream/upanishads01ml#page/n127/mode/2up Chandogya Upanishad 1.9.1], The Upanishads, Part I, Oxford University Press, page 17 with footnote 1</ref>
Space, said he. Verily, all things here arise out of space. They disappear back into space, for space alone is greater than these, space is the final goal.
This is the most excellent ''Udgitha''. This is endless. The most excellent is his, the most excellent worlds does he win, who, knowing it thus, reveres the most excellent ''Udgitha'' ([[Om]], {{large|ॐ}}).
</poem>
|Chandogya Upanishad 1.9.1-1.9.2<ref name=roberthume19/>}}

Max Muller notes that the term "space" above, was later asserted in the Vedanta Sutra verse 1.1.22 to be a symbolism for the Vedic concept of [[Brahman]].<ref name=maxmuller19/> Paul Deussen explains the term ''Brahman'' means the "creative principle which lies realized in the whole world".<ref>Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, {{ISBN|978-8120814684}}, page 91</ref> The text discusses [[Dharma]] and many other topics:

{{Quote|
<poem>
There are three branches of [[Dharma]] (righteous life, duty): [[Yajna]] (sacrifice), [[Svādhyāya]] (self study) and [[Dāna]] (charity) are the first,
[[Tapas (Sanskrit)|Tapas]] (austerity, meditation) is the second, while dwelling as a [[Brahmacharya]] for education in the house of a teacher is third,
All three achieve the blessed worlds. But the ''Brahmasamstha'' – one who is firmly grounded in Brahman – alone achieves immortality.
</poem>
|Chandogya Upanishad 2.23.1<ref name=gjha223>[https://archive.org/stream/Shankara.Bhashya-Chandogya.Upanishad-Ganganath.Jha.1942.English#page/n117/mode/2up Chandogya Upanishad with Shankara Bhashya] Ganganath Jha (Translator), pages 103-116</ref><ref name=maxmuller223>Max Muller, [https://archive.org/stream/upanishads01ml#page/34/mode/2up Chandogya Upanishad Twenty Third Khanda], The Upanishads, Part I, Oxford University Press, page 35 with footnote</ref><ref name=pauldeussen223>Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, {{ISBN|978-8120814684}}, pages 97-98 with preface and footnotes</ref>}}

====Kena Upanishad====
{{main|Kena Upanishad}}
The Kena Upanishad is embedded inside the last section of the ''Talavakara Brahmanam'' recension of the Samaveda.<ref>Johnston, Charles (1920-1931), The Mukhya Upanishads, Kshetra Books, {{ISBN|9781495946530}} (Reprinted in 2014)</ref><ref>Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, {{ISBN|978-8120814684}}, pages 207-213</ref> It is much shorter, but it too delves into philosophical and spiritual questions like the Chandogya Upanishad. In the fourth chapter, the Kena Upanishad states, for example, that all beings have an innate longing for spiritual knowledge, for self-awareness.<ref name=pauldeussen208>Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, {{ISBN|978-8120814684}}, page 208</ref> This knowledge of Atman-Brahman is ''Tadvanam'' (transcendental happiness, blissfulness).<ref>[https://archive.org/stream/kena-upanishad00xxxxuoft#page/31/mode/2up Kena Upanishad] Mantra 6, G Prasadji (Translator), pages 32-33</ref> In the final paragraphs, Kena Upanishad asserts ethical life as the foundation of self-knowledge and of Atman-Brahman.

{{Quote|
[[Tapas (Sanskrit)|Tapas]],<ref>Meditation, Penance, Inner heat, See: WO Kaelber (1976), "Tapas", Birth, and Spiritual Rebirth in the Veda, History of Religions, 15(4), pages 343-386</ref> [[Temperance (virtue)#Hinduism|Damah]],<ref>Self-restraint, see: M Heim (2005), Differentiations in Hindu ethics, in William Schweiker (Editor), The Blackwell companion to religious ethics, {{ISBN|0631216340}}, pages 341-354</ref> Work - these are the foundations, the Vedas are the limbs of the same, the [[Satya|Truth]] is its fulcrum.
|Kena Upanishad, 4.8 (paragraph 33)<ref name=pauldeussen34>Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, {{ISBN|978-8120814684}}, pages 211-213</ref>}}

==Manuscripts and translations==
The Kauthuma recension has been published (Samhita, Brahmana, Shrautasutra and ancillary Sutras, mainly by B.R. Sharma), parts of the Jaiminiya tradition remain unpublished.<ref>A. Parpola. The literature and study of the Jaiminīya Sāmaveda. In retrospect and prospect. Studia Orientalia XLIII:6. Helsinki 1973</ref> There is an edition of the first part of the Samhita by W. Caland<ref>W. Caland, Die Jaiminīya-Saṃhitā mit einer Einleitung über die Sāmaveda-literatur. Breslau 1907</ref> and of the Brahmana by Raghu Vira and Lokesh Chandra,<ref>Raghu Vira and Lokesh Chandra. 1954. Jaiminīya-Brāhmaṇa of the Sāmaveda. (Sarasvati-Vihara Series 31.) Nagpur. 2nd revised ed., Delhi 1986</ref> as well as the neglected Upanishad,<ref>H. Oertel. The Jaiminīya or Talavakāra Upaniṣad Brāhmaṇa. Text, translation, and notes. JAOS 16,1895, 79–260</ref> but only parts of the Shrautasutra. The song books remain unpublished.<ref>A. Parpola. The decipherment of the Samavedic notation of the Jaiminīyas. Finnish Oriental Society 1988</ref>

A German edition of Samaveda was published in 1848 by [[Theodor Benfey]],<ref>Theodor Benfey, [https://archive.org/stream/bub_gb_0C_oEB7TkVgC#page/n3/mode/2up Die Hymnen des Samaveda] FA Brockhaus, Leipzig</ref> and Satyavrata Samashrami published an edited Sanskrit version in 1873.<ref>Satyavrata Samashrami, {{Google books| i9dRAAAAcAAJ|Sama Veda Sanhita}}</ref> A Russian translation was published by [[Filipp Fortunatov]] in 1875.<ref>https://commons.wikimedia.org/w/index.php?title=File:%D0%A4%D0%BE%D1%80%D1%82%D1%83%D0%BD%D0%B0%D1%82%D0%BE%D0%B2_%D0%A4_%D0%A4_%D0%A1%D0%B0%D0%BC%D0%B0%D0%B2%D0%B5%D0%B4%D0%B0_%D0%90%D1%80%D0%B0%D0%BD%D1%8F%D0%BA%D0%B0_%D0%A1%D0%B0%D0%BC%D1%85%D0%B8%D1%82%D0%B0_1875.pdf&page=4</ref> An English translation was published by Ralph Griffith in 1893.<ref>Griffith, Ralph T. H. ''The {{IAST|Sāmaveda Saṃhitā}}''. Text, Translation, Commentary & Notes in English. Translated by Ralph T. H. Griffith. First published 1893; Revised and enlarged edition, enlarged by Nag Sharan Singh and Surendra Pratap, 1991 (Nag Publishers: Delhi, 1991) {{ISBN|81-7081-244-5}}; This edition provides the text in [[Devanagari]] with full metrical marks needed for chanting.</ref> A translation in Hindi by Mridul Kirti called "Samveda Ka Hindi Padyanuvad" has also been published recently.{{citation needed|date=September 2015}}

The Samaveda text has not received as much attention as the Rigveda, because outside of the musical novelty and melodic creativity, the substance of all but 75 verses of the text have predominantly been derived from the Rigveda. A study of Rigveda suffices.<ref>SW Jamison and M Witzel (1992), [http://www.people.fas.harvard.edu/~witzel/vedica.pdf Vedic Hinduism], Harvard University, page 8</ref>

==Cultural influence==
The Indian classical music and dance, states Guy Beck, is rooted in the sonic and musical dimensions of the Sama Veda, along with the Upanishads and Agamas.<ref name=guybeck107/> The Samaveda, in addition to singing and chanting, mentions instruments. The rules and suggestions for playing various instruments form a separate compilation, called the ''Gandharva-Veda'', and this Upaveda is attached to the Samaveda.<ref name=guybeck107/><ref>H Falk (1992), Samaveda und Gandharva (German language), in Ritual, State, and History in South Asia (Editors: Heesterman et al), BRILL, {{ISBN|978-9004094673}}, pages 141-158</ref> The structure and theory of chants in the Samaveda have inspired the organizing principle for Indian classical arts and performances, and this root has been widely acknowledged by musicologists dealing with the history of Indian music.<ref name=guybeck107/><ref>SS Janaki (1985), The role of Sanskrit in the Development of Indian Music, Journal of the Music Academy, Vol. 56, pages 67, 66-97</ref>

{{Quote|
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|<ref name=guybeck107>Guy Beck (1993), Sonic Theology: Hinduism and Sacred Sound, University of South Carolina Press, {{ISBN|978-0872498556}}, pages 107-108</ref>}}

==See also==
* [[Hinduism]]
* [[Historical Vedic religion]]
* [[Rigveda]]
* [[Vedas]]

== References ==
{{reflist|30em}}

==Sources==
{{refbegin}}

* {{citation | last =Witzel | first =Michael | year =1997| chapter =The Development of the Vedic Canon and its Schools: The Social and Political Milieu | editor-last =Witzel | editor-first =Michael | title =Inside the Texts, Beyond the Texts: New Approaches to the Study of the Vedas | series =Harvard Oriental Series, Opera Minora; vol. 2| publisher =Harvard University Press | location =Cambridge | author-link =Michael Witzel| url =https://www.people.fas.harvard.edu/~witzel/canon.pdf}}
* {{Citation | last=Witzel | first=Michael |year=2001 | title=Autochthonous Aryans? The Evidence from Old Indian and Iranian Texts | journal=Electronic Journal of Vedic Studies |volume=7 |issue=3 |pages=1–115 | url=http://www.people.fas.harvard.edu/~witzel/EJVS-7-3.pdf}}
{{refend}}

==External links==
{{wikisourcelang|sa|सामवेदः|Samaveda (original Sanskrit text)}}
{{wikiquote|Sama Veda}}
* [[Ralph T. H. Griffith|Ralph Griffith]], [http://www.sacred-texts.com/hin/sv.htm ''Hymns of the Samaveda''] 1895, full text, (online at sacred-texts.com)
* [http://www.vedchant.com/#sama Veda Prasar Samiti (MP3 examples of vedic chants)]
* [http://www.sanskritweb.net/samaveda/ Samaveda Song Books in Devanagari with svara marks and musical notes file for download]

{{Hindudharma}}

[[Category:Vedas]]
[[Category:Indian poetics]]
[[Category:Indian music]]
[[Category:Libation]]
[[Category:Hindu texts]]

Samaveda - Revision history

ShereeScotto4: Article updated with improved flow

imported>Chariotrider555: Undid revision 1038872795 by 150.129.206.49 (talk) Rv vandalism