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Indian classical music: Difference between revisions
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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 | *{{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 }} | ||