Brief study of Music in Veda...

Hindustani Music

Notes

6
BRIEF STUDY OF MUSIC IN
VEDA WITH SPECIAL
REFERENCE TO SAMA VEDA

V
edic period is the most ancient period of the history of Indian culture that
provides information about the structure of ancient culture of India. This
information is available in the form of the literary content of the Vedas.
According to historians, Vedic period is considered around 500 B.C. There are
four Vedas in all – Rig Veda, Yajur Veda, Sama Veda and Atharva Veda. Among
the four Vedas, Sama Veda is considered as the origin of Indian music.
During that period, music was the medium for prayer in religious ceremonies as
well as entertainment and social occasions. The development of notes originated in
the Vedic period itself. Initially three Vedic notes were used-Udatta, Anudatta and
Svarita. Later, they developed into seven Vedic note which finally gave way to the
Laukik or Gandharva notes. Various musical instruments were also used during the
Vedic period. Among stringed instruments, different types of Veena were prevalent.
Also, leather instruments such as Dundubhi, wind instruments such as Tunava and
metallic instruments such as Aghati were prevalent during that period.

OBJECTIVE

By studying this lesson, learners will be able to :

● explain the system of music during Vedic period;
● write the methodology of singing–playing during yajnas;
● describe the development of Sama Vedic seven Svaras derived from the ba-
sic Svaras of Vedic music – Udatta, Anudatta and Svarita etc.;
● identify the fourfold instruments i.e., Tata, Sushir, Avanadya and Ghana of
vedic period.

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Hindustani Music Brief study of Music in Veda...

6.1 THE SYSTEM OF MUSIC PREVALENT DURING VEDIC

PERIOD

During Vedic period, music was used liberally for religious ceremonies and social
occasions. The music used for Yajnas (Vedic) was bound by strict rules, whereas
Notes
that used for social occasions (Laukik) was according to the interests of people.
Since Vedic Richas or Mantras were considered as energising, powerful and
divine, they were sung at various yajnas using different procedures and methodol-
ogy for fulfilling wordly and spiritual desires. Keeping this factor in mind, such Brah-
mins were considered as suitable for the purpose who were good singers with a
naturally melodious voice, good instrumentalists and experienced in the knowledge
of Vedas and Vedic rituals. Apart from these qualities, it was essential for them to
receive training orally in Vedic knowledge. For Yajnas and religious ceremonies,
Brahmins were given specific training in music. This training was given from father to
son, Guru to Shishya, or to students of a Gurukul in a group. Ashrams and
Samaparishads were established to gain knowledge of characteristics of melody
and pronounciation in music. This rule bound Vedic music can be called the classical
form of music of Vedic period.
In the backdrop of Laukik music, Lok Gathas and songs in praise of brave men and
kings such as ‘Gathas’, ‘Narashansi’, ‘Raibhya’ etc., that were used both for reli-
gious and social ceremonies were prevalent. Since the singers of ‘Gatha’ sang along
with the Veena instrument, they were called ‘Gathagayak’, ‘Veenagathin’ or
‘Veenaganagn’.
In this period, dance was performed in an open surrounding before a gathering in
which both men and women participated According to the treatise ‘Vajasneyi
Sanhita’, during this period, group dances like Rajju, Arun, Prakriti, Puspa and
Basant dance etc. were prevalent. In this way, apart from the classical form which
was used for religious purposes according to rules specified in Vedas, music was
also used for social ceremonies according to interests of people in the Vedic period.

INTEXT QUESTIONS 6.1

1. On what occasions was music used in Vedic period?

2. Which Brahmins were considered as suitable for singing Vedic Mantras?
3. What were the mediums through which training in music was given in Vedic
period?
4. Mention the types of songs used in Laukik music.
5. What were the singers who sang along with Veena instrument called?
6. Name the group dances mentioned in ‘Vajansaneyi Sanhita’.

6.2 THE ORIGIN OF MUSIC, SAMA VEDA

Among the four Vedas, Sama Veda represents music. For this reason, Sama Veda
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has been called the origin of Indian music and has been considered as foremost
among the four Vedas. As Lord Krishna has said in the Gita – ‘Vedanam
samavedo’smi. Sama is sung on the basis of Richas, i.e. when the Rig Vedic Man-
tras are sung melodiously, they are called Sama. According to ‘Chhandogya
Upanishad’, ‘Sama’ has been derived from ‘Sa’ + ‘amah’. ‘Sa’ denotes Richa Notes
and ‘amah’ demotes Alap, i.e., singing of Richas along with Alap. Therefore the
singing of Vedic Mantras with melody and rhythm is called Sama Gana.

Sama Veda has two parts – Archik Sanhita and Gana Sanhita. Archik Sanhita
again has two parts Purvarchik and Uttararchik. In Purvarchik, Sama Gana is
done solo using a single Richa, whereas in Uttararchik, it is done using groups of
three Richas. Along with the main singer, other singers are also present in this. In
this way, the Richas or Mantra was prominent in Purvarchik and Uttararchik.
However, with the passage of time, an increase in religious rituals saw a simulta-
neous rise in prominence of melody and the second part of Sama Veda, Gana
Sanhita came into being. Though it was based on Archik Sanhita, the element of
melody was given priority. There are four parts of Gana Sanhita – Gramageya
Gana, Aranyageya Gana, Uha Gana and Uhya Gana. In Gramageya Gana, easier
metre bound Sanskrit language was used instead of difficult Vedic use.
Aranyageya Gana was meant to be sung in wilderness. Uha and Uhya Gana both
were considered as secret forms that could only be sung by one who could deci-
pher the meaning of Upanishads. Thus, Archik consisted of the literary aspect and
Gana consisted of the melodic aspect of Sama. For the purpose of singing in
Yajnas, Same Gana has been divided into five or seven Bhaktis. Five bhaktis are
(1) Prastava (2) Udgeeth (3) Pratihar (4) Updrava (5) Nidhan. Two other
Bhaktis are used in some Samas, they are ‘Hinkar’ and ‘Pranava’. The Brahmins
who were designated to sing these Bhaktis according to set rules were referred to
as Prastota, Udgata and Pratiharta.

INTEXT QUESTIONS 6.2

1. What is meant by ‘Sama’?

2. What is the difference between Purvarchik and Uttararchik?
3. ‘Gana Sanhita’ has been divided into which parts?
4. Name the five Bhaktis of Sama Gana.
5. Name the Brahmins designated to sing Bhaktis according to set rules.
6. What is the etymology of Sama?

6.3 SVARAS USED IN SAMA GANA

In the beginning, only three Svaras were used for Sama Gana, viz – Udatta,
Anudatta and Svarita. Udatta denoted high, Anudatta low and Svarita was me-
dium, in which there was a combination of high and low. To indicate these three
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Hindustani Music Brief study of Music in Veda...

Svaras, the numbers 1, 2 and 3 were used for Udatta, Anudatta and Svarita re-
spectively above syllables of Mantras. The usage of Udatta, Anudatta and Svarita
Svaras gave rise to three fold structure of Sama Gana – Archik Gana, Gathik Gana
and Samik Gana. When only one note was used, it constituted Archik, when two
Notes notes were used it constituted Gathik and when three notes were used it consti-
tuted Samik. According to ‘Tattariya Pratishakhya’, slowly from these three notes,
seven Sama Vedic Svaras developed.

They were – Krushta, Prathama, Dvitiya, Tritiya, Chaturtha, Mandra and

Atisvarya. They are comparable to the Laukik Svaras Ma, Ga, Re, Sa, Dha, Ni,
Pa respectively. Their relationship can be understood from the table given below:-

Relation of Vedic Svaras to Laukik Svaras

S. No. Sama Vedic Svara Laukik Svara

1. Krushta Ma

2. Prathama Ga

3. Dvitiya Re

4. Tritiya Sa

5. Chaturtha Dha

6. Mandra Ni

7. Atisvarya Pa

INTEXT QUESTIONS 6.3

1. What is meant by Udatta, Anudatta and Svarita?

2. What are the terms used for singing with the usage of one, two and three
notes in Vedic terminology?

3. Name the seven Svaras used in Vedic music.

6.4 INSTRUMENTS OF VEDIC PERIOD

Four types of instruments have been mentioned during Vedic period – (1) stringed
instruments (2) wind instruments (3) leather instruments (4) metallic instruments.
These four types of instruments were later called Tata, Sushir, Avanadya and
Ghana instruments.

Among stringed instruments of Vedic period, Veena held a prominent place. These
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were different types of Veena such as, Bana Veena, Karkari Veena, Kanda
Veena, Apghatalika, Godha Veena etc. Bana Veena was also called Maha
Veena’. It consisted of hundred strings During Mahavrat Yajna, this Veena was
played using a wooden stick. Among wind instruments the name ‘Tunava’ has
been used often for flute. Nadi was another synonym for flute Among leather Notes
instruments, Dundubhi and Bhumi-Dundubhi were specifically important.
Dhundubhi was a type of drum which was made by stretching leather over wood
and was played using a stick. This was called ‘Ahanan’. Bhumi-Dundubhi was
made by digging a pit in the ground and covering it with leather. It was played
using the tail of an or. Panava, Pinga, Godha, Patah and Gargar etc. were instru-
ments of this category. A category by the name of Gadak was also present. In
metallic instruments, the name of Aghati finds mention, which has also been con-
sidered the same as Apghatalik and Kanda Veena according to some view points.

INTEXT QUESTIONS 6.4

1. How many types of instruments were, present during Vedic period. Name
them.

2. What is meant by ‘Maha Veena’?

3. Explain ‘Bhumi – Dundubhi’.

WHAT YOU HAVE LEARNT

In Vedic period, Laukik and classical, both forms of music have been mentioned.
In this period, music had a respectful place in society. Indian culture of Vedic era
consisted of four Vedas – Rig Veda, Yajur Veda, Sama Veda and Atharva Veda.
When the Mantras of Rig Veda were sung melodiously, they were called
Sama.The two parts of Sama were called ‘Archik Sanhita’ and ‘Gana Sanhita’. In
the beginning, the Svaras used for Sama were Udatta, Anudatta and Svarita.
Later, these Svaras developed into seven Vedic Svaras. Slowly, these seven
Svaras gave way to Laukik or Gandharva Svaras. During Vedic period the devel-
opment of fourfold instruments had taken place. Among them, Veena, Dundubhi
etc. were some such prominent instruments that were used along with Sama Gana
during Yajna ceremonies. Thus, from the aspect of development of music, the
Vedic period was very prosperous and sophisticated that later enriched the cul-
tural heritage of Indian music.

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Hindustani Music Brief study of Music in Veda...

TERMINAL EXERCISE
1. Give a brief description of the system of music prevalent during the Vedic
Notes period.

2. What was the form of musical training in Vedic period?

3. While explaining the word ‘Sama’, mention its various parts.

4. Describe in detail the three notes that were used in the beginning in Sama
Gana.

5. Describe the development of seven notes in Vedic period.

6. What were the fourfold instruments of Vedic period.

7. Decribe the prominent stringed and leather instruments prevalent during the
Vedic period.

ANSWERS TO INTEXT QUESTIONS

6.1

1. religious ceremonies and social occasions

2. good singers with melodious voice, good instrumentalists and experienced in

the knowledge of Vedas and Vedic rituals.

3. training was given from father to son, Guru to Shishya, to students of a

Gurukul in a group and in Ashrams and Samaparishads

4. Gathas, narashansi, Raibhya

5. Veenagathin, Gathagayak, Veenagangn

6. Rajju, Arun, Prakriti, Pushpa and Basant dance

6.2

1. singing of Vedic Mantras with melody and rhythm

2. in Purvarchik, Sama Gana is done solo using a single Richa, where as in

Uttararchik it is done using groups of three Richas by more than one singer

3. Gramageya Gana, Aranyageya Gana, Uha Gana and Uhya Gana

4. Prastava, Udgeeth, Pratihar, Updrava, Nidhan

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5. Prastota, Udgata, Pratiharta

6. Sa + amah

6.3
Notes
1. high, low and medium Svaras

2. Archik, Gathik, Samik

3. Krushta, Prathama, Dvitiya, Tritiya, Chaturtha, Mandra, Atisvarya

6.4

1. four types of instruments were present- (1) stringed (2) wind (3) leather (4)
metallic

2. hundred stringed Veena named ‘Bana’

3. Bhumi-Dumdubhi was made by digging a pit in the ground and covering it

with leather

GLOSSARY

1. Atharva Veda – Vedas of Indian culture

2. Rig Veda – Vedas of Indian culture
3. Yajur Veda – Vedas of Indian culture
4. Sama Veda – Vedas of Indian culture
5. Archik Sanhita – first Sanhita of Sama Veda
6. Purvarchik – first part of Archik Sanhita of Sama Veda
7. Uttararchik – second part of Archik Sanhita of Sama Veda
8. Gana Sanhita – second Sanhita of Sama Veda
9. Gramageya Gana – parts of Gana Sanhita
10. Aranyageya Gana – parts of Gana Sanhita
11. Uha Gana – parts of Gana Sanhita
12. Uhya Gana – parts of Gana Sanhita
13 Prastava – Bhaktis of Sama Gana
14. Udgeeth – Bhaktis of Sama Gana

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Hindustani Music Brief study of Music in Veda...

15. Pratihar – Bhaktis of Sama Gana

16. Updrava – Bhaktis of Sama Gana
17. Nidhan – Bhaktis of Sama Gana
Notes 18. Hinkar – Bhaktis of Sama Gana
20 Prastota – singers of Bhaktis of Sama Gana
21 Udgata – singers of Bhaktis of Sama Gana
22 Pratiharta – singers of Bhaktis of Sama Gana
23 Archik – use of one note in Sama Gana
24 Gathik – use of two notes in Sama Gana
25 Samik – use of three notes in Sama Gana
26 Anudatta – Vedic Svaras
27 Udatta – Vedic Svaras
28. Svarita – Vedic Svaras
29. Tata – stringed instruments
30. Sushir – wind instruments
31. Avanadya – leather instruments
32. Ghana – metallic instruments
33. Gatha – Laukik in Vedic period
34. Narashansi – Laukik in Vedic period
35. Raibhya – Laukik in Vedic period
36. Gathagayak – Laukik in Vedic period
37. Veenagathin – singers of Gatha who sang along with the Veena in-
strument
39. Rajju – group dance prevalent in Vedic period
40. Arun – group dance prevalent in Vedic period
41. Prakriti – group dance prevalent in Vedic period
42. Pushpa – group dance prevalent in Vedic period

43. Basant – group dance prevalent in Vedic period

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