DOCSLIB.ORG

Indian Mythology and Music | Vedas | Shiva

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Indian Mythology and Music | Vedas | Shiva INDIAN MYTHOLOGY & MUSIC Mythological references of musical instruments and vocal traditions in ancient Indian texts URMI VAZ Paper I, PG Diploma in Comparative Mythology, 2013-14 Dept. of Sanskrit, University of Mumbai 11 INTRODUCTION Music is inherent to humankind. Since the beginning of documented culture, there has been evidence of music. Music has emerged spontaneously and in parallel in all known human societies. Archeological evidence shows a continuous record of musical instruments, dating back to at least 30,000 years (D’Errico et al., 2003). Thus, music is an ancient capacity rather than the recent creation of a single intelligence. Music appears to transcend time, place, and culture. Music is ubiquitous yet mysterious in the way it manifests and perpetuates. Since music has no apparent evolutionary function, this product of ‘pure culture’ has always roused curiosity. The human capacity for music has often been attributed to higher sources, and consequently, a whole body of mythology surrounding music has been born. This paper attempts to explore the effects music and mythology have had on each other over time in India. History of Indian music The ancient Indians believed in the divine origin of music. The purest form of sound was considered equal to cosmic energy. As a result, music and religion were always closely intertwined. Classical music tradition was probably evolved from the religious poems and chants of the Vedic period. It was later codified by Bharata Muni. Indian music has developed through very complex interactions between different peoples of different races and cultures over several thousand years. 2 The following timeline traces the evolution of the musical tradition in India: Date Significant musical developments 2500 BC - 1500 BC Several musical instruments, drums and ‘dancing’ statuettes (including one of Rudra) found at Indus Valley Civilization excavations. 1500 BC - 500 BC * Arrival of Aryans, beginning of Vedic tradition, especially the rhythmic compositions and chanting of the Vedas. * Introduction of the first instruments like veena, dundubhi, tunav, talav and bhoomi-dundubhi. * Drinking of Soma-ras as part of Vedic sacrifices. * Shiksha literature where ritual and mantra became basis of music. * Guru-Shishya parampara 500BC - 200BC * Ramayana, with its rhythmic shlokas, composed * Introduction of Pathya Sangeet – educative, instructional musical tales * Mahabharata composed with ample references to music, dance and singing * Musical references in early Buddhist and Jain scriptures ¤ 200 BC - 300 AD * Mahabharata epilogue, Harivamsha, mentions Chhalikya and Hallisaka. Chhalikya was a form of ancient Indian music and Hallisaka was a dance form. * Natyashastra composed ¤ 300 AD - 600 AD * Golden age of arts – Gupta period * Composition of important Kalidasa plays * Kamasutra, with varied musical references, composed * Samaj, ghata-nibandhan and other forms of music introduced * Music mentioned in Puranas like Vayupurana, Markandeyapurana and Vishnudharmottarapurana. * Dattilam, a text about ragas, composed ¤ 600 AD - 1200 AD * Brihaddeshi, text on Indian classical music, composed * Concepts of sargam, tala and Deshi music introduced * Significant changes in 11th century Hindustani art music * Beginnings of Sufi and Persian music ¤ 1200 AD - 1700 AD * The rise of Amir Khusro’s poetry * Emergence of music forms like qawali, qalbana, qasida, naqsh and rags like Turushka, Zeelaph and Sarpada * Drupad, a genre of Hindustani Classical music, introduced * Beginning of Hindi songs like Vishnupadas, in lieu of Sanskrit ones * Rise of the Bhakti cult with devotional music about Rama and Krishna, especially Meerabai * Legendary musicians like Tansen lived and sang * Rise in popularity of 16th century court music ¤ 1700 AD onwards * This period marks the beginning of modern Indian music * Birth of musical forms like Khayal, Thumri, Tappa and formation of Gharana * Publishing of Hindustani music in English and other regional languages Scriptural references – The Vedas Music originated from chanting of Vedas from the Aryan age. The Indus Valley civilization 3 declined around the first half of the 2nd millennium BC, giving way to Vedic civilization. An important aspect of Vedic religious life was the bard-priest who composed hymns, in praise of the gods, to be sung or chanted at sacrifices. This tradition continued until a sizable body of oral religious poetry had been composed. The Rigveda came into being between 1500 BC and 500 BC. It was not committed to writing, but the text and the chanting formula were carefully handed down by word of mouth from one generation to the next, up to the present period. The poems in the Rigveda are arranged according to the priestly families who chanted and, presumably, had composed the hymns. 'Nada' the source of sound turned into Chandas. The priests chanted hymns in a musical tone with the pronunciation according to the tune. Vocalising syllables called Sthobhaksaras were added. Melody and rhythm created the music. Priests used to perform group chanting at the sacrifices. There are many legends about the origin of music. Priests chanting during a Vedic sacrifice The Yajurveda and the Samaveda were composed after the Rigveda The Yajurveda, with portions in prose, is a manual, describing the procedures to be followed in the sacrifice. The Samaveda contains hymns to be sung by those who did the chanting. It is this Veda which is specifically connected with music in India. A fourth Veda, the Atharvaveda, replete with magical chants and incantations, was accepted as a Veda considerably later and is quite unrelated to the other three. SCRIPTURAL REFERENCES A. The Vishnudharmottara Purana The Vishnudharmottara Purana (or the 4 Vishnudharmottara) is a Hindu text, encyclopedic in nature. It is considered as a supplement or appendix to the Vishnu Purana. It is included in the list of eighteen Upapuranas given in the Brihaddharma Purana. Among other things, it has chapters dedicated to grammar, metrics, lexicography, metrics, rhetoric, dramaturgy, dance, vocal and instrumental music and arts. The extant text is divided into three khandas (parts). The first khanda comprises 269 adhyayas (chapters), the second khanda comprises 183 adhyayas and the third khanda comprises 118 adhyayas. Chapter I of the third khanda deals with the origin of image making and the interdependence of arts. Chapters 2-17 deal with grammar, lexicography, metrics and rhetoric. Chapters 18-19 deal with vocal and instrumental music. Chapters 20-34 deal with dance and dramaturgy. B. The Epics Ramayana - The first Indian epic, Ramayana, was composed by the sage Valmiki. It was written in shloka form. The word shloka refers to a particular kind of metrical composition known for its brevity, easy tempo and lilting rhyme. From the lavish use of musical metaphors in the epic, it is evident that the precise concept of music or sangeet had been adequately established and appreciated. For example, when Rama describes Kishkindha, Sugreeva's kingdom, to Laxmana, he refers to the lute-like resonance of the bees, the rhythmic croaking of frogs and the mridang-like sounds of clouds. Rama was an expert in gandharva, the 'classical' music of the time. The term Marga Sangeet is also used in the epic to denote the accepted and prestigious mode of music. There were three important features of Marga Sangeet. It was created and propagated by Brahma and other deities. It was not meant for entertainment. It was presented before the Gods to please them. The epic tells us that musical instruments were collectively mentioned as atodya. Four major types of instruments were identified. A wide variety of instruments were used such as the Veena, Venu, Vansha, Shankha, Dundubhi, Bheri, Mridang, Panav and Pataha. The knowledge of music was widespread. Ravana the demon-leader was proficient in music. So was Sugreeva, the monkey-leader. Occasions of festival music were known as samaj. There were professional classes of musicians such as Bandi, Soota, Magadha and others, whose repertoire included songs in praise of heroes, their deeds, their clans or dynasties. Ramayana, as an oral epic, was also propagated according to the musical norms perfected in the oral tradition. This was the pathya mode of music making, ideal for narration. This was the form employed by Rama's sons Kush and Lava, when they sang a narrative song in Rama's praise at his court accompanied by only a lute. Even today, the story of Rama, when traditionally narrated 5 in India in different languages and regions, follows the norms laid down by the ancient Sage. The use of technical terms in popular literature signifies that knowledge in the concerned field of study is widespread in society. Musical terms such as pramana, laya, tala, samatala , kala , matra and shamya regularly feature in the epic. Mahabharata - Krishnadvaipayana Vyasa composed the epic Mahabharata in 24000 shlokas. There is less about music in the Mahabharata than in the Ramayana. Possibly human life had become more complex and problem-ridden during the time of the Mahabharata, leaving less time for music. Mahabharata used the term gandharva instead of sangeet. The epic, therefore, referred to a more specific kind of music. Musicology, or the science of music was called Gandharvashastra. Superhuman beings called Gandharvas were the expert practitioners of this music. Both gandharvas and their consorts, the apsaras‚ were experts in singing, playing musical instruments and dancing. Arjuna, one of the heroes in the Mahabharata had learnt these musical arts from Chitrasen gandharva. Kings maintained their own music schools to train princesses and their maids-in-waiting in the performing arts. The names of the seven basic musical notes (shadja) have been clearly mentioned in the Mahabharata, which was composed around 400 BC. The epic therefore bears testimony to the long living tradition of Indian Classical music. The use of music in festivals and other social occasions brings out the importance given to music in human life. There were, in fact, many classes of professional musicians like the 6 gandharvas who catered to various musical and cultural needs.
Load more

Recommended publications
  • Music Initiative Jka Peer - Reviewed Journal of Music
    VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel Permalink https://escholarship.org/uc/item/90b9h1rs Author Sriram, Pallavi Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Pallavi Sriram 2017 Copyright by Pallavi Sriram 2017 ABSTRACT OF DISSERTATION Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel by Pallavi Sriram Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor Janet M. O’Shea, Chair This dissertation presents a critical examination of dance and multiple movements across the Coromandel in a pivotal period: the long eighteenth century. On the eve of British colonialism, this period was one of profound political and economic shifts; new princely states and ruling elite defined themselves in the wake of Mughal expansion and decline, weakening Nayak states in the south, the emergence of several European trading companies as political stakeholders and a series of fiscal crises. In the midst of this rapidly changing landscape, new performance paradigms emerged defined by hybrid repertoires, focus on structure and contingent relationships to space and place – giving rise to what we understand today as classical south Indian dance. Far from stable or isolated tradition fixed in space and place, I argue that dance as choreographic ii practice, theorization and representation were central to the negotiation of changing geopolitics, urban milieus and individual mobility.
    [Show full text]
  • Sreenivasarao's Blogs HOME ABOUT THIS WORDPRESS.COM SITE IS the BEE's KNEES
    sreenivasarao's blogs HOME ABOUT THIS WORDPRESS.COM SITE IS THE BEE'S KNEES ← Music of India – a brief outline – Part fifteen Music of India – a brief outline – Part Seventeen → Music of India – a brief outline – Part sixteen Continued from Part Fifteen – Lakshana Granthas– Continued Part Sixteen (of 22 ) – Lakshana Granthas – Continued Pages 8. Sangita-ratnakara by Sarangadeva About Archives January 2016 October 2015 September 2015 August 2015 July 2015 June 2015 May 2015 April 2015 February 2015 January 2014 December 2013 Sarangadeva’s Sangita-ratnakara (first half of 13th century) is of particular importance, because it was written November 2013 just before influence of the Muslim conquest began to assert itself on Indian culture. The Music discussed in Sangita-ratnakara is free from Persian influence. Sangita-ratnakara therefore marks the stage at which the October 2013 ‘integrated’ Music of India was before it branched into North-South Music traditions. October 2012 It is clear that by the time of Sarangadeva, the Music of India had moved far away from Marga or Gandharva, as September 2012 also from the system based on Jatis (class of melodies) and two parent scales. By his time, many new August 2012 conventions had entered into the main stream; and the concept of Ragas that had taken firm roots was wielding considerable authority. Sarangadeva brought together various strands of the past music traditions, defined almost 267 Ragas, established a sound theoretical basis for music and provided a model for the later Categories musicology (Samgita Shastra). Abhinavagupta (3) Sarangadeva’s emphasis was on the ever changing nature of music, the expanding role of regional (Desi) Agama (6) influences on it, and the increasing complexity of musical material that needed to be systemised time and again.
    [Show full text]
  • October 26, 2017 Enquiries
    VOL 11 ISSUE 42 ● NEW YORK/DALLAS ● OCTOBER 20 - OCTOBER 26, 2017 ● ENQUIRIES: 646-247-9458 THE INDIAN PANORAMA 2 ADVERTISEMENT FRIDAY, OCTOBER 20, 2017 www.theindianpanorama.news VOL 11 ISSUE 42 ● NEW YORK/DALLAS ● OCTOBER 20 - OCTOBER 26, 2017 ● ENQUIRIES: 646-247-9458 No second coming for A NEW DAWN FOR Diwali stood for Hindu- Australian Senate rejects Anna: A bogus morality is THE CONGRESS Muslim solidarity in the proposed visa, citizenship 8 dangerous 9 PARTY IN PUNJAB 16 Mughal era 23 curbs India and US have a "Natural, Instinctive Relationship", says President Trump Celebrates Diwali at White Ambassador Chakravorty House; Praises India, Indian Americans WASHINGTON (TIP): Following in the footsteps of his predecessor Barak Obama, President Trump himself led from the front by hosting a Diwali celebration in the White House on October 17. In his first Diwali Taking questions at the IACC reception to Ambassador Sandeep Chakravorty on October 17. celebration in the Oval Office From L to R: Consul L Krishnamurthy, IACC President of the White House, Trump Rajiv Khanna and Ambassador Sandeep Chakravorty was accompanied by senior Photo / Bidisha Roy Indian-American members of the administration, Bidisha Roy including US Ambassador to NEW YORK CITY (TIP): The India-America Chamber of the UN Nikki Haley, Seema Commerce (IACC) hosted a reception on October 17, 2017 to Verma, administrator of welcomeAmbassador Sandeep Chakravorty, India's Consul Centers for Medicare and General in New York. In his welcome address IACC President Medicaid Services, Ajit Pai, Rajiv Khanna pointed out that India's relations with the Chairman of the US Federal United States are at a critical juncture and Ambassador Communications Chakravorty would be a key person to strengthen the bilateral Commission and Raj Shah, relationship.
    [Show full text]
  • The Tradition of Kuchipudi Dance-Dramas1
    The Tradition of Kuchipudi Dance-dramas1 Sunil Kothari The Historical Background Of the many branches of learning which flourished in Andhra from very early ti.mes not the least noteworthy is the tradition of the Natyashastra, embracing the tw1n arts of music and dance. The Natyashastra mentions the Andhra region m connection with a particular style of dance in the context of the Vritti-s. Bharata refers to Kaishiki Vrittt: a delicate and graceful movement in the dance of this reg1on .2 A particular raga by the name of Andhri was the contribution of this region to the music of India. The dance traditions in Andhra can be traced to various sources. The ancient temples, the Buddhist ruins excavated at Nagarjunakonda, Amaravati, Ghantasala, Jagayyapet and Bhattiprole indicate a flourishing dance tradition in Andhra. Of these the Amaravati stupa relics are the most ancient dating back to the second century B.C.3 They reveal the great choreographic possibilities of group and composite dances called pind1bandha-s, mentioned by Bharata and on which Abhinavagupta gives a detailed commentary in Abhinava Bharat1: 4 The history of dance, divided into two periods for the sake of convenience on account of the continuity of the Sanskrit and the later development of the vernacular regional languages, admits of two broad limits : from the second century B.C. to the ninth century A.D. and from the tenth century A.D. to the eighteenth century A.D. The latter period coincides with the growth of various regional styles and with the development of the tradition of Kuchipudi dance­ dramas.
    [Show full text]
  • Time Travelers Camporee a Compilation of Resources
    1 Time Travelers Camporee A Compilation of Resources Scouts, Ventures, Leaders & Parents…. This is a rather large file (over 80 pages). We have included a “Table of Contents” page to let you know the page numbers of each topic for quick reference. The purpose of this resources to aid the patrols, crews (& adults) in their selection of “Patrol Time Period” Themes. There are numerous amounts of valuable information that can be used to pinpoint a period of time or a specific theme /subject matter (or individual).Of course, ideas are endless, but we just hope that your unit can benefit from the resources below…… This file also goes along with the “Time Traveler” theme as it gives you all a look into a wide variety of subjects, people throughout history. The Scouts & Ventures could possibly use some of this information while working on some of their Think Tank entries. There are more events/topics that are not covered than covered in this file. However, due to time constraints & well, we had to get busy on the actual Camporee planning itself, we weren’t able to cover every event during time. Who knows ? You might just learn a thing or two ! 2 TIME TRAVELERS CAMPOREE PATROL & VENTURE CREW TIME PERIOD SELECTION “RESOURCES” Page Contents 4 Chronological Timeline of A Short History of Earth 5-17 World Timeline (1492- Present) 18 Pre-Historic Times 18 Fall of the Roman Empire/ Fall of Rome 18 Middle Ages (5th-15th Century) 19 The Renaissance (14-17th Century) 19 Industrial Revolution (1760-1820/1840) 19 The American Revolutionary War (1775-1783) 19 Rocky Mountain Rendezvous (1825-1840) 20 American Civil War (1861-1865) 20 The Great Depression (1929-1939) 20 History of Scouting Timeline 20-23 World Scouting (Feb.
    [Show full text]
  • Sri Lanka Sample Itinerary Culinary Sri Lanka
    SRI LANKA SAMPLER Sample Itinerary SRI LANKA SAMPLER | OVERVIEW Sri Lanka is an often overlooked gem in the Indian Ocean. It boasts dense rainforests, endless tropical beaches, breath-taking highlands, abundant wildlife, and strong cultural history. We want you to experience and explore all of this in one trip. Our itinerary is to give you the most of each day but doing so in a comfortable and relaxed manner. This trip is custom curated to immerse you in an active, authentic and local holiday. ITINERARY OVERVIEW 14 Days / 13 Nights FEATURED EXPERIENCES 2 Nights Negombo Sri Lankan Cooking Class Fishing Village Visit 3 Nights Dambulla Cashew Farm Site Visit Live Cooking Demonstration At Sigirya Village Climb Sigiriya Rock Fortress Village Trek 1 Night Kandy Spice Garden Tour Head & Shoulder Massage Kandy City Tour Cultural Performance Ravana Waterfalls Ella Gap 1 Night Nuwara Eliya Train Ride To Nuwara Eliya On Sri Lanka's Iconic Train 2 Nights Yala Yala National Park Safari 1 Night Galle Galle City Tour View The Stilt Fishermen 3 Nights Bentota Sri Lanka Village Life Tour Kapu Ela River Tour With Local Expert Cycle & Culinary Journey Through Bentota TO BOOK THIS ITINERARY, OR CUSTOMIZE AN ASIA PACIFIC ITINERARY CONTACT [email protected] OR YOUR LOCAL TOUR EAST SALES REPRESENTATIVE SRI LANKA SAMPLER | SAMPLE ITINERARY 0 1 / 1 0 ITINERARY DAY 1 | NEGOMBO Welcome to Sri Lanka! Upon arrival at the airport you will transfer to your hotel in WELCOME TO SRI LANKA! Negombo. Lined by a string of fine beaches, along with tourist amenities of every conceivable standard and style, Sri Lanka’s west coast shows the island at its most developed, it’s most westernized, and it’s most tourist-oriented.
    [Show full text]
  • 2.Hindu Websites Sorted Category Wise
    Hindu Websites sorted Category wise Sl. No. Broad catergory Website Address Description Reference Country 1 Archaelogy http://aryaculture.tripod.com/vedicdharma/id10. India's Cultural Link with Ancient Mexico html America 2 Archaelogy http://en.wikipedia.org/wiki/Harappa Harappa Civilisation India 3 Archaelogy http://en.wikipedia.org/wiki/Indus_Valley_Civil Indus Valley Civilisation India ization 4 Archaelogy http://en.wikipedia.org/wiki/Kiradu_temples Kiradu Barmer Temples India 5 Archaelogy http://en.wikipedia.org/wiki/Mohenjo_Daro Mohenjo_Daro Civilisation India 6 Archaelogy http://en.wikipedia.org/wiki/Nalanda Nalanda University India 7 Archaelogy http://en.wikipedia.org/wiki/Taxila Takshashila University Pakistan 8 Archaelogy http://selians.blogspot.in/2010/01/ganesha- Ganesha, ‘lingga yoni’ found at newly Indonesia lingga-yoni-found-at-newly.html discovered site 9 Archaelogy http://vedicarcheologicaldiscoveries.wordpress.c Ancient Idol of Lord Vishnu found Russia om/2012/05/27/ancient-idol-of-lord-vishnu- during excavation in an old village in found-during-excavation-in-an-old-village-in- Russia’s Volga Region russias-volga-region/ 10 Archaelogy http://vedicarcheologicaldiscoveries.wordpress.c Mahendraparvata, 1,200-Year-Old Cambodia om/2013/06/15/mahendraparvata-1200-year- Lost Medieval City In Cambodia, old-lost-medieval-city-in-cambodia-unearthed- Unearthed By Archaeologists 11 Archaelogy http://wikimapia.org/7359843/Takshashila- Takshashila University Pakistan Taxila 12 Archaelogy http://www.agamahindu.com/vietnam-hindu- Vietnam
    [Show full text]
  • Evolution and Assessment of South Asian Folk Music: a Study of Social and Religious Perspective
    British Journal of Arts and Humanities, 2(3), 60-72, 2020 Publisher homepage: www.universepg.com, ISSN: 2663-7782 (Online) & 2663-7774 (Print) https://doi.org/10.34104/bjah.020060072 British Journal of Arts and Humanities Journal homepage: www.universepg.com/journal/bjah Evolution and Assessment of South Asian Folk Music: A Study of Social and Religious Perspective Ruksana Karim* Department of Music, Faculty of Arts, Jagannath University, Dhaka, Bangladesh. *Correspondence: [email protected] (Ruksana Karim, Lecturer, Department of Music, Jagannath University, Dhaka, Bangladesh) ABSTRACT This paper describes how South Asian folk music figured out from the ancient era and people discovered its individual form after ages. South Asia has too many colorful nations and they owned different culture from the very beginning. Folk music is like a treasure of South Asian culture. According to history, South Asian people established themselves here as a nation (Arya) before five thousand years from today and started to live with native people. So a perfect mixture of two ancient nations and their culture produced a new South Asia. This paper explores the massive changes that happened to South Asian folk music which creates several ways to correspond to their root and how they are different from each other. After many natural disasters and political changes, South Asian people faced many socio-economic conditions but there was the only way to share their feelings. They articulated their sorrows, happiness, wishes, prayers, and love with music, celebrated social and religious festivals all the way through music. As a result, bunches of folk music are being created with different lyric and tune in every corner of South Asia.
    [Show full text]
  • Classification of Indian Musical Instruments with the General
    Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals).
    [Show full text]
  • Sri Lanka About This Guide
    US Forces Pacific Culture Guide Jaffna Makassar Kandy Colombo Sri Lanka About this Guide This guide is designed to prepare you to deploy to culturally complex environments and achieve mission objectives. The fundamental information contained within will help you understand the cultural dimension of your assigned location and gain skills necessary for success (Photo: USAF dental Sri Lankan Sri technician teaches local children to properly brush their teeth in Jaffna, Sri Guide Culture India Lanka). The guide consists of 2 parts: Part 1 “Culture General” introduces the foundational knowledge you need to operate effectively in any global environment with a focus on South Asia. Culture Part 2 “Culture Specific” describes unique cultural features of Sri Lankan society. It applies culture-general concepts to help increase your knowledge of your assigned deployment location. This section is designed to complement other pre- deployment training (Photo: US Sailor tours Sri Lankan Naval cadets on the Guide amphibious transport USS Somerset). For further information, visit the Air Force Culture and Language Center (AFCLC) website at http://culture.af.mil/ or contact the AFCLC Region Team at [email protected]. Disclaimer: All text is the property of the AFCLC and may not be modified by a change in title, content, or labeling. It may be reproduced in its current format with the expressed permission of the AFCLC. All photography is provided as a courtesy of the US government, Wikimedia, and other sources. GENERAL CULTURE PART 1 – CULTURE GENERAL What is Culture? Fundamental to all aspects of human existence, culture shapes the way humans view life and functions as a tool we use to adapt to our social and physical environments.
    [Show full text]
  • Important Treatises on Carnatic Music
    Important Treatises on Carnatic Music Written by Harini Raghavan Tracing the origin of music is not an easy task. Great minds have delved deep into the past to take a glimpse of the primitive music, but failed to obtain any authentic facts. Indian music however traces its origin to 'Samaveda'. Geniuses have constantly worked on this field of knowledge trying to synthesize philosophy, psychology and aesthetics and blend it with music. The oral tradition had its drawback in the transmission of knowledge and caused confusion. Hence there was an urgent need for the script. Celebrated writers like Narada, Panini and Yagnyavalkya have developed music as an art through their writings. Even though part of the history of ancient music is legend, our scholars with their knowledge- hungry-souls have worked hard enough to come with major developments in the field. Naradiya Siksha, Paniniya Siksha and Yagnyavalkya Samhita were the only authentic source material for ancient music. While the 1st was lost and only references could be found in the later classics on music, the other two were not treatises on music but, yet landmarks in the evolution of music during past centuries could be spotted in these books. 1. The Natyasastra of Bharata: It is the earliest literature on music. It is considered to have been written around 2nd century B.C. Written in Sanskrit, the book runs into 6000 couplets spread over 36 chapters, covering a wide range of topics about music. It is a document of supreme educative value. Chapters 28- 34 deal with aspects of music like, Shruti, Swara, Grama, Murchana, Jati, various types of instruments and how and when to play them, their construction and so on.
    [Show full text]