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{{Short description|Veda of melodies and chants}}{{Use dmy dates|date=March 2015}}

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| chapters = 6 adhyayas| sutras = WEBSITE=VEDICGRANTH.ORG, }}{{multiple image }}The Samaveda (, {{IAST3|Sāmaveda}}, from (wikt:सामन्|सामन्), “song” and (wikt:वेद|वेद), “knowledge“), is the Veda of melodies and chants. It is an ancient Vedic Sanskrit text, and is one of the sacred scriptures in Hinduism. One of the four Vedas, it is a liturgical text which consists of 1,875 verses. All but 75 verses have been taken from the Rigveda. Three recensions of the Samaveda have survived, and variant manuscripts of the Veda have been found in various parts of India.While its earliest parts are believed to date from as early as the Rigvedic period, the existing samhita text 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“}} Along with the Samhita layer of text, the Samaveda includes Brahmana texts, and a final layer of the text that covers philosophical speculations (Upanishads). These layers of the compilation dates from the post-Rigvedic Mantra period of Vedic Sanskrit, likely around the 6th century BCE. Patrick Olivelle (2014), The Early Upanishads, Oxford University Press; ISBN 978-0195124354, pp. 12-13 Embedded inside the Samaveda are the widely studied Chandogya Upanishad and Kena Upanishad. These Upanishads are considered as primary Upanishads and have had influence on the six schools of Hindu philosophy, particularly the Vedanta school. The Samaveda laid important foundations for subsequent Indian music.It is also referred to as Sama Veda.John Stevenson, {{Google books|Q8VVAAAAcAAJ|Translation of the Sanhita of the Sama Veda|page=PR12}}, page XII

Dating and historical context

Michael Witzel states that there is no absolute dating for Samaveda and other Vedic texts. 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.Michael Witzel (2003), “Vedas and Upaniá¹£ads”, in The Blackwell Companion to Hinduism (Editor: Gavin Flood), Blackwell, {{ISBN|0-631215352}}, pages 68-70{{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.Bruno Nettl, Ruth M. Stone, James Porter and Timothy Rice (1999), The Garland Encyclopedia of World Music, Routledge, {{ISBN|978-0824049461}}, pages 242-245

Text

The Samaveda is the Veda of Chants, or “storehouse of knowledge of chants”.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.” According to Frits Staal, it is “the Rigveda set to music”.Frits Staal (2009), Discovering the Vedas: Origins, Mantras, Rituals, Insights, Penguin, {{ISBN|978-0143099864}}, pages 4-5 It is a fusion of older melodies (sāman) and the Rig verses. It has far fewer verses than Rigveda,James Hastings, {{Google book|5D4TAAAAYAAJ|Encyclopaedia of Religion and Ethics}}, Vol. 7, Harvard Divinity School, TT Clark, pages 51-56 but Samaveda is textually larger because it lists all the chant- and rituals-related score modifications of the verses.The Samaveda text contains notated melodies, and these are probably the world’s oldest surviving ones. 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).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}}

Recensions

R. T. H. Griffith says that there are three recensions of the text of the Samaveda Samhita:Griffith, R. T. H. The {{IAST|Sāmaveda Saṃhitā}}, {{ISBN|978-1419125096}}, page vi

• the Kauthuma recension is current in Gujarat, Uttar Pradesh, Odisha, West Bengal and since a few decades in Darbhanga, Bihar,
• the {{IAST|RāṇāyanÄ«ya}} in the Maharashtra, Karnataka, Gokarna, few parts of Odisha, Andhra Pradesh
• and the Jaiminiya in the Carnatic, Tamil Nadu and Kerala

Organization

The Samaveda comprises two major parts. The first part include four melody collections and the second part three verse “books” . A melody in the song books corresponds to a verse in the aarchika books. The Gana collection is subdivided into Gramageya and Aranyageya, while the Arcika portion is subdivided into Purvarcika and Uttararcika portions. 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. The Gramageya melodies are those for public recitations, while Aranyageya melodies are for personal meditative use such as in the solitude of a forest. 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.Guy Beck (1993), Sonic Theology: Hinduism and Sacred Sound, University of South Carolina Press, {{ISBN|978-0872498556}}, page 230 note 85Just 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. The later sections of the Samaveda, states Witzel, have least deviation from substance of hymns they derive from Rigveda into songs. The purpose of Samaveda was liturgical, and they were the repertoire of the {{IAST|udgātá¹›}} or “singer” priests.The Samaveda, like other Vedas, contains several layers of text, with Samhita being the oldest and the Upanishads the youngest layer.{| class=“wikitable”978-0143099864}}, pages 80, 74-81! Vedic School!!Brahmana!!Upanishads!! Shrauta SutrasPanchavimsha Brahmana>Chandogya Upanishad >| Latyayana DrahyayanaKena UpanishadJaiminiya Upanishad >| Jaiminiya

Analytics

The Samaveda consists of 1,549 unique verses, taken almost entirely from Rigveda, except for 75 verses.Michael Witzel (1997), “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 = 269-270Axel Michaels (2004), Hinduism: Past and Present, Princeton University Press, {{ISBN|0-691-08953-1}}, page 51 The largest number of verse come from Books 9 and 8 of the Rig Veda.Michael Witzel (2003), “Vedas and Upaniá¹£ads”, in The Blackwell Companion to Hinduism (Editor: Gavin Flood), Blackwell, {{ISBN|0-631215352}}, page 76 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.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.

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.Frits Staal (2009), Discovering the Vedas: Origins, Mantras, Rituals, Insights, Penguin, {{ISBN|978-0143099864}}, pages 107-112Staal 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. 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.R Simon and JM van der Hoogt, Studies on the Samaveda North Holland Publishing Company, pages 47-54, 61-67Frits Staal (1996), Ritual and Mantras, Motilal Banarsidass, {{ISBN|978-8120814127}}, pages 209-221 Some verses add in meaningless sounds of a lullaby, for probably the same reason, remarks Staal. 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.The portion of the first song of Samaveda illustrates the link and mapping of Rigvedic verses into a melodic chant:File:Veena.png|thumb|The (veena]] (vīṇā) is mentioned in Samaveda.Guy Beck (1993), Sonic Theology: Hinduism and Sacred Sound, University of South Carolina Press, {{ISBN|978-0872498556}}, pages 107-109)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.ILLUSTRATION ON SAMVEDA MUSICAL NOTES>DATE=AUGUST 2020,sheetaluwach.com/veda-samveda-marathi/,

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.Max Muller, Chandogya Upanishad, The Upanishads, Part I, Oxford University Press, pages LXXXVI-LXXXIX, 1-144 with footnotes 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.Paul Deussen, The System of Vedanta, {{ISBN|978-1432504946}}, pages 30-31

Chandogya Upanishad

The Chandogya Upanishad belongs to the Tandya school of the Samaveda. 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.Patrick Olivelle (2014), The Early Upanishads, Oxford University Press, {{ISBN|978-0195124354}}, page 166-169 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.Patrick Olivelle (2014), The Early Upanishads, Oxford University Press, {{ISBN|978-0195124354}}, page 12-13Stephen Phillips (2009), Yoga, Karma, and Rebirth: A Brief History and Philosophy, Columbia University Press, {{ISBN|978-0231144858}}, Chapter 1The 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.Robert Hume, Chandogya Upanishad 1.8.7 - 1.8.8, The Thirteen Principal Upanishads, Oxford University Press, pages 185-186 The text summarizes their discussion as,).|Chandogya Upanishad 1.9.1-1.9.2}}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. Paul Deussen explains the term Brahman means the “creative principle which lies realized in the whole world”.Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, {{ISBN|978-8120814684}}, page 91 The text discusses Dharma and many other topics:, pages 97-98 with preface and footnotes}}

Kena Upanishad

The Kena Upanishad is embedded inside the last section of the Talavakara Brahmanam recension of the Samaveda.Johnston, Charles (1920-1931), The Mukhya Upanishads, Kshetra Books, {{ISBN|9781495946530}} (Reprinted in 2014)Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, {{ISBN|978-8120814684}}, pages 207-213 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.Paul Deussen, Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, {{ISBN|978-8120814684}}, page 208 This knowledge of Atman-Brahman is Tadvanam (transcendental happiness, blissfulness).Kena Upanishad Mantra 6, G Prasadji (Translator), pages 32-33 In the final paragraphs, Kena Upanishad asserts ethical life as the foundation of self-knowledge and of Atman-Brahman., pages 341-354 Work - these are the foundations, the Vedas are the limbs of the same, the Truth is its fulcrum.978-8120814684}}, pages 211-213}}

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.A. Parpola. The literature and study of the JaiminÄ«ya Sāmaveda. In retrospect and prospect. Studia Orientalia XLIII:6. Helsinki 1973 There is an edition of the first part of the Samhita by W. CalandW. Caland, Die JaiminÄ«ya-Saṃhitā mit einer Einleitung über die Sāmaveda-literatur. Breslau 1907 and of the Brahmana by Raghu Vira and Lokesh Chandra,Raghu Vira and Lokesh Chandra. 1954. JaiminÄ«ya-Brāhmaṇa of the Sāmaveda. (Sarasvati-Vihara Series 31.) Nagpur. 2nd revised ed., Delhi 1986 as well as the neglected Upanishad,H. Oertel. The JaiminÄ«ya or Talavakāra Upaniá¹£ad Brāhmaṇa. Text, translation, and notes. JAOS 16,1895, 79–260 but only parts of the Shrautasutra. The song books remain unpublished.A. Parpola. The decipherment of the Samavedic notation of the JaiminÄ«yas. Finnish Oriental Society 1988A German edition of Samaveda was published in 1848 by Theodor Benfey,Theodor Benfey, Die Hymnen des Samaveda FA Brockhaus, Leipzig and Satyavrata Samashrami published an edited Sanskrit version in 1873.Satyavrata Samashrami, {{Google books| i9dRAAAAcAAJ|Sama Veda Sanhita}} A Russian translation was published by Filipp Fortunatov in 1875commons.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 {{Bare URL inline|date=June 2022}} An English translation was published by Ralph Griffith in 1893.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. 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.SW Jamison and M Witzel (1992), Vedic Hinduism, Harvard University, page 8

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. 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.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 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.SS Janaki (1985), The role of Sanskrit in the Development of Indian Music, Journal of the Music Academy, Vol. 56, pages 67, 66-97, pages 107-108}}

See also

• Hinduism
• Historical Vedic religion
• Rigveda
• Vedas

References

{{reflist|30em}}

Sources

• BOOK, Dalal, Rosen, 2014, Hinduism: An Alphabetical Guide, Penguin, 978-8184752779,books.google.com/books?id=DH0vmD8ghdMC,

• {{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| chapter-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}}

External links

{{wikisourcelang|sa|सामवेदः|Samaveda (original Sanskrit text)}}

• Ralph Griffith, Hymns of the Samaveda 1895, full text, (online at sacred-texts.com)
• Veda Prasar Samiti (MP3 examples of vedic chants)
• Samaveda Song Books in Devanagari with svara marks and musical notes file for download
• 7 swaras in samaveda

{{Hindudharma}}