The Indian Music in Its Sources in the Sāmaveda

The Vedic Rcs beautifully delineate the charms of the Nature, both in its macrocosmic as well as the microcosmic aspects. They form the basis of the Sama-gitis. The Devatadhyaya-brahmana regards Rc as the mother (mata), Saman as the father (pita) and the tune (svara) as the Creator (prajapati).

Transcribed from the prepared edition. This is the beginning of the article, not a summary — open the PDF to read it in full.

कंसारा का मत है कि भारतीय संगीत का मूल सामवेद के वास्तविक गान में है, सामसंहिता के पाठ में नहीं। ऋचा को दीर्घ स्वर तथा स्तोभाक्षर देकर साम बनाया जाता है; वे देवताध्यायब्राह्मण का प्रमाण देते हैं और लिखित संहिता में खोजनेवाले पाश्चात्य विद्वानों की भूल बताते हैं। Kansara argues that Indian music descends from the actual singing of the Sāmaveda, not from the Sāmasaṃhitā text. He explains how an ṛc is lengthened and given extra syllables to become a sāman, cites the Devatādhyāya Brāhmaṇa, and faults orientalists who searched only the written saṃhitā.

Written by the archive’s cataloguers, not by the author.