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Books > Hindu > Art > Saman Chants: In Theory and Present Practice
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Saman Chants: In Theory and Present Practice
Saman Chants: In Theory and Present Practice
Description
Preface

After studying the relevant Saman-literature and the recordings of the Saman chants sung by expert chanters of the various traditions available at present, I thought it proper to place before the readers the theory and the present practice of Saman chanting. I presented my first work in regard to this study – The Saman Chants – A Review of Research. It was published by Indian Musicological Society, Baroda, in 1985. In this book, I have given the views of Western and Oriental scholars in regard to Saman chanting and added my comments in each case. Now, in this book, I have attempted to state the theoretical approach to this subject as found in the relevant Samavedic works and the present state of Saman chanting. I traveled through the various parts of the South and North Indian and recorded the chantings of some Samans indicative of the significant manner of each school. The chanting of the three schools of Samaveda is available at present – namely, Kauthuma, Ranayaniya and Jaiminiya. The Kauthuma school exists in the South and the North (mainly, Gujarat). The followers of Ranayaniya school are found in Karwar (Karnataka) and Andhra. The Jaiminiyas belong to two traditions namely, Tamilnadu and Nambudiri.

I shall always remain in debt to the various Pandits who allowed me to record their chanting of Samans. I must thank sincerely late Dr. V. Raghavan and Pandit Tatacharya Agnihotri who helped me by introducing the expert chanters in regard to the recording of the Saman Chants. Dr. E. S. Srikrishna Sarma deserves my thanks, who allowed me to record some Samans from his tapes. Pandit Jogalekar of Gokarna helped to contact the expert Pandits of Ranayaniya tradition in Karwar. My thanks are due to these respectable friends. I must thank Dr. C. G. Kashikar and Dr. R. N. Dandekar who have encouraged me always in my efforts in regard to my Samavedic studies. I particularly owe my debt to Dr. B. R. Sharma whose Introductions to the P. S. proved valuable. I am also indebted to Prof. (Miss) Shashikala Shirgopikar and Dr. Sudha Patwardhan for helping me in the rendering of the Hindustani notations of the Saman Chants, included in this book. I cannot express in words the valuable help rendered by my wife in the writing and preparing the press-copy of this book. I should not forget to thanks my friend Dr. Wayne Howad whose Samavedic studies have given me great help. Shri L. S. Rajagopalan of Trichur was always ready to help me. My sincere thanks are due to him.

I must thanks Shri Naresh Gupta, Director, Indian Books Centre for readily accepting this book for publication.

From the Jacket:

The word sam explained in the vedic literature as consisting of two words namely sa and ama. Atharvaveda states-I am amaand thou art sa. Sayana explains -' Sa indicates rc, ama indicates the svara connected with it, which is of the nature of the expanse of the musical notes sadja, rsabha etc. The Saman is to be understood as the musical rendering of the rc. The word Saman occurs in the Rgveda in the sense of a chant sung (by the Udgatr). The present book deals with the theory and present practice of Saman chanting. The author has traveled through the various part of the South and North India and recorded the chanting of some Saman indicative of the significant manner of each school. The chanting are included in the cassette accompanying the book.

About The Author:

G. H. Tarlekar is a renowned scholar on Indian music and dance. He presently lives in Poona.

CONTENTS

Prefacev
Abbreviationsxi
Part I -The Theory1
(a) Introduction1
(b) The Samhita of Samaveda4
(c) The Vedic Accent6
(d) Accentuation of the Samaveda11
(e) The Yoni of Saman and the SamanIntroduction15
(f) The Vedic Accents and the Saman Notes19
(g) The Notational Systems of Saman Chants28
(h) The Measure of Time46
(i) The Bhavas Treated in the Puspasutra47
(j) The Form of Saman52
(k) Naradiyasiksa59
(l) The Names of the Samans60
(m) The Result of Samans61
(n) The Firt Two Chapters of the Puspasutra62
(o) The Schools of Samaveda67
Part II -Present Practice68
Appendix A93
Glossary107
Bibliography113

Saman Chants: In Theory and Present Practice

Item Code:
IDE332
Cover:
Hardcover
Edition:
1995
ISBN:
81-7030-440-7
Language:
English
Size:
8.8" X 5.8"
Pages:
127
Price:
$35.00   Shipping Free
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Preface

After studying the relevant Saman-literature and the recordings of the Saman chants sung by expert chanters of the various traditions available at present, I thought it proper to place before the readers the theory and the present practice of Saman chanting. I presented my first work in regard to this study – The Saman Chants – A Review of Research. It was published by Indian Musicological Society, Baroda, in 1985. In this book, I have given the views of Western and Oriental scholars in regard to Saman chanting and added my comments in each case. Now, in this book, I have attempted to state the theoretical approach to this subject as found in the relevant Samavedic works and the present state of Saman chanting. I traveled through the various parts of the South and North Indian and recorded the chantings of some Samans indicative of the significant manner of each school. The chanting of the three schools of Samaveda is available at present – namely, Kauthuma, Ranayaniya and Jaiminiya. The Kauthuma school exists in the South and the North (mainly, Gujarat). The followers of Ranayaniya school are found in Karwar (Karnataka) and Andhra. The Jaiminiyas belong to two traditions namely, Tamilnadu and Nambudiri.

I shall always remain in debt to the various Pandits who allowed me to record their chanting of Samans. I must thank sincerely late Dr. V. Raghavan and Pandit Tatacharya Agnihotri who helped me by introducing the expert chanters in regard to the recording of the Saman Chants. Dr. E. S. Srikrishna Sarma deserves my thanks, who allowed me to record some Samans from his tapes. Pandit Jogalekar of Gokarna helped to contact the expert Pandits of Ranayaniya tradition in Karwar. My thanks are due to these respectable friends. I must thank Dr. C. G. Kashikar and Dr. R. N. Dandekar who have encouraged me always in my efforts in regard to my Samavedic studies. I particularly owe my debt to Dr. B. R. Sharma whose Introductions to the P. S. proved valuable. I am also indebted to Prof. (Miss) Shashikala Shirgopikar and Dr. Sudha Patwardhan for helping me in the rendering of the Hindustani notations of the Saman Chants, included in this book. I cannot express in words the valuable help rendered by my wife in the writing and preparing the press-copy of this book. I should not forget to thanks my friend Dr. Wayne Howad whose Samavedic studies have given me great help. Shri L. S. Rajagopalan of Trichur was always ready to help me. My sincere thanks are due to him.

I must thanks Shri Naresh Gupta, Director, Indian Books Centre for readily accepting this book for publication.

From the Jacket:

The word sam explained in the vedic literature as consisting of two words namely sa and ama. Atharvaveda states-I am amaand thou art sa. Sayana explains -' Sa indicates rc, ama indicates the svara connected with it, which is of the nature of the expanse of the musical notes sadja, rsabha etc. The Saman is to be understood as the musical rendering of the rc. The word Saman occurs in the Rgveda in the sense of a chant sung (by the Udgatr). The present book deals with the theory and present practice of Saman chanting. The author has traveled through the various part of the South and North India and recorded the chanting of some Saman indicative of the significant manner of each school. The chanting are included in the cassette accompanying the book.

About The Author:

G. H. Tarlekar is a renowned scholar on Indian music and dance. He presently lives in Poona.

CONTENTS

Prefacev
Abbreviationsxi
Part I -The Theory1
(a) Introduction1
(b) The Samhita of Samaveda4
(c) The Vedic Accent6
(d) Accentuation of the Samaveda11
(e) The Yoni of Saman and the SamanIntroduction15
(f) The Vedic Accents and the Saman Notes19
(g) The Notational Systems of Saman Chants28
(h) The Measure of Time46
(i) The Bhavas Treated in the Puspasutra47
(j) The Form of Saman52
(k) Naradiyasiksa59
(l) The Names of the Samans60
(m) The Result of Samans61
(n) The Firt Two Chapters of the Puspasutra62
(o) The Schools of Samaveda67
Part II -Present Practice68
Appendix A93
Glossary107
Bibliography113

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