The Essence of Music in Sanskrit Lore
In the realm of Sanskrit literature, music, referred to as ‘gana,’ ‘giti,’ or ‘sangita,’ holds a place of reverence and complexity. The ancient treatises define ‘sangita’ as a harmonious blend of three distinct arts: vocal music (gita), instrumental music (vadya), and dance (nritya). Though each art form is independent, there is an intrinsic hierarchy where vocal music is considered predominant.
The Divine and Aesthetic Elements of Sanskrit Music
Sanskrit music is not just an auditory experience but a divine and aesthetic journey. The succession of tones in ‘gana’ or ‘gita’ creates sensations that are both agreeable and pleasing. These musical sounds are imbued with ‘divine lustre’ (lavanya), ‘aesthetic sentiment’ (rasa), and ‘mood’ (bhava). The core of this music is its melody or ‘raga,’ which is regarded as the soul of music. Accompanying this melody is the ‘pathya’ or ‘sahitya,’ the textual part that complements the tunes.
A Journey Through Time: The Vedic Roots and Evolution
The intertwining of Indian music with Sanskrit dates back to the Vedic period, where the ‘Samagana’ method of chanting verses was prevalent. These ‘Samaganas’ varied in notes, registers, meters, and literary compositions (sahitya). The classical period saw the emergence of ‘Gandharva’ music, characterized by its structure of ‘svara’ (notes), ‘tala’ (rhythm), and ‘pada’ (words). The seminal work of Bharata in the ‘Natyashastra’ laid the foundation for a systematized form of music, introducing the concept of ‘raga’ with ten distinctive characteristics and psychological values.
The Contributions of Ancient Musicologists
The evolution of Indian music owes much to Sanskrit musicologists like Kohala, Matanga, and others. Their works led to the development of numerous ‘ragas,’ each with unique themes and forms. The ancient ‘gramas’ gradually gave way to ‘murcchanas,’ the building blocks of ‘ragas.’ By the 15th and 16th centuries, musicologists like Lochana and Ramamatya introduced new trends, including the classification of ‘ragas’ into ‘janya-janaka’ (genus-species) and the concept of ‘mela’ or ‘thata.’
The Visual and Poetic Dimensions of Ragas
An interesting aspect of this era was the introduction of ‘Ragamurtis’ (visual representations) and ‘Dhyanamantras’ (poetic descriptions) of ‘ragas’ and ‘raginis,’ enhancing their appreciation and perception. Later centuries saw further modifications in the fundamental bases of ‘Svarasthana’ in relation to microtones (‘shrutis’).
The Enduring Legacy of Sanskrit in Indian Music
Sanskrit’s contribution to Indian music is profound and multifaceted. This relationship can be understood primarily from two perspectives:
- Sahitya or Pathya: Sanskrit has been the medium of music since ancient times, forming the textual basis of Vedic music and classical literature. Iconic works like the Ramayana, Mahabharata, and Puranas, and the hymnal literature, are replete with references to music. Renowned vocalists like M.S. Subbulakshmi and Pandit Jasraj have also used Sanskrit texts in their performances.
- Sanskrit Treatises on Musicology: The authoritative works on Indian music are predominantly in Sanskrit. This includes seminal texts like Bharata’s Natyashastra, Matanga’s Brihaddesi, and Sarngadeva’s Sangitaratnakara, among others. These treatises have not only documented but also shaped the evolution of both Hindustani and Carnatic music.
In conclusion, the journey of music in ancient Sanskrit literature is a rich tapestry of sound, spirituality, and scholarship. It underscores the profound impact that Sanskrit has had on the development and perpetuation of Indian music, making it a timeless and universal language of melody and rhythm.
