Music may not have religion, but Indian Classical Music does. Deal with it.
Yes. Indian music/dance coming from Saam Veda and Natya Shastra.
It has spiritual dimensions and that is ONLY Hindu.
It is not like Pop or Jazz. You want a music without Hinduism then go for them.
Indian Music
The dhimmi sickular will now say Listen to Pt. Bhimsen Joshi singing Tum rab tum sahib..... Listen to Parveen Sultana singing Bhavani dayani.... I can flood your timeline... Listen to @ Lahore Music listen to the azan of Hridaynath Mangeshkar in yara silisili...
LOL, few vidvans singing songs makes strips it away from its sacred origins? Have you studied shastriya sangita? Or just a YouTube listener.
People here devote their lives to study it and realise the Gods. First learn before giving tuitions and while you’re at it, listen to sangita jnanamu bhakti vina, nadopasana, the navavarnams, the tirumurai paasurams, the divya prabandhams.
Your ganga jamni tehzeeb you can keep in your own house.
A little expansion, We felt is necessary to complement this statement.
The primal origin of Śāstrīya Saṅgīta has been the Sāmaveda, this has been taught as a part of the Guru-Śiṣya Paramparā for all neophytes initiated in classical music training.
There is a large body of texts dedicated to music in our culture, pertinent excerpts from a couple of them. The first being Bṛhaddeśi.
The below is well articulated in Śrī Tyāgarājasvāmi's immortal kṛti: Nāda tanum aniśam śaṅkaram. Nāda is also of the utmost importance in sadhana.
Take the beautiful Kalyāṇavasantam kṛti: Nādalōluḍai brahmānandamandavē manasā. A good rendition may as well immerse one in Brahmānubhūti.
The second work I'll quote is from Saṅgītanārāyaṇa by Puruṣottama Miśrā along with the Gajapati King Nārāyaṇadeva.
The sacred origins, or at least the association of divinity with music has been going on since the inception and up to the final stages of development. Nādopāsanā or Saṅgītopāsanā is fundamentally an act of worship.
Delving further into the Southern variant of Indian Classical Music (ICM), the very basic aspects of music are twofold. The phrase goes: Śruti mātā layam pitā.
The building blocks of music are the svara-s. The svara-s are not only heptatonic scales, but devata-s in themselves! (Ignore errors in spelling. Pic courtesy of Śrīmati Rajam)
The seven svara-s in their variations form 72 Melakartā-s, as classified by Śrī Veṅkaṭamakhin. These rāga-s of course have deeply spiritual names, associated with various popular Hindu deities. They are also classified into 12 groups of 6 rāga-s. These are called Cakra-s.
The names in the pink circle are the cakra-s. Notice their names.
Indu - Moon - 1
Netra - Eyes - 2
Agni - the 3 Vedic Fires - 3
Veda - the 4 Vedas -4
So on and so forth.
Are you telling me, that ICM has nothing to do with religion??
Bāṇa - The 5 arrows of Kāmadeva - 5
Ṛtu - The 6 seasons - 6
Ṛṣi - The 7 Rishis - 7
Vasu - The 8 Vasus - 8
Brahma - Unclear but likely a reference to the city with 9 gates - 9
Diśi - The 10 cardinal directions - 10
Rudra - The 11 Rudras - 11
Āditya - The 12 Adityas - 12
The innermost circle divides the 72 Ragas into two halves; the first half having shuddha madhyama in the Arohanam and Avarohanam, while the second half has prati madhyama (komal ma in Hindustani - Just a small clarification. In Hindustani classical music there is no Komal Ma. There is Shuddha Ma and Teevra Ma ( half note higher to Shuddha Ma) like the Ma in Yaman is Teevra Ma. Komal Swaras are generally half a note lesser than Shuddha Swaras. So Ra,Ga,Dha,No have Shuddha+ As well as Komal Swaras. ma has Shuddha and Teevra. And Sa and Pa as rightly said are constant and fixed.).
The next circle divides the 72 into 12 groups of 6 ragas called chakras. The names are given Indu, Netra, Agni... etc.
The next circle gives the common svaras of each chakra. The rishabha and gandhara are the common ones.
The next circle shows the changes in dhaivata and nishada of each raga and the last circle gives the number and the name which are arranged according to the Katapayadi Sankhya.
Shadja and Panchama are not mentioned as they’re unmoving or achala svaras.
If you have doubts about the Katapayadi Sankhya, please refer to the following on the Kaṭapayādi Saṅkhyā based on something really interesting I read recently. The Kaṭapayādi is an encoding scheme used to map Saṃskṛta akṣaras with numerals. This was interestingly used in sūtras and classification, which I will explain in the following.
Kaṭapayādi is mapped as such, we know that we have certain classified consonants in the Indic character scheme, the name itself reveals as much, Ka (क), Ṭa (ट), Pa (प), Ya (य). Using this the characters are categorized into Kādi nava, Ṭādi nava, Pādi Pañcama, Ya ityādi.
As you can see below, each of the consonant has a specific but not unique number assigned to it. Using the consonants, the number is found by reversing numbers obtained from the first two akṣaras of the word and locating an appropriate position or getting a value.
Note: Vowels get a value of 0.
Now, we examine this in the case of the Melakartā Rāga scheme of Carnatic music. There are 72 rāgas and they have an exact arrangement. Let's take the example of Hanumatoḍi, Ha = 8, Na = 0 --> 08. The rāga Hanumatoḍi is the 8th rāga in the list.
This scheme is used in a very very interesting way in the Lalitā Sahasrnāma Bhāṣya by Śrī Bhāskararāya, where he quotes a verse by his guru Nṛsimhānandanātha.
त्रिपुरां कुलनिधिमीडेऽरुणश्रियं कामराजविद्धाङ्गीम्।
त्रिगुणैर्देवैर्निनुतामेकान्तां बिन्दुगां महारम्भाम्॥
I praise Tripurā Who is the Treasure House of the race, Who is of red complexion, Whose limbs resemble those of Kāmarāja, Who is much praised by the Three Gods of the Three Qualities, Who is a Secret Deity, Who dwells in the Bindu, and Who manifests the Universe. (R. A. Sastry)
Apart from giving a word by word commentary on this verse, Bhaāskarāya uses Kaṭapayādi as a mnemonic device to keep count of certain names of the Goddess from the Sahasranāma.
Tripurā - Pa = 1, Ra = 2 --> 21, there are thus 21 names in the LS beginning with Tri: Trinayanā etc.
To read that commentary is a thrill, and to note that such devices were used in a meaningful manner to encode 2-3 layers of meaning makes the reading of ancient sūtras all the more exciting.
The most obvious use of katapayAdi saMkyA hidden in plain sight - the 18 steps leading to sannidhanam in Sabarimala 18 - KS for जप. 18 chapters in mahAbAratha gIta - importance o 18!
Profound Sanskrit scholars have even used the same scheme to denote value of dates/years. A work talking about shankarAmbA-samudram uses the word 'chAnnOdaka' in the verse. The word adds meaning to the context as well as denotes year 1806 SAlivAhana Saka.
which truly explains why Indian Classical Music is deeply entrenched in our religion HINDU and originates from it.
You can get a copy of it here: https://t.co/p7fY0gRyNA
Have heard Melpathur Narayana Bhattathiri’s Narayaniyam was based on Katapayadi number system. Towards the end of it has Ayuraarogya Sowkhyam - May the Lord bless you with Ayur, arogya ...
However this Ayuraraogya Sowkhyam is a number When decodified to Kali-dina, represents the period of composition The 7 digits when decodified will represent the 16th century.
Need to do more R & D though.
Here is quick tribute to Bhūtasaṃkhyā number system, yet another number system like Katapayadi
Youtube link
End.
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