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Academic literature on the topic 'Sanskrit Songs'
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Journal articles on the topic "Sanskrit Songs"
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Peterson, Indira V. "Sanskrit in Carnatic music: The songs of Muttusvāmi Dīkita." Indo-Iranian Journal 29, no. 3 (1986): 183–99. http://dx.doi.org/10.1163/000000086790082082.
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Thayanithy, Murugu. "Feeling of love in Batticaloa folk songs." International Research Journal of Tamil 3, no. 4 (September 15, 2021): 108–21. http://dx.doi.org/10.34256/irjt21414.
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Literatures have been studied orally before taking written form. History makes it clear that such songs were written during the Sanskrit period. These oral literatures shed light on the life and history of a country and its flaws and serve as a mirror that reveals the cultures, customs, and ancient thoughts of the people. Although the study of folk songs on the world stage has been in vogue for a long time, it came into practice in Tamil Nadu in the 19th century and then came into the study. However, it has not been advanced as a separate discipline in the University of Sri Lanka to date. Instead, the study of folk songs is being carried out in collaboration with the Tamil Department.In the case of Batticaloa Tamil Nadu, the close connection between India and Sri Lanka due to migration, migration and migration from ancient times can be seen from the identification of Tamils as the first and last king of Sri Lanka.Therefore, it is possible to realize that folk songs are widespread among the people of Batticaloa as there was not only Tamil Nadu connection but also Indian national connection. The songs are arranged in the form of Ritual, Rain and Famine, Lullaby, Game, love, Marriage, Family, Community, Relationship and Career, Obpari, Swing, Satire, Mother Songs.These songs explore love songs, present the feeling of love found in them, show how they fit in with the general characteristics found in the literature of Sangala Agathi and reveal aspects of the Batticaloa socio-cultural hierarchy. The gist of the song is not to give a direct meaning, but to explain its essence. They are classified as motherly songs, Fatherly songs, Leader songs, Leader songs, Friend songs, and General songs.
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Gillani, Karim. "The IsmailiGinanTradition from the Indian Subcontinent." Middle East Studies Association Bulletin 38, no. 2 (December 2004): 175–85. http://dx.doi.org/10.1017/s0026318400046940.
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Ginan bolore nit nure bharea;Evo haide tamare harakh na maeji.Recite continually theginanswhich are filled with light;Boundless will be the joy in your heart.Ginansare devotional songs rooted in the musical and poetic matrix of Indian culture. The term “ginan” carries a double significance: on the one hand, it means “religious knowledge” or “wisdom,” analogous to the Sanskrit wordjnana(knowledge). On the other hand, it means “song” or “recitation,” suggesting a link to the Arabicghannaand the Urdu/Hindighana, both verbs meaning “to sing.” For the past seven hundred years, Ismailis from the Indian subcontinent (Satpanth Khoja Ismailis) have been recitingginansas a part of their daily religious devotions at the congregational hall (Jamat Khana).
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Sharma, Manisha. "SANSKRIT LANGUAGE IS THE MEDIUM OF INNOVATION IN MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3434.
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Along with human civilization, arts have developed. Until the last period of the Vedic era no independent texts related to music are available, however, references to music art are definitely found at the place. In the Rigveda, many references are found in connection with the three songs, instruments and dances. In the Rigveda, words like Geer, Gatu, Gatha, Gayatra and Geeti were used for the song. These were all contemporary song types and had the basis of verses and singing style. For the song and its tune, it was also the name 'Sama'. Sama has been a synonym for Dhun or Swaravali. These were fumes sung under erstwhile public music. Vedic mantras were sung on the lines of these. Music was suitable for both Lokaranjan and Ishwar Ranjan, such was the belief of Vedic Aryans. Singing of mantras was considered more effective than simple recitation or recitation of mantras on the occasion of Yajna. In ancient music both words and vowels were considered to be of equal importance. Vedic hymns began to be sung, as words were required to sing the song. In ancient music, the importance of both word and tone was considered. This alliance of vowels and words was called 'Sama'.
मानव सभ्यता के साथ-साथ कलाओं का विकास हुआ है । वैदिक युग के अंतिम कालखण्ड तक संगीत संबंधी कोई स्वतंत्र ग्रंथ उपलब्ध नहीं है तथापि संगीत कला के संबंध में उल्लेख स्थान पर अवश्य प्राप्त होते हैं । ऋग्वेद में गीत, वाद्य और नृत्य तीनों के संबंध में अनेक उल्लेख पाये जाते हैं। ऋग्वेद में गीत के लिए गीर, गातु, गाथा, गायत्र तथा गीति जैसे शब्दों का प्रयोग किया जाता था । यह सभी तत्कालीन गीत प्रकार थे और इनका आधार छन्द और गायन शैली थी । गीत तथा उसकी धुन के लिए ‘साम‘ संज्ञा भी रही । साम धुन या स्वरावली के लिए पर्यायवाची शब्द रहा है। यह तत्कालीन जनसंगीत के अंतर्गत गायी जाने वाली धुनेें थीं । इन्हीं के तर्ज पर वैदिक मन्त्र गाये जाते थे । संगीत लोकरंजन तथा ईश्वर रंजन दोनों के लिए उपयुक्त है, ऐसी वैदिक आर्यों की धारणा थी । यज्ञ के अवसर पर मंत्रों के साधारण पाठ या पठन की अपेक्षा मंत्रों का गायन अधिक प्रभावशाली माना जाता था । प्राचीन संगीत में शब्द और स्वर दोनों का समान महत्व माना जाता था। गीत गाने के लिए शब्दों की आवश्यकता होती है, इस रूप में वैदिक ऋचाएँ गाई जाने लगी। प्राचीन संगीत में शब्द और स्वर दोनों का महत्व माना जाता था । स्वर तथा शब्द का यही गठबन्धन ‘साम‘ कहलाता था ।
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S, Subash. "The personality of the poets in the Purananuru." International Research Journal of Tamil 4, no. 2 (April 26, 2022): 109–14. http://dx.doi.org/10.34256/irjt22214.
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Sangam literature is a time mirror that reflects life events in languages in which the heroism and generosity of four hundred kings have been described. From time immemorial, the Guru has been revered as a deity after his mother and father as the Guru's deity. The idea that only the Guru can heal the family, the student, and the country has been around. In Sanskrit literature, poets had the right to rebuke the king and to give him loving advice to make the country prosperous for the good of a king. In the late nineteenth century, poets primarily portrayed the heroism and generosity of kings through their songs. Not only male poets but also female poets excelled in this. Songs sung by individual poets All the songs in this book are sung about public justice without being sung about anyone There are hundreds of poets who mention the names of poets but also mention the names of kings.
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M, Kavitha. "Nachinarkiniyar History and Textual Ability." International Research Journal of Tamil 4, S-8 (July 21, 2022): 233–38. http://dx.doi.org/10.34256/irjt22s834.
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Tamil language and literature have flourished with speeches composed by speechwriters. Are greatly aiding researchers who think innovatively. Texts serve as a bridge between linguistic research and e-literary criticism. The texts convey how the Tamil language has changed over time, as well as the living conditions, political changes and customs of the Tamil people. This article explores the history and textual ability of Nachinarkiniyar. Nachinarkiniyar was a knowledgeable and knowledgeable man of various arts, writing semantics for songs, and also possessing the art of religious ideas, music, drama, etc., which are included in the book. He is well versed in grammar, literature, dictionary, epic and puranam in Tamil. He is well versed in astrology, medicine, architecture, and crops. Nachinarkiniyar, who has written for Tamil grammar books, is well versed in the Vedic and phylogenetic theory of Sanskrit and is a university-oriented scholar of Tamil, Sanskrit scholarship, religious knowledge, land book knowledge, life and biology. This article explores the history and textual ability of Nachinarkiniyar.
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Reinaldo, Christopher, and Muhammad Taufik. "Analisis Gaya Bahasa dan Majas Pada Lagu “Raksa” Karya Soegi Bornean." Morfologi: Jurnal Ilmu Pendidikan, Bahasa, Sastra dan Budaya 2, no. 5 (July 12, 2024): 29–39. http://dx.doi.org/10.61132/morfologi.v2i5.900.
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This article explores the richness of language styles and speech used in the lyrics of the song "Raksa" by Soegi Bornean. Against the background of the richness of the existing lyrics and the possibilities that exist in linguistic exploration as found in the title of the song "Raksa" which comes from a foreign language, namely Sanskrit, as well as the use of the song lyrics "Budaya nian bersua", and the aim of this research is to reveal The contribution of songs to the development of diction in song lyrics is due to the large number of vocabulary words in Indonesian that are rarely used. As well as the emotional power of using qualitative descriptive analysis methods to study the language style and figures of speech of the Raksa Song, this research will focus on deciphering the stylistic nuances and revealing the mosaic of metaphorical and idiomatic expressions. The research results further highlight the complexity of the rhetorical figures of speech contained in the song "Raksa" such as in the lyrics which read "Where I look for the soul" of the song, providing insight into its poetic resonance. Therefore, the use of language styles and figures of speech has spread to a deeper scale regarding song lyrics, and has enriched the appreciation of Indonesian songwriting.
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Taylor, Sharmila, and Kamna Sisodia. "HISTORY OF INNOVATION IN MUSIC, WITH REFERENCE TO DHRUPAD SINGING STYLE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3406.
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Changing the tradition of history is a natural process of nature. In the context of the Dhrupad singing style in the Indian classical music world, if we take a historical view, the practice of singing Dhruva and Prabandha songs before this style was prevalent. The ritual form of Dhruva songs is found in Sanskrit drama texts from pre- to late India. Dhruva has an important place in terms of song composition.Even in the exorcisms used in the puvarang before the Natyarambha, the Dhruvas have special importance due to the use of musical instruments. Originally, the verses of songs which are used within the play are called Dhruva to make those situations intensified or to intensify the character of the characters in various situations of the play. They are also related to the lyricists due to their use of various parts of the lyricists.
इतिहास की परम्परा में परिवर्तन होना प्रकृति की स्वाभाविक प्रक्रिया है। भारतीय शास्त्रीय संगीत जगत में ध्रुपद गायन शैली के सन्दर्भ मं हम ऐतिहासिक दृष्टि डालें तो इस शैली के पूर्व ध्रुवा एवं प्रबन्ध गीतों को गाने का प्रचलन था। ध्रुवा गीतों की परम्परा का क्रियात्मक रूप भरत के पूर्व से लेकर परवर्ती संस्कृत नाटक ग्रंथों में पाया जाता है। गीत रचना की दृष्टि से ध्रुवा का महत्त्वपूर्ण स्थान है।नाट्यारम्भ से पहले पूर्वरंग में प्रयुक्त बहिर्गीतों में भी ध्रुवाएं वाद्यप्रयोग की उपरंजक होने के कारण विशेष महत्व रखती हैं। मूलतः नाट्य की विभिन्न परिस्थितियों में रसानुभूति करा कर उन परिस्थितियों को तीव्र बनाने अथवा पात्रों के चरित्र को उभारने के लिए जिन छन्दोबद्ध गीतों का प्रयोग नाट्य के भीतर किया जाता है वे ध्रुवा कहलताी है। गीतकों के विभिन्न अंगों का इनमें प्रयोग होने के कारण ये गीतकों से भी सम्बन्ध है।
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K, Swathi, and Karpagam E. "Moral Painting Theories in Irattai Kappiyam." International Research Journal of Tamil 4, S-19 (December 10, 2022): 601–7. http://dx.doi.org/10.34256/irjt224s1989.
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Kappiyam are one among the literary forms. It is divided into Perungappiyam and Sirukappiyam. Virtue, materiality, pleasure, home, and a familial life of a husband and wife are the most important in Perungappiyam. This expands into oral literature, self-conscious songs and public songs. Sirukappiyam is a book that rejects all those four subjects of Perungappiyam and it deals with materiality. As Kappiyam we always remember the Aiperum Kappiyam from Silapathikaram to Chintamani and the Ainchiru Kappiyam from Chulamani to Neelakesi. However, Periyapuranam, Kamparamayanam, Villibharathalam, Bharathidasan's Pandyan Parisu, Pulavar Kulanthai's Ravana Kaviyam, Kannadasan's Yaesu Kaviyam are considered as Kappiyam. Among these Tamil Kappiyam’s Silapathikaram, Manimekalai and Periyapuranam have been composed using Tamil folk narrative sensibilities. Other Kappiyam’s are the adaptations from other Sanskrit and Prakrit languages. Silappathikaram and Manimegalai are known as Irattai Kappiyam because they were created at the same time and their stories are also related to each other. Silapathikaram was composed by Ilangovadigal and Manimekalai by Seethalaichathanar. The characters in these kappiyams are called related to each other and so it is called Irattai Kappiyam. This article examines the moral painting theories in Irattai Kappiyam.
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Detige, Tillo. "‘Tataḥ Śrī-Gurus-Tasmai Sūrimantraṃ Dadyāt’, ‘Then the Venerable Guru Ought to Give Him the Sūrimantra’: Early Modern Digambara Jaina Bhaṭṭāraka Consecrations." Religions 10, no. 6 (June 4, 2019): 369. http://dx.doi.org/10.3390/rel10060369.
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As recent research on the former bhaṭṭāraka lineages of Western and Central India has shown, the early modern Digambara tradition, rather than constituting a distinct, and defective, ‘bhaṭṭāraka era’, shows much similarity to contemporary Digambara Jainism. Bhaṭṭārakas were regarded and venerated as ideal renouncers. Many of their practices accorded to those of today’s Digambara munis, and the bhaṭṭāraka saṅghas also featured renouncers of the muni and ācārya ranks, long thought to have abruptly become obsolete in the late medieval period. This new understanding of early modern Digambara Jainism is corroborated by the present article, which deals with early modern bhaṭṭāraka consecration rituals (paṭṭābhiṣeka, dīkṣā). The study is mainly based on two genres of sources. Sanskrit bhaṭṭāraka consecration manuals (dīkṣā-vidhi, pada-sthāpanā-vidhi), firstly, outline the preparations, the ritual proceedings, and the festivities to be held. Some vernacular songs of praise (gīta, etc.) of individual bhaṭṭārakas, secondly, focus specifically on their consecrations. These song compositions confirm many of the manuals’ prescriptions, while also adding elements not attested in the latter. Read in conjunction, both sources allow a relatively detailed understanding of early modern bhaṭṭāraka consecrations, show they closely resembled contemporary Digambara initiations, and confirm the former venerability of early modern bhaṭṭārakas in their own times.
Books on the topic "Sanskrit Songs"
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Dvivedī, Kapiladeva. Bhakti-kusumāñjaliḥ =: 100 devotional songs. Jñānapura (Vārāṇasī): Viśvabhāratī Anusandhāna Pariṣad, 1988.
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Sūryanārāyaṇ, Ār Ke. Harapurīśāṅkita 72 janakarāgagaḷa kr̥timālā. Beṅgaḷūru: Śrīmātā, 1994.
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Dīkṣita, Muttusvāmi. Sree Kamalāmbā navāranam. Chennai: Ganamrutha Prachuram, 1997.
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Ayyar, A. S. Panchapakesa, and A. S. Panchapakesa Iyer. Gānāmrutha bōdhini: Sangeetha bāla pādam. Madras: Ganamrutha Prachuram, 1996.
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Dīkṣita, Muttusvāmi. Guru Guha gānāmrutham. Madras: Gānāmrutha Prachuram, 1991.
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Tagore, Sourindro Mohun. The seven principal musical notes of the Hindus: With their presiding deities : composed in celebration of the birth-day of Her Most Gracious Majesty the Empress of India. Delhi: B.R. Pub. Corp., 1985.
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Sūryanārāyaṇ, Ār Ke. Abhijñāna Gururāyara kr̥tiratnamāla. Beṅgaḷūru: Śrīmātā, 1994.
Find full textBook chapters on the topic "Sanskrit Songs"
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Thomases, Drew. "Peace But No Quiet." In Guest is God, 130–58. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190883553.003.0006.
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The fifth chapter begins with an observation: Pushkar, people say, is a place of peace, of “shanti.” But those who have been to Pushkar know that it is not a quiet place. Far from attempting to silence Pushkar’s rich soundscape, locals instead find peace by adding yet more sound to the atmosphere. They do this with songs and sacred words set on speakers and intended to spread shanti throughout the town. Importantly, the power of religious recitation derives not principally from the spiritual messages therein, but rather from the “good vibrations” created by sound itself. But what are these “vibrations”? And why do so many locals refer to them as “vibrations” or “vibes” when Hindi and Sanskrit equivalents abound? In the end, I will argue that Pushkar’s “vibrations” come as much from ancient Sanskrit material as they do from 19th-century American and European metaphysics.
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"Sanskrit Text." In Lord ŚIVA’S Song, 185–218. SUNY Press, 2014. http://dx.doi.org/10.1515/9781438451022-015.
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"Glossary of Sanskrit Names and Terms." In Lord ŚIVA’S Song, 223–31. SUNY Press, 2014. http://dx.doi.org/10.1515/9781438451022-017.
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"Index of Pali and Sanskrit Terms." In Sons of the Buddha. Berlin, New York: DE GRUYTER, 2011. http://dx.doi.org/10.1515/9783110254105.241.
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Rogovoy, Seth. "Hare Krishna, Yeah Yeah Yeah." In Within You Without You, 110–17. Oxford University PressNew York, 2025. http://dx.doi.org/10.1093/oso/9780197627822.003.0021.
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Abstract Chapter 20 of Within You Without You, “Hare Krishna, Yeah Yeah Yeah,” closely examines the George Harrison song “My Sweet Lord,” which appeared on his debut solo album, All Things Must Pass. A huge global number-one hit, the song was a pop-music prayer sung in significant part in Sanskrit and Hebrew and, for nearly a third of its playing time, consisting of chanting the names of Hindu gods. As an expression of mystical desire, it reaped commercial success that speaks to its universal power and allure. The song also featured the recorded debut of Harrison playing guitar with a slide, introducing the entirely new guitar sound that would become his post-Beatles trademark. The song also entangled Harrison in a near-decade-long lawsuit for copyright infringement brought against him by the publisher of the Chiffons’ 1963 girl-group hit “He’s So Fine.”
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Li, Shenghai. "Two Mirrors, Fleeting Reflections." In A Lasting Vision, 466—C9.P265. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197642924.003.0010.
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Abstract This chapter traces Dandin’s Mirror of Literature (Kāvyādarśa) in East Asia. Although the Mirror was never adapted into premodern Chinese, indirect knowledge of it and of Sanskrit poetics more generally can be deduced. The chapter follows three extended moments of cultural exchange between South Asia and East Asia. The first phase consists of the earliest (pre-Dandin) wave of translations of Buddhist literature into Chinese, where knowledge of Sanskrit ornaments (alaṅkāra) is demonstrable. The second is found in an early ninth-century anthology of Chinese poetics by the Japanese scholar Kukai who had studied in China; his Mirror of Literature and Treasury of Mysteries has suggestive parallels with Dandin’s Mirror, especially in its discussion of literary flaws and of patterns of syllabic repetition. The third was under the auspices of Song emperor Taizong (927–997), when Indian visual poetry stimulated the development of Chinese counterparts, with some striking parallels to Dandin.
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Vanita, Ruth. "Gender, Masculinity, and the Dharma of Parenting." In The Dharma of Justice in the Sanskrit Epics, 153–64. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192859822.003.0009.
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This chapter continues the discussion of masculinity, focusing on the context of parenting in the epics, with references to the Upanishads. This chapter also highlights discrimination against disabled people and young people. Issues of fathers teaching sons, adoption, and fatherlessness arise in several stories, including that of Ashtavakra’s complicated family structure. Overcoming the discrimination he faces on account of the physical disability inflicted by his father, Ashtavakra comments on how parents’ harsh words can scar a child. The stories of Somada, Kanva, and Kushabha highlight single parenting, while Dasharatha’s contemplation of his relationship with his son and wife illuminates the shared dharma of parenting.
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Prasad, Leela. "Sanmati, the Art of “Generous Orientation”." In Religious Studies, Theology, and Human Flourishing, 81–100. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197658338.003.0005.
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Abstract This chapter will explore the notion of sanmati, translated best from Sanskrit through a semantic range that includes “goodwill,” “wisdom,” “good sense,” and “reality-mindedness.” The chapter illustrates and analyzes the praxis of sanmati through two examples. The first example consists of an ethnographic interlude from Sringeri, in south India. In the episode described, the sudden appearance of a wild leopard in the town immediately following the construction of a sacred site triggered two different tellings and interpretations of divine signage, and, exemplifying sanmati, neither narrative vied for exclusionary truth. The second example is of a modern abstract painting by the well-known Indo-French artist S. H. Raza. Titled sanmati, it creatively interprets a line from a prayer song popularized by Gandhi and expresses the line through spiritual geometry. Through the use of the narratives and the painting, the chapter presents a theoretical framework for sanmati as the art of “generous orientation.”
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Anima Bairagi. "ENVIRONMENTAL AND ECOLOGICAL AWARENESS IN THE MAHABHARATA." In CONTEMPORARY SOCIAL RESEARCH: HEALTH, ECONOMY AND ENVIRONMENT: Vol 2. 2nd ed. REDSHINE London, 2019. http://dx.doi.org/10.25215/1387415603.14.
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This article focuses on environmental and ecological awareness in the perspective of the Mahabharata, a noble Hindu epic. The existence of good life on this planet- earth, is not possible without pure environment. Today, the interest in environmental and ecological awareness is seen spreading its wings to humanities. It embraces literature, art, music, history, religion and many branches of knowledge. The Hindus have responded in a very positive way for the concern of ecology. They say “One tree is equal to ten sons”. Sanskrit literature is not only rich in the grammatical composition and romantic expression but also in knowledge about environment, its destruction and the need for its protection which come up in many contexts every now and then whenever any attempt is made to study this literature. Starting from the Vedic age till now it carries a number of appearances in the writings of scholars. This need to be explored in detail as the vast size and span of it leaves enough scope for researchers to dig up those sources of knowledge. Mahabharata reflects a conflict over social policy in the face of an environmental disaster. The epic teaches to love and respect all the creatures equally. The paper would include images on environment and ecological awareness as raised in text.
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Nabokov, Isabelle. "Beyond Process and Separation." In Religion Against the Self, 164–78. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195113648.003.0013.
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Abstract Of all the rituals explored in this book, the sacrificial complex of the last chapter is the most violent. It climaxes not with a “funeral ” of past relationships, not with a “beheading “ of a demonic personality, not with a “stamping “ of parental identity on a son’s head, but with a bloody impalement. As we have just seen, such transpiercing is no symbolic enactment, the pig is no mere surrogate victim. The sacrifice is carried through, in all its brutality, upon the sacrificer who dies, if only for a few minutes. What is the rationale for such violent deed? Anthropological Explanations of Sacrifice Very different answers have been given to the question of what motivates human beings to sacrifice an “offering “ to a deity (see surveys by de Heusch 1985; Valeri 1985). One was developed a century ago by Henri Hubert and Marcel Mauss when they analyzed ancient Vedic and Hebrew rituals of sacrifice (1964). We are already familiar with their main premise, for Christopher Fuller’s analysis of Tamil sacrifice reviewed in the last chapter built from it (1987; 1992). But Hubert and Mauss did not limit sacrifice to a matter of entering into, or terminating. contact with the divine; they discerned other forms of communication as well. Based on ancient Sanskrit texts, Hubert and Mauss’s study was nonetheless context sensitive. They noted. for example, that Vedic animal sacrifices “released an ambiguous force or rather a blind one “ (1964: 34). Such observations led them to reject Edward Tylor’s gift theory (1871) according to which a sacrifice was a business transaction of do ut des ( “I give so that you will give in return “) without subjective investments on the part of givers.