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Academic literature on the topic 'Songs, Sanskrit'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Songs, Sanskrit"

1

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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2

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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3

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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4

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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5

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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6

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.
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7

Peterson, Indira V. "Sanskrit in Carnatic music: The songs of Muttusv?mi D?k $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s} $$ ita." Indo-Iranian Journal 29, no. 3 (July 1986): 183–99. http://dx.doi.org/10.1007/bf00959107.

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8

Surada, I. Made. "Teknik Pembacaan dan Menghafal Śloka, Mantra Veda." Sphatika: Jurnal Teologi 10, no. 1 (March 1, 2019): 63. http://dx.doi.org/10.25078/sp.v10i1.1559.

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Śloka means stanza, praise or praise, singing and being heard. In the tradition in Bali śloka is the verses of the mantra found in the Vedas. Saying śloka can be said to “follow”. Nyruti means listening. The ancient Rsi before knowing reading and writing conveyed the teachings to their students verbally. The students sat cross-legged while listening to the teachings of the teacher. The teacher delivered the teachings in the form of śloka with songs, so it was<br />interesting for the students to listen. This school is usually used in times of accompanying prayers, yajña ceremonies and for the worship of the people by the Sulinggih. Technically reading the verses of okaloka is with a distinctive rhythm (batten mantra). The language used is Sanskrit. Sound picking is usually at the base of the esophagus so that the sound sounds echoed inward, like the hum of a beetle sucking on flower juice (Bramara angisep sari).
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9

Oza, Preeti. "History of Protest Literature in India: Trails from the Bhakti Literature." International Journal of Interreligious and Intercultural Studies 3, no. 2 (December 3, 2020): 38–49. http://dx.doi.org/10.32795/ijiis.vol3.iss2.2020.711.

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Abstract: “Better is to live one day virtuous and meditative than to live a hundred years immoral and uncontrolled” (The Buddha) Bhakti movement in India has been a path-breaking phenomenon that provided a solid shape and an identifiable face to the abstractions with the help of vernacular language. As a religious movement, it emphasized a strong personal and emotional bond between devotees and a personal God. It has come from the Sanskrit word Bhaj- ‘to share’. It began as a tradition of devotional songs, hagiographical or philosophical – religious texts which have generated a common ground for people of all the sects in the society to come together. As counterculture, it embraced into its fold all sections of people breaking the barriers of caste, class, community, and gender. It added an inclusive dimension to the hitherto privileged, exclusivist, Upanishadic tradition. It has provided a very critical outlook on contemporary Brahminical orthodoxy and played a crucial role in the emergence of modern poetry in India. This paper elaborates on the positioning of the Bhakti Movement in the context of Protest narratives in India.
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10

Khare, Mrs Asha. "ROLE OF COMMUNICATION TOOLS IN THE PROMOTION OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3400.

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Hegel, a well-known scholar of Jammani, has placed music in the category of love arts. Indian music has been called the essence of all four languages. Music has been worshiped extensively in India and has been worshiped as Veena Vavadani. Sa vidya or liberation is music. In the divine period, the reins of music were in the hands of Brahmins. In this period, music flourished in religious atmosphere. Samudragupta was self-effacing. In this period, music began to develop in Rajashraya. Classical and folk music was also promoted. Kaval Das and Bhasa, the great poet and playwright of Sanskrit, wrote important texts in this period. The Rajputs were ruled after the Gupta period. Indian music, which was embedded in the thread of unity, began to be divided into two streams, the music of North India and the music of South India. Important texts of music were written. In the Muvassalam era, Sharangadee wrote a famous book of music called Sangeet Ratnakara. During this period, Amir Khusro brought a new verse in the field of music. The origins of the plants became popular for singing songs and singing ghazali. Bhagakat music was emphasized during the Mughal period. Dhrupad Dhamar singing was popular. The reign of Akbar in the Mughal period has been called the era of music. During this period, musicians and artists enjoyed royalty, and art greatly developed.
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Books on the topic "Songs, Sanskrit"

1

Mohan, Sarasvati. Rāma songs in Sanskrit. Bangalore: Sanskrit academy, 2008.

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Rāma songs in Sanskrit. Bangalore: Sanskrit academy, 2008.

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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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Ke, Sūryanārāyaṇ Ār. Tillānaguccha. Beṅgaḷūru: Śrīmātā, 1998.

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Saṃskr̥tamadhugītaguñjanam. Datiyā, Ma. Pra: Rājeśa Gupta, 2007.

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Bharati, Samskrita. Saṃskr̥ta-gītamañjarī. Gujarāta: Saṃskr̥tabhāratī, 2007.

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1944-, Gupta Rāmeśvara Prasāda, ed. Kavivara Ācārya Ḍô. Rāmeśvara Prasāda Gupta praṇīta Saṃskr̥tamadhugītaguñjanam kā samīkshātmaka anuśīlana: Mūlakāvya-sahita. Dillī, Bhārata: Īsṭarna Buka Liṅkarsa, 2014.

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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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Book chapters on the topic "Songs, Sanskrit"

1

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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"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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