Fundamental of Ancient Indian Music and Dance

SR No.: 001535
Original Sutra Author: N/A
Author: Sureshchandra Benarji
Publisher: L D Indology Ahmedabad
Publication Year: 1976
Total Pages: 130
Language: English
Classification: Book_English, Art, & Music
File Size: 7 MB

Page 22

Introduction
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From the foregoing account of Indian music it is clear that the stream of music has been flowing over the soil of India from time immemorial. In Sanskrit literature, the succulent current of music has been flowing ever since the remote Vedic Age. As a river with a strong current floods the lands through which it flows and fertilises them with alluvial soil, so the mighty current of Indian music has been rushing forth with irresistable force. In its course, it has been flowing through the Vedic, Epic and Classical ages, being enriched by the influence of the religious life of the Aryan seers, the joy. ous atmosphere of the courts of Hindu rulers and the pomp and splendour of the courts of Muslim Badshahs. Ultimately it merged into the sea of vast humanity.
It is our bounden duty to preserve the true character of Indian music. Human beings sometime lose their own indivi. dual characteristics in the vortex and welter of life, and move about in the society as non-descript being far away from the upper strata of the society. We should take all possible care to see that Indian music, carrying a vast and valuable heritage, is not reduced to such a condition.
In order to preserve the true nature of Indian music, we should first of all know what its distinguishing feature is. Its chief distinctive quality is its spiritualism. Our country is a land of spiritual values, a seat of meditation for the attainment of the goal which is far beyond gross materialism. It was through Samgita that the Vedic seer, awe-struck at the unspeakable beauty and vastness of nature, expressed his feelings towards gods and goddesses. The wide use of dance, vocal and instrumental music in connection with the worship of divine beings is attested by the epics and Purānas. The flute of Kệsna, the Viņā of Sarasvati etc. symbolise the fact that Samgita is the best means of pleasing gods. In such statements as gānāt parataram nahi we find hints at the soulstirring power of songs as well as their utility in making men move along the spiritual path. The time has come when we should see that Indian music, which was born in the