Samaveda

The Samaveda, in addition to singing and chanting, mentions instruments.

It is among the 16 Upanishads associated with the Samaveda.

The samaveda uses musical notations in several of its recessions.

It is one of the 16 Upanishads attached to the Samaveda.

The tradition dates back to the ancient Samaveda, (lit.

In Samaveda, some of the Rigvedic verses are repeated more than once.

The Samaveda version is partly in poetic verses.

The Samaveda text contains notated melodies, and these are probably the world's oldest surviving ones.

Arsheya Brahmana is an index to the hymns of Samaveda.

The Upanishad belongs to the Tandya school of the Samaveda.

Ranayaniya sakha is the one of the 3 remaining sakhas of Samaveda.

The Samaveda comprises two major parts.

Glory to the Samaveda!

Sāmagān is purpose of creation of Samaveda.

The longer version of the text, which is attached to Samaveda, includes the shorter version as first part and then presents more text.

The two Samaveda recensions are the Jaiminiya and Kauthuma.

The Samaveda, Yajurveda and Atharvaveda followed later.

The Samaveda was derived from the Rigveda so that its hymns could be sung as Samagana.

Including repetitions, there are a total of 1875 verses numbered in the Samaveda recension translated by Griffith.

The classical Indian music and dance tradition considers the chants and melodies in Samaveda as one of its roots.

The Samaveda consists of 1,549 unique verses, taken almost entirely from Rigveda, except for 75 verses.

Michael Witzel states that there is no absolute dating for Samaveda and other Vedic texts.

The Udgatri is the chanter of hymns set to melodies and music (sāman) drawn from the Samaveda.

Weber noted that the Samhita of Samaveda is an anthology taken from the Rigveda-Samhita.

Attached to the Samaveda, it is a one of twenty Yoga Upanishads in the four Vedas.