SamaVeda means knowledge of songs. It is among chatur-veda in liturgical order next to Rigveda.
It consists of a vast description of melodies,chants and their respective effect on the human mind, body and soul. It also contains various verses from Rigveda in a musical manner.
Sama Veda is believed to be origin of Indian music.It gives us knowledge of various chants that have divine effect on our body, mind and soul according to different times of a day.
For example Raag-Bhairavi is good in morning.
Raag-Abhogi is good, if played in evening.
Sama Veda clearly defines chants that are useful for personal meditation (Aranya-Gaya), which should be chanted alone in the forest,the chants that are good for public gatherings (Grama-Gaya),which are good when chanted together.
Importance of Samaveda can also be realized from an incident in Bhagwad-Gita where Lord Krishna says-
‘Among Vedas, I am Sama.’
The Samaveda, or Veda of Holy Songs, third in the typical request of list of the three Vedas, positions next in sacredness and formal significance to the Rigveda or Veda of Recited acclaim.
Its Samhita, or metrical parcel, comprises mainly of hymns to be droned by the priests at the execution of those critical yields in which the juice of the Soma plant, cleared up and blended with drain and different fixings, was offered to drink, to different divinities.
The Collection is comprised of songs, parts of hymns, and isolates verses, taken predominantly from the Rigveda, transposed and re-arranged, without reference to their unique request, to suit the religious services in which they were to be utilized.
The verses are further adjusted by prolongation, reiteration and addition of syllables, different tweaks, rests, and different changes done by an administering priest, in the Ganas or Song-books.
There is no piece of information to the date of the aggregation of the Sama veda Hymns, nor has he compiler’s name been passed on to us. Such a manual was pointless in the early times.
Two essential Upanishads of Hinduism are implanted inside the Samaveda – the Chandogya Upanishad and the Kena Upanishad. Both are outstanding for lifting the metric melodic structure, yet it is Chandogya which has assumed a memorable part in the development of different schools of Hindu logic.
The implanted philosophical premises in Chandogya Upanishad have, served as an establishment for Vedanta school of Hinduism. It is a standout above the most referred writings in later Bhasyas (audits and discourses) by researchers from the various schools of Hinduism. Adi Shankara, for instance, referred to Chandogya Upanishad 810 times in his Vedanta Sutra Bhasya, more than whatever other old content.
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