Music in Holy Text Upanishad and Purana


Music in Upanishad and Purana    

        The Pauranic period refers to the late 1000 BCE when various Purans were written. The literature of the Pauranic period was mostly confined to the Sage and the Praise of a particular deity. It is also a compilation of the rituals' recognition and respect of the bravery of the God and Goddess. In the Pauranic period where music becomes both devotional and secular in character. A distinctive improvement upon Vedic music was evident. Among the eighteen Purna; Gandharva Puran, Bhagvat Puran, Skand Purna, Garud Purna, and Vayu Puran are prominent where music was largely associated with rituals and religious oblation. As it was mentioned in Arayanak Granth, Brahman Granth, and Upanishad that music often practices praying, chanting, and following the religious Yajna. 

    The main motive of musical practice till the time was for Karmakand- The rituals, Iswar-Upasand-Praise of Almighty God, and Mokshya- Salvation. In the process of development, music refers to the plenty of elements accomplished with vocal intonation or the abolishment of rituals belief. Vedic music gradually came to Deshi and Margi types of sangeet during the Pauranic period. Most commonly these types of musical variations were called Laukik and Vaidik Gaan. Gandharva Gaan was known as Margi Sangeet and is usually performed by the deities in Heaven and Laukik Sangeet or the Deshi sangeet is associated with the folks. Vedic Music a combination of Samgaan- Archik and Gaan.

     The Most important thing illustrated in Vayu Puran which deals with the musical component like Grams, Murchana, Taans, Varnas, and Alankars is the fundamental aspect of music during the Pauranic period. Therefore, as come across with various Purana, music with the conceptual design was somehow modifying and adopting the materialism, consequently forming the new tunes, rhythms, and melodies.


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