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      • Musical historiographies, both Indian and Western, divide Indian musical practices, including devotional music, between North and South. That division has both musical and religious distinctions. In the South, Hinduism plays the overwhelming role in determining sacred meaning and musical structure.
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  2. Music has historically given unity to Indian society and civilization, often doing so in contrast to the discord among the dominant religions and multiple sects of South Asia. The symbolic meanings of music provide common musical substance and practice, and they are shared across sacred boundaries of many kinds.

  3. The Vedas and Upanishads (4000–1000 BCE), as the earliest sources for study of the Indo-Aryan religion arriving from the northwest, convey information on sound and music. The oral texts are said to be the eternal embodiment of the primeval sound Om (Śabda-Brahman) that generated the universe.

  4. Oct 1, 2007 · Indian music remains an extraordinarily significant component of all aspects of secular life and religious practice wherever Indian culture is present. It aids in maintaining cultural ties, religious faith and moral discipline.

  5. Sep 29, 2015 · A concise review essay that charts the major topics in research on music and Hinduism, including: sacred sound, aesthetics, music and worship, Sanskrit musical treatises, devotional music, and classical music.

  6. Hindustani music, one of the two principal types of South Asian classical music, found mainly in the northern three-fourths of the subcontinent, where Indo-Aryan languages are spoken. (The other principal type, Karnatak music , is found in the Dravidian -speaking region of southern India.)

  7. en.wikipedia.org › wiki › Hindu_musicHindu music - Wikipedia

    Hindu music is music created for or influenced by Hinduism. It includes Indian classical music, Kirtan, Bhajan and other musical genres. Raagas are a common form of Hindu music in classical India. The most common Hindu bhajan in North India is "Om Jai Jagdish Hare."

  8. This essay first outlines the theoretical roots of sacred sound in India, and then explains the connections between these and sacred music, aesthetics, the traditions of devotion, and finally to the modern Hindustani classical tradition.

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