Vadya

A vadya refers to instrument and the music they produce.[1][2] Above examples are found in the Natya Shastra.[3][4]

Vadya (Sanskrit: वाद्य, vādya), also called vadyaka or atodya, is one of the three components of sangita (musical performance arts), and refers to "instrumental music" in the Indian traditions.[1][5][6] The other two components of sangita are gita (vocal music, song) and nritya (dance, movement).[1][7][4] In the general sense, vadya means an instrument and the characteristic music they produce, sound, or play out.[8][9]

## Contents

* 1 Indian musicology
* 1.1 Classification of instruments
* 1.2 Ensembles and orchestras
* 2 Cultural exchange
* 3 See also
* 4 References

## Indian musicology

The term vadya in the sense of "music, sounded, played, uttered" appears in Vedic literature such as the Aitareya Brahmana, and in early post-Vedic era Sanskrit texts such as the Natya Shastra, Panchatantra, Malvikagnimitra, and Kathasaritsagara.[5] These texts refer to the musician or instrumental performer as vadyadhara.[5] A stringed instrument is described with proportional lengths in Jaiminiya Brahmana and Aitareya Aranyaka, and these are compared to poetical meters.[10] The 17th-century text Sangita Darpana defines sangita (musical arts) as "gītam vādyam tathā nrityam trayan sangīta muchyate", meaning sangita comprises gīta (vocal music), vādya (instrumental music), and nritya (dance).[11]

### Classification of instruments

Sanskrit literature describes four types of vadya:[4][6][12]

* Tantu: stringed musical instrument (chordophone)
* Susira: hollow musical instrument (aerophone)
* Ghana: solid musical instrument (idiophone)
* Avanaddha: covered musical instrument (membranophone)

### Ensembles and orchestras

The chapter 14 of the Saṅgītaśiromaṇi describes musical ensembles based on a collective performance of vadya instruments by musicians, and it calls such a band orchestra as a kutapa.[13]

## Cultural exchange

The term vadya also appears in the Buddhist Sanskrit text Sukhavativyuha, influential in the Chinese and Japanese traditions, which Luis Gomez translates as "instrumental music".[14]

In Hindu-Javanese music tradition, vadya is called vaditra.[7] According to Roger Blench, most scholars consider the term valiha (a Madagascar tube zither instrument) to be rooted in the Sanskrit term vadya, reflecting a period of cultural exchange over the Indian Ocean.[15]

## See also

* Indian classical music
* List of Indian musical instruments
* Natya shastra
* Tala
* Udaka vadya

## References

1. ↑ 1.0 1.1 1.2 Lewis Rowell (2015). Music and Musical Thought in Early India. University of Chicago Press. p. 13. ISBN 978-0-226-73034-9. https://books.google.com/books?id=h5_UCgAAQBAJ.
2. ↑ Bigamudre Chaitanya Deva (1995). Indian Music. Taylor & Francis. pp. 95–96. ISBN 978-81-224-0730-3. https://books.google.com/books?id=z-XKAfoa8WMC.
3. ↑ Rachel Van M. Baumer; James R. Brandon (1993). Sanskrit Drama in Performance. Motilal Banarsidass. pp. 117–118. ISBN 978-81-208-0772-3. https://books.google.com/books?id=Ix-RShGgZUAC.
4. ↑ 4.0 4.1 4.2 Alison Arnold; Bruno Nettl (2000). The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent. Taylor & Francis. pp. 19–20. ISBN 978-0-8240-4946-1. https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA321.
5. ↑ 5.0 5.1 5.2 Monier Monier-Williams, Sanskrit-English Dictionary with Etymology, Oxford University Press, page 940
6. ↑ 6.0 6.1 Dilip Ranjan Barthakur (2003). The Music and Musical Instruments of North Eastern India. Mittal Publications. pp. 3–4. ISBN 978-81-7099-881-5. https://books.google.com/books?id=oP4vH-4oSEcC.
7. ↑ 7.0 7.1 Jaap Kunst (2013). Hindu-Javanese Musical Instruments. Springer Science. pp. 88 with footnote 26. ISBN 978-94-011-9185-2. https://books.google.com/books?id=ytLoCAAAQBAJ&pg=PA88.
8. ↑ Lewis Rowell (2015). Music and Musical Thought in Early India. University of Chicago Press. pp. 113–114. ISBN 978-0-226-73034-9. https://books.google.com/books?id=h5_UCgAAQBAJ.
9. ↑ Mandakranta Bose (2012). Movement and Mimesis: The Idea of Dance in the Sanskritic Tradition. Springer Science. p. 57. ISBN 978-94-011-3594-8. https://books.google.com/books?id=JS_pCAAAQBAJ.
10. ↑ Emmie te Nijenhuis (1992). Saṅgītaśiromaṇi: A Medieval Handbook of Indian Music. BRILL Academic. pp. 12–14. ISBN 90-04-09498-9. https://books.google.com/books?id=kGzESuCeK-sC.
11. ↑ Dona, Lasanthi Manaranjanie Kalinga (2012). "On the Therapeutic Aspects of Indian Classical Music". Musik-, Tanz- und Kunsttherapie (Hogrefe Publishing) 23 (1): 8–14. doi:10.1026/0933-6885/a000069.
12. ↑ Bonnie C. Wade (1987). Music in India: The Classical Traditions. Riverdale Company. p. 88. ISBN 978-0-913215-25-8. https://books.google.com/books?id=3zRLAAAAYAAJ.
13. ↑ Emmie Te Nijenhuis (1992). Saṅgītaśiromaṇi: A Medieval Handbook of Indian Music. BRILL Academic. pp. 524–525. ISBN 90-04-09498-9. https://books.google.com/books?id=kGzESuCeK-sC.
14. ↑ Luis Gómez (1996), The Land of Bliss: Sanskrit and Chinese Versions of the Sukhāvatīvyūha Sutras, University of Hawaii Press, ISBN:978-0-8248-1760-2, page 72 (verse 28.23)
15. ↑ Roger Blench (2014), Using Diverse Sources of Evidence for Reconstructing the Past History of Musical Exchanges in the Indian Ocean, African Archaeological Review, Volume 31, Issue 4 (December), pp 675–703

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