The objects and forms that are experienced in the dream state have a reality only in that state. The Atma that appears in the waking state as the phenomenal cosmos in its gross form, appears in the dream state in its sookshma (subtle) form. The entire cosmos is a projection of the Divine. This really means that Krishna showed to Arjuna that the Divine is present everywhere in all things at all times. Krishna is stated to have revealed to Arjuna His Viswaroopa (cosmic form). It is also called Vaiswanara or Viratpurusha. Hence the Atma in this state is known as Viswa. Without the Atma, the waking state or experience of the phenomenal world cannot exist. All these together account for the experience of the phenomenal world in the waking state. There are also the five sheaths for the body. The waking state is the state in which one sees and experiences the phenomenal world through the five life-breaths, the senses, the mind, the intellect and the ego. The Sama Veda has given to the world these four kinds of music.Įvery human being experiences four states of consciousness in daily life Jagrata (the waking state), Swapna (dream state), Sushupti (deep sleep) and Turiya (the highest state of consciousness).
Oohyagana is the type of singing in which the singer gives free vent to his emotions and enjoys the singing as much as he seeks to communicate his joy to others. Here the singer expresses in the rendering the mood of the song - either grief or joy - by artificial modulations of the voice to produce the impression of grief or joy as conceived by the singer. Oohaganam resembles the cinema music of our days. Singing the praise of the Lord, sitting under a tree, they derived spontaneous delight from these songs. The songs were sung with fullthroated voices in an uninhibited way. Aranyaka songs were sung while taking cattle to the forests for grazing. They enjoyed themselves in singing such songs. Grameena or village songs are songs which used to be sung by villagers in their daily activities or during festivals in group dances. There are four kinds of songs in these hymns' Grameena ganamu (village songs) Aranyaka ganamu Oohaganamu and Oohyaganamu. There are two versions of it: Aranyi (forest hymns)and Ganam (musical hymns). It is broad based and has a wider appeal because of its accent on the musical form. The Jaimini sakha is a short one, but is more important than others. For the Ranayani sakha, the main syllables are "A A", "Oo-Oo", "Ra" and "Nee", the sounds being lengthened during recitation. "Ha", "Hoo.", "Ra", "Ni" are important syllables for the Kouthuma and Ranayani sakhas. There are no big differences between the Kouthuma and Ranayani sakhas. These three branches are: Kouthuma, which is followed by Nagar Brahmanas in Gujarat Ranayani, with its adherents in Maharashtra Jaimini, followed by a section in Karnataka. The others have been lost by the ravages of time. Out of the one thousand branches which stemmed from the Veda, today only three have survived among its practioners. From Jaimini, it was taught to a succession of disciples and in the process 'it developed many sakhas (branches). The sage Vyasa first taught the Sama Veda to Maharishi Jaimini.