Abstract

This paper aims to examine a brief study of Vada Nirnaya of Sangeet Samayasara by Acharya Parshvadeva. Indian music has a very ancient history. There is evidence of music in written form since the Vedic period. There are two types of aspects in music as follows- 1. Theoretical, 2. Practical. Although the practical part of music is very important, the importance of the theoretical part is not less than that. Both limbs have equal weight. The reason for this is that Pratyakshika was learned side by side in front of the Guru in the gurukula and the knowledge was propagated from one generation to the next; But with the idea of presenting this knowledge in a written or theoretical form to last forever, it is seen that many musical texts were created by many Rishis and Munis in different eras. This shows the invaluable contribution of theory as well as demonstration in music. Acharya Parshvadeva Krita Sangeet Samayasara Grantha was written in the 13th century. During this period Sharangdeva's Sangeet Ratnakara was established as a respected text in music. It is seen that most of the bibliographers of that time arranged their books on the basis of this book. Despite this Sangeet Samaysara appears to be very unique due to its unique musical principles. Religiously Parshvadeva is a Jain Acharya who played a very important role in the field of music and composed the book, Sangeet Samayasara; in which he has elaborated the new concept called 'Vada' along with all the three musical genres of the time i.e. singing, playing and dancing. In this present research paper, we will see a brief study of the vada nirnaya adhikarana in the Sangeet Samaysara grantha.