नाद comes from the root Sanskrit word नद् meaning a sound or noise, typically a loud or resounding one. नद् comes from the early Proto-Indo-European *ned- “to sound, roar, bellow”, which might be sound-symbolic. The root *ned- is sound-symbolic because it refers to things that create sounds, like roaring rivers or reeds that make a noise when the wind moves through them. The words connected to ned- are all about sound or things that make sound!

As per Hindu cosmogony, when ब्रह्मा (Brahmā), the god of creation and one of the त्रिमूर्ति (Trimurti)—the holy trinity alongside विष्णु (Vishnu), the preserver, and शिव (Shiva), the destroyer—created the ब्रह्माण्ड (Brahmāṇḍ), the cosmos, there was nothing but sound: नाद (Nāda).
नाद ब्रह्मा (Nāda Brahmā) is a philosophical concept that represents the primordial, unstruck sound, from which all other sounds are believed to emanate. Nāda Brahmā could be seen as the first causation of sound, representing the original or primal sound that gives rise to all subsequent manifestations in the universe. This is called अनाहत नाद (Anāhat Nāda) which is heard when the Atmān (spirit/soul) merges with the absolute Brahmā. All other sound is called आहत नाद (Āhat Nāda), created by the collision of, or the friction between two objects. Phonetically Na indicates life breath and Da indicates fire. Being obtained from the combination of life breath and fire, it is called Nāda. When the vibrations are of a regular nature, then the sound obtained is melodious and useful for music, this sound is called Nāda. When the vibrations are irregular, then the sound is not melodious which is not useful for music. Āhat Nāda is produced by striking together of two objects whereas, Anāhat Nāda is experienced through knowledge without any external factor. Ahat Nada is related to music, Anāhat Nāda is not related to music. According to Mataṅga Muni a seventh century music commentator स्वर (swar) - the musical note is a sound that glows on its own. Swa (स्व) meaning self and ra means rajari - luminous. Indians thus associate sound and by extension music with the divine.

"Music is the highest art, and, to those who understand, it is the highest worship."
- Swāmī Vivekānanda

Origins: The Aural Tradition

The Indian tradition is primarily an oral tradition. The holy scriptures of Hindus, the Vedas (वेद), are known as Śruti (श्रुति), meaning "that which is heard." These ancient texts were passed down through generations by oral recitation before being finally written down by वेद व्यास (Veda Vyāsa). [The Vedas are considered to be divinely revealed texts in the Hindu tradition, and they were not composed by any single individual. Instead, they are believed to have been revealed to the ancient sages or rishis through direct spiritual experience, often described as "śruti" (that which is heard). The Vedas were passed down orally from generation to generation and were eventually written down.] The unique process by which this music has been kept alive over the centuries is through the aural guild tradition referred to as the गुरु-शिष्य परंपरा (Guru-Śiṣya Paramparā). The codification, notation, standardisation, and some form of formalisation that we see today only happened in the 20^th century. Before that this knowledge was transferred from father to son, and from teacher to pupil by word of mouth. The origin of Indian music goes back to 1500BCE (~3000 years ago) with the chants and hymns of the Vedic people. Chants a system of musical notes along with the rhythmic cycles goes back to सामवेद (Sāma Veda) composed between 1500-1200BCE. सामवेद is called the veda of music and provides the foundation for Indian classical music. The सामवेद consists of hymns from ऋग्वेद (Ṛigveda) set to melodies. Sāman (सामन) refers to a type of melodic chant or hymn used in the Vedic rituals. It is specifically the musical aspect of the Vedic hymns. The Sāma Veda is largely composed of Sāman chants, which are melodic renderings of hymns found in the Rig Veda. सामन (Sāman) hymns were created by setting the verses from the Rig Veda to specific tunes or melodies, and these melodies were intended to be sung during Vedic rituals particularly sacrifices. The practice of chanting सामन was important because it not only conveyed the meaning of the hymns but also added a musical element to the rituals. The melodies and rhythms were believed to enhance the potency of the rituals and invoke the divine forces effectively. During the Vedic period music was used for religious ceremonies and social occasions. The music used for यज्ञ (Yajna) was bound by strict rules, whereas that used for social occasions लौकिक (Laukik) was according to the interests of people. Performing the rituals was the responsibility of Brāhmins as the songs and hymns had to sung in a proper way. Brāhmins were considered as suitable for the purpose who were good singers with a naturally melodious voice, good instrumentalists and experienced in the knowledge of Vedas and Vedic rituals. This training was given from father to son, गुरु (Guru) to शिष्य (Śiṣya), or to students of a गुरुकुल (Gurukul) in a group. This rule bound Vedic music can be called the classical form of music of Vedic period.
With लौकिक (Laukik) music, लोक गाथा (Lok Gāthā) and songs in praise of brave men and kings such as गाथाएँ (Gāthāeṅ), नराशंसी (Narāśaṃsī), रैभ्य (Raibhya), etc. that were used both for religious and social ceremonies were prevalent. Since the singers of गाथाएँ sang along with the वीणा (Vīṇā) instrument, they were called गाथागायक (Gāthāgāyak), वीणागाथिन (Vīṇāgāthin). In this period, dance was performed in an open surrounding before a gathering in which both men and women participated According to the treatise वाजसनेयी संहिता (Vājasneyī Saṃhitā), during this period, group dances like राज्जु (Rājju), अरुण (Āruṇa), प्रकृति (Prakṛti), पुष्प (Puṣpa) and बसंत (Basant) नृत्य (Nritya) etc. were prevalent. In this way, apart from the classical form which was used for religious purposes according to rules specified in Vedas, music was also used for social ceremonies according to interests of people in the Vedic period.

The first reference to music can be credited to पाणिनि (Pāṇini), an ancient Indian grammarian (500BCE). His work, अष्टाध्यायी (Aṣṭādhyāyī), is a comprehensive treatise on Sanskrit grammar and includes references to various aspects of language, including phonetics, sound patterns, and music. contains references to musical sounds, rhythm, and pitch, reflecting the early recognition of the connection between language and sound. In his work, he mentions various स्वर (swar), which means sound, tone, or note. These notes or sounds are foundational to the study of music. The ancient classical text, नाट्यशास्त्र (Nāṭyaśāstra) [believed to have been written between 200 BCE and 200 CE however, the exact date of its composition is not definitively known] by भारत मुनि (Bharata Muni), is the foundation of numerous classical music and dance traditions of India. It was the first musical work written in format that divided music into 22 keys called श्रुति (Śruti). [more on this later...]

In this series of blog articles, I will be documenting my thoughts and learnings on Indian Classical Music as I continue to explore and learn about it.

PS: A note on the Hindi words and its respective English diacritical marks
This table can help read the words in देवनागरी (Devanāgarī) script.

Vowels