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[ 0 => '{{About|an Indian musical instrument||Veena (disambiguation)}}', 1 => '{{Infobox Instrument', 2 => '|name=', 3 => '|image= Veena.png', 4 => '|image_capt=Saraswati veena', 5 => '|background=string', 6 => '|classification= [[String instruments]]', 7 => '|related= [[Pandura]], [[Surbahar]], [[Rudra veena]], [[Saraswati veena]], [[Chitra veena]], [[Vichitra veena]], [[Sarod]], [[Sitar]], [[Sursingar]], [[Tambouras]], [[Tanpura|Tambura]], [[Kantele]]', 8 => '}}', 9 => 'The '''veena''' ({{lang-sa|वीणा}}, [[IAST]]: vīṇā), also spelled as '''vina''' or '''beena''' or '''bina''', is a multistringed [[chordophone]] of the [[Indian subcontinent]].{{Sfn|Lochtefeld|2002|pp=753–754}}<ref name=hastvina/><ref>[https://en.oxforddictionaries.com/definition/veena Veena], Oxford Dictionaries</ref> It is an ancient musical instrument that evolved into many variations, such as [[lute]]s, [[zither]]s and arched [[harp]]s.<ref name=britveena>[https://www.britannica.com/art/vina Vina: Musical Instrument], Encyclopædia Britannica (2010)</ref> The many regional designs have different names such as the [[Rudra Veena|Rudra veena]], the [[Saraswati veena]], the [[Mohan veena]] and others.<ref>{{cite book|author1=Tutut Herawan|author2=Rozaida Ghazali|author3=Mustafa Mat Deris|title=Recent Advances on Soft Computing and Data Mining|url=https://books.google.com/books?id=VdYlBAAAQBAJ&pg=PA512 |year=2014|publisher=Springer|isbn=978-3-319-07692-8|page=512}}</ref><ref name=sanyal24>{{cite book|author1=Ritwik Sanyal|author2=Richard Widdess|title=Dhrupad: Tradition and Performance in Indian Music|url=https://books.google.com/books?id=7o8HAQAAMAAJ |year=2004|publisher=Ashgate|isbn=978-0-7546-0379-5|pages=23–25}}</ref>', 10 => false, 11 => 'The North Indian design, that has been used in classical Hindustani music, is a stick zither.<ref name=britveena/> About 3.5 to 4 feet (1 to 1.2 meters) long to fit the measurements of the musician, it has a hollow body and two large resonating gourds under each end.<ref name=sanyal24/> It has four main strings which are melody type, and three auxiliary drone strings.<ref name=britveena/> To play, the musician plucks the melody strings downward with a plectrum worn on the first and second fingers, while the drone strings are strummed with the little finger of the playing hand. The musician stops the resonating strings, when so desired, with the fingers of the free hand. The veena has been generally replaced with the [[sitar]] in north Indian performances.<ref name=hastvina/><ref name=britveena/>', 12 => false, 13 => 'The South Indian veena design, used in classical Carnatic music, is a lute. It is a long-necked, pear-shaped lute, but instead of the lower gourd of the north Indian design it has a pear shaped wooden piece. It too, however, has 24 frets, four melody strings, three drone strings, and played quite similar. It remains an important and popular string instrument in classical Carnatic music.<ref name=britveena/>{{Sfn|Randel|2003|pp=819–820}}', 14 => false, 15 => 'As a fretted, plucked lute, the veena strings can produce pitches in full three octave range.<ref name=hastvina>{{cite book|author1=Dorothea E. Hast|author2=James R. Cowdery|author3=Stanley Arnold Scott|title=Exploring the World of Music: An Introduction to Music from a World Music Perspective |url=https://books.google.com/books?id=00CwGRwv6XQC&pg=PA151 |year=1999|publisher=Kendall & Hunt|isbn=978-0-7872-7154-1|pages=151–152}}</ref> The long hollow neck design of these Indian instruments allow portamento effects and legato ornaments found in Indian ''[[raga]]s''.{{Sfn|Randel|2003|pp=819–820}} It has been a popular instrument in [[Indian classical music]], and one revered in the Indian culture by its inclusion in the iconography of [[Saraswati]], the Hindu goddess of arts and learning.{{Sfn|Lochtefeld|2002|pp=753–754}} These continue to be used, albeit with different designs, in [[Carnatic classical music]] and [[Hindustani classical music]].<ref name=hastvina/><ref name=britveena/>', 16 => false, 17 => '[[File:Kiravani-L Ramakrishnan.ogg|thumb|A veena improvisation (2004).]]', 18 => '[[File:Shri Nilotpala Nayike, rendered on the Veena by L Ramakishnan.ogg|thumb|A veena performance.]]', 19 => false, 20 => '==Etymology and history==', 21 => '[[File:Mural painting from kollur mookambika temple.jpg|thumb|left|A temple mural showing veena.]]', 22 => 'The [[Sanskrit]] word ''veena'' ({{lang|sa|वीणा}}) (sometimes transliterated as ''vina'') in ancient and medieval Indian literature is a generic term for plucked string musical instruments. Veena is mentioned in the [[Rigveda]], [[Samaveda]] and other Vedic literature such as the ''[[Shatapatha Brahmana]]'' and ''[[Taittiriya Samhita]]''.<ref name=mmw1005>Monier Monier-Williams, [http://www.ibiblio.org/sripedia/ebooks/mw/1000/mw__1038.html वीणा], Sanskrit-English Dictionary with Etymology, Oxford University Press, page 1005</ref>{{Sfn|Rowell|2015|pp=33, 86–87, 115–116}} In the ancient texts, [[Narada]] is credited with inventing the ''veena'', and is described as a seven string instrument with frets.<ref name=mmw1005/><ref name="Miner2004p26">{{cite book|author=Allyn Miner|title=Sitar and Sarod in the 18th and 19th Centuries|url=https://books.google.com/books?id=4nPHTCS8vfUC&pg=PA26|year=2004|publisher=Motilal Banarsidass |isbn=978-81-208-1493-6|pages=26–27}}</ref> According to Suneera Kasliwal, a professor of Music, in the ancient texts such as the ''Rigveda'' and ''[[Atharvaveda]]'' (both pre-1000&nbsp;BCE), as well as the [[Upanishads]] (c. 800–300&nbsp;BCE), a string musical instrument is called ''Vana'', a term that evolved to become ''Veena''. The early Sanskrit texts call any stringed instrument as ''Vana'', and these include bowed, plucked, one string, many strings, fretted, non-fretted, zither, lute or harp lyre style string instrument.<ref name="Kasliwal2004">{{cite book|author=Suneera Kasliwal|title=Classical musical instruments|url=https://books.google.com/books?id=GVsUAQAAIAAJ|year=2004|publisher=Rupa|isbn=978-81-291-0425-0|pages=70–72, 102–114}}</ref>{{Sfn|Te Nijenhuis|1974|pp=17–22}}{{Sfn|Beck|1993|pp=108–112}}', 23 => false, 24 => 'The ''[[Natya Shastra]]'' by Bharata Muni, the oldest surviving ancient Hindu text on classical music and performance arts, discusses ''Veena''.<ref name="Liu2016p131">{{cite book|author=A Madhavan|editor=Siyuan Liu|title=Routledge Handbook of Asian Theatre|url=https://books.google.com/books?id=H1iFCwAAQBAJ |year=2016|publisher=Routledge|isbn=978-1-317-27886-3|pages=131–132}}</ref> This Sanskrit text, probably complete between 200&nbsp;BCE and 200&nbsp;CE,{{Sfn|Lidova|2014}} begins its discussion by stating that "the human throat is a ''sareer veena'', or a body's musical string instrument" when it is perfected, and that the source of ''gandharva'' music is such a throat, a string instrument and flute.<ref name="Liu2016p131"/> The same metaphor of human voice organ being a form of ''veena'', is also found in more ancient texts of [[Hinduism]], such as in verse 3.2.5 of the ''Aitareya [[Aranyaka]]'', verse 8.9 of the ''Shankhayana Aranyaka'' and others.{{Sfn|Rowell|2015|pp=33, 86–87, 115–116}}{{Sfn|Beck|1993|pp=108–112}}<ref name="Baumer1988p135">{{cite book|author1=Bettina Bäumer|author2=Kapila Vatsyayan|title=Kalatattvakosa: A Lexicon of Fundamental Concepts of the Indian Arts|url=https://books.google.com/books?id=uPoIZaGGtiMC&pg=PA135 |year=1988|publisher=Motilal Banarsidass|isbn=978-81-208-1402-8|pages=135–136 }}</ref> The ancient epic ''[[Mahabharata]]'' describes sage Narada as a Vedic sage famed as a "vina player".{{Sfn|Dalal|2014|pp=272–273}}', 25 => false, 26 => '[[File:Saraswati by Raja Ravi Varma.jpg|thumb|The Hindu goddess [[Saraswati]] with veena instrument. The oldest known Saraswati-like relief carvings are from [[Buddhist]] archaeological sites dated to 200 BCE, where she holds a harp-style veena.<ref name=ludvik227>{{cite book|author=Catherine Ludvík|title=Sarasvatī, Riverine Goddess of Knowledge: From the Manuscript-carrying Vīṇā-player to the Weapon-wielding Defender of the Dharma|url=https://books.google.com/books?id=4lsYKIXBOK0C&pg=PA227|year=2007|publisher=BRILL Academic|isbn=90-04-15814-6|pages=227–229}}</ref>]]', 27 => 'The ''Natya Shastra'' describes a seven string instrument and other string instruments in thirty five verses,{{Sfn|Rowell|2015|pp=114–116}} and then explains how the instrument should be played.<ref name="Miner2004p26"/>{{Sfn|Rowell|2015|pp=98–104}} The technique of performance suggests that the veena in Bharata Muni's time was quite different than the zither or the lute that became popular after Natya Shastra was complete. The ancient veena, according to Allyn Miner and other scholars, was closer to a [[harp]]. The earliest lute and zither style veena playing musicians are evidenced in Hindu and Buddhist cave temple reliefs in the early centuries of the common era. Similarly, Indian sculptures from the mid 1st millennium CE depict musicians playing string instruments.<ref name="Miner2004p26"/> By about the 6th century CE, the goddess Saraswati sculptures are predominantly with veena of the zither-style, similar to modern styles.<ref name=ludvik227/>', 28 => false, 29 => 'The [[Tamil language|Tamil]] word of veena is ''[[Yazh|yaaḻ]]'' ({{lang|ta|யாழ்}}) (often written ''yaazh'' or ''yaal''). It is in the list of Musical instruments used by Tamil people in [[Tirumurai]] dated 6th to 11th century. A person who plays a veena is called a ''vainika''.{{citation needed|date=December 2016}}', 30 => false, 31 => '===The early Gupta veena: depiction and playing technique===', 32 => 'One of the early veenas used in India from early times, until the [[Gupta Empire|Gupta]] period was an instrument of the [[harp]] type and more precisely of the [[List of musical instruments by Hornbostel-Sachs number: 322.11|arched harp]]. It was played with the strings being kept parallel to the body of the player, with both hands plucking the strings, as shown on [[Samudragupta]]'s gold coins.{{citation needed|date=December 2016}}', 33 => false, 34 => '==Construction==', 35 => '[[File:A Mohan Veena, string musical instruments of India.jpg|thumb|left|140px|A Mohan veena.]]', 36 => 'At a first glance, the difference between the North and South Indian design is the presence of two resonant gourds in North, while in South instead of the lower gourd there is a pear shaped wooden body attached. However, there are other differences, and many similarities.<ref name=britveena/> Modern designs use fiberglass or other materials instead of hollowed jackwood and gourds.{{sfn|Nettl et al.|1998|pp=352–355}} The construction is personalized to the musician's body proportions so that she can hold and play it comfortably. It ranges from about 3.5 to 4 feet (1 to 1.2 meters). The body is made of special wood and is hollow. Both designs have four melody strings, three drone strings and twenty four frets.<ref name=hastvina/><ref name=britveena/><ref name=sanyal24/> The instrument's end is generally tastefully shaped such as a [[swan]] and the external surfaces colorfully decorated with traditional Indian designs.{{sfn|Nettl et al.|1998|pp=352–355}}', 37 => false, 38 => 'The melody strings are tuned in ''c' g c G'' (the tonic, the fifth, the octave and the fourth<ref name=alainrudra/>), from which ''sarani'' (chanterelle) is frequently used.{{Sfn|Randel|2003|pp=819–820}} The drone strings are tuned in ''c" g' c''' (the double octave, the tonic and the octave<ref name=alainrudra/>). The drones are typically used to create rhythmic ''tanams'' of Indian classical music and to express harmony with clapped ''[[tala (music)|tala]]'' of the piece.{{Sfn|Randel|2003|pp=819–820}}', 39 => false, 40 => 'The main string is called ''nayaki tar'', and in the Sarasvati veena it is on the onlooked's left side.{{Sfn|Caudhurī|2000|p=79}} The instrument is played with three fingers of the right (dominant) hand, struck inwards or outwards with a plectrum. The ''bola'' alphabets struck in the North Indian veena are ''da, ga, ra'' on the main strings, and many others by a combination of fingers and other strings.{{Sfn|Caudhurī|2000|pp=26–27}}{{Sfn|Rowell|2015|pp=153–164}} The veena settings and tuning may be fixed or adjusted by loosening the pegs, to perform ''Dhruva'' from fixed and ''Cala'' with loosened pegs such that the second string and first string coincide.{{Sfn|Caudhurī|2000|pp=111–113}}', 41 => false, 42 => 'One of the earliest description of the terminology currently used for veena construction, modification and operation appears in ''Sangita Cudamani'' by Govinda.{{Sfn| Gautam|1993|p=9}}', 43 => false, 44 => '==Types==', 45 => '[[File:A Hindu temple relief showing a Veena player, Akilandeswari Temple.jpg|thumb|A [[Hindu temple]] relief showing a veena player (Akilandeswari Temple).]]', 46 => 'Being a generic name for any string instrument, there are numerous types of veena.{{Sfn|Martinez|2001|pp=127–128}} Some significant ones are:', 47 => false, 48 => '*[[Rudra veena]] is a fretted veena, with two large equal size tumba (resonators) below a stick zephir.{{Sfn|Sorrell|Narayan|1980|pp=48–49}} This instrument is played by laying it slanting with one gourd on a knee and other above the shoulder.<ref name=alainrudra/><ref name=kasliwal116/> The mythology states that this instrument was created by god [[Shiva]], wherein he attached the two equal resonators because he was thinking of his wife's breasts (goddess [[Parvati]]).{{Sfn|Sorrell|Narayan|1980|pp=48–49}} It may be a post-6th century medieval era invention.<ref name=kasliwal116>{{cite book|author=Suneera Kasliwal|title=Classical musical instruments|url=https://books.google.com/books?id=GVsUAQAAIAAJ|year=2004|publisher=Rupa|isbn=978-81-291-0425-0|pages=116–124}}</ref> According to [[Alain Daniélou]], this instrument is more ancient, and its older known versions from 6th to 10th century had just one resonator with the seven strings made from different metals.<ref name=alainrudra>[http://media.smithsonianfolkways.org/liner_notes/unesco/UNES08021.pdf Rudra Veena], Alain Danielou, Smithsonian Folkways and UNESCO (1987)</ref>', 49 => '*[[Saraswati veena]] is another fretted veena, and one highly revered in Indian traditions, particularly Hinduism. This is often pictured, shown as two resonators of different size. This is played by holding it at about 45 degree angle across one's body, and the smaller gourd over the musician shoulder. This instrument is related to an ancient instrument of South India, around the region now called [[Kerala]], where the ancient version is called Nanthuni or Nanduruni.<ref>{{cite book|author=Suneera Kasliwal|title=Classical musical instruments|url=https://books.google.com/books?id=GVsUAQAAIAAJ|year=2004|publisher=Rupa|isbn=978-81-291-0425-0|pages=117–118, 123}}</ref>', 50 => '*[[Vichitra veena]] and Chitra veena or [[gottuvadhyam]] do not have frets. It sounds close to humming human singer. The Vichitra veena is played with a piece of ovoid or round glass, which is used to stop the strings to create delicate musical ornaments and slides during a performance.{{Sfn|Sorrell|Narayan|1980|pp=48–49}}', 51 => '*Tritantri (3 string) veena, now called sitar (a Persian word meaning three strings).{{Sfn|Caudhurī|2000|p=179}} Legends state that Amir Khusro of [[Delhi Sultanate]] renamed the Tritantri veena to sitar, but this is unlikely because the list of musical instruments created by Akbar historians makes no mention of sitar or sitariya.{{Sfn|Caudhurī|2000|p=65}} The sitar has been popular with Indian Muslim musicians.{{Sfn|Caudhurī|2000|p=66}}', 52 => '*Saradiya veena, now called Sarod.{{Sfn|Caudhurī|2000|p=176}}', 53 => '*Pinaki veena, related to Sarangi.{{Sfn|Caudhurī|2000|p=177}}', 54 => '*Kachapi veena, now called Kachua sitar.{{Sfn|Caudhurī|2000|p=179}}', 55 => '*Others such as [[Shatatantri veena]] ([[Santoor]]), Gayatri veena (with one string only) and [[Saptatantri veena]]', 56 => false, 57 => '==See also==', 58 => '{{Portal|Indian classical music}}', 59 => '[[File:1 type of Veena, cithare sur tube "Bin" at Musée de la musique, Philharmonie de Paris.jpg|thumb|A Rudra veena, now at Musée de la musique, Philharmonie de Paris.]]', 60 => '*[[Pandura]]', 61 => '*[[Surbahar]]', 62 => '*[[Rudra veena]]', 63 => '*[[Saraswati veena]]', 64 => '*[[Chitra veena]]', 65 => '*[[Vichitra veena]]', 66 => '*[[Ranjan veena]]', 67 => '*[[Sagar Veena]]', 68 => '*[[Triveni veena]]', 69 => '*[[Sarod]]', 70 => '*[[Sitar]]', 71 => '*[[Sursingar]]', 72 => '*[[Tambouras]]', 73 => '*[[Tanpura|Tambura]]', 74 => '*[[Sagar Veena]]', 75 => false, 76 => '==References==', 77 => '{{Reflist|30em}}', 78 => false, 79 => '===Bibliography===', 80 => '*{{cite book|ref=harv|first=Guy |last=Beck|year=1993 |title=Sonic Theology: Hinduism and Sacred Sound|location=Columbia |publisher=University of South Carolina Press|isbn=978-0-87249-855-6}}', 81 => '*{{cite book|ref=harv|first=Vimalakānta Rôya|last=Caudhurī|title=The Dictionary of Hindustani Classical Music|url=https://books.google.com/books?id=gQWLa--IHjIC |year=2000|publisher=Motilal Banarsidass|isbn=978-81-208-1708-1}}', 82 => '*{{cite book|last= Dalal |first=Roshen |title=Hinduism: An Alphabetical Guide |url=https://books.google.com/books?id=zrk0AwAAQBAJ |year=2014 | publisher=Penguin Books |isbn=978-81-8475-277-9 |ref=harv}}', 83 => '*{{Cite book | last=Daniélou | first=Alain | authorlink=Alain Daniélou | title=Northern Indian Music, Volume 1. Theory & technique; Volume 2. The main rāgǎs | publisher=C. Johnson | place=London | year=1949|oclc= 851080}}', 84 => '*{{cite book|title= Evolution of Raga and Tala in Indian Music| first=M.R.|last = Gautam| publisher= Munshiram Manoharlal | year = 1993|isbn = 81-215-0442-2|ref=harv}}', 85 => '*{{Cite book | last=Kaufmann | first=Walter | authorlink=Walter Kaufmann (composer) | title=The Ragas of North India | publisher=Oxford & Indiana University Press | isbn= 978-0-253-34780-0 |year=1968| oclc= 11369}}', 86 => '*{{cite book |first=Ananda|last=Lal |title=The Oxford Companion to Indian Theatre |url=https://books.google.com/books?id=DftkAAAAMAAJ| year=2004| publisher=Oxford University Press |isbn=978-0-19-564446-3}}', 87 => '*{{cite journal|first=Natalia|last=Lidova|publisher=Oxford University Press |year=2014 |doi=10.1093/obo/9780195399318-0071 |title= Natyashastra|ref=harv }}', 88 => '*{{cite book|ref=harv|first=James G.|last=Lochtefeld|title=The Illustrated Encyclopedia of Hinduism, 2 Volume Set|url=https://books.google.com/books?id=5kl0DYIjUPgC|year=2002|publisher=The Rosen Publishing Group|isbn=978-0-8239-2287-1}}', 89 => '*{{cite book|ref=harv|first=José Luiz|last=Martinez|title=Semiosis in Hindustani Music|url=https://books.google.com/books?id=OwJRnFIcM4cC |year=2001|publisher=Motilal Banarsidass |isbn=978-81-208-1801-9}}', 90 => '*{{citation |ref={{sfnref|Nettl et al.|1998}}| first1=Bruno|last1=Nettl | author2= Ruth M. Stone|author3=James Porter|author4=Timothy Rice|title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent| url=https://books.google.com/books?id=ZOlNv8MAXIEC |year=1998|publisher=Routledge|isbn=978-0-8240-4946-1}}', 91 => '*{{cite book|ref=harv|first=Don Michael |last= Randel|title=The Harvard Dictionary of Music|edition=fourth|url=https://books.google.com/books?id=02rFSecPhEsC |year=2003|location=Cambridge, MA|publisher=Harvard University Press|isbn=978-0-674-01163-2}}', 92 => '*{{cite book|ref=harv|first=Lewis |last= Rowell|title=Music and Musical Thought in Early India|url=https://books.google.com/books?id=h5_UCgAAQBAJ |year=2015|publisher=University of Chicago Press|isbn=978-0-226-73034-9}}', 93 => '*{{cite book|ref=harv|first1=Neil| last1= Sorrell|first2=Ram |last2= Narayan|title=Indian Music in Performance: A Practical Introduction|url=https://books.google.com/books?id=jNhRAQAAIAAJ |year=1980|publisher=Manchester University Press|isbn=978-0-7190-0756-9}}', 94 => '*{{cite book|ref=harv|first=Emmie|last=Te Nijenhuis |title=Indian Music: History and Structure |url=https://books.google.com/books?id=NrgfAAAAIAAJ |year=1974|publisher= BRILL Academic|isbn=90-04-03978-3 }}', 95 => '*{{cite book| first=Kapila|last=Vatsyayan |title=Classical Indian dance in literature and the arts |year=1977 |publisher=Sangeet Natak Akademi |oclc= 233639306}}, [http://library.mpib-berlin.mpg.de/toc/z2008_2719.pdf Table of Contents]', 96 => '*{{cite book| first=Kapila|last=Vatsyayan |title=Aesthetic theories and forms in Indian tradition |year=2008 |publisher=Munshiram Manoharlal |oclc= 286469807| isbn= 978-81-87586-35-7}}', 97 => '*{{cite book |first1=Annette|last1=Wilke|first2=Oliver|last2= Moebus|title=Sound and Communication: An Aesthetic Cultural History of Sanskrit Hinduism|url=https://books.google.com/books?id=9wmYz_OtZ_gC |year=2011|publisher=Walter de Gruyter|isbn=978-3-11-024003-0}}', 98 => false, 99 => '==External links==', 100 => '{{commons category|Veenas}}', 101 => '*[http://media.smithsonianfolkways.org/liner_notes/unesco/UNES08021.pdf Rudra Veena, Vichitra Veena, Sarod and Shahnai], Alain Danielou, Smithsonian Folkways and UNESCO', 102 => '*[https://www.ethnomusic.ucla.edu/music-of-india-ensemble Music of India Ensemble: Veena], Department of Ethnomusicology, UCLA', 103 => false, 104 => '{{Indian musical instruments}}', 105 => false, 106 => '[[Category:Chordophones]]', 107 => '[[Category:String instruments]]', 108 => '[[Category:Indian musical instruments]]' ]