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Sarana Chatushtai
Within Indian classical music Indian classical music is the art music, classical music of the Indian subcontinent. It is generally described using terms like ''Shastriya Sangeet'' and ''Marg Sangeet''. It has two major traditions: the North Indian classical music known as ... for Shruti, Sarana Chatushtai is an experiment. The purpose is to obtain the correct physical configuration of Śruti swara arrangement to Shadja Grama Notes on a veena instrument (Sa, Ri, Ga, Ma, Pa, Dha, Ni corresponding to 4-3-2-4-4-3-2 totalling 22 Srutis in a Saptak). The experiment is described in Abhinavabharati, a commentary to Natya Shastra, as an explanation after verse 28.26 of Natyashastra. The 22 Srutis are the only notes which can be useful for music in an “octave”, in this view. The sections below describe the experiment. Sarana Chatushtai experiment on two similar sitars The two veenas having the same qualities in all respect can be used to perform the Sarana Chatushtai experim ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Classical Music
Indian classical music is the art music, classical music of the Indian subcontinent. It is generally described using terms like ''Shastriya Sangeet'' and ''Marg Sangeet''. It has two major traditions: the North Indian classical music known as ''Hindustani classical music, Hindustani'' and the South Indian expression known as ''Carnatic classical music, Carnatic''. These traditions were not distinct until about the 15th century. During the period of Mughal Empire, Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. Another unique classical music tradition from the eastern part of India is ''Odissi music'', which has evolved over the last two thousand years. The roots of the classical music of India are found ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shruti (music)
The ''shruti'' or ''śruti'' is the smallest interval (music), interval of pitch (music), pitch that the human ear can detect and a singer or musical instrument can produce. The concept is found in ancient and medieval Sanskrit texts such as the ''Natya Shastra'', the ''Dattilam'', the ''Brihaddeshi'', and the ''Sangita Ratnakara''. ''Chandogya Upanishad'' speaks of the division of the octave in 22 parts. The ''swara'' differs from the ''shruti'': the ''shruti'' is the smallest gradation of pitch available, while a ''swara'' is the selected pitch (music), pitches from which the musician constructs the scale (music), scales, melody, melodies and ''ragas''. The ''Natya Shastra'' identifies and discusses twenty two ''shruti'' and seven ''swara'' per octave. It has been used in several contexts throughout the history of Indian music. Recent research has more precisely defined the term ''shruti'', its difference from ''nada'' and ''swara'', and identified positions on a strin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Śruti
''Śruti'' or shruti (, , ) in Sanskrit means "that which is heard" and refers to the body of most authoritative, ancient religious texts comprising the central canon of Hinduism. Manusmriti states: ''Śrutistu vedo vijñeyaḥ'' (Devanagari: श्रुतिस्तु वेदो विज्ञेयः) meaning, "Know that Vedas are Śruti". Thus, it includes the four Vedas including its four types of embedded texts—the Samhitas, the Upanishads, the Brahmanas and the Aranyakas.Wendy Doniger O'Flaherty (1988), Textual Sources for the Study of Hinduism, Manchester University Press, , pages 2-3 ''Śruti''s has been variously described as a revelation through ''anubhava'' (direct experience), or of primordial origins realized by ancient Rishis.James Lochtefeld (2002), "Shruti", The Illustrated Encyclopedia of Hinduism, Vol. 2: N–Z, Rosen Publishing. , page 645 In Hindu tradition, they have been referred to as ''apauruṣeya'' (not created by humans). The ''Śruti'' text ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swara
Swara () or svara is an Indian classical music term that connotes simultaneously a breath, a vowel, a note, the sound of a musical note corresponding to its name, and the successive steps of the octave, or ''saptanka''. More comprehensively, it is the ancient Indian concept of the complete dimension of musical pitch. At its most basic comparison to western music, a ''swara'' is, essentially, a "note" of a given scale. However, that is but a loose interpretation of the word, as a ''swara'' is identified as both a musical note and tone; a "tone" is a precise substitute for sur, relating to "tunefulness". Traditionally, Indian musicians have just seven ''swara''s/notes with short names: sa, re, ga, ma, pa, dha, ni, which they collectively refer to as ''saptank'' or ''saptaka''. This is one of the reasons why ''swara'' is considered a symbolic expression for the number seven. In another loose comparison to western music, ''saptak'' (as an octave or scale) may be interpreted as s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Veena
The ''veena'', also spelled ''vina'' ( IAST: vīṇā), is any of various chordophone instruments from the Indian subcontinent. Ancient musical instruments evolved into many variations, such as lutes, zithers and arched harps.Vina: Musical Instrument Encyclopædia Britannica (2010) The many regional designs have different names such as the '' Rudra veena'', the '''', the '' Vichitra veena'' and others. The North Indian ''rudra veena'', used in |
Abhinavabharati
''Abhinavabharati'' is a Sanskrit commentary on the '' Natyasastra'', an ancient treatise on dramatic theory by Bharata Muni. It is the oldest extant commentary on the treatise. The ''Abhinavabharati'' was written by Abhinavagupta (c. 950–1020), the great Kashmiri Saivite spiritual leader and a yogi. In this monumental work, Abhinavagupta explains the ''rasasutra'' of Bharata in consonance with the theory of ''abhivyakti'' (expression) propounded in Anandavardhana's (820–890) work ''Dhvanyaloka'' ("aesthetic suggestion"), as well as the tenets of the Pratyabhijna philosophy of Kashmir. According to Abhinavagupta, the aesthetic experience is the manifestation of the innate dispositions of the self, such as love and sorrow, by the self. It is characterised by the contemplation of the bliss of the self by the connoisseur. It is akin to the spiritual experience as one transcends the limitations of one's limited self because of the process of universalisation taking place dur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Natyashastra
The ''Nāṭya Shāstra'' (, ''Nāṭyaśāstra'') is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The text consists of 36 chapters with a cumulative total of 6,000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of a play and the construction of a stage to host it, genres of acting, body movements, make up and costumes, role and goals of an art director, the musical scales, musical instruments and the integration of music with art performance. The ''Nāṭya Śāstra'' is notable as an ancient encyclopedic treatise on the arts, one which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic "Rasa" theory, which asserts that entertainment is a desired effect of performance arts but not t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bharata Muni
Bharata (Devanagari: भरत) was a '' muni'' (sage) of ancient India. He is traditionally attributed authorship of the influential performing arts treatise '' Natya Shastra'', which covers ancient Indian dance, poetics, dramaturgy, and music. Identity He is thought to have lived between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. ''Nāṭya Śāstra'' Bharata is known only as being traditionally attributed authorship of the treatise '' Natya Shastra''. All other early Sanskrit treatises were similarly attributed to mythical sages. The text draws on his authority, as existing in the public imagination. The ''Nāṭya Śāstra'' is notable as an ancient encyclopedic treatise on the performing arts The performing arts are arts such as music, dance, and drama which are performed for an audience. They are different from the visual arts, which involve the use of paint, canvas or various materials to create physical or static art o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Avinash Balkrishna Patwardhan
Avinash Balkrishna Patwardhan born 30 August 1953 in Nagpur, Maharshatra (India) is a civil engineer from Govt College of Engineering, Amravati (GCoEA) in 1975 and a law graduate who has profound knowledge and interest in Indian classical music. He is the first person in recent centuries to unveil and demonstrate the Sarana Chatushtai as originally suggested by Bharata Muni in the Bharata Natya Shastra which is the only way to obtain 22 srutis (notes useful to music) on a musical instrument. He started his career as an engineer with the state government of Maharashtra. Later he went into teaching civil engineering and eventually joined social work. He was a part of the Knit India movement (1985–1988) and Narmada Bachao Andolan (1998-1993) with late Baba Amte. He also worked with Dr. Vikas Amte for Earthquake Relief at Killari, Maharashtra (1993–1994). He started his research on Indian classical music in the 1990s which led to his work on the Sarana Chatushtai and later ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Natya Shastra
The ''Nāṭya Shāstra'' (, ''Nāṭyaśāstra'') is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The text consists of 36 chapters with a cumulative total of 6,000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of a play and the construction of a stage to host it, genres of acting, body movements, make up and costumes, role and goals of an art director, the musical scales, musical instruments and the integration of music with art performance. The ''Nāṭya Śāstra'' is notable as an ancient encyclopedic treatise on the arts, one which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic "Rasa" theory, which asserts that entertainment is a desired effect of performance arts but not t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sitars
The sitar ( or ; ) is a plucked stringed instrument, originating from the Indian subcontinent, used in Hindustani classical music. The instrument was invented in the 18th century, and arrived at its present form in 19th-century India. Khusrau Khan, an 18th-century figure of the Mughal Empire has been identified by modern scholarship as the inventor of the sitar. According to most historians, he developed the sitar from the setar, an Iranian instrument of Abbasid or Safavid origin. Used widely throughout the Indian subcontinent, the sitar became popularly known in the wider world through the works of Ravi Shankar, beginning in the late 1950s and early 1960s. The advent of psychedelic culture during the mid-to-late 1960s set a trend for the use of the sitar in Western popular music, with the instrument appearing on tracks by bands such as the Beatles, the Rolling Stones, Metallica and many others. Etymology The word ''sitar'' is derived from the Persian word , meaning . Accordi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
