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Sangeet Ratnakara
The ''Sangita-Ratnakara'', संगीतरत्नाकर, (IAST: Saṃgītaratnākara), literally "Ocean of Music ", is one of the most important musicological texts from India. Composed by Śārṅgadeva (शार्ङ्गदेव) in Sanskrit during the 13th century, both Carnatic music and Hindustani music traditions of Indian classical music regard it as a definitive text. The author was a part of the court of King Simhana (r. 1210–1247) of the Yādava dynasty whose capital was Devagiri, Maharashtra. The text is divided into seven chapters. The first six chapters, ''Svaragatadhyaya'', ''Ragavivekadhyaya'', ''Prakirnakadhyaya'', ''Prabandhadhyaya'', ''Taladhyaya'' and ''Vadyadhyaya'' deal with the various aspects of music and musical instruments, while the last chapter ''Nartanadhyaya'' deals with dance. The medieval era text is one of the most complete historical Indian treatises on the structure, technique, and reasoning on music theory that has survived int ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
13th Century Sangita Ratnakara Hindu Text On Music In Sanskrit
In music or music theory, a thirteenth is the Musical note, note thirteen scale degrees from the root (chord), root of a chord (music), chord and also the interval (music), interval between the root and the thirteenth. The thirteenth is most commonly major or minor . A thirteenth chord is the stacking of six (major third, major or minor third, minor) thirds, the last being above the 11th of an eleventh chord. Thus a thirteenth chord is a tertian (built from thirds) chord containing the interval of a thirteenth, and is an extended chord if it includes the ninth and/or the eleventh. "The jazzy thirteenth is a very versatile chord and is used in many genres." Since 13th chords tend to become unclear or confused with other chords when Inverted chord, inverted, they are generally found in root position. For example, depending on voicing (music), voicing, a major triad with an added major sixth (chord), sixth is usually called a sixth chord , because the sixth serves as a sub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vadya
''Vadya'' (, ), also called or , is one of the three components of (musical performance arts), and refers to "instrumental music" in the Indian traditions. The other two components of are (vocal music, song) and (dance, movement). In the general sense, ''vadya'' means an instrument and the characteristic music they produce, sound, or play out. Indian musicology The term in the sense of "music, sounded, played, uttered" appears in Vedic literature such as the , and in early post-Vedic era Sanskrit texts such as the , , , and .Monier Monier-Williams Oxford University Press, page 940 These texts refer to the musician or instrumental performer as . A stringed instrument is described with proportional lengths in and , and these are compared to poetical meters. The 17th-century text ''Sangita Darpana'' defines (musical arts) as "", meaning comprises (vocal music), (instrumental music), and (dance). Classification of instruments Sanskrit literature describes four type ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tala (music)
A tala (IAST ''tāla'') literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in Indian classical music similar to Metre (music), musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with ''raga'' which forms the fabric of a melodic structure, the ''tala'' forms the life cycle and thereby constitutes one of the two foundational elements of Indian music. ''Tala'' is an ancient music concept traceable to Vedas, Vedic era texts of Hinduism, such as the ''Samaveda'' and methods for singing the Vedic hymns. The music traditions of the North and South India, particularly the ''raga'' and ''tala'' systems, were not considered as distinct until about the 16th century. There on, during the tumultuous ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A raga ( ; , ; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. It is central to classical Indian music. Each raga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience. Each raga provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the raga in keeping with rules specific to the raga. Ragas range from small ragas like Bahar (raga), Bahar and Sahana (raga), Sahana that are not much more than songs to big ragas like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances can last over an hour. Ragas may change over time, with an example being Marwa (raga), Marwa, the primary development of which has been going down ... [...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'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Svara
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] |
Moksha
''Moksha'' (; , '), also called ''vimoksha'', ''vimukti'', and ''mukti'', is a term in Jainism, Buddhism, Hinduism, and Sikhism for various forms of emancipation, liberation, '' nirvana'', or release. In its soteriological and eschatological senses, it refers to freedom from '' saṃsāra'', the cycle of death and rebirth. In its epistemological and psychological senses, ''moksha'' is freedom from ignorance: self-realization, self-actualization and self-knowledge. In Hindu traditions, ''moksha'' is a central concept and the utmost aim of human life; the other three aims are ''dharma'' (virtuous, proper, moral life), '' artha'' (material prosperity, income security, means of life), and '' kama'' (pleasure, sensuality, emotional fulfillment). Together, these four concepts are called Puruṣārtha in Hinduism. In some schools of Indian religions, ''moksha'' is considered equivalent to and used interchangeably with other terms such as ''vimoksha'', ''vimukti'', '' kaivalya'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kama
''Kama'' (Sanskrit: काम, ) is the concept of pleasure, enjoyment and desire in Hinduism, Buddhism, Jainism, and Sikhism. It can also refer to "desire, wish, longing" in Hindu, Buddhist, Jain, and Sikh literature.Monier Williamsकाम, kāma Monier-Williams Sanskrit English Dictionary, pp 271, see 3rd column However, the term is also used in a technical sense to refer to any sensory enjoyment, emotional attraction or aesthetic pleasure experienced in connection with the arts, dance, music, painting, sculpture, and nature. In contemporary literature ''kama'' is often used to connote sexual desire and emotional longing,James Lochtefeld (2002), ''The Illustrated Encyclopedia of Hinduism'', Volume 1, Rosen Publishing, New York, , page 340. but the ancient concept is more expansive, and broadly refers to any desire, wish, passion, pleasure, or enjoyment of art and beauty, the aesthetic, enjoyment of life, affection, love and connection, and enjoyment of love with or ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Artha
''Artha'' (; ; Pali: Attha, Tamil: பொருள், poruḷ) is one of the four goals or objectives of human life in Hindu traditions.James Lochtefeld (2002), The Illustrated Encyclopedia of Hinduism, Rosen Publishing, New York, , pp 55–56 It includes career, skills, health, wealth, prosperity and the means or resources needed for a fulfilling life. The word ''artha'' literally translates as "meaning, sense, goal, purpose or essence" depending on the context. Artha is also a broader concept in the scriptures of Hinduism, Buddhism and Jainism. As a concept, it has multiple meanings, all of which imply "means of life", activities and resources that enable one to be in a state one wants to be in.John Koller, Puruṣārtha as Human Aims, Philosophy East and West, Vol. 18, No. 4 (Oct., 1968), pp. 315–319 Artha applies to both an individual and a government. In an individual's context, ''artha'' includes wealth, career, activity to make a living, financial security and economic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dharma
Dharma (; , ) is a key concept in various Indian religions. The term ''dharma'' does not have a single, clear Untranslatability, translation and conveys a multifaceted idea. Etymologically, it comes from the Sanskrit ''dhr-'', meaning ''to hold'' or ''to support'', thus referring to law that sustains things—from one's life to society, and to the Universe at large. In its most commonly used sense, dharma refers to an individual's moral responsibilities or duties; the dharma of a farmer differs from the dharma of a soldier, thus making the concept of dharma a varying dynamic. As with the other components of the Puruṣārtha, the concept of ''dharma'' is pan-Indian. The antonym of dharma is ''adharma''. In Hinduism, ''dharma'' denotes behaviour that is considered to be in accord with ''Ṛta''—the "order and custom" that makes life and universe possible. This includes duties, rights, laws, conduct, virtues and "right way of living" according to the stage of life or social posi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saraswati
Saraswati (, ), also spelled as Sarasvati, is one of the principal Devi, goddesses in Hinduism, revered as the goddess of knowledge, education, learning, arts, speech, poetry, music, purification, language and culture. Together with the goddesses Lakshmi and Parvati, she forms the trinity of chief goddesses, known as the Tridevi. Sarasvati is a pan-Indian deity, venerated not only in Hinduism but also in Jainism and Buddhism.Ludvik (2007), pp. 1, 11. She is one of the prominent goddesses in the Historical Vedic religion, Vedic tradition (1500 to 500 BCE) who retains her significance in later Hinduism. In the Vedas, her characteristics and attributes are closely connected with the Sarasvati River, making her one of the earliest examples of a Rivers in Hinduism, river goddess in Indian tradition. As a deity associated with a river, Sarasvati is revered for her dual abilities to purify and to nurture fertility. In later Vedic literature, particularly the Brahmanas, Sarasvati is i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samaveda
The ''Samaveda'' (, , from '' सामन्'', "song" and ''वेद'', "knowledge"), is the Veda of melodies and chants. It is an ancient Vedic Sanskrit text, and is one of the sacred scriptures in Hinduism. One of the four Vedas, it is a liturgical text which consists of 1,875 verses. All but 75 verses have been taken from the Rigveda. Three recensions of the ''Samaveda'' have survived, and variant manuscripts of the Veda have been found in various parts of India. While its earliest parts are believed to date from as early as the Rigvedic period, the existing samhita text dates from the post-Rigvedic Mantra period of Vedic Sanskrit, between c. 1200 and 1000 BCE or "slightly rather later," roughly contemporary with the Atharvaveda and the Yajurveda. Along with the Samhita layer of text, the ''Samaveda'' includes Brahmana texts, and a final layer of the text that covers philosophical speculations (Upanishads). These layers of the compilation date from the post-Rigvedic Man ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
