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Rishabh (svara)
Rishabha ( ) is the second of the seven svaras in Hindustani and Carnatic music. Rishabha is the long form of the syllable रे (Re). Detail The following is the information about Rishabha and its importance in Indian classical music: * Rishabha is the second ''svara'' in an octave or '' Saptak'' and follows "Sa" (Shadja) as its immediate successor. * The svara of Rishabha is ''Komal'' and ''Shuddha''. * It is said that Shadja is the basic svara from which all the other 6 svaras are produced. When we break the word Shadja then we get, ''Shad'' and ''Ja''. It means that Shad is 6 and ja is 'giving birth' in Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other 6 notes of the music. So the svara Re is formed from Shadja. * The frequency of Rishabha is 270 Hz. The frequencies of the seven svaras are also given below: Sa 240 Hz, Re 270 Hz, Ga 300 Hz, Ma 320 Hz, Pa 36 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhrama
Bhrama (Sanskrit: भ्रम), in the context of Hindu thought, means – error, mistake, illusion, confusion, perplexity. But, it literally means – that which is not steady; and refers to error etc., caused by defects in the perceptive system. The seeing of snake in a rope in darkness, silver nacre in moonlight, water in a mirage on a hot day and a person in a stump of tree are four classic instances quoted in Vedantic texts. ''Bhrama'' is a mistake, it is a confusion about one object which exists for another object which does not exist, it merely refers to the fallibility of human perception. Human nature is ordinarily afflicted by - भ्रमप्रमादविप्रलिप्साकरणापाटवदोषाः – i.e. ''bhrama'' (false knowledge or mistakes), ''pramāda'' (inattention or misunderstanding reality), ''vipralipsā'' (cheating propensity) and ''karaṇa-a-pāṭava'' (imperfection of the senses) are four major mind-faults which mislead ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dhaivat (svara)
Dhaivata ( ) is the sixth and penultimate svara of Hindustani music, Hindustani and Carnatic music. Dhaivata is the long form of the syllable ध (Dha). Details The following is the information about Dhaivata and its importance in Indian classical music: * Dhaivata is the sixth svara in an octave or Saptak. * Dhaivata is the immediate next svara of Pancham (svara), Pancham (Pa). * The svara of Dhaivata is and Shuddha. * It is said that Shadja is the basic svara from which all the other six svaras are produced. When we break the word Shadja then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in marathi (language), Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other 6 notes of the music. So the svara Dha is formed from Shadja. * The frequency of Dhaivata is 400 Hz. The frequencies of the seven svaras are also given below: Sa 240 Hz, Re 270 Hz, Ga 300 H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pancham (svara)
Pancham ( ) is the fifth svara from the seven svaras of Hindustani and Carnatic music. Pancham is the long form of the syllable प (Pa). Details Regarding panchama and its importance in Indian classical music: * Pancham is the fifth svara in an octave or Saptak. * Pancham is the immediate next svara of Madhyam (Ma). * The svara of Pancham is never * It is said that Shadja is the basic svara from which all the other 6 svaras are produced. When we break the word Shadja then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in Sanskrit. So basically the translation is : षड् - 6, ज -जन्म. Therefore it collectively means giving birth to the other six notes of the music. So the svara Pa is formed from Shadja. * The frequency of Pancham is 360 Hz. The frequencies of the seven svaras are also given below: Sa 240 Hz, Re 270 Hz, Ga 300 Hz, Ma 320 Hz, Pa 360 Hz, Dha 400 Hz, and Ni 450 Hz, Sa 480 Hz (Taar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhyam (svara)
Madhyam is the fourth svara from the seven svaras of Hindustani music and Carnatic music. This article is written from the Hindustani perspective. Madhyam is the long form of the syllable म. For simplicity in pronouncing while singing the syllable, Madhyam is pronounced as Ma (notation - M). It is also called as मध्यम in the Devanagri script. Details The following is the information about Madhyam and its importance in Indian classical music : * Madhyam is the fourth svara in an octave or Saptak. * Ma is the immediate next svara of Gandhar (Ga). * The svara of Madhyam is and . In fact Madhyam is the only svara in the Saptak. * It is said that Shadja is the basic svara from which all the other six svaras are produced. Breaking the word Shadja yields Shad And Ja. It means that Shad is six and ja is 'giving birth' in Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other six notes of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gandhar (svara)
Gandhara ( ) is the third svara in Hindustani music, Hindustani and Carnatic music. Gandhara is the long form of the syllable ग (Ga). Details The following is the information about Gandhara and its importance in Indian classical music: * Gandhara is the third svara in an octave or Saptak. * Gandhara is the immediate next svara of Rishabh (svara), Rishabh (Re). * The svara of Gandhara is Komal and Shuddha. * It is said that Shadja is the basic svara from which all the other 6 svaras are produced. When we break the word Shadja then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in marathi (language), Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other 6 notes of the music. So the svara Ga is formed from Shadja. * The frequency of Gandhara is 300 Hz. The frequencies of the 7 svaras are also given below: Sa 240 Hz, Re 270 Hz, Ga 300 Hz, Ma 320 Hz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shadja (svara)
Shadja ( ) is the first of the seven svaras in Hindustani and Carnatic music. Shadaj is the long form of the syllable सा (Sā). Details The following is the information about Shadaj and its importance in Indian classical music: * Shadaj is the first svara in an octave or Saptak. * Shadaj is usually the main svara in a raga. * The svara that is played on the Tanpura for the singer is Shadaj. It is played to know that one is singing on the right pitch and octave. * Shadaj is the base or basic svara. It is a very fundamental svara in Classical music. * Shadaj serves a critical role in maintaining the tonal framework during performances. Before transitioning from one raga to another, particularly when the ragas share the same set of svaras (notes) but differ in their chalan (movement or progression), the note "Sa" is often played. This practice ensures clarity and prevents confusion by re-establishing the tonal base, allowing the next raga to begin distinctly. * The svara of Sha ... [...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] |
Jainism
Jainism ( ), also known as Jain Dharma, is an Indian religions, Indian religion whose three main pillars are nonviolence (), asceticism (), and a rejection of all simplistic and one-sided views of truth and reality (). Jainism traces its spiritual ideas and history through the succession of twenty-four , supreme preachers of ''dharma''. The first in the current time cycle is Rishabhadeva, who tradition holds lived millions of years ago; the 23rd is Parshvanatha, traditionally dated to the 9th century Common Era, BCE; and the 24th is Mahāvīra, Mahavira, who lived . Jainism is considered an eternal ''dharma'' with the guiding every time cycle of the Jain cosmology, cosmology. Central to understanding Jain philosophy is the concept of ''bhedavijñāna'', or the clear distinction in the nature of the soul and non-soul entities. This principle underscores the innate purity and potential for liberation within every Jīva (Jainism), soul, distinct from the physical and menta ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tirthankara
In Jainism, a ''Tirthankara'' (; ) is a saviour and supreme preacher of the ''Dharma (Jainism), dharma'' (righteous path). The word ''tirthankara'' signifies the founder of a ''Tirtha (Jainism), tirtha'', a fordable passage across ''Saṃsāra (Jainism), saṃsāra'', the sea of interminable birth and death. According to Jains, ''tirthankaras'' are the supreme preachers of ''dharma'', who have conquered ''saṃsāra'' on their own and made a path for others to follow. After understanding the true nature of the self or soul, the ''Tīrthaṅkara'' attains ''kevala jnana'' (omniscience). A Tirthankara provides a bridge for others to follow them from ''saṃsāra'' to ''moksha'' (liberation). In Jain cosmology, the wheel of time is divided into two halves, Utsarpiṇī', the ascending time cycle, and ''avasarpiṇī'', the descending time cycle (said to be current now). In each half of the cycle, exactly 24 ''tirthankaras'' grace this part of the universe. There have been infini ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mars
Mars is the fourth planet from the Sun. It is also known as the "Red Planet", because of its orange-red appearance. Mars is a desert-like rocky planet with a tenuous carbon dioxide () atmosphere. At the average surface level the atmospheric pressure is a few thousandths of Earth's, atmospheric temperature ranges from and cosmic radiation is high. Mars retains some water, in the ground as well as thinly in the atmosphere, forming cirrus clouds, frost, larger polar regions of permafrost and ice caps (with seasonal snow), but no liquid surface water. Its surface gravity is roughly a third of Earth's or double that of the Moon. It is half as wide as Earth or twice the Moon, with a diameter of , and has a surface area the size of all the dry land of Earth. Fine dust is prevalent across the surface and the atmosphere, being picked up and spread at the low Martian gravity even by the weak wind of the tenuous atmosphere. The terrain of Mars roughly follows a north-south ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
