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Sarana Chatushtai
Within Indian classical music 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 experiment . Establish the Shadjagrama on both the similar sitars as per the methodology explained in Natya Shastra chapter 28 to keep shruties distance wise for the respective notes of the shadjagrama. Now we can measure the sruti value and hence provide 22 frets s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Classical Music
Indian classical music is the classical music of the Indian subcontinent. It has two major traditions: the North Indian classical music known as '' Hindustani'' and the South Indian expression known as '' Carnatic''. These traditions were not distinct until about the 15th century. During the period of 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. The roots of the classical music of India are found in the Vedic literature of Hinduism and the ancient ''Natyashastra'', the classic Sanskrit text on performing arts by Bharata Muni., Quote: "The tradition of Indian classical music and dance known as ''Sangeeta'' is fundamentally rooted in the sonic and musical dimensions of the Vedas (Sama veda), Upanisha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shruti (music)
The ''shruti'' or ''śruti'' is the smallest interval of 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 pitches from which the musician constructs the scales, 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 string to play 22 shrutis. The most well-known example of shrutis is pro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Śruti
''Shruti'' ( sa, श्रुति, , ) 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'' (Sanskrit: श्रुतिस्तु वेदो विज्ञेय:) 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 have 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 '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swara
Svara or swara (Devanagari: स्वर, generally pronounced as ''swar'') is a Sanskrit word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or ''saptaka''. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a ''svara'' is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven ''svara''s/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as ''saptak'' or ''saptaka''. It is one of the reasons why ''svara'' is considered a symbolic expression for the number seven. Origins and history Etymology The word ''swara'' or ''svara'' (Sanskrit: स्वर) is derived from the root ''svr'' which means "to sound". To be precise, the ''svara'' is defined in the Sanskrit ''nirukt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Veena
The ''veena'', also spelled ''vina'' ( sa, वीणा IAST: vīṇā), comprises 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 ''Saraswati veena'', the ''Vichitra veena'' and others. The North Indian ''rudra veena'', used in Hindustani classical music, is a stick zither. 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. It has four main strings which are melodic, and three auxiliary drone strings. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abhinavabharati
''Abhinavabharati'' is a commentary on ancient Indian author Bharata Muni's work of dramatic theory, the ''Natyasastra''. It is the oldest commentary available 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 during t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Natyashastra
The ''Nāṭya Śāstra'' (, ''Nāṭyaśāstra'') is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata Muni, 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 6000 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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bharata Muni
Bharata Muni (Hindi: भरत मुनि) was an ancient sage who the musical treatise '' Natya Shastra'' is traditionally attributed to. The work covers ancient Indian dramaturgy and histrionics, especially Sanskrit theatre. Bharata is considered the father of Indian theatrical art forms. He is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE.Dace, W. (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory". Educational Theatre Journal. 15 (3): 249. The ''Nāṭya Śāstra'' is notable as an ancient encyclopedic treatise on the arts, which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic "Rasa" theory, which asserts that entertainment is the desired effect of performance arts but not the primary goal and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where he experiences the essence of his own consc ... [...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 he als ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Natya Shastra
The ''Nāṭya Śāstra'' (, ''Nāṭyaśāstra'') is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata Muni, 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 6000 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 (aesthetics), "Rasa" theory, which asserts that entertainment is a desired effect of performa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindu Texts
Hindu texts are manuscripts and voluminous historical literature which are related to any of the diverse traditions within Hinduism. A few of these texts are shared across these traditions and they are broadly considered Hindu scriptures. These include the Puranas, Itihasa and Vedas. Scholars hesitate in defining the term "Hindu scriptures" given the diverse nature of Hinduism,Dominic Goodall (1996), Hindu Scriptures, University of California Press, , page ix-xliii but many list the Bhagavad Gita and the Agamas as Hindu scriptures,Klaus Klostermaier (2007), A Survey of Hinduism: Third Edition, State University of New York Press, , pages 46–52, 76–77 and Dominic Goodall includes Bhagavata Purana and Yajnavalkya Smriti in the list of Hindu scriptures as well. History There are two historic classifications of Hindu texts: ''Śruti'' – that which is heard, and ''Smriti'' – that which is remembered. The ''Shruti'' refers to the body of most authoritative, ancient religious ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sanskrit Texts
Sanskrit (; attributively , ; nominally , , ) is a classical language belonging to the Indo-Aryan branch of the Indo-European languages. It arose in South Asia after its predecessor languages had diffused there from the northwest in the late Bronze Age. Sanskrit is the sacred language of Hinduism, the language of classical Hindu philosophy, and of historical texts of Buddhism and Jainism. It was a link language in ancient and medieval South Asia, and upon transmission of Hindu and Buddhist culture to Southeast Asia, East Asia and Central Asia in the early medieval era, it became a language of religion and high culture, and of the political elites in some of these regions. As a result, Sanskrit had a lasting impact on the languages of South Asia, Southeast Asia and East Asia, especially in their formal and learned vocabularies. Sanskrit generally connotes several Old Indo-Aryan language varieties. The most archaic of these is the Vedic Sanskrit found in the Rig Veda, a collec ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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