Essay name: Musical Instruments in Sanskrit Literature
Author:
S. Karthick Raj KMoundinya
Affiliation: University of Madras / Department of Sanskrit
The essay studies the Musical Instruments in Sanskrit Literature and its relationship with the South Indian musical tradition. The study emphasizes the universal appeal of music and documents how it pervades various aspects of life, art, literature, painting, and sculpture.
Chapter 2 - Origin and evolution of Music and Musical instruments
53 (of 99)
External source: Shodhganga (Repository of Indian theses)
Download the PDF file of the original publication
69
In dance tradition, it is called Na峁弓uv膩ngam added with Kart膩l. It
can be called the percussion version of Gatrav膩dya. The time span or the
laya is the pause between two beats; their formations or patterns are
called of Yati, which is of six types. 10 types of Prast膩ra reveal the
intricate pattern of drumming.
2.16.3.1 Technical aspects of drumming
Technical aspects of drumming such as Yati, Prast膩ra, Gati, and
Laya etc. are explained in Natya艣膩stra Chapter No.33.
啶むい啷嵿ぐ啶粪啶∴ざ啶距啷嵿し啶班ぎ啶苦い啶� 啶う啷佮啷嵿い啶� 啶むう啶ㄠ啶掂啶ぞ啶栢啶ぞ啶膏啶ぞ啶 啷�
啶曕啶椸ぇ啶熰啶∴あ啶むぅ啶︵ぇ啶ぐ啶侧す 啶囙い啶� 啶粪啶∴ざ啶距啷嵿し啶班ぃ啷�啶� 啷�
啶ㄠた啶い啶� 啶啶粪啶曕ぐ啶掂ぞ啶︵啶 啶掂ぞ啶曕啶曕ぐ啶｀啶� 啶膏啶掂た啶о啶ぞ啶ㄠた 啷�
啶氞い啷佮ぎ啶距ぐ啷嵿 啶ㄠぞ啶イ 啶嗋げ啶苦お啷嵿い啶距啷嵿啶苦い啶椸啶啶栢さ啶苦い啶啶むぞ啶む啶掂ぞ啶班 啶ぞ啶班啶椸ぞ啶� 啷�
啶︵啶掂た啶侧啶 啶ㄠぞ啶� 啷� (啶掂ぞ啶︵啶�) 啶掂ぞ啶啶班啶о啶掂啶啶班げ啷囙お啶距い啷� 啷�
啶粪啷嵿啶班ぃ啶� 啶ㄠぞ啶� 啷� 啶班啶 啶曕啶むお啷嵿ぐ啶む啶曕た啶む 啶啶班い啶苦き啷囙う啷� 啶班啶ざ啷囙し啶啶о 啶啶班い啶苦ざ啷佮啶� 啶氞啶むた 啷�
啶む啶班た啶い啶苦え啶た 啷� 啶膏ぎ啶� 啶班啶む啶椸い啶� 啶椸啶啶氞啶涏ぞ 啶氞啶む啶え啷嵿さ啶ぞ啶む 啷�
啶む啶班た啶侧く啶� 啶ㄠぞ啶� 啷� 啶︵啶班啶むぎ啶氞啶さ啶苦げ啶啶た啶むく啷嬥啶距い啷� 啷�
啶む啶班た啶椸い啶� 啶ㄠぞ啶� 啷� 啶むい啷嵿さ啶え啷佮啶むぎ啷嬥ぇ啶多啶氞啶むた 啷�
啶む啶班た啶啶班啶距ぐ啶� 啶ㄠぞ啶� 啷� 啶膏ぎ啶啶班啶距ぐ啷� 啶掂た啶粪ぎ啶啶班啶距ぐ啶� 啶膏ぎ啶掂た啶粪ぎ啶啶班啶距ぐ啶多啶氞啶むた 啷�
[tatra峁岣峚艣膩k峁ramiti yadukta峁� tadanuvy膩khy膩sy膩ma岣� |
kakhagadha峁璦峁環a岣峚岣峢atathadadhamaralaha iti 峁岣峚艣膩k峁ra峁嚹玥a |
niyata峁� pu峁arav膩dye v膩kkara峁嘺i岣� sa峁僾idhey膩ni |
catum膩rga n膩ma| 膩lipt膩峁卥itagomukhavitabht膩tv膩ro m膩rg膩岣� |
dvilepa峁� n膩ma | (v膩dya) v膩mordhvakapralep膩t |
峁峁璳ara峁嘺峁� n膩ma | r奴pa峁� k峁泃apratkita峁� pratibhedo r奴pa艣e峁modha岣� prati艣uk膩 ceti |
triyatinami | sam膩 r奴togat膩 gopucch膩 cetyanvay膩t |
trilaya峁� n膩ma | drutamacyavilambitayog膩t |
trigata峁� n膩ma | tatvamanugatamodha艣ceti |
triprac膩ra峁� n膩ma | samaprac膩ro vi峁maprac膩ra岣� samavi峁maprac膩ra艣ceti |
] N膩tya艣膩stra Chapter XXXIII 鈥� 39-46
The sixteen syllables as Ka-Kha-Ga-Gha-峁琣-峁琱a-Da-Dha-Ta-Tha-
Da-Dha-Ma-Ra-La - Ha are produced with clear accent on that. These
syllables form the basic aksar膩s for the Puskara V膩dyas. These are the
V膩kkaranas or the basic syllables. The four- m膩rg膩s are Alipta, Addita,
Gomukha and Vitasta. Lepana (plastering) is of two kinds plastering
on the left side and upper portion. The Six- karanas are R奴pa,
Krtapratikrta, Pratibheda, R奴pa艣esa, Ogha and Prati艣uska. The three
yatis are Druta-yati, Madhya-yati and Vilambita-yati. The three layas are
Druta-laya, Madhya-laya and Vilambita-laya. The three gatis are Tattva,
Anugata and Ogha. The three prac膩ras are Sama - prac膩ra, Visama-
prac膩ra and Samavisama-prac膩ra.
