samvāda technical_term

Dictionary: not in dictionary · Pages: 4 · Occurrences: 7 · Affirmations: 4 · Graph degree: 11 (in 5, out 6)

Variants (2): samvāda (5), samvada (2)

Generative rules (2) ↗ filter all

samvada_definition_to_and_fro definition · 2 att.
Saṁvāda refers to to-and-fro (mutual) movement between two svaras, and is associated with the 'pleasant' pole in the threefold pleasantness/indifference
samvada_sadja_pancama_consonance relation · 1 att.
Samvāda is the consonant relation between ṣaḍja and pañcama, which must be restored when pañcama is lowered.

Pseudocode (DSL v1.1) ↗ full DSL (raw text)

RULE id: samvāda (cluster 122)
SCOPE: technical_term family
STATUS: traditional
CONFIDENCE: traditional
PROTECT: false

Essence pseudocode — identity + RECORD. The page citations for each slot value are in the Grammar record table above (audit trail). The full DSL adds ASSERTIONS with verbatim quotes (see Affirmations below) and CITED_RULES (see Graph relations).

Graph relations

Outgoing (6)

--[definition]--> S Rāj (1)--[relation]--> pañcama (1)--[definition]--> dhaivata (1)--[definition]--> svaras (1)--[structural]--> svaras (1)--[relation]--> Şadja (1)

Incoming (5)

sangati --[definition]--> (1)samvādin --[relation]--> (1)anuvādin --[relation]--> (1)vivādin --[relation]--> (1)छेवाटी --[structural]--> (1)

Affirmations (4)

attribution

p.vol_I_p077

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Matanga has accepted samvāda of nine and thirteen-sruti interval, not seven-sruti interval

"Matanga has accepted the 'samvāda' of seven- sruti interval in addition to that of nine and thirteen-sruti interval. (cf. IMJ, No. 11-12, p. 57, article by P.L.S. on Matanga's Brhaddess ). Actually sapta is related to 'svarāḥ'"

137 PĂŢHA VIMARŚA पञ्चमस्य च श्रृङ्गारो बीभत्सो धैवतस्य च । करुणा च निषादस्य सप्तस्थानरसा नव ॥ (Sam Mak II.1.47, 48) It is notable that Santa rasa has been included here and bhayanaka has been omitted; thus the number of rasas enumerated is only eight and not nine, as stated in the last foot. 46. MS B reading as recorded by the ed. Section V ( Grāma-mūrchanā ) ग्रामो नाम विशिष्टश्रुतिकस्वरसमूहो मूर्छनात्मा 1. cf. पूर्णापूर्णस्वभावस्वरगतग्रहाशादिविशेषसमूहरूपजातिसमूहश्च । (Abhi Bhā on NŚ XXVIII, p. 42) 2. C.r. in S R I Sudhā, p. 102. 3. C.r. in S R I Sudhā, p. 101 has been accepted because 'vyavasthitaḥ' is an adjectival form which is not matched by a noun that could be qualified by it, but 'vyavasthitih' is an abstract noun that fits the sentence. 4,5. C.r. in S R I Sudhā, p. 103. 6. This verse is not found in the text of Nā Ši. 7. C.r. in S R I Sudhä, p. 101. 8. P.t., modified according to C.r. in ibid. 9. C.r. in S R I Kalā, p. 99 in the name of Muni (Bharata), but this line is not found in the text of NS. In P.t. this line has not been treated as a citation, but as a part of the text, because quotation marks are not given. 10. This line forms part of the text of NS (XVIII, 5 ab). Hence it is treated by us as a citation. 11. P.t. includes ' sadbhih' after 'suddhābhih', but that has no relevance to the context and has, therefore, been omitted by us. 12. C.r. in S R I Sudhā, p. 105 adds the following half-verse, paraphrasing the prose-portion regarding the etymology of mūrchanā - मूर्खनामब्दनिष्यतिर्मुखं मोहे समुच्छये । 13, 14. C.r. in S R I Sudhā, p. 114. 15. P.t. adds 'tiryak' after 'svarāḥ', but that is redundant. 16. P.t. adds 'ürdhvā' after 'mā'. 17. P.t. मध्यमे तिर्यगूर्ध्वगा अपि स्वरा । 18. Hariņāśvā is the name found in NŚ, S R etc. 'Hariņāhvayā' is the form of 'hariṇāhvā' in the instrumental case; but this case is not relevant to the context. The P.t. is utterly confused, mutilated and in disorder after this line upto the end of Anu. 41; it has been reconstructed according to the context, mainly by re-arranging the order.

definition

p.vol_II_p147

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samvāda refers to to-and-fro movement between two svaras

"S Rāj II.2.I.956 describes a samvāda (to and fro movement) between niṣada-dhaivata"

277 PĂTHAVIMARŚA पांशग्रहान्ता सम्पूर्णा भाषा मालवपञ्चमे । वनेषु कामिनीसङ्गे नियोज?्या ऋषिकैनरैः॥ विभावनीति तामेवाचष्ट याष्टिकसत्तमः॥ 122. The name of this bhāṣā is read as mālavā at the end of the illustration and so it is in S Rāj II.2.1.905. 123,124. cf. सञ्चारः सधयोर्यस्या रिधयोधैव दृश्यते । Kalā (appendix) on SR II, p. 137. 125. In spite of this adjective indicating the completeness of this bhāṣā, the illustration omits ṣaḍja. 126. SR II. 1. 30 cd reads this name as bhinnavalitā and so does S Rāj II.2.1.131 c; ibid 88a reads bhinnalalitā and ibid 907c reads bhinnavallikā. Our text seems to change bhinnavalikā to bhinnavālikā in verse 34 c in order to meet the demand of metre, the sixth syllable being required to be long. At this point of our text the change to bhinnalālikā or bhinnalālitā seems to involve an error of deciphering or copying. 127. Kalā (appendix) on SR II, p.137 reads 'magrahāmśā' describing madhyama as graha and aṁśa. 128. cf. पञ्चमांशग्रहा धान्ता पूर्णा मध्यमभूयसी । मध्यमग्रामगा भाषा धनिसङ्गतिराज?िता ॥ द्राविडी देशनाम्रेयं विख्याता याष्ट्रिकोदिता ॥ S Rāj II.2.1.912. The illustration in our text is not in accordance with any of the three divergent descriptions viz. those in our text, Kalā and S Rāj. 129. The dual number of the instrumental case has been changed to the same number of the genitive case, because the instrumental case would require reference to some other svara with which the two svaras composed of two śrutis each are supposed to have to and fro movement. Kalā (appen- dix) on SRII, p. 141 reads 'nigayo rigayoryuktā'. ्सम्पूर्णा, यं विना बाह्मपाडवा कैधिदिप्यते । 130. cf. S Rāj II.2.1.107 cf. 131. Corresponding to this, S Rāj II.2.1.1081 gives a bhāṣā named națță, which is described as being complete. पञ्चमांशान्तिमा ताना भिन्नताने रिवर्ज?िता । 132. cf. सकाकलिका शृङ्गारे विनियुक्ता पुरातनैः ॥ ताना भाषैकिका भिन्नताने याष्ट्रिकसम्मता ॥ S Rāj 11.2.1.1097,1099. The illustration of this bhāṣā is not available in our text; the illustration contained in p.t. at this point as follows seems to be out of place, since rşabha --------------------------------------

relation

p.vol_I_p089

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Samvada is the consonance or harmonic relationship, particularly between śadja and pañcama that must be restored when pañcama is lowered

"the samvada of şadja-pañcama that was disturbed on account of the lowering of pañcama is restored."

161 VIMARŚA commenting on NS XXVIII, 1. He says there that even if an untrained person 'hits' a mūrchita (tuned) vīṇā, the sound produced will be musical (in tune) i.e. svara will be attained. Since the tuning has to take effect only in one of the mūrchanās, the name mūrchanā for tuning is justified. Kālidāsa (Megha. 84) has used the word murchana in the same sense when he says for the Yakşi that again and again she forgets the mūrchanā made by herself. 30. This prescription of establishing the two viņās in sadjagrāma immediately after the mention of murchana appears to be rather queer, but the apparent repetition could be justified if the mention of 'mūrchanā' is taken to refer to equality in tuning, pure and simple and the later mention of sadjagrāma is accepted as the specification of tuning. The construction of the sentence implying that equal tuning is to be done first and then the viņās have to be established in sadjagrāma which itself is a tuning, will have to be ignored as the initial reference to tuning is a part of the general prescription about perfect equality between the two viņās and the second reference relates to special tuning. 31,32. The qualification of śruti as şadjagrāmiki and madhyamagrāmiki could be interpreted in two ways, viz.- (a) 'Sruti' could be taken here as standing for sound in general; accordingly, the total tuning of each grāma could be referred to as śruti in singular number. (b) The interval of sruti perceived through apakarşa (lowering) of pañcama is madhyamagrāmikī śruti and the same interval being perceived through the utkarșa (augmentation) of pañcama is called șadjagrāmiki. It is to be noted that the utkarşa of pañcama is not actual but only 'resultant' because it comes into . being when all the other svaras are lowered in accordance with the lowering of pañcama so that the samvada of şadja-pañcama that was disturbed on account of the lowering of pañcama is restored. 33. In the mention of the restoration of sadjagrāma, the process i.e. the 'utkarşa' (augmentation) of pancama is implicit. In NS (XXVIII, p. 20) it is made explicit by the expression pañcamasyotkarşa-vasat i.e. by reason of the augmentation of pañcama. 34. The idea is that all the svaras on the mobile (cala) viņā are lowered by one śruti, but this process does not prove the interval of any svaras in terms of śruti since there is no svara in this system, that manifests on consecutive śrutis; the gap or interval of one śruti is indispensable. 35. The word 'tadvat' has raised a big controversy among modern scholars. It has been generally interpreted to mean "in the same manner" literally, giving the sense that the second step of this process of demonstration of śrutis has to begin again with the lowering of pañcama. Three opinions are notable in this context. (i) V.N. Bhatkhande (cf. Hindustani Sangita Paddhati, Hindi translation, Vol. IV, p. 37). He has inferred that since all the four steps start with the lowering of pañcama, the value (in pitch) of all the four lowerings is identical and hence all śrutis are identical according to Bharata. (ii) Omkarnath Thakur (cf. Praņava-Bhāratī, p. 61-86) has accepted that all

structural

p.vol_I_p094

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Samvāda (consonance) is associated with pleasantness in the relationship between svaras

"This phenomenon of threefold relationships is associated with pleasantness, indifference and unpleasantness"

VIMARŚA 171 musical training, even today the ākāra sound is given primary importance. (cf. DAI, p. 46) 21, 22. This contention does not seem to fit in the context. The acceptance of vowels beginning with ākāra out of the fourteen svaras (vowels) of language does not carry further the argument that vowels and musical tones cannot be equated. The number of vowels in language is twenty-one according to Pa Si (4), sixteen according to Ag Pur XCI, 12, 16 and fourteen according to NŚ Kā Mā XIV, 8 as well as according to some Tantra texts (cf. Mahāmāyācāmaratantra quoted in Tantra-mahāvijāāna in Hindi by Sri Ram Sharma I, p. 58). Our author has accepted the last number viz. fourteen. The solfa-syllables viz., sa ri ga ma pa dha ni combine only two vowels viz. a and i with the respective consonants. Perhaps the author is hinting at the acceptance of these two vowels out of fourteen viz. a, ā, i, i, u, ū, r, rī, lr, lrī, e, ai o, au. 23. The gradual ascent of seven svaras in pitch seems to be implied. 24. There seems to be a break in the text; this sentence seems to be the concluding remark of the whole discussion on the question of equating vowels of language with musical tones both of which bear the same name viz. svara. 25. In grammar paribhāṣā is the adjective of those sūtras (rules) that teach the proper interpretation or application of other rules or resolve the apparent contradictions among other rules. This word also stands, in general, for abbreviations or signs used in any discipline; the latter meaning is relevant here as sa ri ga ma pa dha ni are abbreviations of şadja, rşabha, gāndhāra, madhyama, pañcama, dhaivata, nisāda respectively. Since BrD is the first extant . work that uses solfa-syllables, the above discussion has a historical context. 26-33. The samvādin, anuvādin and vivādin svaras represent the relationship of samvāda (roughly consonance), anuvāda (assonance) and vivāda (dissonance) among svaras. A relationship pre-supposes two entities, rather two ends in this case. The first one of these is the vādin or point of reference and the second one is samvādin or anuvādin or vivādin according to the interval concerned. This phenomenon of threefold relationships is associated with pleasantness, indifference and unpleasantness which has been depicted here with dual imagery viz. that of a logical discussion and governance. In an assembly involved in logical discussion one person makes a postulation; the vādin svara, playing the role of fundamental tone or tonic is like the person who initiates a discussion. The samvadin is like a person who actively supports the initial postulation. The anuvadin is like the person who passively supports the postulation and the vivadin is like the one who opposes the postulation. This imagery is inherent in the set of four musical terms that are under reference here and have been handed down by tradition. The second imagery of monarchial governance is an imposed one and occurs in our text for the first time in extant texts. It has been mentioned in almost all later texts. 34. Here raga seems to stand for melodic configuration or melody-matrix, rather than the delightfulness of musical sound in general.