tāna - concept

definition

p.vol_I_p099

english

conf 0.90

Tāna involves omission of svaras and establishes a specific pattern in ascent

"tana (involving omission) establishes a specific pattern in ascent."

181 VIMARŚA is also used. This is how the distinction brought about by mandra and tara could be understood. Abhi Bhā on NŚ XXVII, p. 27 also seems to support this view. 48. 'Sukha' has been translated here as convenience or it could be rendered as facility. The facility of the performer and listener is said here to be the objective of the distinction between mūrchanā and tāna. NŠ and Abhi Bhā have the reading 'nānātva' which means variety of mūrchanā and tāna, but since our author has tried to distinguish between murchana and tana, we have accepted the reading anyatvam which means distinction (see note 78 under textual notes on the section ). In NS mūrchanā-tāna is also a compound name for the 84 tānas. BṛD does not use this compound and emphasises the distinction between the two; viz. mūrchanā and tāna. Brahaspati has commented on the reading 'variety' ( nānātvam ) of NŠ and said that the variety of murchana and tana accords facility to the performer by making possible the use of three sthanas (registers) and also the omission of svaras (according to a specific system as embodied in the 84 tanas). The distinction between murchana and tana brought out in the reading accepted by us could be construed to mean that mūrchanā as a complete scale in ascending and descending establishes the three sthanas and tana (involving omission) establishes a specific pattern in ascent. It is interesting to note that even today omission of one or two svaras is very effective in the ascent in all those ragas that involve omission in ascent and use the omitted svaras in descent. ( see glossary) 49. Since specific omissions are prescribed for the two grāmas, tāna the result of this specific omission could be said to be the distinguishing feature between the jātis and rāgas of one grāma and the other. 50. This applies to kūļa-tāna where permutation and combination is involved and definite numbering of each variety is effected. Retrieving the number of a given tana (arrangement of a given number of svaras) and retrieving the form of a tana whose number alone is given is known as uddista and nasta respectively. (see glossary) 51, 52. The word tāna-prayoga is being used here to convey two things—in the first instance the number of tanas (permutation of a given number of svaras ) is implied and in the second instance the number of svaras constituting the specific tāna (combination of svaras) is implied. 53, 54, 55 & 56. Krama is a combination of svaras where the original order remains intact and uthrama is a permutation where the original order is changed. The method of obtaining the number of kramas and utkramas of a given-number of svaras is like this—multiply the earlier numbers of a given number, without leaving any number in-between. For example if the number of svaras is six, 1 \times 2 \times 3 \times 4 \times 5 \times 6 = 720 would be the number of kramas and uthramas taken together; the last number of this series viz. 6 is the number of kramas and the remainder viz. 714 is the number of utkramas. 57. 'Māna' could stand here for the measure (length, breadth and the like) of the viņā concerned. For example, kinnarī, the viņā with frets has been described in SRVI,

relation

p.vol_I_p042

english

conf 0.90

[show source]

Tana is a technical concept distinct from murchana, though the distinction is debated

"But what is the difference between murchana and tana?"

relation

p.vol_I_p047

english

conf 0.93

[show source]

The objective of tana is for attainment of the three registers

"The objective of tāna has also been said to be for the sake of the attainment of the three registers."

1 77 TRANSLATION (Anu. 51) But if the indication of murchanas is done with the middle heptad, then why has it been said to be (done) with madhyama svara? Truly has this been said. The use of singular number is in relation with the jāti (species) of svara. The purport is that the 'murchana' should be made in the kanthya svara (the tonal range of the voice). The inclusion of the adjective vaina 46 (pertaining to viņā) (for svara) is in order to encompass the sthana (register or range) that could not be described in the body (human voice). (Anu. 52) But when the (process of) sādavita and auduvita is being undertaken, then does the recognition of the (original) murchana exist or does it not exist? The recognition of the (original) mūrchanā is certainly there. Similarly has said Dattila - "When the tana is made in this manner (by omission of the prescribed svaras), the knowledgeable one should ascertain, by counting the perishable (omitted) (svara), that this murchana is this-manieth." [ Dattilam 37 ] (Anu. 53) But when şadja is omitted in the first and seventh mūrchanā, both take an identical form viz. ri-ga-ma-pa-dha-ni, there the distinction (between the two) is not evident. True, there is no difference. If the components are counted, there surely is a difference; the difference is created by mandra and tara.47 (Anu. 54) This distinction of murchana and tana has been spoken of merely for the sake of the convenience of the performer and the listener.48 The objective of tāna has also been said to be for the sake of the attainment of the three registers. (Anu. 55) But mūrchanās are useful in jātis and rāgas, hence their treatment is justified, where are the tanas to be used? It is being answered. The tanas are useful for the sake of bringing out the difference between jatis and ragas of both the grāmas (i.e. between those of one grāma and the other).49 Or, the use of tānas is for the sake of the demonstration of the number of nașța (lit. lost) and uddișța (lit. enumerated) (varieties of tānas).50

relation

p.vol_I_p047

english

conf 0.94

[show source]

Tanas are used to bring out the difference between jatis and ragas of both gramas

"The tanas are useful for the sake of bringing out the difference between jatis and ragas of both the grāmas"

1 77 TRANSLATION (Anu. 51) But if the indication of murchanas is done with the middle heptad, then why has it been said to be (done) with madhyama svara? Truly has this been said. The use of singular number is in relation with the jāti (species) of svara. The purport is that the 'murchana' should be made in the kanthya svara (the tonal range of the voice). The inclusion of the adjective vaina 46 (pertaining to viņā) (for svara) is in order to encompass the sthana (register or range) that could not be described in the body (human voice). (Anu. 52) But when the (process of) sādavita and auduvita is being undertaken, then does the recognition of the (original) murchana exist or does it not exist? The recognition of the (original) mūrchanā is certainly there. Similarly has said Dattila - "When the tana is made in this manner (by omission of the prescribed svaras), the knowledgeable one should ascertain, by counting the perishable (omitted) (svara), that this murchana is this-manieth." [ Dattilam 37 ] (Anu. 53) But when şadja is omitted in the first and seventh mūrchanā, both take an identical form viz. ri-ga-ma-pa-dha-ni, there the distinction (between the two) is not evident. True, there is no difference. If the components are counted, there surely is a difference; the difference is created by mandra and tara.47 (Anu. 54) This distinction of murchana and tana has been spoken of merely for the sake of the convenience of the performer and the listener.48 The objective of tāna has also been said to be for the sake of the attainment of the three registers. (Anu. 55) But mūrchanās are useful in jātis and rāgas, hence their treatment is justified, where are the tanas to be used? It is being answered. The tanas are useful for the sake of bringing out the difference between jatis and ragas of both the grāmas (i.e. between those of one grāma and the other).49 Or, the use of tānas is for the sake of the demonstration of the number of nașța (lit. lost) and uddișța (lit. enumerated) (varieties of tānas).50

relation

p.vol_I_p047

english

conf 0.92

[show source]

Tanas are used for demonstration of the number of nasta (lost) and uddista (enumerated) varieties

"the use of tānas is for the sake of the demonstration of the number of nașța (lit. lost) and uddișța (lit. enumerated) (varieties of tānas)."

1 77 TRANSLATION (Anu. 51) But if the indication of murchanas is done with the middle heptad, then why has it been said to be (done) with madhyama svara? Truly has this been said. The use of singular number is in relation with the jāti (species) of svara. The purport is that the 'murchana' should be made in the kanthya svara (the tonal range of the voice). The inclusion of the adjective vaina 46 (pertaining to viņā) (for svara) is in order to encompass the sthana (register or range) that could not be described in the body (human voice). (Anu. 52) But when the (process of) sādavita and auduvita is being undertaken, then does the recognition of the (original) murchana exist or does it not exist? The recognition of the (original) mūrchanā is certainly there. Similarly has said Dattila - "When the tana is made in this manner (by omission of the prescribed svaras), the knowledgeable one should ascertain, by counting the perishable (omitted) (svara), that this murchana is this-manieth." [ Dattilam 37 ] (Anu. 53) But when şadja is omitted in the first and seventh mūrchanā, both take an identical form viz. ri-ga-ma-pa-dha-ni, there the distinction (between the two) is not evident. True, there is no difference. If the components are counted, there surely is a difference; the difference is created by mandra and tara.47 (Anu. 54) This distinction of murchana and tana has been spoken of merely for the sake of the convenience of the performer and the listener.48 The objective of tāna has also been said to be for the sake of the attainment of the three registers. (Anu. 55) But mūrchanās are useful in jātis and rāgas, hence their treatment is justified, where are the tanas to be used? It is being answered. The tanas are useful for the sake of bringing out the difference between jatis and ragas of both the grāmas (i.e. between those of one grāma and the other).49 Or, the use of tānas is for the sake of the demonstration of the number of nașța (lit. lost) and uddișța (lit. enumerated) (varieties of tānas).50

structural

p.vol_I_p007

english

conf 0.92

[show source]

Tāna has yajña-names and performance methods that are systematically described

"The yajña-names of tanas The performance of tanas"

structural

p.vol_I_p042

sanskrit

conf 0.85

[show source]

Tana consists of cyclic permutations of svara (note) sequences following ascending and descending order

"आरोहावरोहक्रमयुक्तः स्वरसमुदायो"

systematic_treatment	The yajña-names of tanas The performance of tanas	p.vol_I_p007, conf 0.90
directional_motion	आरोहावरोहक्रमयुक्तः स्वरसमुदायो	p.vol_I_p042, conf 0.95

tāna core_concept

Grammar record (family: `core_concept`)

Generative rules (4) ↗ filter all

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

Graph relations

Outgoing (10)

Incoming (34)

Affirmations (7)

tāna core_concept

Grammar record (family: core_concept)

Generative rules (4) ↗ filter all

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

Graph relations

Outgoing (10)

Incoming (34)

Affirmations (7)

Grammar record (family: `core_concept`)