anuvādin technical_term

BRHADDES! ³⁸ [ अनु. ^२५ ] इदानी गान्धारनिषादयोरेकश्रुत्यन्तरहीनत्वेनानुवादित्वे प्राप्ते द्वचन्तरत्वाद् विवादित्वमुक्तम्। कि तद् विवादित्वं नाम ? वाद्यादिभि स्वरैर्यद्रागस्य वादित्वं संवादित्वमनुवादित्वं प्राप्तं, तद्विनाशकत्वं नाम विवादित्वम्। विवादिमण्डलं यथा— स नि रि ध ⁴ Ŧ ॥ इति [ षड्जग्रामे ] विवादिमण्डलम् ॥ ` [ अनु. २६ ] विवादिप्रयोगो यथा—ऋषभस्थाने गान्धारः प्रयुज?्यमानो गान्धारस्थान 25ऋषभः प्रयुज?्यमानो ज?ातिरागहानिकरो भवेत्। धैवतस्थाने निषादः प्रयुज?्यमानो [ निषादस्थाने धैवतः प्रयुज?्यमानो ] ज?ातिरागहानिकरो भवेत् ॥ इति षड्जग्रामे ॥ [ अनु. ^२७ ] इदानी मध्यमग्रामे वादित्वं संवादित्वमनुवादित्वं [ विवादित्वम् ] च प्रदश्यते । तत्र वादिनो मध्यमादिस्वरा सप्त²६। नवकत्रयोदशान्ता संवादिनः। एकश्रुत्यन्तरहीनत्वादनुवादिनः। द्वचन्तरौ तु स्वरौ विवादिनौ । ___ ^•नादनु ____

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.