mātrās - concept

Generative rules (2) ↗ filter all

r_brd_2217_matras_count structural · 2 att.
Mātrās are 8: first (Dhruvā) sounded by middle-finger-thumb snap, remaining 7 unsounded hand actions; half-kalā = 1 or 2 mātrās per original kalā
R_1978_matra_marga_assignment assignment · 1 att.
Mātrā count per mārga: dakṣiṇā=8, vṛtti=4, citrā=2

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

RULE id: mātrās (cluster 2217)
SCOPE: technical_term family
STATUS: empirical
CONFIDENCE: empirical
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)

--[relation]--> Kalā (1)--[structural]--> dhruvā (1)--[structural]--> dakṣiṇa (1)--[structural]--> mārga (1)--[structural]--> vṛtti (1)--[structural]--> tāla (1)

Incoming (22)

ekakala --[structural]--> (4)dvikala --[structural]--> (2)Kalā --[enumeration]--> (1)Kalā --[relation]--> (1)vārtika --[structural]--> (1)citra --[structural]--> (1)Caccatpuța --[structural]--> (1)citra mārga --[relation]--> (1)citra mārga --[structural]--> (1)māgadhī gīti --[structural]--> (1)dakṣiṇa mārga --[relation]--> (1)kāmalekhā --[structural]--> (1)candralekhā --[structural]--> (1)कामलेखा --[structural]--> (1)śūnya --[relation]--> (1)gātravarņa --[definition]--> (1)vārtika mārga --[relation]--> (1)Ratilekhā --[structural]--> (1)Bāṇalekhā --[structural]--> (1)Arilla --[definition]--> (1)catuṣkala tāla --[structural]--> (1)desi talas --[relation]--> (1)

Affirmations (3)

relation

p.vol_I_p102

english

conf 0.97

[show source]

Half kalā corresponds to one or two matras depending on whether the original kalā is two or four mātrās

"Half kalā would mean one or two matras in accordance with the accepted duration of the original kalā viz. two mātrās or four mātrās"

VIMARŚA 187 75. If ekakala is related to phrasing then sarigā and each of the other units will be taken to be forming one phrase each; if it is taken to be related to the duration of kalā, then the duration of each phrase will have to be taken as two mātrās; there also each kalā of time will be related to each phrase. 76,77. Identical with note 52 above. 78. All the four sa belong to the tāra-sthāna. 79. See note 47 above. 80. Samyuktam is used as an adverb, its implication is not very clear, most probably it has been used because the units of phrases here are not equal, they are 3+2+2=7. There is no other alaṅkāra like this in BrD. 81. Here the traditional rule of having a shake only on svaras with three śrutis seems to have been abandoned. 82. Kalā obviously means phrase-unit here. 83. Ekakula could not, perhaps, be understood as the first degree of kalā being of the measure of 2 mātrās. It perhaps indicates that each svara will be of the duration of one mātrā; that would make each phrase of the duration of seven mātrās which would not fit into the ancient tāla system and could, perhaps, be taken as the first indication of the advent of desi talas. 84. It is notable that BrD has not classified alankāras into varņas. 85. The names like tāramandra and mandratāra do occur in NŠ (XXIX, 31) but they have not been described. It is notable that NS has the name dipta for tara and prasanna for mandra. While BrD profusely uses prasanna for mandra, it does not even once use dipta for tāra. 86. The seven gitakas are described in NS XXXI. They are - madraka, aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara. Apart from these, āsārita and vardhamāna have been extensively described in NŠ (ibid.); they are outside the above seven, but are very important on account of special tala patterns and association with dance. All these forms are prescribed in pūrvaranga (preliminaries of drama). Since no dramatic situation is required to be highlighted in Pūrvaranga, the music there could be autonomous and hence the units of text of songs could be stretched by the melody through alankāras, the comprehension of the meaning of the text of songs being not important there. 87. In dhruvās (songs prescribed for highlighting different situations in drama), as distinct from gîtaka, the comprehension of meaning of text by the listener is very important and hence stretching of the syllables of the text is not desirable. 88. The implication of this statement is not clear, because alankaras of the sthāyi-varņa are being described immediately after this verse. Abhi Bhā on NŠ XXIX, 33 says that the alankāras of sthāyi-varņa could be used at will (in dhruvās ); there is no restriction prescribed for them. 89. Brightening means movement towards high svaras. 90. Reverse order would mean proceeding from high to low. e le par Alle and the second

structural

p.vol_I_p069

english

conf 0.97

[show source]

The mātrās to be used in dakṣiṇā, vṛtti and citrā mārgas are eight, four and two respectively

"The mātrās (to be used in them) are eight, four and two (respectively)."

structural

p.vol_I_p104

english

conf 0.94

[show source]

Mātrās are eight in number; the first one (Dhruvā) is a sounded action (snap with middle finger and thumb); the remaining seven are unsounded hand actions

"Mātrās are eight in number and except the first one, all are unsounded actions of the hands to be suffixed to the original sounded beats of a tāla-cycle"

VIMARSA 191 30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative predominance of gita and vādya has been viewed here alongwith temporal factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101 ( prose portion not commented upon by Abhinavagupta and put by the editor within square brackets) and in S R VI, 168-170 as others' opinion. The following correspondences have been indicated in the above passages in NS and S R; BrD is in agreement with them here. Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in note 20 above ). (The prose passage of NS referred to above does use the word graha). Vytti Giti Mārga Yati Pāņi or Avayava Laya Graha Citrā Māgadhi Citrā Druta Samā Uparipāņi Ogha Vytti Sambhāvitā Vārtika Madhya Srotogatā Sama Anugata Daksiņā Pythulā Daksina Vilambita Gopucchā Avapāņi Tattva 32. Tāla is the structured cycle for time-measure in music and dance, here this word seems to have been used in the general sense of the variable factors that operate tāla, like mārga, yati, laya etc. 33. Laya lit. means merging; the rest or pause immediately following an action is laya. The duration of a kriyā is determined by laya i.e. by the pause or intervening time between one kriyā (action) and another. Druta (fast), madhya (medium) and vilambita (slow) are the three layas that are progressively double, each succeeding laya being double of the preceding one i.e. the rest or pause is double and hence the tempo is slower. 34. Yati is the order of the use of laya in a given piece. Either the laya remains constant all-through, that is samā yati, or it proceeds from fast to slow, that is gopucchā yati or from slow to fast, that is srotogatā yati. 35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor or manifested. 36. See note 34 above. 37. See note 33 above. 38. Uparipāņi is equated with anāgata graha ( see note 20 above ). 39. Ogha is one of the three types of gitanuga vadya (instrumental rendering that follows 'song'). When the instrument uses profuse strokes for each unit of 'song' or melody that is ogha. 40. See note 34 above. 41. See note 33 above. 42. Samapāņi is equated with sama graha. ( see note 20 above ) 43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It follows the song or melody, which means that it is not perfectly identical with the latter. 44. See note 34 above. 45. See note 33 above.

mātrās technical_term

Generative rules (2) ↗ filter all

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

Graph relations

Outgoing (6)

Incoming (22)

Affirmations (3)