gitanuga vadya technical_term

Dictionary: not in dictionary · Pages: 1 · Occurrences: 1 · Affirmations: 1 · Graph degree: 2 (in 0, out 2)

Variants (1): gitanuga vadya (1)

Generative rules (1) ↗ filter all

R_2236_gitanuga_vadya_varieties enumeration · 1 att.
Gītānuga vādya varieties include ogha (profuse strokes per song-unit) and anugata (instrumental following song, not perfectly identical)

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

RULE id: gitanuga vadya (cluster 2236)
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 (2)

--[enumeration]--> Ogha (1)--[enumeration]--> Anugata (1)

Incoming (0)

none

Affirmations (1)

enumeration

p.vol_I_p104

english

conf 0.92

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Gitanuga vadya has varieties including ogha (profuse strokes for each song unit) and anugata (instrumental rendering that follows but is not perfectly identical with song)

"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."

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.