jāti core_concept

Dictionary: ✓ jāti (core_concept) · Pages: 11 · Occurrences: 13 · Affirmations: 13 · Graph degree: 138 (in 127, out 11)

Variants (5): jāti (7), Jāti (2), Jātis (2), jatis (1), jātis (1)

Generative rules (4) ↗ filter all

R_42_jati_definition definition · 6 att.
Jāti is the foundational melodic abstraction (analogous to caste) from which rāgas are derived; pure and mixed forms exist; rāgas conforming to own jāti are śud
R_42_jati_destruction_vivadin validation · 6 att.
Jāti is destroyed by improper use of vivādin svaras in place of vādin or anuvādin svaras
jati_first_melodic_formation definition · 2 att.
Jāti is the first/foundational formation of melodic structure; it is treated in Chapter II of the Bṛhaddeśī.
R_709_sadava_jatis_fourteen relation · 1 att.
Ṣāḍava operates in relation to fourteenfold jātis

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

RULE id: jāti (cluster 42)
SCOPE: core_concept family
STATUS: canonical
CONFIDENCE: canonical
PROTECT: true

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 (10)

--[relation]--> svaras (2)--[relation]--> mūrchanā (1)--[structural]--> BRHADDEŚĪ (1)--[attribution]--> Bharata (1)--[citation]--> nandayantī (1)--[relation]--> vādin (1)--[relation]--> vivādin (1)--[relation]--> şādava (1)--[structural]--> Rāgalakṣaṇa (1)--[relation]--> anuvādin svaras (1)

Incoming (98)

mūrchanā --[relation]--> (5)ṣāḍava --[structural]--> (4)auduvita --[structural]--> (4)anuvāditva --[structural]--> (4)mūrchanā --[structural]--> (3)madhyamagrāma --[relation]--> (3)aṁśa --[relation]--> (2)aṁśa --[structural]--> (2)madhyamagrāma --[structural]--> (2)Matanga --[attribution]--> (2)Bharata --[attribution]--> (2)Bharata --[citation]--> (2)raktagāndhārī --[relation]--> (2)grāma-rāgas --[relation]--> (2)gāndhārapañcama --[relation]--> (2)गान्धारोदीच्यवा --[enumeration]--> (2)aṁśa svara --[structural]--> (2)śuddhabhinna --[definition]--> (2)mūrchanā --[definition]--> (1)aṁśa --[definition]--> (1)nyāsa --[structural]--> (1)graha --[definition]--> (1)Kasyapa --[attribution]--> (1)Kasyapa --[citation]--> (1)ṣāḍava --[definition]--> (1)raktagāndhārī --[structural]--> (1)BhaKo --[citation]--> (1)kaiśikī --[relation]--> (1)kaiśikī --[structural]--> (1)gāndhārī --[relation]--> (1)gāndhārī --[structural]--> (1)sangati --[definition]--> (1)sadjagrāma --[enumeration]--> (1)şadjagrāma --[attribution]--> (1)kakubha --[relation]--> (1)kakubha --[structural]--> (1)pañcamaṣāḍava --[relation]--> (1)pañcama --[structural]--> (1)grāma --[relation]--> (1)lakṣaṇa --[enumeration]--> (1)Kohala --[attribution]--> (1)tāna --[relation]--> (1)गान्धारपञ्चमी --[enumeration]--> (1)antaramārga --[relation]--> (1)antaramārga --[structural]--> (1)aniśa --[structural]--> (1)śuddhakaiśika --[definition]--> (1)vikṛtā --[structural]--> (1)रक्तगान्धारी --[enumeration]--> (1)षड्जमध्यमा --[citation]--> (1)षड्जमध्यमा --[enumeration]--> (1)मध्यमोदीच्यवा --[enumeration]--> (1)samvādī --[structural]--> (1)vardhamāna --[structural]--> (1)न्यासः --[structural]--> (1)revagupta --[structural]--> (1)tādātmya --[definition]--> (1)Sādhāraņakṛtā Jātis --[enumeration]--> (1)Jāti-bhinna --[definition]--> (1)Jāti-bhinna --[structural]--> (1)गान्धारोदीच्यवा --[structural]--> (1)şādava --[structural]--> (1)aṁśa svara --[relation]--> (1)śuddhā jātis --[definition]--> (1)śuddhā jātis --[relation]--> (1)vikṛtā jātis --[structural]--> (1)svara-jāti --[relation]--> (1)svara-jāti --[structural]--> (1)bhinnakaiśika --[relation]--> (1)Nāṭyaśāstra --[relation]--> (1)Rāgalakṣaṇa --[structural]--> (1)samsargajā vikṛtā --[relation]--> (1)निषादवत्यार्षभी --[enumeration]--> (1)श्रुतिग्रह --[definition]--> (1)द्वैग्रामिक्य --[structural]--> (1)ṣāḍavita --[structural]--> (1)सामान्यलक्षणम् --[structural]--> (1)anauduvita --[definition]--> (1)ṣadjodicyavati --[relation]--> (1)गौडपञ्चमः --[relation]--> (1)गौडकैशिकः --[relation]--> (1)gaudakaiśika rāga --[relation]--> (1)Ţakkakaiśika --[definition]--> (1)narta-rāga --[definition]--> (1)narta-rāga --[relation]--> (1)śaka --[definition]--> (1)samnyāsa-vinyāsa --[relation]--> (1)jāti-prastāras --[enumeration]--> (1)svaras --[attribution]--> (1)śuddhā states --[structural]--> (1)vartayişyāmi --[definition]--> (1)paryāyāmsas --[definition]--> (1)alpatva-bahutva --[structural]--> (1)samsargajā --[definition]--> (1)svalakşana --[definition]--> (1)ārṣabhī jāti --[relation]--> (1)vivāditva --[relation]--> (1)Nandikeśvara --[attribution]--> (1)

Affirmations (13)

attribution

p.vol_II_p046

sanskrit

conf 0.90

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Jāti is the subject of the second chapter of this treatise

"[॥१९२इति ज?ातिर्नाम द्वितीयोऽध्यायः॥]"

attribution

p.vol_II_p046

english

conf 0.90

[show source]

Jāti is the subject of the second chapter of this treatise

"[Thus ends the second chapter entitled 'Jāti'. 78]"

attribution

p.vol_II_p055

sanskrit

conf 0.93

[show source]

All that is sung in the world is contained in the jātis, according to Bharata

""यत्किञ्चिद् गीयते लोके तत्सर्वं ज?ातिषु स्थितम्""

BRHADDESI 92 [अनु १६९] अस्यार्थः - शुद्धकैशिको नाम[रागो] मध्यमग्रामसम्बन्धः, कैशिकोकार्मारवीज?ातिभ्या समुत्पन्नत्वात्। तारषड्ज?ोऽस्य ग्रहोंऽशश्च। पञ्चमो न्यासः। निषादीऽत्र काकली। पूर्णस्वरश्चायम् , ग्रहः अंश(स्व?ध) चित्रस्याष्ट्रादशाङ्गस्य [?]निर्वहणे विनियोगः। वीररौद्रादिको रसः।षङ्ज?ादिमूर्छना। आरोही वर्णः। ४६प्रसन्नादिरलङ्कारः। दक्षिणे कला,वृत्तौ कला,चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः। [शुद्धरागाणा ग्रामविभागः] [अनु॰ १७०] ननु एते ग्रामविशेषसम्बन्धा, कुतोऽयं विशेषलाभः ? उच्यते, भरतवचनादेवासौ विशेषो कु(तो ऽ)यं लभ्यते । तथा चाह भरतमुनिः - ''ज?ातिसम्भूतत्वाद् ग्रामरागाणाम्''४० इति , ''यत्किञ्चिद् गीयते लोके तत्सर्वं ज?ातिषु स्थितम् ' '४८ इति वचनात् । तथा काश्यपेनाप्युक्तम् - तत्सर्व ''षाडवो मध्यमग्रामे पञ्चमः कैशिकस्तथा । पाडवे ककुभ् षड्ज? साधारितश्चैव तथा कैशिकमध्यमः॥'' [शुद्धरागाणा विनियोगः] [अनु॰ १७१] ननु अमी विनियोग-विशेषाः कस्माल्लभ्यन्ते ? [मुनि-] वचनादेव लभ्यन्ते। तथा अ(यं ?मी) चाह भरतः- ‘‘मुखे तु मध्यमग्रामः षड्ज?: प्रतिमुखे भवेत् । गर्भे साधारितश्चैव ४९ह्मवमर्शे तु पञ्चमः ॥ ...वावमर्शे • तु

citation

p.vol_I_p080

english

conf 0.90

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Nandayanti is well known as the name of a jāti

"which does not seem to have any relevance, because nandayanti is well known as the name of a jāti."

143 PÄŢHA VIMARŚA 29. MS B reading as noticed by the ed. 30. cf. ओहाटी कम्पितेमंन्द्रेमृंदुद्वततरै स्वरै । हुकारीकारयोगेन हुन्नचस्ते चिबुके भवेत् ॥ (SRII, 1.5) 31. This is a single-unit phrase included, perhaps, in order to bring about a sense of completion on the high sadja; similarly at the end 'magarisa' would serve the same purpose by ending on the low şadja. 32. 'dhanisa' here and 'garisa' at the end seem to have been included in order to bring about a sense of completion; it is notable that these two are single-unit phrases, as distinct from the triple-unit phrases in the rest of the illustration. 33. P.t. is confused and contains long solfa-syllables. 34. P.t. adds 'nandyantyalankāraḥ' which does not seem to have any relevance, because nandayanti is well known as the name of a jāti. 35. P.t. reads - ज?्ञेयादोतदलक्द्वारादमीलक्षणलक्षिता ( ? ) Reconstruction has been made by us on grammatical and contextual considerations. 36. This line has been added from NŚ XXIX, 33 ab, variant recension. 37. P.t. e ( kā ) ( de?da ) śa. 38. P.t. reads oतप्रचकोरो हसितो न (?) 39. P.t. reads 'vidhṛto', the ed. notes that vidhuta has been read earlier in the text. NŚ XXIX, 26, variant recension and NŚ Chau. XXIX, 37 read 'vidhumo'. We have accepted 'vidhuta' because of its first occurrence and also because it makes sense as 'shaken off'. 40. 'Naiteṣām' of P.t. has been reconstructed according to NŚ XXIX, 26, P.t. is grammatically incorrect; it is further confused as - धुवास्विष्ट अति वर्णा प्रकर्षणा ( ? ) 41,42. NŚ XXIX, 26 reads 'śrutivarņa', but Abhi Bhā on the same reads atiprakarşa; 'ati' is a better reading than śruti because śruti does not seem to fit into the context and excessive stretching is avowedly undesirable in dhruvās. 43. Variant reading noted in G.O.S. edition. 44. P.t. reads धनिह्तवर्णप्रकर्यस्तु धुवाणा ( ? ) 45. This line has been added by us from NŚ XXIX, 28. 46. P.t. reads prayo (ne?ge). 47. NŚ XXIX, 30 ab also reads 'prayoge' but it has been modified as 'prayogam' according to Sanskrit idiom; the 'yatra' of P.t. has been changed to ye'tra on the basis of the reading in NS, ibid. 48. This verse has been added from NS XXIX, 50 cd and 51 ab, variant recension. 49. This line has been added from NS XXIX, 53 ed, variant recension. 50. MS B reads 'prasādayati, as noticed by the ed. 51. Reading of NS XXIX, 55 d, variant recension. 52. Reconstruction based on ibid. 58d.

definition

p.vol_II_p162

english

conf 0.90

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jāti embodies melodic abstraction comprehensive enough to cover all melodic phenomena

"This sentence does not occur in the available text of NS. It does, however, embody a valuable comment on the concept of jāti embodying melodic abstraction which is so comprehensive as to cover all melodic phenomena."

VIMARŚA 307 52. The word gamaka seems to stand for shake here. 53. Dānavīra is one of the four varieties of vīra, the other three being dharmavīra, yuddhavīra and dayāvīra. 54. The import seems to be that śuddha-bhinna has an independent form and that it is not the modified form of a suddharaga. 55. Here the distinction of a bhinna raga is established only on the basis of giti or distinctive tonal rendering. 56. Syasthāna is a word used in SR III.140 and III.191-192 in the context of sthāya and ālapti respectively; it stands for the sections of rāgālapti formed on the basis of the units of tonal range within an octave, the first unit being formed in the range from the tonic and from below it upto the svara preceding the fourth, the second unit touching the fourth, the third reaching below the octave and the fourth touching the octave. 57. 'Leaving the svasthana' seems to imply that the lower register will be used in this rāga, as distinct from śuddhakaiśika which is performed with tāra svaras. Here svasthāna does not seem to signify the units of tonal range described in note 56 above, rather it appears to mean ' the own sthana or register' of a raga. 58. "Niṣāda taking up the two śrutis of pañcama" is a prima facie fallacious statement because pañcama is not adjacent to niṣāda. But there could be a hidden meaning, taking the two grāmas together, as follows - Şadjagrāma sa - ri- antaraga - ma - pa - dha - ni. Madhyamagrāma ma - pa - dha - ni - sa - ri - ga. Niṣāda of madhyamagrāma is adjacent to pañcama of ṣadjagrāma. The above statement could be valid in terms of the two grāmas taken together. 59. The 'omission' of pancama comprised of three śrutis in ṣaḍjagrāma actually means that this pañcama is not admissible in ṣaḍjagrāma. 60. 'Mature' karuṇa rasa is a notable expression. 61. Our text mentions ohāṭī for the second time here. SR (II.1.4,5) also mentions it while describing the gaudi gita and defines it as the "Sound combining 'ha' and 'o' produced b, placing the chin on the chest." 62. There is a striking contradiction between the viniyoga or application in terms of śringāra and the rasas mentioned separately, viz. bībhatsa and bhayānaka that are incompatible to śṛṅgāra. 63. Here again the viniyoga is given in terms of karuņa and the rasa is mentioned as vīra in accordance with the aṁśa that is ṣaḍja. 64. 'Rāga' is another name for vesarā gīti; this alternative name is also mentioned in later texts like SR II.1.6. The basis of this alternative name as cited in the name of Kasyapa seems to be that the ragas that are not

relation

p.vol_II_p014

english

conf 0.93

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Jātis in music are both pure and mixed or altered, analogous to castes in human society

"Just as in human beings there are castes such as brahmin and the like, that are both pure and mixed (or altered), similarly these jātis are also (twofold)."

n er 11 TRANSLATION the jātis (castes). Just as in human beings there are castes such as brahmin and the like, that are both pure and mixed (or altered), similarly these jātis are also (twofold). [Thus ends the general definition.] [4. The tenfold lakṣaṇas or characteristics] Now he (the author) spoke (speaks) about the tenfold lakṣaṇa - Graha (initial note), aṁśa (fundamental note), tāra (high), mandra (low) and ṣāḍava (hexatonic) and similarly auḍuvita (pentatonic) and similarly alpatva (sparseness), bahutva (profusion) and nyāsa and apanyāsa - these are said to form the group of ten jāti-lakṣaṇas that operate in the respective jātis. The definition of this group of ten is being given in brief. (209-210) [1. The definition of graha] [Anu.119] Out of these (lakṣaṇas), graha is that with which the performance of jāti and the like is begun (lit . held or caught). That ( graha ) should be known to have sixty-three varieties just like aniśa. (Objection) What is the difference between graha and anisa? It is being answered - aṁśa is vādī alone i.e. only the vādī 10 is prescribed to be the 1 amsa,but graha is fourfold according to the distinction of vādī and the like (samvādī, vivādī and anuvādī). Or there is the distinction of predominance and subordination between the two. Graha is subordinate ( to aṁśa). ŧ (Objection) Why is the predominance of amsa alone being spoken of? Because of its being the progenitor 11 of raga (delight or colour) and because of its being pervasive, the predominance of anisa alone (is accepted). Although graha and anisa are predominant in all the jatis and this is proved by utsarga12 (general rule), yet it is being prescribed through the vidhi13 (operation) of samvādī and anuvādī. Similarly said Bharata – "Graha is said to be like the amsa in all the jātis. The amsa that becomes the starting point of geya (melodic organisation and performance) assumes an alternative form as graha." (NŚ XXVIII.67)

relation

p.vol_II_p017

english

conf 0.90

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Şādava operates in relation to fourteenfold jatis

"Since it is related to (or operates in) fourteenfold jatis,"

relation

p.vol_II_p052

english

conf 0.90

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Jāti is a classificatory concept from which rāgas originate or are derived; śuddharagas conform to their own jāti

"Those that are in accordance with their 'own' jāti (from which they are born), without any reference to other jātis"

relation

p.vol_II_p052

english

conf 0.88

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Jāti is the foundational category determining whether a rāga is classified as śuddhā (pure)

"Those that are one out of the many (individual forms) of their own jāti, they are called śuddha (rāgas)."

relation

p.vol_I_p028

sanskrit

conf 0.90

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Jāti can be destroyed by the improper use of vivādin svaras in place of vādin or anuvādin svaras

"ज?ातिरागहानिकरो भवेत्"

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 ____

relation

p.vol_I_p050

sanskrit

conf 0.90

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Jāti is accomplished through proper arrangement of murchanas with twelve svaras

"ज?ातिभाषादिसिद्ध्यर्थं तारमन्द्रादिसिद्धये।"

BRHADDESI 82 तस्माद् यत्किञ्चिद् गीयते तन्मध्यमध्वनिविशेषै कण्ठध्वनिभिर्मन्द्रतारव्यवस्थासिद्ध्यर्थमेव। चतुर्विधा मया प्रोक्ता मूर्छना सप्तस्वरात्मिका। द्वादशस्वरमूर्छना इदानी तु प्रवक्ष्यामि द्वादशस्वरमूर्छना ॥११७॥ 90H ९१ नाम् [ अनु॰ ६१ ] तत्र मूर्छनानिर्देशः स्थानित्रतयप्राप्त्यर्थमिति वचनात्, मन्द्रतारसिद्ध्यर्थमिति वचनाच्च द्वादशस्वरसम्पन्ना मूर्छना द्रष्टव्या प्रयोगकाले। तथा चाह कोहलः -- "योजनीयो बुधैर्नित्यं क्रमो लक्ष्यानुसारतः। संस्थाप्य मूर्छना ज?ातिरागभाषादिसिद्धये" ।।१२ ुना नान्दकश्वरणाप्युक्तम्- “द्वादशस्वरसम्पन्ना ज?्ञातव्या मूर्छना बुधै। ज?ातिभाषादिसिद्ध्यर्थं तारमन्द्रादिसिद्धये।" [ अनु₀ ६२ ] यद्यप्याचार्यै अप्तस्वरमूर्छना प्रतिपादिता, स्थानत्रितयप्राप्त्यर्थं ुदा द्वादशस्वरैरेव मूर्छना प्रयुक्ता। अन्यथा चोक्षषाडवे रिमा इति प्रयोगो सा न स्यात्। एवं च १५सति स रागः सिद्धो न स्यात्। ग सिध्यान्त (२) षाङ्ज?ीज?ातौ रि ग म ध नि प्रयोगस्तारमन्द्रको न पर्ज?, स्यात्। अन्येषामपि रागाणा नाशंकरः प्रयोगः स्यात्। तेन स रि ग म [प] धन्याद्या मूर्छना धनि [ सरि ] गमपाद्या। तद्यथा— नि अन्या ध नि स रि ग म प ध नि स रि ग । उत्तरमन्द्रा [ 8 ] नि स रि ग म प ध नि स रि ग म । रजनी [३०] स रि ग म प ध नि स रि ग म प । उत्तरायता रि ग म प ध नि स रि ग म प ध । शुद्धषड्ज?ा [ ४ ] ग म प ध नि स रि ग म प ध नि । मत्सरीकृता [ ५

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Jātis is treated in Chapter II of Brhaddeśi

"Chapter II (Jātis) 256 Chapter III (Rāgalakṣaṇa)"

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Jāti is the first formation of melodic structure

"Jāti being the first formation of melodic structure"

VIMARŠA (Annotations) Chapter II (Jātis) 1. The number 140 pertains to the modified varieties of jātis comprising the complete, hexatonic and pentatonic formations of jātis in accordance with each of the amsa svaras assigned to each of the eighteen jātis. This number is computed as follows - The total number of amsas in 18 \text{ jatis} = 63. They generate 63 complete varieties of jātis. Out of these 63, there are 16 amsas that do not permit hexatonic formations. Hence 63 - 16 = 47. Again there are 33 \text{ amsas} that do not permit pentatonic formations. Hence 63 - 33 = 30. Thus 63 + 47 +30 = 140. Our text gives details of some of these varieties in Anu. 147 - 163; the treatment is incomplete because of a break in the text. Abhi Bhā on NŚ XXVIII. 64, 65, p. 42 speaks of 147 varieties by adding the śuddhā states of the seven jātis bearing svara-names. 2. Brahmā has been said here to be the original author of the number of jātis in NS, from where we have taken the verse under reference. In NS, Brahmā is the original creator of the Nāṭya-Veda. Šiva is said there to have added only dance to theatre. As between Brahmā and Šiva, the former is said to be responsible for all the elaboration based on vāk. The origin of all the Vedas is also attributed to him. Siva has special relationship with the movements of the body (anga). Jāti being the first formation of melodic structure, its association with Brahmā is understandable because melody is a manifestation of the tonal aspect of vāk. Abhi Bhā explains the reference to Brahmā in the text of NS, (XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by knowledgeable and trustworthy authorities cannot be wrong. The fact that no less than Brahmā is the authority regarding the jātis lends a special sanctity to this melodic abstraction that is striking on account of its comprehensive sweep. 3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains it as "I shall throw light on the forms of jātis retained in my mind through the description of their ten lakṣaṇas, viz. graha, aṁśa, tāra, mandra etc. " (Vide Abhi Bhā on NS XXVIII. 39, p.36). 4. The alteration in respect of amsa i.e using an amsa other than that