prasannādi technical_term

Dictionary: not in dictionary · Pages: 8 · Occurrences: 11 · Affirmations: 8 · Graph degree: 18 (in 5, out 13)

Variants (4): prasannādi (6), Prasannādi (3), Prasanna (1), prasanna (1)

Generative rules (3) ↗ filter all

prasannadi_assigned_to_ragas assignment · 3 att.
Prasannādi is the alaṅkāra assigned to bhinna-ṣaḍja, bhinnatāna and gaudakaiśika rāgas.
prasannadi_definition_gradual_low_to_high definition · 3 att.
Prasannādi is an alaṅkāra defined as gradual ascent beginning from low svaras up to the starting point of high.
prasannadi_first_prastara_form assignment · 1 att.
Prasannādi is the alaṅkāra applied to the first prastara whose note-sequence is sarigamapadhanisa.

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

RULE id: prasannādi (cluster 49)
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 (13)

--[relation]--> prastāra (1)--[attribution]--> mandra (1)--[definition]--> mandra (1)--[attribution]--> tāra (1)--[definition]--> alaṅkāra (1)--[relation]--> alaṅkāra (1)--[structural]--> alaṅkāra (1)--[structural]--> bhinnatāna (1)--[attribution]--> BrD (1)--[relation]--> bhinna (1)--[attribution]--> dipta (1)--[structural]--> gaudakaiśika rāga (1)--[definition]--> svaras (1)

Incoming (4)

alaṅkāra --[structural]--> (2)prasannānta --[definition]--> (1)alaṅkāra --[definition]--> (1)ārohin --[enumeration]--> (1)

Affirmations (8)

attribution

p.vol_I_p102

english

conf 0.96

[show source]

Prasanna is used by BrD to denote the lower register (mandra), but dipta is not used by BrD for tāra despite both terms appearing in NS

"While BrD profusely uses prasanna for mandra, it does not even once use dipta for tāra."

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

definition

p.vol_I_p053

english

conf 0.93

[show source]

Prasannādi is an alankāra having lower svaras (prasanna/mandra) at the beginning

"(1) Prasannādi (having prasanna or mandra i.e. lower svaras in the beginning)"

89 TRANSLATION (manifested) in the bodily21 (v\bar{i}n\bar{a}). That is why it has been said that just as these (varṇas) exist (in the bodily viṇ\bar{a}), similarly do they bring (themselves) into effect (on the wooden vin\bar{a}); this meaning is inherent in the mention of sanra^{22} (bodily) svaras (in the verse of NS quoted above). So has been said - These four varnas should be known as the constructors23 of melodic (NŚ XXIX, 19ab) rendering. [Thus end the varnas] [The Alankaras] (Anu. 68) Now the well-known thirty-three 24 alankāras are being described by name and application. What is spoken of through the word alankara and what is its etymology? It is being answered. Ornament25 is being spoken of by the word alaṅkāra. Just as a man or woman adorned with a bracelet on the forearm, middle-arm and the like, bears beauty (becomes beautiful), similarly the singing that subsists in varņas (and is) adorned by these alankāras (known as) prasannādi and the like, becomes delightful to the performers and listeners. And the etymology is like this—the root 'du krñ' in the meaning of doing or making bears the prefix alam (sufficient or adequate) and (the word) alaṅkāra (derived thereby) means that which makes something sufficient or adequate. This word alankara has the end-suffix ghan. (Anu. 69) The names26 of alankāras are being said (1) Prasannādi (having prasanna or mandra i.e. lower svaras in the beginning), (2) prasannānta (having the lower svaras in the end), (3) prasannādyanta (having the lower svaras in the beginning and end), (4) prasannamadhya (having the lower svaras in the middle, (5) sama (equal), (6) bindu (lit. dot or anusvāra, nasal sound marked by a dot above the line), (7) Nivittapravitta (one whose setting forth has been withheld), (8) Veņu (the bamboo flute), (9) Kampita (the shaken one), (10) Kuharita (with a cavity or hole) (11) Recita (the purged or emptied one, or a specific pace of a horse) (12) Prenkholita (the swinging one) (13) Tāramandraprasanna (having high and low svaras) (14) Mandratāraprasanna (having low, high and low svaras) (15) Prastāra (permutation or extension), (16) Prasāda (clarity or brightness or graciousness) (17) Udvāhita (held upwards or lifted up) (18) Upalolaka (constantly moving or restless) (19) Krama (a specific order or sequence), (20) i Nișkūjita (the cooed one), (21) Hrādamāna (the thundering or roaring or sounding one), (22) Ranjita (the coloured or delighted one) (23) Avartaka (the rotating one), (24) Parivartaka (moving to and fro, changing), (25)

definition

p.vol_I_p054

english

conf 0.95

[show source]

prasannādi is defined as gradual ascent beginning from low up to the starting point of high

"the gradual ascent beginning from 'low' upto the starting point of 'high' is (known as) prasannādi."

definition

p.vol_I_p063

english

conf 0.95

[show source]

prasannādi is that which is gradually brightened or made higher, beginning in a low register

"That which is gradually 'brightened' (made 'higher') is prasannādi (low in the beginning)."

relation

p.vol_II_p057

sanskrit

conf 0.92

[show source]

Prasannādi is the alaṅkāra (embellishment) for bhinna-ṣaḍja

"प्रसन्नादिरलङ्कारः"

BRHADDEŚĪ 96 [१. भिन्नषड्ज?ः] धैवतांशो मध्यमान्तः पञ्चमर्षभवर्ज?ितः । षड्ज?ोदीच्यवतीज?ातो भिन्नषड्ज?: स्मृतो बुधैः ॥३०६॥ (जमा?ज?ातो) [अनु १७५] [अस्यार्थः-]भित्रषड्ज?ः पड्जग्रामसम्बन्धः षड्ज?ोदीच्यवतीज?ातेर्ज?ातत्वात्। धैवतो ग्रहोंऽशश्च। मध्यमो न्यासः। ऋषभपञ्चमहीन औडुवितः। निषादगान्धारौ काकल्यन्तरौ। सर्वोपकरणप्रवृत्तस्य ५७विज?ातीयाद्रणान्निवृत्तस्य मृगयाया प्रवृत्तस्य नायकस्य प्रावेशिकीषु अस्य विज?ातीयो निरणानियृत्तस्य (?) विनियोगः। ५८बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः । ५९प्रसन्नादिरलङ्कारः । दक्षिणे कला, वृत्तौ कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः । [२.भिन्नपञ्चमः] [अन्॰ १७६] .असौ भिन्नपञ्चमः स्वरभिन्नोऽभिधीयते । लक्षणं च तद्यथा - शुद्धपञ्चमवत् प्रोक्तः स्वरज्ञैर्भित्रपञ्चमः। स्वर(न्ग्रे?ई) धैवतांशः पञ्चमान्तः सूत्रधारप्रवेशने ॥ ३०७॥ [अन्॰ १७७] अस्यार्थः - भित्रपञ्चमो मध्यमग्रामसम्बन्धः, मध्यमापञ्चमीज?ात्योर्ज?ातत्वात् पङ्ज?ोदीच्यवतीज?ातेः मध्यमा(पञ्चमी) ज?ात्यो॰ ण्या(म) भिन्न(सं?)पञ्चमो ग्रहोंऽशश्च धैवतः। पञ्चमो न्यासः। निषादोऽत्र काकली। क्वचित्रिषादस्यापि प्रयोगः । सम्पूर्ण- श्चायम् । सूत्रधारप्रवेशेऽस्य विनियोगः । बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः । प्रसन्नादिख्लङ्कारः । दक्षिणे कला, वृत्तौ कला, चित्रे कला, स्वरपदगीते चच्चत्पुटादितालः ।

relation

p.vol_I_p066

english

conf 0.90

[show source]

Prasannādi is a variant designation for the first prastara using the note sequence sarigamapadhanisa

"(1) sarigamapadhanisa,121 prasannādi"

structural

p.vol_II_p060

sanskrit

conf 0.88

[show source]

Prasannādi is the alarikāra in bhinnatāna

"प्रसन्नादिरलङ्कार"

102 BRHADDEŠĪ [अनु॰ १८३] [ अस्यार्थः- ]चतुःश्रुते पञ्चमस्य यदा श्रुतिद्वयं गृह्णाति निषादः तदासौ श्रुतिभिन्नोऽभिधीयते। ननु मध्यमग्रामे पञ्चमस्य त्रिश्रुतिकत्वात् कथं श्रुतिद्वयं गृह्णाति निपादः? उच्यते । (fa) भूतपूर्वन्यायेन चतु श्रुतिरुच्यते । यथा भित्रकैशिकरागे त्रिश्रुतिपञ्चमस्य च[तु] श्रुतित्वमाश्रित्य लोपः कृतः पड्जग्रामे, एवमत्रापि भविष्यतीति न दोषः । लक्षणं चास्य तद्यथा - [५. भिन्नतानः] ६रतानस्तु मध्यमन्यासः पञ्चमांशोऽल्पसप्तमः । मध्यमापञ्चमीज?ात्योर्ऋषभेण तु दुर्बलः ॥ ३१३॥ [अनु॰ १८४] अस्यार्थः - भिन्नतानो मध्यमग्रामसम्बन्धः मध्यमापञ्चमीज?ात्युत्पन्नत्वात् । पञ्चमो भित्रनासिका(?) ग्रहोंऽशश्च। मध्यमो न्यासः। मध्यमनिषादयोरल्पत्वम् [?]६२। निषादोऽत्र काकली। पूर्णश्चायम प्रौढकरुणेऽस्य प्रयोगः। पञ्चमादिमूर्छना।सञ्चारी वर्णः।प्रसन्नादिरलङ्कार;।दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः। [भिन्नरागाणा ग्रामविभागः] [अनु॰ १८५] भित्राना ग्रामविभागस्तु काश्यपेनोक्तः। तथा च - ‘‘भित्रषड्जस्तु षड्ज? स्याद् भिन्नकैशिकमध्यमः। पञ्चमः कैशिकस्तानो मध्यमग्रामसंश्रितः ॥'' ल्स्ताने इति भित्राः समाख्याता गौडकाञ् शृणु साम्प्रतम् ॥ ३१४॥

structural

p.vol_II_p062

english

conf 0.96

[show source]

Prasannādi is the alaṅkāra of gaudakaiśika rāga

"prasannādi is the alaṅkāra."

TRANSLATION 107 [Anu. 188] This means-gaudakaiśika rāga is related to madhyamagrāma and is born of kaiśikī and şadjamadhyamā. Şadja is its graha and aṁśa. Pañcama is nyāsa. Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On account of pañcama being comprised of three śrutis, dhaivata being comprised of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born of the jātis of two grāmas, yet its grāma is madhyama, not ṣaḍja, because it is seen as such. Its application is prescribed in karuna (rasa). Vīra63 and the like is the rasa. The mūrchanā beginning with ṣaḍja obtains. Ārohin is the varņa, prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatputa obtains in the songs comprised of svara and pada. [3. Gaudakaisikamadhyama] Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras. (318) [Anu. 189] This means – gaudakaišikamadhyama is related to şadjagrāma, on account of being born of şadjamadhyamā jāti. Şadja is its graha and aṁśa. Madhyama is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and pada. [The assignment of gaudaragas to gramas] Now he (the author) has spoken of the assignment of gauda (ragas) to grāmas- Gaudapañcama is in ṣaḍja (grāma) and so is gaudakaiśikamadhyama. Gaudakaisika, on the other hand, is based on madhyamagrāma. The three gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining to vesarā gīti). (319)