nandayantī - concept

attribution

p.vol_II_p046

english

conf 0.95

[show source]

nandayantī is the title of a musical composition or section

"Thus ends nandayantī."

attribution

p.vol_II_p046

sanskrit

conf 0.95

[show source]

nandayantī is the title of a musical composition or section

"॥ [इति] नन्दयन्ती ॥"

citation

p.vol_I_p052

english

conf 0.92

[show source]

Nandayantī provides examples of both ārohin and avarohin varṇas.

"Ārohin (ascending varņa) (is illustrated) in nandayantī — gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in nandayanti)"

87 TRANSLATION When in the gita (melodic rendering) the svaras move (to and fro) in mutual7 (directions) along with the last one8 (of the preceding phrase forming the beginning of the succeeding phrase), or two by two, that is known as the (119) sañcārin9 (circulatory) varņa. (Anu. 65) Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in various (phrases) like this, on account of mutual movement (the sañcārin varņa is formed). (Anu. 66) Where the svaras of the gita ascend one by one or with intervening gaps, that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa, dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri mama dhani nini pāri mama dhani pādhani riripā — thus on account of 'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin (ascending) varņa (comes into being). Where the svaras descend in one order alone, that is called avarohin with (120) 'equal' (gapless) svaras (or) with gaps. pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on account of 'mutual' (gapless) descent or with a gap of one or two svaras. Hence it has been said - "These varnas ought to be known for the sake of the structuring" of alankāras and the like, as being born of svaras produced by the human body 12 (and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17) (Anu. 67) How is varna brought about? It is being answered. When the svaras stretch the syllable14 due to the demand15 of melodic rendering through (their) steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of melodic movement) is effected. Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16. Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī — 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā pā pā pā pā pā pā, dhā nī mā pā gā gā gā. These varņas obtain also in the wooden20 (viņā), just as they are

relation

p.vol_II_p012

english

conf 0.97

[show source]

nandayantī arises from ārṣabhī and gāndhārī with the addition of pañcami

"nandayantī arises out of these two (ārṣabhī and gāndhārī) with the addition of pañcami"

TRANSLATION 7 "The jātis are born as śuddhā and vikṛtā through samavāya (commingling of the svaras assuming the functions of graha, aṁśa, nyāsa etc.). Further there are other eleven (jātis) that have been made 'impure', i.e. have only a vikṛtā state."7 (NŚ XXVIII.46) Out of these (jātis) I shall describe briefly here in sequence the jātis that are formulated or accomplished through ainsa svaras, omission (of one or two notes) and the like. (192) Ṣaḍja-madhyamā (is born) on account of the blending of ṣadjā and madhyamā; ṣaḍjakaiśikī is born of ṣaḍjā and gāndhārī; ṣaḍjodīcyavatī comes into being from the above two (ṣaḍjā and gāndhārī) with the addition of dhaivatī; gāndhārodīcyavā comes into existence from these (ṣaḍjā, gāndhārī and dhaivatī) with the addition of madhyamā; madhyamodīcyavā arises out of the blending of gāndhārī, madhyamā, pañcamī and dhaivatī; raktagāndhārī arises from these (gāndhārī, madhyamā and pañcamī) when naiṣādī is the fourth one; āndhrī is born of the blending of ārṣabhī and gāndhārī alone; nandayantī arises out of these two (ārṣabhī and gāndhārī) with the addition of pañcami; these (three) go to make kārmāravī, with the omission of gāndhāri and the addition of niṣādā; gāndhāra-pañcamī arises out of gāndhārī and pañcami alone; all the seven jātis go to make kaisiki excepting ārṣabhī and dhaivati, thus are the blendings or mixtures. (193-198) Now they (honorific for the author) have spoken of the classification (of jātis) – Four jātis should be known by the wise to be always composed of seven svaras, four are composed of six svaras and the other ten are known as being composed of five svaras each. (199) This itself becomes clear - Madhyamodicyavā and similarly şadja-kaišikī, kārmāravī and similarly gåndhåra-pañcami – these are complete, i.e. no svara is omitted in them. (200)

relation

p.vol_II_p016

english

conf 0.90

[show source]

nandayantī demonstrates tara ascent with pañcama as the aṁśa

"just as in nandayantī23-sā-sā-nidha-sā; pañcama being the aṁśa there, tāra extends up to ṣaḍja"

structural

p.vol_II_p023

sanskrit

conf 0.93

[show source]

In nandayanti, gāndhāra is both graha and nyāsa, and pañcama is the aṁśa

"ग्रहो न्यासश्च गान्धारः पञ्चमोंऽशः प्रकीर्तितः"

11.1 BRHADDEŚĪ 28 ज?्ञेयो गान्धारपञ्चम्या पञ्चमोऽशः प्रयोक्तभि। ·सर्षभः स्यादपन्यासो न्यासो गान्धार इष्यते ॥२३०॥ (नांयासौ?न्यासो) 1000 गान्धार्यामथ७० पञ्चम्या यत्सञ्चारादि कीर्तितम् । (T) ন: तदस्यामपि विज?्ञेयं किन्तु पूर्णस्वरा सदा ॥२३१॥ आन्ध्र्यामनंशा विज?्ञेयाः षड्जमध्यमधैवताः । अन्यू षाडवं षड्जहीनं.स्यात्र्यासो गान्धार इष्यते ॥२३२॥ तु न्यासो७८ नन्दयन्त्यामपन्यासौ ज?्ञेयौ मध्यमपञ्चमौ । न्सो ग्रहो न्यासश्च गान्धारः पञ्चमोंऽशः प्रकीर्तितः ॥२३३॥ आन्ध्रीवत् षाडवं ज?्ञेयमनौडुवितमेव च। पो॰ प्नो॰ स्यान्मन्द्रर्षभसञ्चारो लङ्घनीयश्च स क्वचित् ॥२३४॥ (ন্দ?< कार्मारव्यामनंशास्तु षड्जगान्धारमध्यमा । व्यञ्चमा७९ पूर्णता, पञ्चमो न्यासो गान्धारगमनं बहु ॥२३५॥ कैशिक्यामृषभोऽनंशो न्यासौ तु द्विश्रुती[स्मृतौ]। न्ती +++ ऋषभो धैवतश्चैव हेयावस्या यथाक्रमम् ॥२३६॥ ८॰पञ्चमोऽपि भवेत्र्यासो निषादेंऽशेऽथ धैवते । (व?वे)न्या(सी?सो) 136 13 ऋषभः स्यादपन्यासः कैश्चिदुक्तोंऽशवत् तथा ॥२३७॥

structural

p.vol_II_p023

sanskrit

conf 0.95

[show source]

In nandayanti, madhyama and pañcama are the two apanyāsas

"नन्दयन्त्यामपन्यासौ ज्ञेयौ मध्यमपञ्चमौ"

11.1 BRHADDEŚĪ 28 ज?्ञेयो गान्धारपञ्चम्या पञ्चमोऽशः प्रयोक्तभि। ·सर्षभः स्यादपन्यासो न्यासो गान्धार इष्यते ॥२३०॥ (नांयासौ?न्यासो) 1000 गान्धार्यामथ७० पञ्चम्या यत्सञ्चारादि कीर्तितम् । (T) ন: तदस्यामपि विज?्ञेयं किन्तु पूर्णस्वरा सदा ॥२३१॥ आन्ध्र्यामनंशा विज?्ञेयाः षड्जमध्यमधैवताः । अन्यू षाडवं षड्जहीनं.स्यात्र्यासो गान्धार इष्यते ॥२३२॥ तु न्यासो७८ नन्दयन्त्यामपन्यासौ ज?्ञेयौ मध्यमपञ्चमौ । न्सो ग्रहो न्यासश्च गान्धारः पञ्चमोंऽशः प्रकीर्तितः ॥२३३॥ आन्ध्रीवत् षाडवं ज?्ञेयमनौडुवितमेव च। पो॰ प्नो॰ स्यान्मन्द्रर्षभसञ्चारो लङ्घनीयश्च स क्वचित् ॥२३४॥ (ন্দ?< कार्मारव्यामनंशास्तु षड्जगान्धारमध्यमा । व्यञ्चमा७९ पूर्णता, पञ्चमो न्यासो गान्धारगमनं बहु ॥२३५॥ कैशिक्यामृषभोऽनंशो न्यासौ तु द्विश्रुती[स्मृतौ]। न्ती +++ ऋषभो धैवतश्चैव हेयावस्या यथाक्रमम् ॥२३६॥ ८॰पञ्चमोऽपि भवेत्र्यासो निषादेंऽशेऽथ धैवते । (व?वे)न्या(सी?सो) 136 13 ऋषभः स्यादपन्यासः कैश्चिदुक्तोंऽशवत् तथा ॥२३७॥

structural

p.vol_II_p046

sanskrit

conf 0.85

[show source]

nandayantī is composed of a series of solfège syllables (dhā, nī, sani, pā, gā, mā, rī, sā) arranged in sequences

"dhā nī sani dhā pā pā pā pā (१३) dhā nī mā pā gā gā gā gā"

graha_svaras	गान्धारः	p.vol_II_p023, conf 0.90
nyasa_svaras	गान्धारः	p.vol_II_p023, conf 0.90
amsa_svaras	पञ्चमोंऽशः	p.vol_II_p023, conf 0.90

nandayantī jati

Grammar record (family: `jati`)

Generative rules (2) ↗ filter all

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

Graph relations

Outgoing (15)

Incoming (5)

Affirmations (8)

nandayantī jati

Grammar record (family: jati)

Generative rules (2) ↗ filter all

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

Graph relations

Outgoing (15)

Incoming (5)

Affirmations (8)

Grammar record (family: `jati`)