desi core_concept

Dictionary: ✓ deśī (core_concept) · Pages: 5 · Occurrences: 8 · Affirmations: 6 · Graph degree: 21 (in 14, out 7)

Variants (4): desi (4), Desi (2), Deśī (1), deśī (1)

Grammar record (family: `core_concept`)

semantic_scope

In the broad sense it stands for the spatial or regional aspect of manifest sound and in the restricted sense it stands for music which is again related to the desa or region of its makers

p.vol_I_p084, conf 0.60

Generative rules (2) ↗ filter all

R_346_desi_definition definition · 4 att.
Deśī designates regional music (vs. mārga); broadly = spatial aspect of sound, restrictedly = music of named peoples (śabara, pulinda, etc.)
desi_definition_regional_ethnic definition · 2 att.
Deśī is fundamentally regional in nature and may be tied to ethnic groups (with eight ethnic names cited as examples).

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

RULE id: desi (cluster 91)
SCOPE: core_concept family
STATUS: canonical
CONFIDENCE: canonical
PROTECT: true

RECORD:
  semantic_scope = In the broad sense it stands for the spatial or regional aspect of manifest sound and in the restricted sense it stands for music which is again related to the desa or region of its makers

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 (7)

--[definition]--> bhāṣā (1)--[relation]--> dhvani (1)--[definition]--> mārga (1)--[relation]--> mārga (1)--[relation]--> śabara, pulinda, kāmboja, baṅga, kirāta, bāhlīka, āndhra, draviḍa (1)--[definition]--> svaras (1)--[relation]--> Kāmboja (1)

Incoming (13)

BRHADDEŚĪ --[structural]--> (2)prabandha --[structural]--> (1)Grāma-mūrchanā --[enumeration]--> (1)mārga --[definition]--> (1)mārga --[relation]--> (1)vārāhī --[relation]--> (1)śūnya --[relation]--> (1)Pada-giti --[enumeration]--> (1)Saurāstrī --[relation]--> (1)Saurāstrī --[structural]--> (1)Saṅgītaśāstra --[attribution]--> (1)laksya --[structural]--> (1)Varņa-alaṅkāra --[enumeration]--> (1)

Affirmations (6)

definition

p.vol_II_p018

english

conf 0.94

[show source]

The structure beginning with the group of four svaras is deśī, not mārga

"The structure) beginning with the group of four svaras is deśī,33 not mārga."

definition

p.vol_II_p081

english

conf 0.90

[show source]

Desi indicates a regional designation for a bhāṣā form

"this bhāṣā is said to bear the name desi^{20} (regional)."

definition

p.vol_II_p157

english

conf 0.98

[show source]

Deśī is fundamentally regional in nature and is also related to ethnic groups, with eight ethnic names cited as examples.

"Deśī is basically regional; here it is also said to be related to ethnic groups which are illustrated with eight names."

VIMARŚA 297 35. Lack of regulation i.e. scope for free will in rendering is a characteristic of desi, but the import of 'sruti' is not clear. It could, perhaps, stand for 'aural appearance'. 36. See citation in the name of Nărada under Anu. 28 in chapter one of our text Vol. I. 'Svarāntara' literally means a different svara; its relation with the number four of svaras could thus be explained. The first three svaras are repeated as the last three of a heptad. The fourth known as madhyama comes in-between these two triads. Hence the fourth adds a 'different or new svara'. This could be the reason for giving the name svarantara to a group of four svaras. This name is relevant only for the first triad + the fourth, but its secondary application could be related to any group of four svaras. 37. Avakṛṣṭā dhruvā is described and illustrated in NS V on p.157, 158 of the supplement (variant reading) to the said chapter. The description ' (in terms of upohana or introductory portion and metre) is given below - "Five dhruvās should be performed in Pūrvaranga (preliminaries of drama), viz. utthāpanī in the beginning, then parivarta, avakṛṣṭā, aḍḍitā and vikşiptă” (p. 251). "The upohana in avakṛṣṭā dhruvā should be done in five kalās (time- units) with the syllabic units dingle dingle, two units of four short syllables each and jhantum in the end. Each foot of the dhruva is composed of sixteen syllables, the third, sixth, ninth, eleventh, fifteenth and sixteenth being guru (long) and the rest being laghu (short)." The illustration is as follows- Varadam saganam tripurāntakam vṛṣabhaketum/ Gajacarmapaṭamviṣamekṣaṇambhuvananātham/ Bhujagābharaṇaṁjagatāṁhitaṁbhuvanayoniṁ/ Praṇato'smi bhavantamumāpatim tvasitakantham/ 38. Antaramārga is mentioned in NŚ XXVIII (prose portion preceding verse 74 and in verse 75). The context is the same as that in our text, viz. alpatva-bahutva. The manipulation of sparseness and abundance of svaras in jātis on account of which a non-amsa svara also becomes abundant in a special context is antara-mārga. The literal meaning of this word is 'search for the inner path'. The root 'mārg' means searching. Abhi has said that 'antara-mārgaņa 'i.e. the search of the inner is antara-marga. What is this inner? This has to be understood in two ways. The first is in relation to the seven jātis named after svaras, which assume a two-fold form viz. śuddha and vikṛta. The second is in the context of eleven samsargajā vikṛtā jātis that are formed with a mixture of the above

relation

p.vol_II_p018

english

conf 0.93

[show source]

Deśī music is used among peoples known as śabara, pulinda, kāmboja, baṅga, kirāta, bāhlīka, āndhra, draviḍa, vana and others

"That is used in (the music of people known as) 34 śabara, pulinda, kāmboja, baṅga, kirāta, bāhlīka, āndhra, draviḍa, vana (forest-dwellers) etc."

relation

p.vol_I_p007

english

conf 0.92

[show source]

Deśī is treated in relation to the nature of Dhvani and is defined alongside the concept of marga

"Section I: Deśī The desi nature of Dhvani The definition of desi and marga"

structural

p.vol_I_p084

english

conf 0.99

[show source]

Deśī is used in both a broad and restricted sense: broadly for spatial/regional aspect of manifest sound, and restrictedly for music related to the region of its makers

"In the broad sense it stands for the spatial or regional aspect of manifest sound and in the restricted sense it stands for music which is again related to the desa or region of its makers."

1 Ė 151 VIMARŚA ì 2. Gita (lit. song or the act of singing) stands for the melodic aspect of music which is rendered through the voice or stringed and wind instruments. BṛD does not mention vādya along with gīta here, nor in verse 14 where desī music is defined as 'that which is sung.' Since voice sets the model followed by stringed and wind instruments, gita is the word for the melodic aspect of music and the content of the above instruments is included in it. This extension of the meaning of gita gets established when the word vādya is juxtaposed with it, because in that case vādya gets restricted to drums. But here, in absence of that juxtaposition, gita would acquire a further extension by way of also including vādya in its orbit. Hence gīta stands here for the totality of music. It is notable that gita is followed by svara in this verse. This looks like a repetition because svara is the main constituent of gita. This could be construed as an emphasis on 'svara' through an independent reference to it. 3. Nrtta generally stands for pure dance where the delineation of artha (meaning) of kāvya (poetry, literature) is not intended (vide NŠ IV, 263). Nṛtta is dependent on nāda, because it has to be accompanied on instruments, specially drums. 4. The statement that the world is made up of nāda seems to be somewhat out of place here, because the context is that of nada being the essence of music and dance. But if one recalls the exposition of the order of manifestation or formation of gandharva beginning from bindu and moving forward through nāda - mātṛkā - varṇa - pada - vākya - mahāvākya - to Veda ( alongwith its auxiliary disciplines), it would become clear that 'gīta' (representing gāndharva) incorporates all the stages upto gandharva and hence the fundamental nature of nāda as established in gīta could be logically extended to the 'world' because the world or phenomenon itself is a manifestation of nāda through the above stages. SR expresses the same idea in the following manner - "Nāda manifests the letters ( of alphabet ), letters constitute the word and words make a sentence; so, the entire business of life is carried on through language and therefore, the whole phenomenon (i.e. the world) is based on nāda". (SR1, 2.2) Just as SR has related the business of life with nāda through verbal communication that is based on the same, BrD has used gita in an extended meaning, including in it all the manifestations of nada and has expounded nada to be the essence of the whole world. It would be interesting to note here that S R also speaks of nāda being the essence of gita, vādya and nṛtta but the 'world' is not connected with nāda in that context. "Nāda is the very essence of vocal music, instrumental music is enjoyable as it manifests nāda. Nṛtta (dance) follows both (i.e. vocal and instrumental music); therefore, all the three together depend on nāda". (SRI, 2.1) 5,6,7,8. Brahmā, Viṣṇu and Maheśvara (Śiva) form one group as Trideva (three gods), representing three aspects of the manifestation of the Ultimate Reality into the phenomenon of the universe, viz. creation, preservation and destruction. Although the three of them occur in Vedic literature, yet the idea

desi core_concept

Grammar record (family: core_concept)

Generative rules (2) ↗ filter all

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

Graph relations

Outgoing (7)

Incoming (13)

Affirmations (6)

Grammar record (family: `core_concept`)