concert technical_term

Dictionary: not in dictionary · Pages: 1 · Occurrences: 1 · Affirmations: 1 · Graph degree: 22 (in 18, out 4)

Variants (1): concert (1)

Generative rules (1) ↗ filter all

R_987_concert_relation relation · 1 att.
Concert (consonance) holds between ṣaḍja-dhaivata and madhyama-ṛṣabha pairs

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

RULE id: concert (cluster 987)
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 (4)

--[relation]--> dhaivata (1)--[relation]--> ṛṣabha (1)--[relation]--> madhyama (1)--[relation]--> Şadja (1)

Incoming (15)

sangati --[relation]--> (3)sangati --[definition]--> (2)aṁśa --[structural]--> (1)kārmāravī --[structural]--> (1)gāndhāra --[relation]--> (1)Gūrjarī --[structural]--> (1)saindhavī --[structural]--> (1)Sauvīrī --[structural]--> (1)आन्ध्री --[relation]--> (1)छेवाटी --[structural]--> (1)ābhīrī --[structural]--> (1)prathamamañjarī --[structural]--> (1)Saigati --[relation]--> (1)pañcamākhyā --[structural]--> (1)chevāțī --[structural]--> (1)

Affirmations (1)

relation

p.vol_II_p090

english

conf 0.94

[show source]

Concert refers to a musical relationship or correspondence between two notes

"There is concert between şadja-dhaivata and similarly madhyama- ṛṣabha"

163 TRANSLATION Māngālī has pancama as its concluding note and is said to have dhaivata as aṁśa. There is concert between şadja-dhaivata and similarly madhyama- ṛṣabha; it is held to be always complete and should be known to be born of ٠ deśa37 (region). This bhāṣā is said to be born of pañcama (rāga) by the knowledgeable ones in music. (92-93) Illustration-[Dhādhā] Sāsīsīsadhāsīriridhāsīriri[mari] dhāsādhāsīsīrimāri mämämadhamadhapāpādhāmapāpamāsānidhasī ririmāgarisāsūrimārimamam adhamapapāpāpāmāpāpamasīsīnidhasīsīririgārimārisī dhāsīsadhamāsīsīsīsīma. Pamāmāpāpā. Mārigālī [iii] Having pañcama as amsa and the same as the concluding note, being complete and brilliant with pañcama, saindhavī has been known to be a vibhāṣā born in the Sindhu region. Concert38 between ṣaḍja and pañcama is seen again and again. (94) Illustration-Pāpādhasīrigāgāgarimāri. Sasānidhādhāsanidhādhāmasarigāgāgari sādhādhamāpādhāpādhasīsīrigāripapxīrigāgārirīsīdhāvsīdhāpxīmāpxīpxīdhāpxī māmāmāpā dhādhāsīrīrisīdhāpā māpāpā. Saindhavī [iv] Gūrjarī has gāndhāra as ani śa, pañcama as the concluding note and is with sparse madhyama. It has concert between sadja and madhyama, (and) is always complete. This vibhāṣā born of pañcama39 (rāga) is said to be complete. (95) Illustration-Gขากฉับฉบับละสำนักเสียลีpāpādādhānidhānāmāmādhāgārīnīswigarim- ādhāmāpādhapadhanid hādhādhadhaparīrīsārimāgārimāmāmādhānīdharipa- dhānīdhāpā pānīdhāmāmadhamadhamagārirīmāmārīsāsāgārīmāmāpādhā- nismismidhāmapāpā. Gūrjari [v] Combined with pañcama as the initial and concluding note, dākṣiṇātyā is beautiful. This is complete and is said to be born in gandharapancama. 40 It should always be known as a vibhāṣā born of pañcama bearing a regional name.41 (96) Illustration - Pāpānīrī. Nirigārigarimāmaririniniri. Dhāpāpāpapā niririgari- garimagaririri. Dhanidhadhanidhādhanidhāpā pāniririgārigādhāmāgāvirisāniri gāmāgārīnidhāpāpā. Dākṣiṇātyā [vi]