R_c132_murchana_latin

Body (pseudocode)

Inputs / output

Evidence (7)

• p. vol_I_p042 · #2429 « there is no difference between the artha (content) of murchana and tana »
• p. vol_I_p046 · #2470 « for the sake of the demonstration of mandra and tara the murchanas are indicated »
• p. vol_I_p046 · #2472 « the murchanas are indicated in the madhyama svara of the vina. »
• p. vol_I_p047 · #2473 « The recognition of the (original) mūrchanā is certainly there. »
• p. vol_I_p047 · #2478 « mūrchanās are useful in jātis and rāgas »
• p. vol_I_p047 · #2483 « कण्ठ्ये स्वरे मूर्छना कार्येति भावः। »
• p. vol_I_p089 · #2973 « even if an untrained person 'hits' a mūrchita (tuned) vīṇā, the sound produced will be musical »

Other rules on this concept (15)

• murchana_assignment_per_jati_or_raga assignment Each jāti / grāmarāga is assigned a mūrchanā specified by its starting svara.
• R_275_murchana_omission transformation Mūrchanā transformations operate via svara-omission (creating ṣāḍava/auḍuvita tānas); applies to jāt
• murchana_alternate_sense_vina_technique definition Mūrchanā is also used in a technical sense denoting a right-hand viṇā technique with pressed strings
• murchana_definition_heptad_ascent_descent definition Mūrchanā is a heptad of svaras functioning through ascent and descent in respective order.
• murchana_substitution_madhyama_for_sadja validation Where madhyama is placed by virtue of mūrchanā principle, ṣaḍja can replace it without destroying th
• murchana_twelve_svara_for_three_sthanas relation Twelve-svara mūrchanās are used in performance to attain the three sthānas (registers).
• murchana_twofold_seven_or_twelve_svaras enumeration Mūrchanā is twofold: composed of seven svaras or of twelve svaras.
• R_597_murchana_shift transformation In murchanās of rsabha..nisada, sadja shifts to 2nd..7th svara position respectively
• murchana_distinct_from_tana relation Mūrchanā is distinguished from tāna and is associated with a mūrchanā-maṇḍala diagram.
• murchana_etymology_mukha_moha definition The etymology of mūrchanā relates to 'mukha' (mouth/face) and 'moha' (delusion/inten
• murchana_in_bhadravati_ela relation The Bhadrāvatī elā is characterized as brimming with mūrchanā sounds.
• murchana_jati_relation_intervallic_melodic relation Intervallic formation is accomplished by mūrchanā; jāti gives melodic form to that intervallic forma
• murchana_purpose_jati_raga_bhasha relation Mūrchanās are established to accomplish jāti, rāga, and bhāṣā formations.
• murchana_seven_svara_fourfold_classification enumeration The seven-svara mūrchanā is fourfold (śuddhā, pūrṇā, ṣāḍavā, auduvitā, sādhāraṇā variants per the so
• murchana_specified_after_amsa_known validation The mūrchanā of a jāti should be specified only after knowing the predominance of its aṁśa.

Other rules in category definition

• R_006_nyasa_definition · nyāsa · Nyāsa is the svara on which a gīta (tonal structure) is placed, left, or conclud
• R_4p0_001 · vibhāṣā · vibhāṣā = variante/sous-categorie de bhāṣā derivee d'un rāga, avec varietes
• R_15_bhasa_definition · bhāṣā · Bhāṣā is a melodic form arranged within a grāma-rāga, characterized by specific
• R_c17_apanyasa · apanyāsa · apanyāsa = svara de cadence intermédiaire (avant fin), interne aux vidārīs, jama
• R_027_auduvita_definition · auduvita · Auduvita is the pentatonic form devoid of ṛṣabha and dhaivata, formed only with
• R_36_amsa_definition · aṁśa · Aṁśa is the predominant/primary svara of a rāga or bhāṣā, the beginning point of
• R_prastara_def · prastāra · Prastāra is the systematic permutation/extension of svaras, increasing by one sv
• R_4p0_004 · bindu · bindu = (a) alaṅkāra: sejour long sur svara, touche tāra-sa bref, retour bas; (b