1087 rules total — 337 shown (capped at 500). ← back to grammar index
| rule_id | Category | Concept | Summary | Body (excerpt) | N att. |
|---|---|---|---|---|---|
R_006_nyasa_definition |
definition | nyāsa | Nyāsa is the svara on which a gīta (tonal structure) is placed, left, or concluded | DEFINE nyasa(gita) = svara WHERE gita IS placed_or_ended ON svara |
20 |
R_15_bhasa_definition |
definition | bhāṣā | Bhāṣā is a melodic form arranged within a grāma-rāga, characterized by specific svaras (aṁśa, nyāsa) and structural relationships | DEFINE Bhasa AS MelodicForm WHERE parent=grama_raga AND has(amsa) AND has(nyasa) AND requires(effort_to_perceive) |
17 |
R_4p0_001 |
definition | vibhāṣā | vibhāṣā = variante/sous-categorie de bhāṣā derivee d'un rāga, avec varietes nommees, classifiees sampūrṇa/saṅkīrṇa, ornant les bhāṣās pr | DEFINE vibhāṣā(b, raga_parent): · ASSERT b.type == 'bhāṣā_variant' · ASSERT exists(raga_parent) AND derivation(b, raga_parent) · classify(b.completeness I |
17 |
R_c17_apanyasa |
definition | apanyāsa | apanyāsa = svara de cadence intermédiaire (avant fin), interne aux vidārīs, jamais en fin de gīta | FUNCTION assign_apanyasa(gita): · FOR each vidari IN gita.vidaris: · candidate_svaras := {s | s IN gita.svaras AND s != amsa AND position(s) != end_of_git |
12 |
R_027_auduvita_definition |
definition | auduvita | Auduvita is the pentatonic form devoid of ṛṣabha and dhaivata, formed only with permitted aṁśa svaras | DEFINE auduvita = jati_form WHERE rsabha IS absent AND dhaivata IS absent; ALLOWED iff amsa IN permitted_30_amsas |
9 |
R_36_amsa_definition |
definition | aṁśa | Aṁśa is the predominant/primary svara of a rāga or bhāṣā, the beginning point of a phrase from which tāra ascent is measured | DEFINE amsa AS predominant_svara(raga) WHERE amsa = phrase.start AND tara_ascent = measure_from(amsa) |
8 |
R_prastara_def |
definition | prastāra | Prastāra is the systematic permutation/extension of svaras, increasing by one svara per step; has sthāyin and ārohin forms | DEFINE prastāra(svaras): permutation/extension where each successive step increases by one svara; forms = {sthāyin (steady), ārohin (ascending)}; functions as n |
8 |
R_4p0_004 |
definition | bindu | bindu = (a) alaṅkāra: sejour long sur svara, touche tāra-sa bref, retour bas; (b) technique main droite vīṇā damped; (c) Tantra: energie con | DEFINE bindu(seq, ctx): · IF ctx == 'melodic': · pattern = stay_long_on(svara_x) -> touch_briefly(upper_octave(x), kala=1) -> sudden_descent_to_low · |
7 |
R_c132_murchana_latin |
definition | mūrchanā | murchana (variante translittérée) = accordage et progression mélodique sur l'heptade médiane; utile en jātis/rāgas, exécuté dans la tess | FUNCTION murchana_tuning(vina): · # 'murchita' = tuned · vina.tune_to_middle_heptad() · ASSERT madhyama.position == indestructible_center · murchanas := |
7 |
R_c39_murchana_devanagari |
definition | मूर्छना | mūrchanā = mouvement mélodique débutant par un svara donné, étymologie mūrch (infatuation) + samucchrāya (croissance); ce par quoi le rāga c | FUNCTION construct_murchana(start_svara, jati): · # etymology: murch (growth) + samucchraya (increase) · murchana := sequence_of_svaras(start=start_svara, l |
7 |
R_129_krama_definition |
definition | krama | Krama is an alaṅkāra: ascending svara sequence in successive order without gaps, moving to one/two/three svaras each step; identical in form | DEFINE krama AS ascending_sequence(svaras) WHERE step_size ∈ {1,2,3} AND no_gap AND original_order_preserved |
6 |
R_1700_anuvaditva_definition |
definition | anuvāditva | Anuvāditva is the state of two svaras differing by one śruti; substitution between samvādin pairs preserves jāti/rāga | DEFINE anuvaditva(s1, s2) = TRUE IFF |sruti(s1) - sruti(s2)| = 1; SUBSTITUTE samvadin_pair PRESERVES jati_and_raga |
6 |
R_42_jati_definition |
definition | jāti | Jāti is the foundational melodic abstraction (analogous to caste) from which rāgas are derived; pure and mixed forms exist; rāgas conforming | DEFINE jati AS melodic_abstraction WHERE has_kind({suddha, vikrta}) AND derives_to(raga) |
6 |
R_4p0_005 |
definition | apanyāsa | apanyāsa = svara de repos secondaire (non-nyāsa); enumeration variable selon jāti (ṣaḍja+pañcama; ṣaḍja+dhaivata; madhyama+pañcama; six/sept | DEFINE apanyāsas(jati): · s = svaras_of(jati) EXCLUDE {nyāsa(jati)} · apanyasas = {x in s : role(x)=='secondary_resting_tone'} · CASES: · sadjaikaiśik |
6 |
R_c94_birudas |
definition | birudas | birudas = phrases eulogistiques (plénitude, renoncement, bien-être, prospérité) employées dans kanda, hayalīlā, simhalīlā, vicitra, tripadī/ | FUNCTION include_birudas(composition): · # eulogy themes: plenty / renunciation / well-being / prosperity · IF composition.type IN {kanda, hayalila_2nd_half |
6 |
R_nada_def |
definition | Nāda | Nāda is the foundational sound principle: born of fire+air combination; music, svaras, dance and the world depend upon it | DEFINE nāda: origin = combination(vahni, māruta); attributes = {glory, origin, definition, kinds}; necessity(gīta) = nāda; necessity(svaras) = nāda; necessity(n |
6 |
R_4p0_008 |
definition | ranjita | ranjita = alaṅkāra: monter d'un svara sans gap, sejour 2 kalās, ascente 1/2 kalā avec gap, descente 1/2 kalā sans gap; patterns sarī-mag | DEFINE ranjita(start_svara): · step1: ascend(adjacent_svara, gap=False) · step2: dwell(duration=2*kalā) · step3: ascend(antara_svara, duration=0.5*kalā, g |
5 |
R_048_prasannanta_definition |
definition | prasannānta | Prasannānta is the descending alaṅkāra from tāra to mandra, being prasannādi reversed (sanidhapamagarisa) | DEFINE prasannanta = reverse(prasannadi) = descent FROM tara TO mandra; sequence = [sa,ni,dha,pa,ma,ga,ri,sa] |
4 |
R_108_dvikala_definition |
definition | dvikala | Dvikala denotes either two-svara phrase-units or kalā duration of four mātrās; used in vārtika mārga and udvāhita alaṅkāra | DEFINE dvikala AS {form_a: two_svaras_per_phrase_unit, form_b: kala_duration=4_matras} |
4 |
R_172_kanda_definition |
definition | kanda | Kanda is the first prabandha, bereft of tāla, combined with pāṭas and birudas, mixed with Karpāṭa language pada | DEFINE kanda AS prabandha WHERE rank=1 AND tala=null AND contains({patas, birudas}) AND text_language=karpata |
4 |
R_187_sama_definition |
definition | sama | Sama is the alaṅkāra of uniform pronunciation of all seven svaras with equal sound across three registers, staying on one svara | DEFINE sama = uniform_pronunciation(7_svaras, 3_registers) WHERE all_svaras EQUAL AND rests_on single_svara |
4 |
R_346_desi_definition |
definition | desi | Deśī designates regional music (vs. mārga); broadly = spatial aspect of sound, restrictedly = music of named peoples (śabara, pulinda, etc.) | DEFINE desi = regional_music; CONTRAST mārga; SCOPE broad = spatial_aspect_of_dhvani, restricted = music_of_region |
4 |
R_4p0_010 |
definition | pṛthulā | pṛthulā = quatrieme gīti dans classification de Bharata, produite avec catuṣkala tāla dans dakṣiṇa mārga, composee de syllabes laghu | DEFINE pṛthulā(): · category_rank_bharata = 4 · tāla = 'catuṣkala' · mārga = 'dakṣiṇa' · syllable_type = 'laghu(short)' · RETURN gīti('pṛthulā') |
4 |
R_4p0_011 |
definition | ārohin | ārohin = varṇa ou les svaras du gīta montent un par un ou avec gap de 1-2 svaras; prastāra = svara qui monte du bas au haut puis descend | DEFINE ārohin(seq): · CHECK adjacent_ascent(seq) OR ascent_with_gap(seq, gap_size IN {1,2}) · prastāra_pattern = ascend(low->high) -> descend · associated |
4 |
R_4p0_012 |
definition | aṁśa | aṁśa = svara essentiel definissant jāti; enumeration varie: madhyamā=5 (hors gāndhāra+niṣāda), ṣāḍjī=10 (1 śuddha+5 vikṛta+4 ṣāḍava), raktag | DEFINE aṁśas(jati): · CASES: · madhyamā -> count=5, exclude={'gāndhāra','niṣāda'} # two-śruti svaras · ṣāḍjī -> count=10, breakdown={'śuddha':1,'vikṛt |
4 |
R_559_hradamana_definition |
definition | hrādamāna | Hrādamāna is an alaṅkāra formed by descent from tāra with one-svara gap, three repetitions, three kalās; pattern: sadha-sadha-sadha, nipa-ni | DEFINE hradamana AS descent(tara, gap=1) WHERE repetitions=3 AND kalas=3 AND form=dvikala |
4 |
R_66_sambhavita_definition |
definition | sambhāvitā | Sambhāvitā is the third gīti, composed of guru (long) syllables, produced with dvikala in vārtika mārga | DEFINE sambhavita AS giti WHERE syllables=guru AND kala=dvikala AND marga=vartika AND rank=3 |
4 |
R_727_gana_definition |
definition | gaņa | A gaṇa is a group of (typically) three jātis with increasing svara count; 7 varieties exist (1,2,3,4-svara × 3 jātis; 5-svara × 4; 6 and 7 s | DEFINE gana = group(3_jatis) WITH increasing_svara_count; ENUMERATE varieties = {1sv:3, 2sv:3, 3sv:3, 4sv:3, 5sv:4, 6sv:1, 7sv:1} |
4 |
R_avartaka_def |
definition | āvartaka | Āvartaka: alaṅkāra of 8 kalās composed by uttering 8 svaras in ascent+descent; occurs in 4 consecutive svaras or with a 1-svara gap | DEFINE āvartaka: n_kalās = 8; method = utter 8 svaras in ārohaṇa+avarohaṇa; valid_scopes = {4 consecutive svaras without gap with ārohaṇa+avarohaṇa, svaras with |
4 |
R_c130_sthana |
definition | sthāna | sthāna = lieu d'articulation du son dans le corps; 5 sites (nombril, poitrine, gorge, palais, bouche), nombril et bouche omis en musique | FUNCTION enumerate_sthanas(): · all_sites := ['navel', 'chest', 'throat', 'palate_or_cerebrum', 'mouth'] · used_in_music := all_sites \ {'navel', 'mouth'} |
4 |
R_c85_magadhi |
definition | māgadhī | māgadhī = gīti répétée trois fois, produite en ekakala/citra mārga, tirant son nom de la région Magadha; première de la classification de Bh | FUNCTION classify_magadhi(giti): · magadhi := { · repetition: 3, · tala: 'ekakala', · marga: 'citra', · rank_in_bharata: 1, · etymology_re |
4 |
R_tadatmya_theory |
definition | tādātmya | Tādātmya = identity-theory of svara/śruti relation: claims svara≡śruti like jāti≡vyakti; refuted by aśraya/āśrayin distinction; one of sever | THEORY tādātmya: claim(svara ≡ śruti) JUSTIFIED_BY (no_differentia perceived_by_ear, analogous to jāti↔vyakti); REFUTATION: distinction(aśraya=śruti, āśrayin=sv |
4 |
svara_definition_and_eternity |
definition | svaras | Svara (interval) is the colouring/delighting component of rāga (through specific svara, varṇa, dhvani); svara is eternal/indestructible; cla | svara := interval_that_colours(mind_of_good); attributes := {eternal: True, indestructible: True}; classification := fourfold{vadin, ...}; manifestation_cause : |
4 |
R_147_auduva_definition |
definition | auduva | Auḍuva is the pentatonic combination (five svaras); auḍuva tānas have two subcategories: devoid of ni-ga and devoid of pa-ni | DEFINE auduva AS combination WHERE |svaras| = 5; SUBTYPES auduva_tanas = {devoid_niga, devoid_pani} |
3 |
R_165_prasannadyanta_definition |
definition | Prasannādyanta | Prasannādyanta is an alaṅkāra characterized by 'low' at beginning and end with 'high' in the middle; combines ascending and | DEFINE prasannadyanta AS sequence WHERE start=low AND end=low AND middle=high |
3 |
R_180_prastara_definition |
definition | prastāra | Prastara is a systematic phrase-expansion where successive phrases add svaras one-by-one; descent with measure forms udgīta alaṅkāra | DEFINE prastara = successive_phrases WHERE phrase[i+1].svaras = phrase[i].svaras + 1; descent_with_measure -> udgita_alankara |
3 |
R_1946_raga_definition |
definition | rāga | Rāga is a special dhvani bedecked with svara and varṇa that colours/delights the mind of the listener; etymology = act of colouring/delighti | DEFINE raga AS special_dhvani(svara, varna) WHERE effect = colour_or_delight(mind) AND etymology = ranj |
3 |
R_4p0_016 |
definition | vidārī | vidārī = unite sectionnelle = decoupage de padas; 2 types: gīta-vidārī (structure melodique) et pada-vidārī (unite melodico-textuelle) | DEFINE vidārī(padas): · meaning = 'splitting/separating_of_padas' · types = {'gīta-vidārī': 'melodic_structure_section', 'pada-vidārī': 'melodic-textual_uni |
3 |
R_4p0_017 |
definition | sādhāraņa | sādhāraṇa = (a) classe de rāgas communs nes des gītis de tous rāgas et chantes en sādhāraṇa-gīti, assignes a 2 grāmas; (b) svara: antara-kāk | DEFINE sādhāraṇa(x, ctx): · IF ctx == 'rāga': · origin = 'born_of_gītis_of_all_previously_spoken_rāgas' · sung_in = 'sādhāraṇa-gīti' · grāma_assig |
3 |
R_4p0_018 |
definition | tāra | tāra = extent (gati) commencant depuis aṁśa svara jusqu'a la 5e svara (ou 4 svaras alternativement); l'extent est triple | DEFINE tāra(aṁśa): · primary_definition = ascent(from=aṁśa, to=fifth_svara_above) · alternative_definition = ascent(span=4_svaras) · extent_partition = 't |
3 |
R_4p0_019 |
definition | ardhamāgadhī | ardhamāgadhī = gīti completee en la moitie du temps de māgadhī; 2e categorie de Bharata | DEFINE ardhamāgadhī(māgadhī): · duration = māgadhī.duration / 2 · bharata_rank = 2 · literal_meaning = 'half-māgadhī' · RETURN gīti('ardhamāgadhī') |
3 |
R_4p0_022 |
definition | Sañcārin | sancārin = varṇa combinant les 3 autres mouvements melodiques (SR I.6.3ab); produit 11 alaṅkāras charmants enumeres | DEFINE sancārin(): · meaning = 'moving_around' · definition_SR = 'combines_the_other_three_varṇas' · produces_alaṅkāras = ['mandratāraprasanna', 'bindu', |
3 |
R_555_nigraha_definition |
definition | nigraha | Nigraha is the omission or non-touching of the immediate svara; one of two tāna-performance methods (with praveśa) | DEFINE nigraha = omit(immediate_svara); CONTRAST pravesa = identity_of_sound; tana_methods = {pravesa, nigraha} |
3 |
R_593_gita_definition |
definition | Gita | Gīta is the melodic aspect of music (voice/strings/wind), comprised of four aṅgas, characterised by ten lakṣaṇas (rāga); represents totality | DEFINE gita AS melodic_music WHERE angas=4 AND laksanas=10 AND named_as=raga |
3 |
R_819_bhasa_giti_definition |
definition | Bhāṣāgīti | Bhāṣā gīti is a song-type with smooth, kāku-coloured, shaken, soft, brilliant prayogas combined with mālavīkāku; 16 varieties | DEFINE bhasa_giti = giti WITH prayogas{smooth, kaku_coloured, shaken, soft, brilliant, with_malavi_kaku}; COUNT_varieties = 16 |
3 |
R_c1149_ela |
definition | एला | elā = forme prabandha où les 2 premiers pieds portent anuprāsa, 4 gītis par pied, combinée à pratitāla; thèmes: renoncement, bien-être, beau | FUNCTION compose_ela(): · RETURN { · structure: {feet: 5, gitis_per_foot: 4}, · anuprasa_placement: 'feet_1_2 OR feet_3/4 OR foot_5', · tala: 'pra |
3 |
R_c128_mardava |
definition | mārdava | mārdava = adoucissement/abaissement; assigné à une śruti quand un svara est suivi d'un svara plus haut; sert avec āyatatva à mesurer la | FUNCTION assign_mardava(svara_i, svara_next): · IF pitch(svara_next) > pitch(svara_i): · svara_i.quality := 'mardava' # softness/lowering · # used as m |
3 |
R_c256_dvipathaka |
definition | dvipathaka | dvipathaka = prabandha chanté avec svaras, structure de libération mélodique (svaramukti) par 2 chemins métriques; existe en 4 sous-formes a | FUNCTION compose_dvipathaka(): · RETURN { · sung_with: 'svara_notes', · structure: 'two_metrical_paths', · semantic: 'svara_mukti', # melodic lib |
3 |
R_gramamurchana_def |
definition | Grāma-mūrchanā | Grāma-mūrchanā = specific collection of śrutis and svaras constituting a mūrchanā; major topic-pair (grāma + mūrchanā) of Brihaddesi chapter | DEFINE grāma-mūrchanā: grāma = specific_collection(śrutis, svaras); mūrchanā = derived_from(grāma); covers treatment of both; topic 5 of 7 in Brihaddesi chapter |
3 |
R_mandra_def |
definition | mandra | Mandra = low/soft (mṛdu) svara register; its extent (gati) is threefold: amśaparā, nyāsaparā, apanyāsaparā | DEFINE mandra: meaning = mṛdu (soft/low) svara; gati(mandra) = {amśaparā(followed by aṁśa), nyāsaparā(followed by nyāsa), apanyāsaparā(followed by apanyāsa)}; i |
3 |
R_marga_def |
definition | mārga | Mārga = 'path', the span of a tāla; NŚ enumerates three mārgas per tāla (citra, vārtika, dakṣiṇa) in doubling ratio; contrasted with | DEFINE mārga(tāla): meaning = path; semantic = span(tāla); enumeration = {citra(shortest), vārtika(2×citra), dakṣiṇa(2×vārtika)}; contrast(mārga, deśī): deśī be |
3 |
R_prasada_def |
definition | prasāda | Prasāda = 16th alaṅkāra meaning clarity/brightness/graciousness; formed by paired svara movements; prastāra becomes prasāda when gradually h | DEFINE prasāda: ordinal_alaṅkāra = 16; semantic = clarity/brightness/graciousness; pattern = pairs of svaras in ascent+descent; relation(prastāra→prasāda) = whe |
3 |
avarohin_definition |
definition | avarohin | Avarohin varṇa is the descending melodic movement where svaras descend in one order (gapless or with gaps of one or two svaras); prevails in | avarohin(seq) := descending_order(seq, gap in {0, 1, 2}); prevails_in := suddhasadava |
3 |
ayatatva_definition_extension |
definition | āyatatva | Āyatatva (state of being stretched/extended) is assigned to the śruti of a svara when followed by a lower one; used with mārdava to measure | ayatatva(S_i) := True if next(S_i) < S_i (lower); usage := pair_with(mardava) -> measure_sruti; in_BrD: ayatatva == viprakarsa |
3 |
dhruva_definition_metrical_text |
definition | dhruvā | Dhruvā is a metrical text performed in pūrvaranga (Sanskrit or non-lexical syllables) and within drama in Prākṛta, communicating desired mea | dhruva := metrical_text(performed_in=purvaranga, language={sanskrit, prescribed_syllables}); within_drama := prakrta; must_communicate_meaning := True; role := |
3 |
gatha_definition |
definition | gāthā | Gāthā is a song genre in Prakrit using the Ārya metre, sung melodiously following prior forms; metrically based on five, three, or six metri | gatha := {language: prakrit, meter: arya, n_feet: {5 | 3 | 6}, singing_style: prior_form} |
3 |
kampita_definition_three_shruti_shake |
definition | kampita | Kampita is the alaṅkāra formed by the shake of a three-śruti svara in the lower (chest) heptad, composed of three kalās. | def is_kampita(svara, heptad): · return svara.shrutis == 3 and heptad == 'lower' and svara.shake_kalas == 3 |
3 |
paurali_definition_and_origin |
definition | paurālī | Paurālī is a deśī-born bhāṣā of ṭakkarāga; has ṣaḍja as initial and concluding note (or madhyama as aṁśa with ṣaḍja as nyāsa), is complete i | paurali := bhasa(parent_raga=takkaraga, origin=desa); amsa := madhyama; graha_nyasa := sadja; completeness := sampurna; related_to := malavakaisika |
3 |
pota_definition_bhasa |
definition | potā | Potā is a vibhāṣā born of ṭakkarāga with pañcama as aṁśa, ṣaḍja as concluding note, embellished with madhyama; characterised by ṛṣabhāṃśa at | pota := vibhasa(parent_raga=takkaraga, amsa=pancama, nyasa=sadja, embellishment=madhyama, opening=rsabha_amsa, ending=dha, ni_density=sparse) |
3 |
prasannadi_definition_gradual_low_to_high |
definition | prasannādi | Prasannādi is an alaṅkāra defined as gradual ascent beginning from low svaras up to the starting point of high. | def is_prasannadi(phrase): · return strictly_increasing(phrase) and starts_in_mandra(phrase) and ends_at_tara_start(phrase) |
3 |
sadava_definition_six_svaras |
definition | şādava | Ṣāḍava is a scale with six svaras; its lakṣaṇa (description) is sevenfold; numerically valued at forty-nine by music scholars. | sadava := scale(svara_count=6); laksana_count := 7; numerical_value := 49 |
3 |
sadava_tana_category |
definition | ṣāḍava | Sadava is a category of tānas with six svaras, characterised here as tānas devoid of a single note (e.g. ga); enumerated as seven distinct p | sadava_tana := tana(svara_count=6, omit=one_svara); enumerated := 7_cyclical_patterns |
3 |
sankirna_definition |
definition | sankīrņā | Sankīrṇā means 'mixed' and is a category descriptor applicable to certain bhāṣās (e.g. ravicandrikā). | label(B) := sankirna if mixed_character(B); examples include ravicandrika |
3 |
sthana_definition_register_and_interval |
definition | sthāna | Sthāna means location/register; in vocal terms it is the register beyond human range encompassed by vīṇā, and as smallest interval count tot | sthana := {sense_1: register, sense_2: smallest_interval}; total_intervals := 22*3 = 66; dhaivata_position := 6th_sthana |
3 |
vadin_definition_speaker |
definition | vādin | Vādin is so called because of vadana (here = exposition of rāga, not literal speaking), like the master in a hierarchy; serves as fundamenta | vadin(S) := principal_svara(S); role := tonic_and_initiator; etymology := vadana(exposition_of_raga) |
3 |
vibhasa_giti_definition_count |
definition | Vibhāṣā gīti | Vibhāṣā gīti is composed with gamakas (attractive, numerous, brilliant, shaken, chest-region, even, high/very high, smooth) with madhyama sh | vibhasa_giti := composition(gamakas={attractive, numerous, brilliant, shaken, chest_region, even, high, very_high, smooth}, middle_svara=madhyama, style=spontan |
3 |
vidhuta_definition |
definition | vidhuta | Vidhuta is an alankāra: pronounce the aṁśa svara four times then two immediate svaras fast (sa sa sa sa riga, ri ri ri ri gama, ...); a shor | vidhuta(amsa) := repeat(amsa, 4) + fast(next_two_svaras); structure := short_varna(svara_count=2, ascent=1_kala, gap=0) |
3 |
BD_6_1_R001 |
definition | sthāyin | Sthāyin varṇa: a steady varṇa where a single svara ascends and descends from itself | DEFINE sthayin_varna(svara s): · pattern = STEADY(s) WITH gradual_ascent(s) AND gradual_descent(s) · example_shadji_jati = [sa, sa, sa] · RETURN pattern |
2 |
BD_6_1_R002 |
definition | bahuvrihi | Bahuvrīhi: grammatical compound where last member loses substantive character, used to interpret mandra as 'that which precedes aṁśa sva | DEFINE bahuvrihi(compound c): · IF compound_type(c) == 'bahuvrihi': · last_member.role = 'qualifier' (NOT substantive) · APPLY_TO(mandra_definition): |
2 |
R_113_antara_identification |
definition | antara | Antara is identified with gāndhāra, used in ascending krama patterns; in Ṭakkakaiśika gāndhāra functions as antara along with niṣāda as kāka | DEFINE antara = gandhara_variant USED_IN ascending(krama, target=kakali) |
2 |
R_1360_shukasarika |
definition | शुकसारिक | Śukasārikā = verse or prose form using dual tāla with question-answer structured phrases, adaptable to any rasa. | DEFINE shukasarika := compose(form ∈ {gadya, padya}, tala_count=2, phrases=question_answer_pairs); rasa := any_desired |
2 |
R_1363_gajalila |
definition | गजलीला | Gajalīlā: when an āryā is sung with gajalīlā tāla, the composition is named gajalīlā; its pada is bound with prāṇas. | IF meter == 'arya' AND tala == 'gajalila': form_name = 'gajalila'; pada bound_with pranas; subtypes = {gadya_ja, padya_ja} |
2 |
R_149_svarantara_definition |
definition | svarāntara | Svarāntara is defined as the use/combination of four svaras | DEFINE svarantara AS svara_usage WHERE |svaras| = 4 |
2 |
R_1658_prasadhya |
definition | prasādhya | Prasādhya = 'accomplished/perceived'; svara and śruti are distinguished because they are prasādhya through different buddhis (mental | DEFINE prasadhya(x) := perceived_by(buddhi); distinct(svara, sruti) BECAUSE prasadhya(svara, buddhi_a) ≠ prasadhya(sruti, buddhi_b) |
2 |
R_1695_samvadin |
definition | samvādin | Saṃvādin is named from saṃvadana (supportive speaking, like a minister); saṃvāditva carries forward / accomplishes the rāgatva produced by v | samvadin := svara WHERE function == 'supportive_speaking' (analogue: minister_to_king); samvaditva := accomplish(ragatva_produced_by(vadin)) |
2 |
R_174_totaka_definition |
definition | totaka | Totaka is the 13th prabandha, performed by music scholars with svaras arranged in totaka meter | DEFINE totaka = prabandha[index=13] WHERE meter = totaka AND performers = gita_vedins |
2 |
R_1984_vyanjana_def |
definition | vyañjana | vyañjana (consonant): phonetic unit yielding specificity; cannot be pronounced without vowel | DEFINE vyanjana := phonetic_unit WHERE function = 'specificity_in_language' · CONSTRAINT: pronouncable(vyanjana) REQUIRES vowel · WITHOUT vowel: vyanjana IS imp |
2 |
R_204_varnasvara_definition |
definition | varņasvara | Varṇasvara (46th prabandha) is composed with hand pāṭas, tenakas, svaras, padas, pāṭas, sung in combination with tāla | DEFINE varnasvara AS prabandha[rank=46] WHERE components={hand_patas, tenakas, svaras, padas, patas} AND sung_with=tala |
2 |
R_243_prasannamadhyama_definition |
definition | Prasannamadhya | Prasannamadhyama is an alaṅkāra (used in Mālavakaišika) combining prasannānta descent and prasannādi ascent centered on madhyama (sanidhapam | DEFINE prasannamadhyama = concat(prasannanta_descent, prasannadi_ascent) CENTERED_ON madhyama; USED_IN malavakaisika |
2 |
R_283_utkarsa |
definition | utkarşa | Utkarṣa = augmentation/raising of pitch (notably of pañcama) used to measure śruti intervals and effect grāma transformation. | DEFINE utkarsa(svara) := raise_pitch(svara) -> shifts_sruti_interval; APPLY in grama_transformation WHEN murchana changes WITH utkarsa(gandhara) |
2 |
R_288_arthapatti |
definition | arthāpatti | Arthāpatti (negative inference / postulation) is a pramāṇa propounded by Mīmāṃsā and accepted by Advaita Vedānta; Nyāya subsumes it under an | IF means_of_knowledge == 'arthapatti': school in {mimamsa, advaita_vedanta} => independent_pramana; school == nyaya => subsumed_under('anumana'); usage_in_music |
2 |
R_378_gamakas |
definition | gamaka | Gamakas are melodic ornaments delightful to the ear, characteristically employed in vibhāṣā gīti compositions, often with sweet svaras. | IF composition_type == 'vibhasha_giti': REQUIRE gamakas with attributes {attractive, numerous, brilliant, shaken, chest_region, smooth, delightful}; gamakas com |
2 |
R_441_jayavardhana |
definition | jayavardhana | Jayavardhana = composition built on jayamālā textual units sung for victory/glory; enumerated after Caturanga. | DEFINE jayavardhana := compose(text=jayamala, theme=victory_glory); ORDER: follows(caturanga) |
2 |
R_443_cakravala |
definition | cakravāla | Cakravāla is the 31st musical form, sung with repetition that takes the last pada of the preceding sub-section, adorned with yamaka. | IF form == 'cakravala': ordinal = 31; structural_rule = repeat(last_pada(preceding_subsection)); ornament = yamaka |
2 |
R_472_biruda |
definition | birudas | Biruda is a panegyrical Sanskrit compound phrase that structurally marks the ending of graceful pada in certain elās. | biruda := panegyrical_phrase(language='sanskrit', form='compound'); IF in_ela AND pada == 'graceful': position = end; followed_by gamaka_on_yati |
2 |
R_4p0_028 |
definition | samnyāsa | samnyāsa = svara qui n'est pas vivādī de l'aṁśa, utilise a la fin de la premiere vidārī; mode d'operation pour alpatva et bahutv | DEFINE samnyāsa(aṁśa, first_vidārī): · condition: candidate NOT IN vivādīs(aṁśa) · position: end_of(first_vidārī) · also_governs = {'alpatva', 'bahutva'} |
2 |
R_4p0_029 |
definition | Jhombada | Jhombada = forme textuelle-melodique: repetition de la moitie du 1er pied puis 2e moitie avec alliteration; refrain (4e pied) chante a la fi | DEFINE Jhombada(feet[4]): · step1: sing(half(feet[0])) + repeat(half(feet[0])) · step2: sing(second_half(feet[0])) with alliteration_between_halves · refr |
2 |
R_4p1_284 |
definition | apakarşa | apakarşa = lowering/diminution of pitch, counterpart to utkarşa, used to measure śruti differences on vīṇā | DEFINE apakarşa AS pitch_action(direction=lowering, counterpart_of=utkarşa, measurement_use=śruti_difference) · APPLY apakarşa(svara=pañcama) -> diminished_pitc |
2 |
R_4p1_315 |
definition | Jāti-bhinna | jāti-bhinna is formed with sūkṣma, atisūkṣma and curved phrases | DEFINE jāti_bhinna AS bhinna_subtype · REQUIRES phrases = {sūkṣma(short), atisūkṣma(very_short), curved} · DETERMINE aṁśa BY establishment · DETERMINE sparsenes |
2 |
R_4p1_368 |
definition | antaramārga | antara-marga = intermediate melodic pathway with non-repetition and leaping of svaras; causes many svaras to be classified as non-aṁśas | DEFINE antara_marga AS pathway(non_repetition=true, leaping=true) · WHEN svara USED_IN antara_marga -> apply anabhyāsa(non_repetition) · CONSEQUENCE: many svara |
2 |
R_4p1_442 |
definition | ghața | ghața is the thirtieth musical form, in which one-half is full of tenaka, likened to dvipadī | DEFINE ghața AS musical_form(ordinal=30) · REQUIRES one_half = tenaka_full · SIMILAR_TO dvipadī |
2 |
R_4p1_470 |
definition | gandharva | gandharvas = musicians' caste (here) and/or semi-divine beings; they sing varnailā varieties with beautiful padas and good sounds | DEFINE gandharvas AS agent_class · MEANINGS = [semi_divine_beings, musicians_caste] · CONTEXT_HERE = musicians_caste · ROLE: sing varnailā_varieties WITH beauti |
2 |
R_4p1_541 |
definition | ragatva | ragatva = essence/quality of raga, produced by vādin svara through exposition; brought about by saṁvādin (anuvāditva) | DEFINE ragatva AS essence_of(raga) · PRODUCED_BY vādin_svara VIA exposition · BROUGHT_ABOUT_BY saṁvādin -> anuvāditva · RESULT: expositorhood(ragatva) |
2 |
R_4p1_572 |
definition | mandratāraprasanna | mandratāraprasanna is a prastara: gradual ascent from low (mandra) to high (tāra) omitting subsequent svaras | DEFINE mandratāraprasanna AS prastara_pattern · METHOD: omit_subsequent(svaras) AND gradually_ascend(mandra -> tāra) · INCLUDES return_to_lower_register · CLASS |
2 |
R_523_brahma_granthi_def |
definition | brahma-granthi | brahma-granthi: energy centre / Brahmā's location, situated below the navel | DEFINE brahma_granthi := energy_centre WHERE body_location = 'below_navel' · ALIAS: 'sthana of Brahma', 'Brahma-knot' |
2 |
R_540_paribhasa |
definition | paribhāṣā | Paribhāṣā = list of abbreviations/signs/conventional terms used by ācāryas; names of svaras function as paribhāṣā. | DEFINE paribhasa := convention_signs(used_by=acaryas); INSTANCE: svara_names ∈ paribhasa |
2 |
R_558_kuharita_def |
definition | kuhara | kuharita: alaṅkāra from shake of 3-śruti svara in middle heptad, 3 kalās, applied to sarigamapadhanisa | DEFINE kuharita := alankara WHERE source = shake(svara, srutis=3, register=middle_heptad), duration = 3_kalas · APPLIED_TO ascending_sequence(sarigamapadhanisa) |
2 |
R_568_niskujita |
definition | Nişkūjita | Niṣkūjita = alaṅkāra (one of thirteen ārohin-type) moving to each svara with one gap after ascending with one gap. | DEFINE niskujita := ascend(gap=1) THEN move_to_each(svara, gap=1); CLASS: alankara ∈ arohin_varna_set (13 members) |
2 |
R_610_nivrtti_def |
definition | Nivṛtti | nivṛtti = 'descent'; appears in compound giti terms (trinivṛtti, arthakālanivṛtti) | DEFINE nivrtti := 'descent' · COMPOUNDS: trinivrtti, arthakalanivrtti · DOMAIN: giti_structures |
2 |
R_822_suddharagas |
definition | śuddharagas | Śuddharāgas = rāgas conforming to their own jāti without reference to other jātis, or representing one individual form among many of their o | DEFINE suddha(raga) := conforms_to(own_jati) AND NOT depends_on(other_jatis) OR represents_one_form_of(own_jati) |
2 |
R_c155_viniyoga |
definition | viniyoga | viniyoga = terme de Pūrva-Mīmāṃsā désignant l'application des mantras védiques dans le yajña; mention d'un rasa dans le viniyoga d&# | FUNCTION viniyoga_lookup(bhasa): · # term borrowed from Purva-Mimamsa (Vedic mantra application in yajna) · IF bhasa.viniyoga_specifies_rasa: · # rare p |
2 |
R_c206_pratapavardhana |
definition | Pratāpavardhana | pratāpavardhana = 48e prabandha, combine pāṭas enthousiastes, svaras, tenakas et birudas de l'objet décrit | FUNCTION compose_pratapavardhana(): · RETURN { · rank_in_prabandhas: 48, · components: ['enthusiastic_patas', 'svaras', 'tenakas', · |
2 |
R_c89_sancarin |
definition | Sañcārin | sañcārin = varṇa circulatoire: les svaras se meuvent en directions mutuelles avec le dernier de la phrase précédente initiant la suivante, o | FUNCTION detect_sancarin(gita): · IF (last_svara_of_phrase_i == first_svara_of_phrase_i+1) OR · (svaras_move_in_pairs): · varna := 'sancarin' · # a |
2 |
R_dhatu_polysemy |
definition | dhātus | Dhātu (musical sense) = tonal-cum-rhythmic structure; (Āyurvedic sense, per Monier-Williams) = the seven body constituents {rasa, blood, flu | DEFINE dhātu: IF domain == music THEN value = tonal-cum-rhythmic_structure; IF domain == āyurveda THEN value = list_of_7 {rasa(chyle), blood, flush, fat, bone, |
2 |
R_muktavali_def |
definition | Muktāvalī | Muktāvalī = 47th prabandha; sung with charming padas having anuprāsa (alliteration), containing the name of the object of description | DEFINE prabandha(muktāvalī): ordinal = 47 (40+7); pada_quality = charming WITH anuprāsa; required_element = name(object_of_description) |
2 |
R_shadava_def |
definition | षाडवा | Ṣāḍava is the rāga/jāti type sung with six svaras (hexatonic) | DEFINE ṣāḍava: cardinality(svaras) = 6; status = hexatonic_scale_type |
2 |
aksiptika_definition |
definition | ākṣiptaka | Ākṣiptikā est une phrase musicale construite à partir de mots à sens sémantique combinés avec des svaras (commençant par pada), ornée des tr | RECORD aksiptika { construction: svara_pada_grathita; tala: caccatputa_etc; margas_count: 3; pada_components: meaningful_words + svaras_starting_sadja } |
2 |
alankara_definition |
definition | alaṅkāra | Alaṅkāras are ornaments adorning the singing that subsists in varṇas, making it delightful; the word derives from 'alam' + 'kr&# | alankara(V) := ornament_function(V); etymology := alam(sufficient) + kr(do) |
2 |
amsa_definition_vadi_principal |
definition | aṁśa | Aṁśa is the vādī, the principal note of a rāga/jāti, and regulates intervallic formation of melodic configuration. | amsa(R) := vadin(R); role := principal_note_and_intervallic_regulator |
2 |
anuvadin_definition |
definition | anuvādin | Anuvādin is so named from anuvadana (following/obedient speaking), like attendants; it represents anuvāda (assonance) among svaras. | anuvadin := svara_role(following_attendant); semantic := anuvada(assonance) |
2 |
daksina_marga_attributes |
definition | dakṣiṇa mārga | Le dakṣiṇa mārga est caractérisé par 8 mātrās, gopucchā yati, vilambita laya, avapāņi, pṛthulā gīti, et tattya comme limb. | RECORD daksina_marga { matras: 8; yati: gopuccha; laya: vilambita; pani: avapani; giti: prthula; limb: tattya } |
2 |
desi_definition_regional_ethnic |
definition | desi | Deśī is fundamentally regional in nature and may be tied to ethnic groups (with eight ethnic names cited as examples). | def is_desi(form): · return form.basis in {'region','ethnic_group'} |
2 |
dhvani_metaphysical_origin |
definition | dhvani | Dhvani is held to be the ultimate origin of all creation, analogous to Śabdabrahman, Nādabrahman, Parā Vāk; it is manifest through the obtai | DHVANI_ONTOLOGY = {'ultimate_origin': True, 'analogues': ['shabdabrahman','nadabrahman','para_vak'], 'manifest_via': 'varnas'} |
2 |
ekakala_one_kala_per_svara |
definition | ekakala | Ekakala denotes temporal units of one kalā (mātrā) each, forming the basis of gātravarṇa structure. | def is_ekakala(svara_unit): · return svara_unit.duration_matra == 1 |
2 |
hasita_definition_dvikala_laughter |
definition | hasita | Hasita is an alaṅkāra dvikala (composed of dual units), pronounced twice in a manner similar to laughter. | HASITA = {'unit':'dvikala','pronunciation':'twice_like_laughter'} |
2 |
jati_first_melodic_formation |
definition | jāti | Jāti is the first/foundational formation of melodic structure; it is treated in Chapter II of the Bṛhaddeśī. | JATI_ROLE = {'level':'first_melodic_formation', 'chapter':'II'} |
2 |
kala_definition_time_unit |
definition | Kalā | Kalā has three main meanings: (1) time-unit equal to a guru/two mātrās of tāla, (2) action (kriyā) in tāla sounded or unsounded, (3) unsound | kala := {meaning_1: time_unit(guru, 2_matras), meaning_2: kriya_in_tala, meaning_3: unsounded_kriya}; usage := measure(articulation_ornament_duration) |
2 |
murchana_alternate_sense_vina_technique |
definition | mūrchanā | Mūrchanā is also used in a technical sense denoting a right-hand viṇā technique with pressed strings, not just the interval series. | def murchana_sense(context): · if context == 'vina_technique': · return 'right_hand_pressed_string_technique' · return 'series_of_intervals' |
2 |
murchana_definition_heptad_ascent_descent |
definition | mūrchanā | Mūrchanā is a heptad of svaras functioning through ascent and descent in respective order. | def murchana_definition(svaras): · assert len(svaras) == 7 · return Murchana(svaras=svaras, mode='aroha_avaroha') |
2 |
nidarsana_definition |
definition | nidarsana | Nidarsana est la méthode/moyen par lequel les śrutis peuvent être perçues définitivement par écoute répétée; appliquée pour démontrer la nat | RECORD nidarsana { purpose: perceive_srutis_definitively; mode: repeated_listening; applied_to: sruti_22fold_demonstration } |
2 |
nrtta_definition_and_nada_dependency |
definition | Nrtta | Nrtta est la danse pure sans intention de délinéation du sens poétique; il dépend du nāda car il doit être accompagné d'instruments, spé | RECORD nrtta { type: pure_dance; intent_artha_kavya: false; depends_on: nada; accompaniment: instruments(esp. drums) } |
2 |
prasannamadhya_definition |
definition | Prasannamadhya | Prasannamadhya is an alaṅkāra characterised by 'low' in the middle and 'high' at the beginning and end (low-middle register) | prasannamadhya(seq) := holds if pitch(begin)=high AND pitch(middle)=low AND pitch(end)=high |
2 |
prastara_definition_expansion |
definition | प्रस्तारः | Prastāra is the sequential expansion/elaboration pattern of a melodic structure (e.g. for Gāndhārodīcyavā: saririsa, sarigagarisa, sarigamam | prastara(M) := sequential_expansion(M, scheme=growing_window_with_return) |
2 |
pravesa_definition |
definition | pravesa | Praveśa is the act of a lower (or higher) svara being made to enter/merge into the higher (or lower) svara; it is the augmentation (viprakar | pravesa(low, high) := merge(low, high) via augmentation(low) OR mardava(high); viprakarsa(lower_sadja) -> omitted |
2 |
prenkholita_definition |
definition | prenkholita | Prenkholita is an alankāra of paired svara units in samakala that moves in both ascent and descent (e.g. sari risa, riga gari, gama maga, .. | prenkholita := alankara(pattern=svara_pairs(samakala), direction={ascent, descent}) |
2 |
r_brd_1359_hamsapada_def |
definition | हंसपद | Haṃsapada = composition where one foot is Sanskrit and another is regional language, with melodic ornament and dual tāla structure | FUNCTION is_hamsapada(comp): · IF foot_a.language == 'sanskrit' AND foot_b.language == 'desa_bhasa': · IF comp.talas == 2 AND comp.has_padapata_ornament: |
2 |
r_brd_1656_svalaksana_def |
definition | svalakşana | Svalakṣaṇa = distinctive feature/property; entities with svalakṣaṇa have evident, proved distinctions | FUNCTION has_svalaksana(entity): · IF entity HAS distinctive_feature: · RETURN {svalaksana: TRUE, status: 'siddha_evident'} · RETURN {svalaksana: FALSE} |
2 |
r_brd_1846_nivrttapravrtta_def |
definition | nivṛttapravṛtta | Nivṛttapravṛtta alaṅkāra = svaras pronounced in reverse bindu order, each touched for one kalā; example sā-sā-sā | FUNCTION is_nivrttapravrtta(seq): · IF for_each(seq.touches, duration=1_kala) AND seq.order == reverse_of_bindu: · RETURN {alankara: 'nivrttapravrtta', ex |
2 |
r_brd_311_alpatva_def_enum |
definition | alpatva | Alpatva (sparseness) arises from sparse svara usage; it is twofold (samnyāsa-based and antaramārga-based) | FUNCTION compute_alpatva(svara_sequence): · IF svaras_used_sparsely(svara_sequence): · alpatva = TRUE · type IN {samnyasa_gata, antaramarga} · RET |
2 |
r_brd_410_auduvita_def |
definition | औडुविता | Auḍuvitā = sung with five svaras; also a variety of bhāṣā in takkarāga mixing saṅkīrṇā and takkarāga elements | FUNCTION is_auduvita(form): · IF count(svaras_used(form)) == 5: RETURN TRUE · IF form IS bhasa_in_takkaraga AND contains(sankirna, takkaraga_elements): RETU |
2 |
r_brd_440_caturanga_def |
definition | Caturanga | Caturanga = composition with four languages sung with four rāgas and tālas; positioned 25th in enumeration | FUNCTION is_caturanga(comp): · IF count(languages(comp)) == 4 AND count(ragas(comp)) == 4 AND count(talas(comp)) == 4: · RETURN {is_caturanga: TRUE, posit |
2 |
r_brd_457_bharati_def |
definition | Bharata | Bhāratī = first of four dramatic vṛttis, marked by predominance of verbal expression; combined with Bhadrāvatī elā | FUNCTION classify_bharati(vritti): · ASSERT bharati.order == 1 · ASSERT bharati.characteristic == 'predominance_of_verbal_expression' · ASSERT bhadravati_ |
2 |
r_brd_567_arohin_def |
definition | ārohin | Ārohin = ascending varṇa at the beginning of a phrase; basis of 13 alaṅkāras (Niṣkūjita, kuhara, hasita, etc.) | FUNCTION classify_arohin(phrase): · IF phrase.start IS ascending: phrase.varna = 'arohin' · arohin_alankaras = [Niskujita, kuhara, hasita, bindu, prenkholit |
2 |
r_brd_701_apanyasa_def |
definition | अपन्यासलक्षणम् | Apanyāsa = svara where gīta appears to be ending; occurs in the middle of all vidārīs | FUNCTION is_apanyasa(svara, segment): · IF appears_as_terminal(svara, segment) AND position(segment) == middle_of_vidari: · RETURN TRUE · RETURN FALSE |
2 |
recita_definition_higher_three_shruti_shake |
definition | recita | Recita is formed by the shake of a three-śruti svara in the higher heptad (situated in the head), composed of three kalās. | def is_recita(svara, heptad): · return svara.shrutis == 3 and heptad == 'higher' and svara.shake_kalas == 3 |
2 |
sadava_definition |
definition | şādava | Ṣāḍava is the structure consisting of six svaras (omission of one). | sadava := {n_svaras: 6} |
2 |
sadharanakrta_uses_antara_kakali |
definition | sādhāraņakṛtā | Sādhāraṇakṛtā implies the use of antara (gāndhāra) and kākalī (niṣāda). | sadharanakrta := uses({antara_gandhara, kakali_nisada}) |
2 |
samvada_definition_to_and_fro |
definition | samvāda | Saṁvāda refers to to-and-fro (mutual) movement between two svaras, and is associated with the 'pleasant' pole in the threefold pleas | def is_samvada(a, b): · return mutual_to_and_fro_movement(a, b) and quality == 'pleasant' |
2 |
sandhipracchadana_definition |
definition | sandhipracchādana | Sandhipracchādana is an alaṅkāra: pronouncement of two svaras descending, four kalās per phrase, ascending from sadja up to niṣāda then desc | sandhipracchadana := { motion: ascend(sadja->nisada)+descend(nisada->sadja), kala: 4_per_phrase, dyad_repetition: 4_times, type: catuskala } |
2 |
sangati_definition_concert |
definition | sangati | Sangati is a 'coming together' or concert/to-and-fro melodic movement between two svaras in a jāti; it is purely melodic and does no | sangati(S1, S2) := to_and_fro_melodic_movement(S1, S2); independent_of(samvada) := True |
2 |
sattvati_vrtti_definition |
definition | sāttvatī | Sāttvatī est la 2e des quatre vṛttis du drame, caractérisée par la prédominance du sāttvika abhinaya; mentionnée comme vṛtti dans Nandāvatī | RECORD sattvati { ordinal_in_vrttis: 2; total_vrttis: 4; defining_trait: sattvika_abhinaya_predominance; cited_in: [nandavati_ela] } |
2 |
suddha_definition_and_giti_rank |
definition | śuddhā | Śuddhā jātis have no omitted svaras and have aṁśa, graha, nyāsa and apanyāsa on their own svara; śuddhā is the first gīti in both Matanga | suddha_jati(J) := no_omission(J) AND {amsa, graha, nyasa, apanyasa}(J) ⊆ own_svara(J); giti_rank(suddha) := 1 |
2 |
tana_definition |
definition | tāna | Tāna involves omission of svaras and establishes a specific pattern in ascent; tānas have yajña-names and prescribed performance methods. | tana(seq) := pattern(ascent, omit_svaras(seq)); has_yajna_names := true |
2 |
varna_definition_primary_unit |
definition | Varņa | Varṇa is the primary unit of melodic movement, formed when svaras stretch syllables via steadiness, circulation, ascent, or descent. | varna(seq) := pattern_of_movement(steadiness | circulation | ascent | descent) over syllable |
2 |
vicitra_definition_and_rank |
definition | vicitra | Vicitra est la 23e forme musicale, définie comme variégée par plusieurs langues régionales, pāṭas, birudas, tenakas, svaras et tālas. | RECORD vicitra { ordinal: 23; variegation_elements: [regional_languages, patas, birudas, tenakas, svaras, talas] } |
2 |
vivadin_definition_and_exclusion |
definition | vivādin | Vivādin represents the relationship of vivāda (dissonance) among svaras; in śuddhaṣāḍava there is no vivādin. | vivadin(R) := relation_of(vivada_dissonance); suddhasadava.vivadin := none |
2 |
vivaditva_definition |
definition | vivāditva | Vivāditva is the state of destroying the vādin, samvādin and anuvādin qualities of a rāga; it applies to svaras separated by an interval of | vivaditva(s1, s2) := destroy_qualities(vadin, samvadin, anuvadin) AND sruti_interval(s1, s2) == 2 |
2 |
BD_6_1_R017 |
definition | Mātṛkā | Mātṛkā has two contexts: mother-goddesses and primary unit of language; Matanga uses it as primary unit of tonal sound (more subtle than śru | DEFINE matrika: · contexts = { · religious: 'mother-goddesses', · linguistic: 'primary unit of syllabic sound', · musical_matanga: 'primary unit o |
1 |
BD_6_1_R028 |
definition | tenakas | Tenaka/tenna: syllables ('tenna', 'tena') used in prabandhas; modern survivals in Karnatic tānam and dhrupad ālāpa/joḍa/jhāl | DEFINE tenaka: · syllables = ['tenna', 'tena'] · usage_context = 'prabandhas' · modern_analogues = ['karnatic_tanam', 'dhrupad_alapa', 'dhrupad_joda', 'dh |
1 |
R_1123_01 |
definition | hayalīlā | hayalīlā = svaras (1st half) + birudas (2nd half) in turagalīla tāla | FUNCTION define_hayalīlā(): · RETURN {first_half: 'svaras', second_half: 'birudas', tāla: 'turagalīla'} |
1 |
R_1124_gajalila_definition |
definition | gajalīlā | Gajalīlā: composition where the tāla is gajalīla and structure follows gajalīlā | DEFINE prabandha(gajalila) := composition WHERE structure == gajalila AND tala == gajalila |
1 |
R_1134_kalahamsa_definition |
definition | kalahamsa | Kalahaṁsa: prabandha where one foot is sung first, then svaras, combined with tālas like jhampā | DEFINE prabandha(kalahamsa) := sequence(sing_foot_1, sing_svaras) WITH tala IN {jhampa, ...} |
1 |
R_1141_bandhakarana_definition |
definition | Bandhakarana | Bandhakaraṇa: sung in karaṇa tāla, svaras coupled with muraja drum syllables | DEFINE bandhakarana_spec(): · RETURN {tala: karana, svara_coupled_with: muraja_aksaras} |
1 |
R_1146_dvipadi_definition |
definition | द्विपदी | Dvipadī is that which uses karaṇa tāla and is composed in the dvipadī metre | DEFINE is_dvipadi(form) := tala(form)=karana AND metre(form)=dvipadi |
1 |
R_1148_vartani_definition |
definition | वर्तनी | Vartanī: prabandha using graha/nyāsa per aṁśa, naming patron+singer, sung with svaras in tālas other than kankāla/pratitāla/druta-maṇṭha/kud | DEFINE prabandha(vartani) := composition WHERE (graha,nyasa) follow amsa AND includes(patron_name, singer_name) AND tala NOT IN {kankala, pratitala, druta_manth |
1 |
R_1170_01 |
definition | Saṅkarailā | Saṅkarailā occurs when 4th foot is elaborated like 3rd foot | FUNCTION classify_as_saṅkara(elā): · IF elaborated(elā.foot[4]) == elaborated(elā.foot[3]): · RETURN 'saṅkarailā' |
1 |
R_1196_ramani_satpadi |
definition | रमणी | Ramaṇī is a ṣaṭpadī (six-footed form) with samā yati in first and second feet and nāda adorning each foot | DEFINE is_ramani(form) := type(form)=shatpadi AND yati(foot_1)=sama AND yati(foot_2)=sama AND for_all_feet(adorned_by_nada) |
1 |
R_1355_bhashanga_definition |
definition | bhāṣāṅga | bhāṣāṅga denotes regional/linguistic variants in rāga classification (sarvāṅga-paripūrita) | DEFINE bhashanga := regional_or_linguistic_variant(raga) WHERE sarvanga_paripurita |
1 |
R_1393_apta_agama_def |
definition | apta-agama | Apta-āgama = tradition transmise par des autorités compétentes et dignes de confiance, ne peut être erronée. | DEFINE apta_agama AS tradition WHERE handed_down_by(knowledgeable_trustworthy_authorities) -> infallible |
1 |
R_1394_vartayisyami_definition |
definition | vartayişyāmi | Vartayiṣyāmi literally 'I shall use'; Abhi glosses as 'I shall throw light on jāti forms' | DEFINE vartayisyami_gloss(): · RETURN {literal: "I shall use", · abhinava: "I shall throw light on the forms of jatis retained in my mind"} |
1 |
R_1420_samsargaja_vikrta_definition |
definition | samsargajā | Samsargajā vikṛtā jātis mix more than one jāti each, with complex antara-mārga patterns | DEFINE is_samsargaja_vikrta(j): · RETURN len(j.source_jatis) > 1 AND j.antara_marga.complexity == high |
1 |
R_1453_rudha_definition |
definition | rūdha | A rūdha word relies on conventional meaning only; etymological meaning is irrelevant | DEFINE rudha(word) := word WHERE meaning := conventional_only AND etymological_meaning := irrelevant |
1 |
R_1456_malavi_kaku_definition |
definition | Mālavī kāku | Mālavī kāku refers to the regional accent of Mālavā (central Madhya Pradesh) | DEFINE malavi_kaku(): · RETURN {type: regional_accent, region: malava_central_MP} |
1 |
R_1467_syasthana_definition |
definition | Syasthāna | Syasthāna denotes sections of rāgālapti formed by units of tonal range within an octave | DEFINE syasthana(ragalapti) := partition_by(tonal_range_units, octave) // cf. SR III.140, III.191-192 |
1 |
R_1472_01 |
definition | ohāṭī | ohāṭī = 'ha+o' sound with chin on chest (gauḍī gīta context) | FUNCTION define_ohāṭī(): · RETURN {sound: 'ha+o', posture: 'chin_on_chest', context: 'gauḍī_gīta'} |
1 |
R_1477_raga_giti |
definition | rāgagīti | rāga-gīti = category for rāgas not associated with any specific varṇa | DEFINE raga_giti AS category(raga) WHERE raga.varna IS NULL OR raga.varna NOT IN known_varnas |
1 |
R_1502_001 |
definition | Kāmboja | Kāmboja identified as Afghanistan | DEFINE Kāmboja AS region(Afghanistan) |
1 |
R_1519_01 |
definition | Sārdūlī | Sārdūlī is an authority name in music | DEFINE Sārdūlī AS authority_on_music |
1 |
R_1532_001 |
definition | śukasārika prabandha | śukasārika prabandha uses parrot/mainā dialogue motif in song | DEFINE śukasārika_prabandha AS prabandha WITH motif=dialogue(śuka, sārikā) |
1 |
R_1534_01 |
definition | Mālā | Mālā = figurative 'stringing' of varieties in definite order | DEFINE Mālā AS figurative_string(varieties, definite_order) · EXAMPLE akṣaramālā = garland_of(letters|syllables) |
1 |
R_1536_ganas_def |
definition | Ganas | Ganas = syllabic groupings of three syllables of longs/shorts | DEFINE Gana := group(syllables, n=3, pattern=combinations(long, short)) |
1 |
R_1537_pancali_riti_compound_length |
definition | Pāncālī rīti | Pāncālī rīti uses medium-length compounds | DEFINE Pancali_riti AS poetic_style WHERE compound_length NOT IN {too_long, too_short} |
1 |
R_1538_candragana_bhagana |
definition | Candragana | Candragana = alternative name for bhagana | DEFINE candragana AS alias_of(bhagana) |
1 |
R_1545_001 |
definition | Vaidarbhî rīti | Vaidarbhî rīti = poetic style with absent or sparse compounds | DEFINE Vaidarbhî_rīti AS style WHERE compounds = absent OR sparse |
1 |
R_160_nirvahana |
definition | nirvahana | Nirvahana is the fifth of the five sandhis of drama and embodies the achievement of the fruit (phala). | nirvahana := sandhi WHERE ordinal == 5 AND function == 'achievement_of_fruit' |
1 |
R_1622_001 |
definition | नादोत्पत्ति | Nādotpatti = origin/generation of nāda | DEFINE nādotpatti AS origin_or_generation(nāda) |
1 |
R_1624_01 |
definition | श्रुतिलक्षणम् | Śrutilakṣaṇam = definition/characterization of śruti | DEFINE Śrutilakṣaṇam AS characterization_of(śruti) + enumeration(saṅkhyā) |
1 |
R_1637_kaphaja_voice |
definition | kaphaja | Kaphaja voice = creamy + soft + sweet | DEFINE kaphaja_voice AS voice WHERE qualities = {creamy, soft, sweet} |
1 |
R_1642_upavadana |
definition | upavādana | upavādana = place where strings are tied at lower end of viṇā | DEFINE upavadana AS lower_string_attachment(vina) |
1 |
R_1652_001 |
definition | kāryatva | Effect-theory: svaras are kārya (effect) of śruti (clay/potter analogy) | DEFINE kāryatva_theory AS (svara = effect(śruti)) ANALOGY (jar = effect(clay, potter_rod)) |
1 |
R_1654_01 |
definition | abhivyañjakatā | Abhivyañjakatā: śrutis manifest svaras as candle manifests objects in darkness | MANIFEST(seven_svaras starting_with(sadja)) BY śrutis · ANALOGY candle:objects_in_darkness :: śrutis:svaras |
1 |
R_1655_visesa_def |
definition | viśeșa | Viśeṣa = distinctive feature separating two entities | DEFINE visesa(a, b) := distinguishing_feature(a, b); IF perceptually_identical(a, b) THEN visesa = null |
1 |
R_1657_nabhah_puspa_absurdity |
definition | Nabhaḥpuṣpa | Nabhaḥ-puṣpa = canonical example of absurd/impossible entity | DEFINE nabhah_puspa AS rhetorical_token MARKING entity = impossibility/absurdity |
1 |
R_1659_vyapti_grahana |
definition | vyāpti-graha | vyāpti-grahaṇa = comprehension of concomitance, pramāṇa used in anumāna (inference) | DEFINE vyapti_grahana AS pramana_for(anumana) WITH meaning='comprehension of concomitance' |
1 |
R_1666_001 |
definition | vyākulita | Vyākulita = disturbed; ether undisturbed before svara | DEFINE vyākulita AS state(disturbed); ASSERT nabhas.state != vyākulita BEFORE svara.manifest |
1 |
R_1673_01 |
definition | pramāņa | Pramāņa = means of valid perception giving equal tangibility to śruti and mātṛkā | DEFINE pramāņa AS means_of_valid_perception · PROPERTY equal_tangibility(śruti, mātṛkā) VIA pramāņa |
1 |
R_1682_antara_murchana_def |
definition | antara - mūrchanā | Antara-mūrchanā demonstrates interval differences between two grāmas | DEFINE antara_murchana := procedure(demonstrate(interval_difference(grama_1, grama_2))) |
1 |
R_1696_sama_srutikatva_def |
definition | sama-śrutikatva | Sama-śrutikatva = equal śruti interval between two svaras | DEFINE sama_srutikatva(s1, s2) := (count_sruti(s1, s2) == count_sruti(s2, s1)) |
1 |
R_1708_001 |
definition | arcika | Ārcika = use of one svara | DEFINE ārcika AS form WHERE count(svaras_used) == 1 |
1 |
R_1711_gandhara_holds_ganatmika |
definition | ganatmika vak | Gandhāra svara is that which holds ganātmikā vāk (musical speech) | DEFINE gandhara := svara WHERE holds(ganatmika_vak); etymology: gana + dhara |
1 |
R_171_chaya_def |
definition | chāyā | chāyā = shade or reflection in musical context | DEFINE chaya := 'shade' OR 'reflection' · DOMAIN: musical |
1 |
R_1721_svaroddhara_def |
definition | svaroddhāra | Svaroddhāra = analysis/extraction of svara-names contained in āgama | DEFINE svaroddhara(agama) := extract_svara_names(agama) |
1 |
R_1737_001 |
definition | samucchrāya | Samucchrāya = increase/growth (mūrchanā etymology) | DEFINE samucchrāya AS gloss(increase, growth) IN etymology(mūrchanā) |
1 |
R_1742_01 |
definition | पूर्णा | Pūrṇā = jāti/song sung with all seven svaras | DEFINE pūrṇā AS song_with(|svaras|==7) |
1 |
R_1743_sadharana_def |
definition | साधारणा | Sādhāraṇā = singing with kākalī and antara svaras | DEFINE sadharana := melody WHERE svaras INCLUDE {kakali, antara} |
1 |
R_1744_kosthakas_squares |
definition | kosthakas | Kosthakas are svara-filled squares of mūrchanā-maṇḍala (49 cells, 8x8 grid) | DEFINE kosthakas AS squares(8_horizontal × 8_vertical lines → 49 cells) FILLED_WITH svaras |
1 |
R_1798_001 |
definition | krama | Kramas = original order or combinations in tāna enumeration | DEFINE kramas AS original_orders_or_combinations IN tāna_count |
1 |
R_1800_01 |
definition | guṇakāra | Guṇakāra = multiplicator, last number of an enumeration series | DEFINE guṇakāra AS last(series) · USAGE multiplicator in combinatorics |
1 |
R_1801_vyutkrama_def |
definition | vyutkrama | Vyutkrama = reverse order of svaras (distinct from krama) | DEFINE vyutkrama(sequence) := reverse(sequence); EXAMPLE: ni-sa is vyutkrama of sa-ni |
1 |
R_1848_taramandra_prasanna_def |
definition | tāramandra-prasanna | Tāramandra-prasanna = ascend to 4th/5th svara from aṃśa, return to lower point | DEFINE taramandra_prasanna(amsa) := ascend(amsa, +4 OR +5); THEN descend_to(lower_point) |
1 |
R_1849_mandratara_prasanna |
definition | mandratāraprasanna | Mandratāra-prasanna: sudden ascent then gradual descent to initial low svara | DEFINE mandratara_prasanna AS sequence(jump_up(low→high), gradual_descent(high→low_initial)) |
1 |
R_1858_udgita_def |
definition | udgita | Udgīta = descent from high with gap of one svara in each successive phrase | DEFINE udgita := descend_from_high WITH gap=1_svara PER successive_phrase |
1 |
R_1876_001 |
definition | ākṣipta | Ākṣipta = svaras that approach another kalā with gaps after each svara | DEFINE ākṣipta AS pattern WHERE each(svara) approaches another_kalā WITH gap_after(svara) |
1 |
R_1878_01 |
definition | udgīta alaṅkāra | Udgīta alaṅkāra = descent according to definite measure within prastara | DEFINE udgīta_alaṅkāra AS descent(prastara, measure=definite) |
1 |
R_1879_gatravarna_def |
definition | gātravarņa | Gatravarna prescribed in varna-alaṅkāra, known via ākāra and okāra | DEFINE gatravarna := prescription_in(varna, alankara) USING long_syllables(akara, okara, ...) |
1 |
R_1880_alankarana_gita |
definition | alankarana | Alaṅkaraṇa = prescription for ornamentation of gīta's alaṅkāra | DEFINE alankarana AS prescription FOR ornamentation OF alankara(gita) |
1 |
R_1881_kanci_metaphor |
definition | kānci | kāñcī = waist ornament; metaphor: should not be placed on bosom (proper alaṅkāra placement) | DEFINE kanci AS waist_ornament WITH metaphor='proper alankara placement (do not misplace)' |
1 |
R_1888_01 |
definition | उपलोलकः | Upalolakaḥ = oscillation between pairs of adjacent and non-adjacent scale degrees | DEFINE upalolakaḥ AS oscillate_pairs(adjacent + non_adjacent) · PATTERN sarisari rigariga gamagama mapamapa padhapadha dhanidhani nisanisa ... |
1 |
R_1889_krama_def |
definition | क्रमः | Krama = systematic ascending progression, repeating segments with progressive note additions | DEFINE krama := iterate(i=3..7): play(sa-ri-...-svara[i] || reverse) THEN ascend full THEN descend full |
1 |
R_1890_niskujitah_skipping |
definition | निष्कूज?ितः | Niṣkūjitaḥ = skipping pattern over non-contiguous svaras (saga-rima-gapa-madha-pani-dhasa) | DEFINE niskujitah AS sequence(pairs=[sa-ga, ri-ma, ga-pa, ma-dha, pa-ni, dha-sa]) |
1 |
R_1891_hradamanah |
definition | ह्रादमानः | hrādamanaḥ = technique with alternating/reciprocal movement between non-adjacent degrees | DEFINE hradamanah AS pattern(alternating_non_adjacent_pairs) e.g. sadhasadha, nipanipa, dhamadhama, pagapaga, marimari, gasagasa |
1 |
R_1979_anusvara |
definition | anusvāra | anusvāra = nasal sound marked with dot on the line | DEFINE anusvara AS nasal_sound(marker='dot_on_line') |
1 |
R_198_suddhakaisika |
definition | śuddhakaiśika | Śuddhakaiśika = rāga related to madhyamagrāma, born from kaiśikī and kārmāravī jātis. | DEFINE suddhakaisika := raga(grama=madhyamagrama, origin_jatis={kaisiki, karmaravi}) |
1 |
R_2051_vagindriya_seat_vaigunya |
definition | vāgindriya | Vāgindriya (organ of speech) = primary seat of vaiguṇya per Abhinavagupta | DEFINE vagindriya AS organ_of_speech; ASSIGN role(primary_seat_of_vaigunya, vagindriya) per Abhinavagupta |
1 |
R_2053_pitta_dhatu |
definition | pitta | pitta = heat/energy; one of three dhātus in Āyurveda | DEFINE pitta AS dhatu(role='heat_and_energy') IN ayurveda_triad |
1 |
R_2065_001 |
definition | sāraṇā | Sāraṇā = process of verification of śruti | DEFINE sāraṇā AS process(verification, śruti) |
1 |
R_2100_01 |
definition | sphota | Sphoṭa = subtle, imperceptible element of eternal sound (Grammar Philosophy) | DEFINE sphoṭa AS subtle_imperceptible(eternal_sound) · ETYM 'bursting' OR 'flash_on_mind' |
1 |
R_2102_svalaksana_def |
definition | svalakşana | Svalakṣaṇa = specific quality/differentia; two levels: vyakti (individual), jāti (generic) | DEFINE svalaksana(x) := visista_dharma(x); LEVELS: {vyakti: individual_nature, jati: common_generic_nature} |
1 |
R_2107_nabhahpuspa_absurdity_classic |
definition | Nabhaḥpuṣpa | Nabhaḥpuṣpa = canonical example of absurdity, akin to vandhyāputra | DEFINE nabhahpuspa AS rhetorical_example(absurdity); RELATE EQUIVALENT_TO vandhyaputra |
1 |
R_2112_vyapti_graha |
definition | vyāpti-graha | vyāpti-graha = apprehension of universal concomitance, presupposition of anumāna (e.g. smoke→fire) | DEFINE vyapti_graha AS presupposition(anumana) WITH example='wherever smoke, there fire' |
1 |
R_2139_01 |
definition | raktata | Raktatā: literal 'red'; in music = that which is charming or delightful | DEFINE rakta: · literal = red · musical_sense = charming | delightful |
1 |
R_2191_01 |
definition | mandrakriyā | Mandrakriyā (Abhinavagupta) = nigraha as use of low svaras | DEFINE nigraha (per Abhinavagupta) AS use_of(svaras_low) ≡ mandrakriyā |
1 |
R_2192_tarakriya_def |
definition | tārakriyā | Paryagraha = use of high svaras, termed tārakriyā (Abhinavagupta) | DEFINE tarakriya := use(high_svaras); ALIAS paryagraha (per Abhinavagupta) |
1 |
R_2194_uddista_nasta |
definition | uddista | uddiṣṭa = retrieve number of given tāna; naṣṭa = retrieve form from number | DEFINE uddista(tana) := retrieve_number_of(tana); DEFINE nasta(number) := retrieve_form_of(number) |
1 |
R_2229_01 |
definition | ūrdhvaparikṣepa | Ūrdhvaparikṣepa literally translates as 'upward throw' | DEFINE ūrdhvaparikṣepa LITERAL 'upward throw' |
1 |
R_271_kaku_def |
definition | kāku | kāku prescribes performance of svaras across three sthānas (registers) | DEFINE kaku := prescription WHERE rule = 'svaras performed in three sthanas' · sthanas := [mandra, madhya, tara] |
1 |
R_297_udvahita |
definition | udvāhita | Udvāhita consists of pairs of two svaras each moving to-and-fro in ascent then descent, forming units of two kalās each. | udvahita := pattern WHERE unit = pair(2_svaras, move='ascent_then_descent') AND each_unit.kalas == 2 |
1 |
R_361_uttara |
definition | uttara | Uttara refers to the lower svara in pitch (contextual gloss in jāti-touch operations). | uttara := svara WHERE pitch == 'lower' (in touch-context) |
1 |
R_416_sankirna |
definition | sankīrṇā | Sankīrṇā = 'mixed/blended' classification of bhāṣā, always arising from pañcama. | DEFINE sankirna(bhasa) := mixed_or_blended(bhasa) AND origin == pancama |
1 |
R_461_matu |
definition | mātu | Mātu refers to the textual component of a musical composition, paired with dhātu (tonal-cum-rhythmic structure). | matu := text_component(composition); pair_with = dhatu (tonal_rhythmic_structure) |
1 |
R_474_mohini |
definition | मोहिनी | Mohinī is the seventh varṇailā, characterized by five padas and adorned with mūrchanā-gamaka. | IF varnaila == 'mohini': ordinal = 7; pada_count = 5; gamaka_type = 'murchana_gamaka' |
1 |
R_4p1_151 |
definition | aniśa | aniśa is a non-aṁśa note designation in a jāti, distinct from the aṁśa | DEFINE aniśa AS svara_role(NOT aṁśa) · EXAMPLE: in ṣaḍjodīcyavā (ṣāḍava via ṛṣabha omission), dhaivata = aṁśa, others may be aniśa |
1 |
R_4p1_324 |
definition | Drāvidailā | Drāvidailā is an elā born in the draviḍa region, adorned with bhāva, abhinaya and tāla | DEFINE Drāvidailā AS elā · ORIGIN = draviḍa_region · CHARACTERISTICS = {bhāva, abhinaya, tāla} |
1 |
R_4p1_419 |
definition | sādhāraņakṛtā | sādhāraṇakṛtā involves the use of antara and kākalī svaras | DEFINE sādhāraṇakṛtā AS modulation · REQUIRES use(antara) AND use(kākalī) |
1 |
R_509_marga |
definition | mārga | Marga (technical sense) = the type of deśī music which is structured and has provision for ālāpa (melodic elaboration). | DEFINE marga(technical) := desi_music WHERE structured AND admits(alapa_elaboration) |
1 |
R_532_madhyamagramiki |
definition | madhyamagrāmiki | Madhyamagrāmikī śruti = the interval of śruti perceived through apakarṣa (lowering) of pañcama. | DEFINE madhyamagramiki_sruti := interval_perceived_through(apakarsa(pancama)) |
1 |
R_537_anumana |
definition | anumāna | Anumāna (inference) is accepted as a pramāṇa by all Indian philosophical systems except Cārvāka; requires preceding pratyakṣa (perception of | anumana := pramana WHERE accepted_by = ALL_indian_systems EXCEPT {carvaka}; prerequisite = pratyaksha(vyapti); elaborate_treatment_by = 'nyaya' |
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R_542_samvadin_def |
definition | samvādin | samvādin produces rāgatva of rāga; its expositorhood constitutes anuvāditva | DEFINE samvadin.role := 'brings_about'(ragatva(raga)) · DEFINE anuvaditva := expositorhood(ragatva_brought_by_samvadin) |
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R_548_brahmagranthi |
definition | brahma-granthi | Brahmagranthi = seat of energy in the human body from which vital air is propelled, generating sounds (low and high) as it ascends. | DEFINE brahmagranthi := seat_of_energy(body); FUNCTION: propels(vital_air) -> ascends -> touches(locations) -> produces(low_and_high_sounds) |
1 |
R_557_avartakah_def |
definition | आवर्तकः | Āvartakaḥ = technique de retour cyclique par parcours bidirectionnel ascendant/descendant. | DEFINE avartakah AS technique(cyclic_return) WHERE traversal = ascending THEN descending (sarigamapadhanisa, sanidhapamagarisa) |
1 |
R_5p2_1000 |
definition | pulindikā | Pulindī is a bhāṣā sung by the Pulinda people, named after them | DEFINE pulindi AS bhasha_sung_by(pulinda_people) |
1 |
R_5p2_1125 |
definition | simhalilā | Siṁhalīlaka is composed in siṁhalīlā metre, combined with svara and tena, sung with birudas | DEFINE simhalilaka AS composition(metre=simhalila, components={svara, tena}, vocal_elements={birudas}) |
1 |
R_5p2_1417 |
definition | paryāyāmsas | Paryāyāṁśas are alternative aṁśas used turn by turn within the jāti structure | DEFINE paryayamsa AS amsa_used_alternately_in(jati) |
1 |
R_5p2_1454 |
definition | Yogarūdha | Yogarūḍha is a word-type where both combinational (yoga) and conventional (rūḍha) meanings operate | DEFINE yogarudha AS word WHERE yoga_meaning=TRUE AND rudha_meaning=TRUE |
1 |
R_5p2_556 |
definition | परिवर्तकः | Parivartakah is a transformation technique involving complex rearrangement and reversal of svara sequences | DEFINE parivartakah(svara_sequence) AS rearrangement_with_reversal(svara_sequence) |
1 |
R_5p3_1540 |
definition | Lātīyā rīti | Lātīyā rīti = poetical style with minimal compounds | DEFINE Lātīyā_rīti AS poetical_style WHERE compound_density == 'minimal' |
1 |
R_5p3_1584 |
definition | anucchedas | Anucchedas = numbered prose paragraph units | DEFINE anuccheda AS prose_unit WHERE numbered_context_wise == True; PURPOSE := 'facilitate reference and retrieval' |
1 |
R_5p3_1643 |
definition | daņļa | Daņļa = rod/board component of viņā | DEFINE daņļa AS component_of(viņā) WHERE shape IN {'rod', 'board'} |
1 |
R_5p3_1759 |
definition | audava | Auḍava = scale with 5 svaras | DEFINE auḍava AS scale WHERE count(svaras) == 5 |
1 |
R_5p3_1851 |
definition | niṣkūjita | Niṣkūjita = ascending 1-3, 2-4 patterns | DEFINE niṣkūjita AS ascend(svara_i, svara_i+2) FOR i IN [1,2,...] (pattern: 1-3, 2-4, ...) |
1 |
R_5p3_1892 |
definition | रञ्ज?िनी | Rañjitaḥ = paired-degree alankāra | DEFINE rañjitaḥ AS sequence(pairs: 'sarigari','rigamaga','gamapama','mapadhapa','padhanidha','dhanisani') |
1 |
R_5p3_1923 |
definition | ardhamāgadhī | Ardhamāgadhī = half-pada gīti | DEFINE ardhamāgadhī AS giti WHERE pada_state == 'half' |
1 |
R_5p3_1980 |
definition | Sangītašāstra | Sangītašāstra = combined śāstra of music + tantra | DEFINE Sangītašāstra AS combine(śāstra_of_music, śāstra_of_tantra) |
1 |
R_5p3_2036 |
definition | Guhā | Guhā = navel point in nāda production (this context) | IF context == 'nāda_production_origin' THEN guhā := 'navel' ELSE guhā := 'cavity_of_heart' (general_sense) |
1 |
R_5p3_2054 |
definition | kapha | Kapha = static-aspect dhātu (Ayurveda) | DEFINE kapha AS dhātu WHERE aspect == 'static'; member_of(three_dhātus_ayurveda) |
1 |
R_5p3_2195 |
definition | nasta | Nasta = retrieving form of tāna from its number | DEFINE nasta(n: tana_number) -> form; (inverse of uddista which retrieves number from form) |
1 |
R_5p3_2244 |
definition | dvirnivitta | Dvirnivṛtta = 'twice returned' pada repetition in māgadhī | DEFINE dvirnivṛtta AS pada WHERE repetition_count == 2; CONTEXT := 'māgadhī' |
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R_602_brahmarandhra_location |
definition | brahmarandhra | Brahmarandhra is not a cakra-name but the location of sahasrāra cakra | DEFINE brahmarandhra := location_of(sahasrara_cakra); NOT is_cakra_name(brahmarandhra) |
1 |
R_619_suddha_jati_definition |
definition | śuddhā jātis | Śuddhā jāti has identical graha, apanyāsa, aniśa; nyāsa in mandra; complete | DEFINE is_suddha_jati(j): · RETURN j.graha == j.apanyasa == j.anisa · AND j.nyasa.register == mandra · AND j.is_complete == TRUE |
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R_690_jati_genesis |
definition | श्रुतिग्रह | Jātis are generated from the organized grouping of śruti, graha, svara and related elements | DEFINE jati := organized_grouping({sruti, graha, svara, ...}) |
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R_717_01 |
definition | vidārī | Vidārīs are sections/subsections hosting apanyāsa | FUNCTION define_vidārī(): · RETURN {type: 'section_or_subsection', hosts: 'apanyāsa'} |
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R_721_sadjakaisiki_purnasvara |
definition | pūrņasvaratā | ṣaḍja-kaiśikī is pūrṇasvarā: contains all svaras with no omission | DEFINE jati(sadja_kaisiki).attribute := purnasvara (all_svaras_present, no_omission) |
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R_744_anauduvita_def |
definition | anauduvita | Anauḍuvita (non-pentatonique) est le traitement prescrit pour certaines jātis fondées sur des svaras spécifiques. | DEFINE anauduvita AS treatment(jati) WHERE based_on(specific_svaras) -> always non_pentatonic |
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R_847_01 |
definition | sūkṣma, atisūkṣma | sūkṣma and atisūkṣma are short/very-short temporal units | FUNCTION define_sūkṣma_atisūkṣma(): · RETURN {sūkṣma: 'short_time', atisūkṣma: 'very_short_time', use: 'phrase_construction'} |
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R_850_suddhabhinna_def |
definition | śuddhabhinna | Śuddhabhinna = rāga qui s'orne de sa propre jāti et kula en laissant les autres jātis. | DEFINE suddhabhinna AS raga WHERE adorns(own_jati, own_kula) AND leaves(other_jatis) |
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R_857_srutibhinna_definition |
definition | Śruti-bhinna | Śrutibhinna: niṣāda takes 2 śrutis of pañcama (which has 4 śrutis) | DEFINE is_srutibhinna(Ni, Pa): · ASSERT Pa.srutis == 4 · RETURN Ni.borrowed_srutis_from(Pa) == 2 |
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R_889_vega_svaras_vesara |
definition | vega-svaras | Vesara rāgas are called vega-svaras because speed of svaras is visible in them | DEFINE is_vega_svara(raga): · RETURN raga.class == vesara AND has_visible_svara_speed(raga) |
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R_943_desa_bhasa_definition |
definition | deśa-bhāṣā | deśa-bhāṣā is a regional melodic variety | DEFINE classify_bhasa(b): · IF b.origin == regional: RETURN desa_bhasa |
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R_956_01 |
definition | मध्यमग्रामिका | madhyamagrāmikā = alternative name for madhyamagrāmadehā bhāṣā | FUNCTION alias(madhyamagrāmikā): · RETURN 'madhyamagrāmadehā_bhāṣā' |
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R_c1531_arilla_def |
definition | Arilla | Arilla is a Prākṛta metre of 16 mātrās per foot ending with 2 laghus or 1 laghu + 2 gurus | is_arilla(foot) <=> foot.matras == 16 AND (foot.ends_with([L,L]) OR foot.ends_with([L,G,G])) |
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R_c1543_gaudi_riti_def |
definition | Gauḍī rīti | Gauḍī rīti is a poetic style characterised by profuse use of long compounds | is_gaudi_riti(text) <=> text.style == 'poetic' AND text.long_compound_usage == 'profuse' |
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R_c1651_vivartatva_def |
definition | vivartatva | Vivartatva (reflection theory): svara manifests as reflected in śrutis, like a face in a mirror | vivartatva(svara) -> svara.appears_in(shrutis) AS reflection(face, mirror) |
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R_c1691_vyapaka_svara |
definition | vyāpaka | Svara is vyāpaka (pervasive, sarvagata): contained in or permeating everything | attribute(svara).vyapaka = TRUE # sarvagata = permeates everything |
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R_c1797_tana_prayoga_def |
definition | tāna-prayoga | Tāna-prayoga = count of tānas in a given category; combined multiplicatively across categories | combine(earlier, later) = earlier.count * later.count_svaras_per_tana |
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R_c1852_sthayin_def |
definition | sthāyin | Sthāyin is a steady/foundational svara reached after ascending successive svaras without gap | sthayin(seq) = final_svara WHERE seq.ascends_in_order AND no_gap(seq) |
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R_c1872_taramandraprasanna_def |
definition | tāramandra-prasanna | Taramandraprasanna = an octave/4th/5th descending in successive order, subsisting in mandra (low) register | is_taramandraprasanna(x) <=> x.interval IN {octave, 4th, 5th} AND x.direction == 'descending_successive' AND x.register == 'mandra' |
1 |
R_c2058_sneha_ruksa |
definition | sneha | Sneha = oil/butter/similar substances; rūkṣatā (dryness) is the absence of sneha | sneha = {oil, butter, similar_substances}; ruksata(x) <=> NOT contains(x, sneha) |
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R_c2196_uthrama_def |
definition | uthrama | Uthrama is a permutation in which the original order of svaras is changed | uthrama(seq) = permutation(seq) WHERE order != original_order(seq) |
1 |
adhara_lower_higher_pitch |
definition | adhara | Adhara denotes the lower svara, which is higher in pitch. | adhara := svara WHERE position == 'lower' AND pitch == 'higher' |
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aishvarya_definition_continuum |
definition | aiśvarya | Aiśvarya (supremacy/power) of śrutis refers to their domination as cognizable points on a continuum of tones (no fixed pitch points). | AISHVARYA = {'meaning':'supremacy_of_shrutis_on_tone_continuum','no_fixed_pitch_points':True} |
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akshiptaka_gapless_svaras_basis_for_hasita |
definition | ākşiptaka | Ākṣiptaka is composed of gapless svaras; hasita is pronounced in a manner similar to it. | AKSHIPTAKA = {'composition':'gapless_svaras','related_to':'hasita'} |
1 |
bhinna_giti_qualities |
definition | Bhinnā gīti | Bhinnā gīti is characterized by sūkṣma, mobile, curved, ullāsita, prasārita, attractive, and high–low svaras. | bhinna_giti.qualities := {suksma, mobile, curved, ullasita, prasarita, attractive, high_and_low_svaras} |
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bhinnapancama_svarabhinna |
definition | svarabhinna | Bhinna-pañcama is called svarabhinna (differentiated by svara modification). | bhinna_pancama := svarabhinna |
1 |
citra_purvaranga_with_dance |
definition | citra | Citra is a variety of pūrvaraṅga which has dance as a component, distinguished from śuddha (which lacks dance). | def purvaranga_type(p): · return 'citra' if p.has_dance else 'shuddha' |
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dhvani_definition_svara_progenitor |
definition | dhvani | Dhvani that is the progenitor of rāga is defined as svara. | def dhvani_as_svara(dhvani): · if dhvani.progenitor_of_raga: · return classify_as_svara(dhvani) |
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gamaka_definition_vocal_ornament_inc_shakes |
definition | gamaka | Gamaka denotes vocal embellishments including shakes; it is not restricted to shake alone. | def is_gamaka(ornament): · return ornament.category == 'vocal_embellishment' # incl. shake but not limited to it |
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garbha_sandhi_third_juncture |
definition | Garbha-sandhi | Garbha-sandhi is the third dramatic juncture where the 'sprouting of the seed' has happened but the fruit is still enshrouded in the | DRAMA_SANDHIS_3 = {'name':'garbha','state':'sprouted_not_fruited'} |
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gathika_two_svara_combination |
definition | gāthika | Gāthika is a combination comprised of two svaras. | def is_gathika(c): · return len(c) == 2 |
1 |
gati_definition_extent_limit |
definition | Gati | Gati (gait) here means the extent / point beyond which movement is not permissible or proper. | def within_gati(movement, gati): · return movement.extent <= gati.limit |
1 |
gauda_giti_definition |
definition | गौडगीतिसम्बन्धत्वात् | Gauḍī gīti is characterized by shaken svaras, no pause, across the three registers. | gauda_giti.qualities := {shaken_svaras, no_pause, range == three_registers} |
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geya_amsa_starting_point |
definition | geya | Geya (melodic organisation and performance) takes the aṁśa as its starting point. | def geya_start(geya): · return geya.jati.amsa |
1 |
giti_associated_chandas_aksara |
definition | gīti | Gīti is associated with chandas (metre) and akṣara (syllable). | giti ASSOCIATED_WITH {chandas, aksara} |
1 |
gopuccha_yati_definition |
definition | gopucchā yati | Gopucchā yati est l'inverse de srotogatā: rapide au début puis ralentissant graduellement, comme la queue d'une vache qui s'affi | RECORD gopuccha_yati { start_laya: fast; end_laya: slow; analogy: cow_tail; inverse_of: srotogata_yati } |
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graha_amsa_nyasa_svara_functions |
definition | graha, aṁśa, nyāsa | Graha, aṁśa, and nyāsa are functions assumed by svaras through their commingling (samavāya). | def assign_graha_amsa_nyasa(svara_set): · return {'graha':..., 'amsa':..., 'nyasa':...} |
1 |
graha_definition |
definition | graha | Graha is the note with which the performance of a jāti (or rāga) is initiated. | graha(R) := svara_at(performance_start(R)) |
1 |
jati_generates_gramaragas_via_amsas |
definition | अंशकैर्ग्रामरागांस्तु जनयन्तीति ज?ातयः | The defining characteristic of jātis is that they generate grāma-rāgas through their aṁśas. | def jati_generates_gramaragas(jati): · return [generate_grama_raga(jati, a) for a in jati.amsas] |
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jayamala_definition_jaya_repetition |
definition | jayamālā | Jayamālā literally means 'garland of victory' and refers to a verbal composition with repetitive 'jaya' word. | JAYAMALA = {'literal':'garland_of_victory','feature':'repetitive_jaya_word'} |
1 |
kaivada_novel_padas_tala_varna_names |
definition | कैवाड | Kaivāḍa is sung with diverse novel verses combined with tāla and varṇa names. | KAIVADA = {'padas':'diverse_novel','tala':True,'varna_names':True} |
1 |
kaivata_pata_only_with_tala |
definition | Kaivāţa | Kaivāṭa is sung properly with pāṭas alone, known to gandharvas, combined with tāla. | KAIVATA = {'sung_with':'patas_alone','combined_with':'tala','known_to':'gandharvas'} |
1 |
kalopanata_madhyamagrama_twelve_svara |
definition | कलोपनता | Kalopanatā is a mūrchanā in madhyamagrāma composed of the twelve svaras ri ga ma pa dha ni sa ri ga ma pa dha. | KALOPANATA = {'grama':'madhyamagrama','svaras':['ri','ga','ma','pa','dha','ni','sa','ri','ga','ma','pa','dha']} |
1 |
karaka_definition_cause_of_action |
definition | Kāraka | Kāraka is the hetu/nimitta (cause) of kriyā (action) — i.e. instrumental in bringing about the action denoted by the verb. | def is_karaka(element): · return element.role == 'cause_of_action' |
1 |
kuhara_definition_throat_obstruction |
definition | kuhara | Kuhara is an alaṅkāra arising from obstructed air in the throat (middle svaras). | def is_kuhara(p): · return p.location == 'throat' and p.air == 'obstructed' and p.register == 'middle' |
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murchana_etymology_mukha_moha |
definition | mūrchanā | The etymology of mūrchanā relates to 'mukha' (mouth/face) and 'moha' (delusion/intensification). | MURCHANA_ETYMOLOGY = {'root': 'murch', 'related_senses': ['mukha', 'moha']} |
1 |
nivittapravitta_definition |
definition | Nivittapravitta | Nivittapravitta is an alaṅkāra whose setting forth has been withheld in the text. | NIVITTAPRAVITTA = {'status':'definition_withheld_in_text'} |
1 |
padagiti_definition_text_pattern |
definition | Pada-giti | Pada-gīti denotes a specific pattern of singing tied to the song-text's syllabic units (akṣara) and metre (chandas). | def is_pada_giti(giti): · return giti.basis in {'akshara','chandas'} and giti.relates_to == 'text' |
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patakaranap_definition_pata_drum_syllables |
definition | Pāṭakaraṇa | Pāṭakaraṇa is a karaṇa prabandha composed of pāṭas (syllables) of the hands on a drum. | PATAKARANA = {'type':'karana_prabandha','composed_of':'pata_syllables_on_drum'} |
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prayoga_definition_alapa_gamaka_akara |
definition | prayoga | Prayoga is the ālāpa that takes the form of gamaka-ālapti, devoid of syllables, rendered with ākāra alone (per Sārṅgadeva). | def is_prayoga(alapa): · return alapa.form == 'gamaka_alapti' and alapa.syllables == [] and alapa.rendered_with == 'akara' |
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purna_definition_heptatonic |
definition | pūrņa | Pūrṇa denotes complete / heptatonic tānas. | def is_purna(tana): · return len(tana.svaras) == 7 |
1 |
purvaranga_definition |
definition | pūrvaranga | Pūrvaranga incarne le rendu instrumental, chant, danse, dialogue comme préliminaire au drame; valeur rituelle et psychologique. | RECORD purvaranga { components: [instrumental, song, dance, dialogue]; role: preliminary_to_drama; value: [ritualistic, psychological] } |
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r_brd_136_vinyasa_def |
definition | vinyāsa | Vinyāsa = the nyāsa svara when placed at the end of a pada | FUNCTION compute_vinyasa(nyasa_svara, pada): · IF position(nyasa_svara, pada) == 'end': · RETURN {role: 'vinyasa', svara: nyasa_svara} · RETURN NONE |
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r_brd_248_nadakhya_def |
definition | nādākhyā | Nādākhyā = peculiar name that incorporates the fundamental word nāda | FUNCTION is_nadakhya(name): · IF 'nada' IS_FUNDAMENTAL_COMPONENT_OF(name): · RETURN TRUE · RETURN FALSE |
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r_brd_317_sruti_bhinna_def |
definition | Śruti-bhinna | Śruti-bhinna = 4-śruti svara modified by 2-śruti svara, with gāndhāra being 2-śruti | FUNCTION is_sruti_bhinna(svara_a, svara_b): · IF srutis(svara_a) == 4 AND srutis(svara_b) == 2 AND modifies(svara_b, svara_a): · ASSERT srutis(gandhara) = |
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r_brd_455_arabhati_def |
definition | ārabhaţī | Ārabhaṭī = third of the four dramatic vṛttis, characterized by forceful limb movements | FUNCTION classify_arabhati(vritti): · ASSERT arabhati.order == 3 · ASSERT arabhati.characteristic == 'forceful_limb_movement' · RETURN arabhati |
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r_brd_466_malati_def |
definition | mālatī | Mālatī = elā composed with long+short syllables, sweet sounds, straight form, profuse gamakas+alaṅkāras | FUNCTION is_malati(ela): · IF ela.syllables == {long, short} AND ela.has_sweet_sounds AND ela.shape == 'straight': · IF ela.gamakas_profuse AND ela.alanka |
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r_brd_529_sahaja_mind |
definition | sahaja | Sahaja mind is composed of sattvaguna (per Kallinātha); doṣaja is full of rajas+tamas | FUNCTION guna_of_mind(mind_type): · IF mind_type == 'sahaja': RETURN {sattva: True} · IF mind_type == 'dosaja': RETURN {rajas: True, tamas: True} |
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r_brd_546_sampurna_def |
definition | sampūrņa | Sampūrṇa = a combination employing all seven svaras | FUNCTION is_sampurna(svara_set): · IF count(distinct(svara_set)) == 7: RETURN TRUE · RETURN FALSE |
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ranjakata_etymology_ranj |
definition | rañjakatā | Rañjakatā derives from the root ranj (to colour, dye, redden, illuminate, affect, move, charm, delight); cognate with rāga and raktatā. | RANJAKATA = {'root':'ranj','cognates':['raga','raktata'],'senses':['colour','delight','charm','affect']} |
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sadharani_abode_of_gitis |
definition | sādhāraņa | Sādhāraṇī is the abode (locus) of all gītis. | SADHARANI = {'role':'locus_of_all_gitis'} |
1 |
sadja_etymology_producer_of_six |
definition | sadja | Ṣaḍja is the producer of six svaras, or that produced by six svaras, or that born of six aṅgas. | SADJA_ETYMOLOGY = ['producer_of_six_svaras','produced_by_six_svaras','born_of_six_angas'] |
1 |
sadji_shuddha_amsa_self_named |
definition | ṣāḍjī | Ṣāḍjī is the śuddhā jāti whose aṁśa (ṣaḍja) gives it its name. | SADJI = {'state':'shuddha','amsa':'sadja','name_from':'amsa'} |
1 |
sama_yati_uniform_laya |
definition | Samā yati | Samā yati sustains one and the same laya from beginning to end. | def is_sama_yati(perf): · return all(seg.laya == perf.start_laya for seg in perf.segments) |
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samika_three_svara_combination |
definition | sāmika | Sāmika est défini comme la combinaison de trois svaras. | DEFINE samika := combination(svara_1, svara_2, svara_3); cardinality = 3 |
1 |
shadava_state_lacks_rsabha |
definition | षाडवम् | Ṣāḍava state is defined as devoid of ṛṣabha (six-note structure with ṛṣabha omitted). | def is_shadava(svara_set): · return 'rsabha' not in svara_set and len(svara_set) == 6 |
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shuddha_giti_coksha_features |
definition | Šuddhā gīti | Śuddhā gīti (alias cokṣa) is complete (pūrṇā) with mandra, amandra, tāra ranges, straight, attractive, and equal svaras/śrutis. | SHUDDHA_GITI = { · 'alias':'coksha', · 'completeness':'purna', · 'ranges':['mandra','amandra','tara'], · 'qualities':['straight','attractive','equal_sva |
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shukacancu_definition_svaras_patas_regional |
definition | śukacańcu | Śukacañcu is sung with svaras and pāṭas in various regional languages, beginning with rāga-with-gamaka, endowed with tāla. | SHUKACANCU = {'svaras':True,'patas':True,'regional_languages':True,'opens_with':'raga_with_gamaka','has_tala':True} |
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simhavikranta_definition |
definition | simhavikrānta | Simhavikrānta is the form combining four parts and eight text-feet with āditāla. | simhavikranta := {parts: 4, text_feet: 8, tala: aditala} |
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srotogata_yati_definition |
definition | Srotogatā yati | Srotogatā yati commence par laya lente et accélère vers laya rapide, comme la source d'une rivière gagnant en courant. | RECORD srotogata_yati { start_laya: slow; end_laya: fast; analogy: river_source } |
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tana_definition_cyclic_permutations |
definition | tāna | Tāna is a svara-aggregate formed by cyclic permutations following ascending and descending order. | def tana(svaras): · return cyclic_permutations(svaras, order=['aroha','avaroha']) |
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tatpurusa_compound_definition |
definition | tatpurușa | Tatpuruṣa is a Sanskrit compound class where the last member is qualified by the first without losing grammatical independence. | tatpurusa := compound WHERE last_member IS_QUALIFIED_BY first_member AND last_member.grammatical_independence == preserved |
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tribhangi_three_bends_etymology |
definition | Tribhaṅgi | Tribhaṅgi literally means having three bends or curves. | TRIBHANGI = {'literal':'three_bends_curves'} |
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udvahita_doubled_pair_elaboration |
definition | उद्वाहितः | Udvāhita elaborates successive scale degrees through doubled/repeated note pairs (sa-ri-ri-ga-ga-ma-ma-pa-... etc.). | def udvahita(scale): · return flatten([[s, scale[i+1]] for i, s in enumerate(scale[:-1])]) |
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utkrama_changed_order_permutation |
definition | utkramas | Utkramas are permutations / changed-order sequences distinct from kramas (regular order). | def is_utkrama(seq): · return not is_natural_order(seq) |
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vaigunya_definition |
definition | vaigunya | Vaigunya est un nom abstrait dérivé de viguna signifiant dépourvu de qualité/défaut; désigne la défectuosité du son restreinte à la voix hum | RECORD vaigunya { etymology: abstract_noun_of(viguna); meaning: faultiness_of_sound; scope: human_voice } |
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varnaila_definition_quality_descriptions |
definition | Varnailā | Varṇailā is a musical form characterized by descriptions of qualities like glory, enthusiasm, and steadfastness presented in definite order. | def is_varnaila(comp): · return comp.describes_qualities and comp.order == 'definite' |
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varnaila_regulated_by_syllables_only |
definition | Varnailā | Varṇailā is regulated by syllable count alone, with no regulation of tāla, rasa, or rāga. | VARNAILA_REGULATIONS = {'syllables': True, 'tala': False, 'rasa': False, 'raga': False} |
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vimarsa_definition_annotation_layer |
definition | vimarsa | Vimarsa is the annotation layer presenting interpretative and explanatory material as pointwise explanations keyed to numbered references in | VIMARSA = {'role':'annotation_layer','organization':'pointwise_by_number'} |
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śruti_imperceptible_parts |
definition | śrutis | Śrutis have imperceptible parts and do not appear as composed of parts. | perceptibility(parts_of(sruti)) := false |
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