365bet娱乐

54MUSIC IN THE NARADA PURANA Narada Purana in Chapter 50 of the Purvakhanda gives theoretical explanation of the art of music which is literally borrowed from the Naradi Siksa. I have quoted Narada Purana in the introductory part of this chapter in the context of the relation between the 'Sadjadi' seven svaras of the Gandharva type of music and the seven svaras of the Samagas. The four important constituents of the 'Svaramandala' viz. the seven svaras, three gramas, twenty one murc chanas and forty-nine tanas are mentioned by the Narada Purana. All these topics have been already discussed. 134 Narada Purana has mentioned the three sources (sthanas) of the svaras viz. chest (uras), throat (Kantha) and the head (Siras). According to the Narada Purana, throat is the source of the sadja, head is the source of Rsabha, Gandhara is characterized by nasal twang, from chest, note madhyama takes its rise, and Pancama is produced jointly from the chest the head and the throat, the base of the note Dhaivata is the forehead and the origin of the note Nisada is the various 135 joints in the body. The Narada Purana has mentioned five srutis - Dipta, Ayata, Karuna, Mrdu and Madhyama. Narada Purana has used the phrase 'Svaragata srutih'. The 'srutis are the intervening 136 notes between two svaras. The Narada Purana has also discussed the ten qualities (Guna) of a song and the fourteen blemishes in a song. The ten special qualities of a song are Rakta, Purna, Alamkrta,

55 Prasanna, Vikrsta, Slaksna, Sama, Sukumara and Madhura. The definitions of the Gunas given by the Narada Purana are as follows Rakta means the complete harmony of the notes produced by the flute (venu) and the lute (vina). Purna is the synthesis of svara and sruti as well as of the metre and the syllables in the metrical foot. Alankrta is a close collaboration of the three sources of the musical notes namely uras, Kantha and Siras. Prasanna means the absence of the erratic vibration of the notes. Vyakta is the absence of all sorts of grammatical lapses and a perfect adherence to the canons of grammar. Vikrsta is the clear diction where every word and every letter are distinctly uttered. Slaksna is characterised by the slow or accelerated tempo and the low or the high pitch. Sukumara is the arrangement of words which produces assonants and consonants. Sama is the harmonious blending of musical intervals by augmenting and decreasing the volume of the voice according to the aesthetic demand. Madhura is the aesthetic beauty produced by a combination of naturally soft consonants. The fourteen blemishes in a song are (1) Sahkitam diffident. (2) Bhitam And ->> flatering (3) Udgrustam - excited, overpowered by excitement. (4) Avyakta indistinct. (5) Anunasikam - Characterised by an excessive nasal twang. (6) Kakasvaram jarring through an inordinate pressure of the vocal cords. (7) Murdhagatam distorted through a very high pitch. (8) Sthanavivarjitam when a song shifts from one base

- 56 to other bases (9) Visvaram - absence of pause after the prolonged note. (10) Virasam - lack of concentration in the midst of the progress of the song. (11) Vislistam disorganised due to the abrupt shifting from one note to another. (12) Visamahatam the abrupt descending of a - - prolonged note and the delayed crescendo of a half tone or semi-tone. (13) Vyakulam singing without paying heed to the proper function of the varnas and the svaras. (14) Talahinam singing without any regard for the function of the rhythm. The explanation of these blemishes is given in the Naradi siksa. Instead of Talahinam, the word Taluhinam is used in the Naradi siksa which means singing without any regard for the function of vrttis. The Narada Purana refers to various musical instruments generally in relation to the worship of varicus deities and the observance of vratas. Some instruments are described as associated with Gods like Krsna, Visnu and goddesses like Sarasvati. The musical instruments connected with musical performance as well as with dance mentioned by the Narada Purana are Bheri, Damaru, Dindima, Dundubhi, Ghanta, Kahala (a large drum), Jharjhara, Mrdanga, Murali, Muraja ( a tabor), Pataha, Sankha, Turya Vina. and The Gatravina is given special importance by the Narada 137 Purana.