thirty indian feminine moods of music expressing love

The other supporting artists supplement the Dance performance, by way of rhythm ( Nattuvanga, Taala and Mrudanga) Melody ( Raga) and Lyrics ( Prabandha). Thus the treatise focuses on the role of the artists involved in presentation of a Dance performance.īut, the very heart of a dance performance is the Nartaka, the Dancer. The Nartana-nirnaya comprises four Chapters ( Prakarana) each devoted to a type of participant, Viz., Taladhari (Cymbal player) Mrudangi ( Mrdangam player) Gayaka (Singer) and, the Nartaka (Dancer).

He is followed, in the diminishing order of importance, by the Mrdangam player and the Taladhari. The next to him, in importance, is the Gayaka, the singer. Thus, in a Dance performance, the Nartaka is the most important performer. The text Nartana-nirnaya is, at times, called as Nartaka-nirnaya, which some scholars opine is also quite appropriate because, its principal subject is the Nartaka (dancer) while the Taladhari (cymbal player) the Mrdangi ( Mrdangam player), and the Gayaka (singer) merely support the Nartaka as ancillaries. These components, together, are the determinants ( Nirnaya-kari) of the Dance ( Nartana) hence the title of the text is Nartana-nirnaya. The efficacy of the Nartana, the dance, is determined ( Nirnaya) by the performances, the combined excellence and coordination of the Dancer ( Nartaka) and his troupe ( Vrnda), consisting the Singer ( Gayaka), the Cymbalist ( Tala-dhari), the Mrdangam-player ( Mrdangi), flute-player ( Mukhari), and the Dance-composer ( Nattuva). And, even the Nataka (Drama) is said to be a mere device to showcase his excellence. The central theme or the focal point of the Nartana-nirnaya is the Nartaka, the Dancer and his performance ( Nartana) and, all the other participants – the Taladhari (Cymbal player), Mrudangi (Drummer) and the Gayaka (Singer) – are ancillary to that. Nartana-nirnaya of Pundarika Vittala – Part Two However, one must be very careful when dividing the various Raagas as these may be very personalized by different artists, and one person's concept of 'heavy' in music may be approached more lightly in another's version.12. Also certain Raagas are said to have healing properties. A Raaga with a devotional tradition is described as having Bhakti Ras (devotional love), to distinguish it from the more romantic nature of Shringar Ras. Lighter Raagas are said to have Chanchal Prakrit (restless nature).

This might be said of the strictly classical literature in general. A serious Raaga can be said to have a Gambhir Prakrit (serious nature). According to their nature, Raagas can be classified into two groups- serious or light. Bhavas are what artists spend years developing and refining, and are what communicates with and moves audiences.Īpart from the Rasas, there are other terms which are commonly used to describe the shades of feelings that can be conveyed by Raagas. The Rasa Shringar ('love'), for instance, has so many Bhavas: happiness, joy, enchantment, wonder, ecstasy, infatuation, adoration, eroticism, devotion, and so on-there must be an infinite number of words to describe all the kinds of love. These descriptive words are called Bhavas (expressions).

The shades and meaning of these moods can be described in a variety of ways. The moods of the other four, that is, anger, fear, disgust, and surprise, are not regarded as inherent in the Raagas themselves, but rather can be combined with stage action to create a greater dramatic effect. In a musical performance, the first four, and the ninth, find expression in the Raagas, or musical modes. When performing a drama (which includes classical dance), it is felt that a judicious use of the first eight moods would leave the audience with a feeling of the ninth, peace. The Navaras in Indian Classical Music are. Later, in the tenth century, a ninth Rasa was added to the list (peace) and hence the list is known as the nine Rasas, the Navarasas. The treatise described eight primary moods, or Rasas (literally, 'juice' or 'sap'), which were said to play an important role in drama, dance, and music. It has been treated in great detail in the treatise Natyashastraof the 4th century CE. The mood of the music is a very important component of the entire musical experience in India and it finds mention even in the earliest writings on music. A lot of time and effort is spent by the musicians in finding and shaping the Bhava. Nine Moods in Indian Classical Music are the emotions in the expression of Raagas on which the entire musical system is based.

Thirty indian feminine moods of music expressing love