Fundamental of Ancient Indian Music and Dance

Author(s): Sureshchandra Benarji
Publisher: L D Indology Ahmedabad

Page 40

Vocal Music
In accordance with qualities, Sabda has been divided into fifteen kinds, viz.
(i) Mṛṣṭa-pleasing to ears.
(ii) Madhura-indestructible and unchanged in its three places mandra, madhya, tāra.
(iii) Cehala-charming, devoid of the extremes of too heavy and too light, tender and devoid of essencelessness.
(iv) Tristhana-unchanged in the three sthānas, mandra etc. (v) Sukhavaha-delightful to mind.
(vi) Pracura--ample.
(vii) Komala- Soft.
(viii) Gadha-heard after spreading due to strength. (ix) Śravaka-capable of being heard from afar. Karuna-evoking pity in the mind of the listener. (xi) Ghana-having substance within and audible from a
(x)
distance.
(xii) Snigdha-audible from a distance and devoid of roughness. (xiii) Ślakṣṇa-uninterrupted like the flow of oil.
(xiv) Raktiman-attractive.
(xv) Chaviman-bright according to experts.
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The defects of sabda are as follows: Rūkṣa-devoid of tenderness.
(i)
(ii) Sphulita-seeming to be broken.
(iii) Nihsara-devoid of substance within.
(iv) Kakoli-raucous like the cawing of crows.
(v) Keti-pervading three sthānas, but devoid of the qualities of sweetness etc.
(vi) Keni-pervading the sthanas tāra and mandra with difficulty.
(vii) Krśa-thin or light.
(viii) Bhagna-insipid like the cry of the ass and the camel. Sabda may be produced by a person spontaneously or after practice. The capacity of sound or voice for manifesting rāgas, without practice, is called Sarira. It is so called as it is born with the sarira (body); in other words, it is congenital