Fundamental of Ancient Indian Music and Dance

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

Page 44

Vocal Music
35
Vịnda, Kutapa
A group of singers and instrumentalists is called vinda (orchestra). It is of three kinds, viz. best (uttama), medium (madhyama) and inferior (kanis/ha). That, in which there are four principal singers, eight chorus singers, twelve female singers, four flutists and four players on mrdaniga, is uttama. In the madhyama, the number of male and female singers is half of that in the uttama. In the kanisịha, there are one principal singer, three chorus singers, four female singers, two flutists and two players of mardala.
The group of female singers, too, is threefold. In the uttama, there are two female singers, ten chorus singers, two flutists and two players of mardala. In the madhyama, there are one principal singer, four chorus singers and one (or, according to others, four) flutists. In the kanistha, the number of female singers and instrumentalists is less than that in the madhyama or their number is arbitrary.
A vrnda, constituted by singers and instrumentalists whose number is larger than in the uttama, is called Kolahala (confused noise).
Following the principal singer, absence of dissimilarily in chorus songs, conformity with tāla and loya, mutual rectification of defects, if any, in one part, capacity for pervasion in the three sthānas beginning with mandra, similarity of voice—these are the merits of a vặnda,
A particular kind of vrnda is called kutapu. Kutapavịnda is threefold according as it relates to tata instruments, avanaddha instruments and drama.'
The first variety of kutapa is constituted by players of Viņā, Ghosavati, Citrā, vipañci, parivādini, vallaki, kābjikā jyestha, nakulosthi, kinnari, jayā, kūrmi, pināki, hastikā, śatatantrikā, audumhari, sakarņa, pauna, rāvana, hastaka, sārangi, ālapani etc. Besides, in it there will also te flutists,
1 For tata and aydnaddha, see chapter on nstrumental music.