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Fundamentals of Ancient Indian Music and Dance
Vadyas are again divided into four classes, viz. śuşka, gitānuga, nṛttānuga nṛttagṛtānuga. That is suska which does not accompany song and dance. It is also called gosthi. Gitanuga, nṛttānuga and gitanṛttamuga are those which accompany respectively song, dance and both of these two.
Kamrika or kamra is the name of a bamboo stick for playing the lute. It is the modern bow. The action of the kamrika is called sarana1 which is fourfold, viz. utkṣipta, sannivista, ubhayi and kampita. That is utkṣipta in which the kamra, coming in contact with the string, moves upward and repeatedly falls down. If the saraṇā takes place immediately after touching the string, it is sannivista. If these two kinds of saraṇa are successively repeated, there is ubhay saraṇā. Kampita arises due to the trembling of the kamrika in the place of svara.
Merits and defects of Vadya
The merits are as follows :
(i) Rakta-pleasant, (ii) Virakta-vibhinna (distinct?), (iii) Madhura-sweet, (iv) Sama-even or uniform? (v) Suddhanot mixed, (vi) Kala-delicate, (vii) Ghera-possessed of substance, (viii) Sphutaprahara-with manifest sound, (ix) Subharapossessed of beautiful räga, (x) vighusta-deep.
Merits and Defects of Instrumentalists
Versed in the mode of striking with the hand and the bow of the lute, expert in vocal and instrumental music, experienced in yati, tāla, laya, pāța, pañcasañca, endowed with ten qualities of the hand, playing the instrument intended by the person concerned, versed in the principles of the sound of musical instruments, possessed of the knowledge of grahas sama etc., skilled in hiding the defects of songs, instrumental music and dance, director of graha, mokṣa, versed in the measure of songs and dance, possessing the knowledge of all
1 Another meaning of saraṇā has been set forth in connection with vocal music.
2 The five are song, instrumental music, dance, graha, mokṣa and randhra (defect?).
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