Fundamental of Ancient Indian Music and Dance

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

Page 48

Instrumental Music
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the differences in instrumental music, possessed of rūparekha (?), skilled in udghatļana, possessed of the knowledge of the difference of all vādyas (instruments ?), versed in the increase, decline and attainment of nāda—such an instrumentalist is the best. The worst is one devoid of some or all of these merits.
The merits of blowing are as follows : charm, compactness, pleasantness, clarity, amplitude of sound, gracefulness, tenderness, resonance of nāda, pervasion of three sthānas. capacity for pleasing the listener, sweetness and attention on the part of the flutist; the last quality implies that the blowing will not be more nor less than what it should usually be.
The merits of a player of mardala are as follows : clear varņas, keeping the limbs as usual or capacity for pleasing others, experience in following the likeness of the song, expert knowledge of sweet and violent instrumental music, skill in the movement of the hands concentration, tirelessness, skill in mukhavadya, following the hudukkā player, amplitude, knowledge of yati, tāla and laya, following the song.
The defects are the reverse of the above merits.
Two, three or four mardala-players constitute a group. They will follow the mukhari or the principal player.
The following are the merits of a player of the viņā :
Expert knowledge of the principles of nāda, śruti, svara, grāma, jāti, rāga etc., graceful body, steady in seat, tireless pair of hands, fearlessness, self-restraint, presence of mind, tenderness of limbs, learning in the arts of vocal and instrumental music, concentration of mind.
The merits of a flutist are as follows :
Practice in the movement of fingers, reaching the proper place, possession of good sense of rāgas, capacity for producing sweetness in the manifestation of frāgas in an
1 The meaning is not clear,