Fundamental of Ancient Indian Music and Dance

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

Page 58

III
TĀLA
The term 'tala' is derived from the root 'tal' which conveys the sense of pratistha (foundation, basis). Śārrigadeva tells us that it is so called because music, both vocal and instrumental, and dance are based on it. It has been defined as the time measured with the help of the measures called laghu (short), guru (long) and pluta'. A short vowel is laghu, a long one guru and a prolated vowel is called pluta. For example, a, a are laghu and guru respectively. Pluta is generally used in the following circumstances: calling from afar, singing, weeping. For instance, in u umesa (O, Umesa) the u is pluta. In the case of tāla, the time required in spelling out laghu, guru and pluta letters is meant. In this connexion, we should mention also mātrā. One mātrā is determined by the time required in pronouncing five short letters, e.g., KA, CA, TA, TA, PA. In tāla, laghu, guru etc. are ascertained by mātrās. Tāla is said to determine the measure of song, instrumental music and dance.
Tala is broadly twofold-marga (classical) and dest (regional). The action in the former is of two kinds, viz. soundless (niḥśabda) and sounded (saśabda). The former, called Kala, is fourfold :āvāpa, niṣkrāma, vikṣepa and praveśaka. The latter (i.e. sounded), also called Pāta or Kalā, is fourfold, viz. dhruva, samya, tāla and sannipata.
1 According to Panini, kalo'c hrasva-dirgha-plutaḥ (1. 2.27)-vowels requiring as much time as is required in pronouncing short u, long and prolated u are respectively called hrasva, dirgha, pluta. Hrasva and dirgha are the designations of laghu and guru respectively.