Brief Introduction to Sangeet Ratnakar: Description of Prabandhadhyaya (For CBSE, ICSE, IAS, NET, NRA 2022)

Get unlimited access to the best preparation resource for ICSE/Class-10 : get questions, notes, tests, video lectures and more- for all subjects of ICSE/Class-10.

Description of Prabandhadhyaya

In the fourth section, i.e.. Prabandhadhyaya, the melodic structure ‘Prabandha’ has been portrayed. Prabandha was a melodic structure pervasive during the Ancient time frame that comprised four Dhatus-Udgraha, Melapaka, Dhruva, Abhoga and six Angas-Svara, Biruda, Tenak, Pada, Pata and Tala. Three kinds of Prabandha have been given-Suda, Ali or Alikrama and Viprakeerna. Pt. Sharngadev starts with the meaning of Gita and its two kinds – Gandharva and what՚s more, Gana. Gana is of two sorts – Nibaddha and Anibaddha. That which is bound with Dhatus and Angas is ‘Nibaddha’ and that which is liberated from any such holding is ‘Anibaddha’ . He gives three terms for Nibaddha – Prabandha, Vastu and Rupaka.

Description of Taladhyaya

As per Pt. Sharngadev, Tala is the base whereupon singing, instrumental music and move are built up. This part has been separated into two segments. The primary segment comprises Marga Talas and the subsequent segment comprises Deshi Talas. Five assortments of Marga Talas and one hundred and twenty assortments of Marga Talas Furthermore, one hundred and twenty assortments of Deshi Talas have been given. Various components of Tala, for example, Kriya (nishabda and sashabda) , Laya, Yati, Kala and so on have been depicted by their down to earth article in appearing melodic time or cadence.

Description of Vadyadhyaya

Four sorts of instruments (Vadya) have been given, viz:

  • Tata
  • Avanadya
  • Ghana
  • Sushir
Indian Musical Instruments

Goodbye Vadya incorporates stringed instruments, for example, Ek Tantri, Tri Tantri, Chitra Vina, Vipanchi, Vina, Kinnari Vina, Pinaki Vina and so forth. Instruments secured with cowhide which are utilized for percussion are called Avandya Vadya. For instance, Patah, Ghat, Dakka, Damru, Bheri and Dundubhi. Metallic percussion instruments are called Ghana Vadya. Instruments, for example, Jay Ghanta, Ghanta, Shudra Ghantika and so forth are remembered for this class. Sushir Vadya incorporates breeze instruments, truly having openings, for example, Vanshi, Paavika, Murli, Shring, Shankh and so forth.

Description of Nartanadhyaya

  • The seventh section called ‘Nartanadhyaya’ is given to different components, subcomponents and article of move. It comprises two parts. In the principal divide, Pt. Sharngadev gives three terms with regards to move – Natya, Nritya and Nritta. Natya and Nritya have been supposed to be performed during celebrations and Nritta is to be performed during occasions, for example, crowning celebration of rulers, wedding, birth and other events.
  • Natya relies upon verbal articulation, Nritya on real articulation, though Nritta on real stances and footwork dependent on cadence. ‘Nritta’ has been utilized in the setting of music. Two kinds of Nritya and Nritta have been referenced, viz – Tandava and Lasya. Tandava is excited and Lasya is the smooth structure made by Shiva and Parvati individually. In the subsequent part, nine Rasas – Shringara, Hasya, Adbhuta, Raudra, Veer, Karuna, Bhayanaka, Vibhatsa and Shanta have been talked about with regards to the crowd.

Developed by: