- Dhuya Natyashastra
Apart from being the name of a popular raga, the term refers to one of the two ancient categories of music. Deshi, as opposed to margi, was described as essentially regional, enjoyed by all and free from the rules pertaining to raga and tala. The other type of music, namely margi was designed to please god and relied on strict adher ence to rules related to raga and tala.
Sounds or notes low in pitch.
Genre in vocal art music having a nearly four-century old history. It is regarded to be the oldest form still in circulation.
refers to dhuya, as a song-type used in drama according to prescribed rules. The term seems to indicate a relation ship with dhrupad, a genre current in art music today. However, the connection between the two in tenuous.
The state of contemplation. The concept and some related techniques came to be associated with music, especially raga, on account of the influence of the philosophy of tantra. As a culmina tion of a process, each raga was described as an icon with a definite posture, colours, weapons, costume, etc. The musician was expected to contemplate the icon so as to help him realize the spirit of the raga. The concept was further extended after the sixteenth century to bring into vogue the unique series of pictures Ragamala and the picturization styles perfected therein.
It is the tempo generally described as 'fast' though there are controversies as to the exact unit of measurement employed to determine the validity of the description. The tradition is to differ entiate tempi as vilambit, madhya, and drut. The first, vilambit (slow) is half that of the madhya (medium) in tempo. The medium tempo, in its turn, is half of the drut (fast) tempo. In other words, Indian musicology, for many reasons settles on the concept of relative musical time as contrasted with absolute time.
Obtained from the Sanskrit term dvigun meaning double or twice. Refers to the doubling of the speed of a melodic or rhythmic phase.