| Bahutva |
One
of the Trayodasa Lakshanas (thirteen characteristics) of a Raga.
It refers to those Prayogas that can be used many times without diminution of
significance. There are two varieties - the Abhyasa Bahutva, in which
a select group of notes can be used repeatedly; and the Alanghana Bahutva, in
which one note is used with premeditation and care and then stressed
appropriately.
|
| Bakura |
A
wind instrument mentioned in the Rig-Veda.
|
| Bana |
Literally,
arrow. Denotes the number five, because of the five arrows
associated with the God of Love. In Carnatic music, refers to the
fifth out of the twelve Chakras in the 72 Melakarta system, comprising the Melas numbered 25-30.
|
| Bani |
The
style of singing or playing characterised by certain special
qualities of the performer. Its usage is similar to the word Gharana in Hindustani music.
|
| Bari |
The longer variety of Nagaswaram,
a wind instrument, as contrasted with the shorter variety called Timiri.
The Bari has a lower pitch
when compared to the Timiri.
Also see Nagaswaram.
|
| Bass
bar |
A
piece of wood, attached under the bridge, on the inside of bowed
instruments like the viola, the violin, the cello, and the double
bass. It supports the pressure on the bridge of the violin and
smoothes out the notes, distributing the vibrations of the strings
equally across the bridge. |
| Bhagavata
Goshti |
A
group of singers singing sacred songs in South India.
|
| Bhajan |
A devotional song in praise of a god or goddess.
|
| Bhakti |
Devotion.
|
| Bharata |
The
illustrious author of the Sanskrit text, Natya Shastra, the most
ancient treatise dealing with the science of dramaturgy and music.
The name is also believed to be an acronym, derived from the words, 'Bhava', 'Raga'
and 'Tala'.
|
| Bhasha |
One
of the Margi Ragas of which there are six in ancient music Sarngadeva mentions them in his Sangita
Ratnakara.
|
| Bhashanga
Raga |
A
derived scale where one or more foreign notes are used.
|
| Bhatkhande,
Vishnu Narayan (1860-1936) |
One of the greatest musicologists of recent times. He formulated the 10 Thaat system of Hindustani music, in analogy with the 72 Melakarta scheme of
Carnatic music.
|
| Bhava |
A feeling or emotion of aesthetics, without which the very soul of
expression in music would be lost.
|
| Bow |
A stick strung with horsehair that is used to play bowed instruments like
the Sarangi and the Violin.
|
| Brahma |
The Creator, one of the celestial Trinity in
Hinduism. There are believed to be nine cycles of creation, and
hence, the word is used to denote the number nine. In Carnatic
music, refers to the ninth out of twelve Chakras in the 72 Melakarta system, comprising the Melas 49-54.
|
| Bridge |
The
piece of wood in a stringed instrument on which the strings are
stretched.
|
| Brihaddesi |
A musical treatise of the fifth century by Matanga.
The Jatis of the time of Bharata had become outdated in Matanga's time, and Ragas had taken their place. Brihaddesi gives a lucid
account of Raga classification, such as Suddha, Chhayalaga, Sankirna and so on. There is a section on Nadotpatti or the origin of Nada, Sruti, Swara
Murchhana, Varna, Alankara, Giti, Jati, Raga, Bhasha
Prabandha etc. It is also said to have had a chapter on
musical instruments which is now lost.
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