Indian Music Glossary -2

Rāga Lakṣaṇas
Rāga Lakṣaṇas are the essential characteristics that define the identity and emotional expression (rasa) of a rāga. These include:

Specific swaras used

Arohaṇa (ascending order) and Avarohaṇa (descending order)

Pakad (characteristic phrase)

Vādi–Samvādi (principal and secondary notes)

Nyāsa (resting notes)

Together, these elements distinguish one rāga from another.

---

Jāti-ke-Lakṣaṇa
In ancient musical theory, Jātis were early melodic structures that existed before the modern rāga system. As described in treatises like the Nāṭyaśāstra, each Jāti was defined by ten lakṣaṇas, including:

Graha – starting note

Aṁśa – dominant note

Nyāsa – concluding or resting note

Apanyāsa – secondary resting note

Alpatva – rarely used note

Bahutva – frequently used note

Audava, Ṣāḍava, Sampūrṇa – classification based on number of notes

These rules governed melodic movement and aesthetic balance.

---

Treatise
A treatise is a scholarly written work that systematically explains the principles and rules of a subject.
In Indian classical music, treatises explain:

Music theory

Rāgas, Jātis, and Swaras

Performance practices

Aesthetic concepts

Important musical treatises:

Nāṭyaśāstra – Bharata Muni

Dattilam – Dattila

Bṛhaddeśī – Matanga

Saṅgīta Ratnākara – Śārṅgadeva

One-line definition (exam):

A treatise is an authoritative scholarly text explaining a subject in a systematic manner.

---

Rāgālapa (Rāga Ālāpa)
Rāgālapa is the ancient practice of unmetered and wordless melodic exposition of a rāga. It is performed without tāla or lyrics to gradually reveal the rāga’s swaras, mood, and structure.

---

Rūpakālapa
Rūpakālapa was a structured method of ālāpa presentation that emphasized:

Clear melodic exposition

Natural sequencing of swaras

Revealing the form (rūpa) of the rāga

It relied purely on musical expression without verbal explanation.

---

Ālāpti
Ālāpti is another term for ālāpa. It refers to the free, rhythm-less introduction of a rāga, meant to:

Establish the emotional mood (rasa)

Present the melodic framework

Prepare the listener for composition

---

Avirbhāva and Tirobhāva
These concepts describe advanced techniques in rāga elaboration:
Tirobhāva – temporary concealment of the main rāga using phrases of a related rāga
Avirbhāva – reappearance and clear re-establishment of the original rāga
They reflect the performer’s control and depth of understanding.

---

Svasthāna
Svasthāna refers to the natural and fixed pitch position of a swara within the octave. It represents tonal stability, especially in relation to Śadja (Sa), and is fundamental to scale formation.

---

Akṣiptikā
Akṣiptikā was an introductory melodic phrase used at the beginning of a Jāti performance. Its purpose was to:

Highlight the essential melodic character

Establish tonal and emotional direction

Prepare the listener for further development

---

Vāggeyakāra
A Vāggeyakāra is a composer-poet who creates both the melody and the lyrics of a musical composition.