| Sabha
|
An
organisation that gives patronage to music/dance.
|
| Sabha
gana
|
Denotes
singing in a sabha or to a large audience - public concert. |
| Sadhana
|
Is
a word commonly used to indicate practice |
| Sahitya |
Lyrics
or prosody |
| Samasthana
or Asthana
vidwan
|
Refers
to a musician recognized by the royal court or a respected
musical establishment. |
| Sampoorna
Jati / Raga
|
Refes
to a raga that has all the seven notes in it. |
| Samvadi
|
Refers
to the relationship between any given swara (which becomes the
vadi swara) to its
perfect fourth or perfect fifth. Eg. The relationship between
Sa and Ma or Sa and Pa, where Sa is the Vadi
swara and Ma/Pa become the Samvadi
swara.
|
| Sanchara
|
Literally
means motion. In music, it indicates a manner of exploration
of the terrain of a raga with a particular gait, geometry,
progression and rest.
|
| Sangeeta
or Sangita
|
Is
a Sanskrit term that means music. It has two parts, ‘san’,
which is derived from 'sam', which means together
and 'geet' , which means song.
|
| Sangeeta
Makaranda
|
Is
a treatise on music, by Narada around the ninth century.
|
| Sangeeta
Parijata
|
A
treatise on music, written by Pandit Ahobal around 1750 AD.
|
| Sangeeta
Ratnakara
|
One
of the major treatises on Indian music, written around the
thirteenth century, authored by Sarangadeva. It covers a wide
area of scholarship and understanding and has influenced all
subsequent writings on music.
|
| Sangeeta
Saramrita
|
Was
written by the Maharaja of Tanjavur, Tulaja between1763-68.
|
| Sangeet
upasana
|
The
devoted practice of music.
|
| Sarani
|
Refers
to the first of the two middle strings of the tambura and is
tuned to Shadja,
the tonic note.
|
| Sarangadeva
|
Was
a musicologist who lived between 1175 and 1247 AD and authored
the well-known treatise on music Sangeeta
Ratnakara.
|
| Shadava
|
Refers
to a sequence of six notes either in the ascent or descent.
|
| Shadja
or Sa
|
The
very first note of the Indian scale. It is a fixed note with
no variable values.
|
| Shankha
|
Refers
to the conch shell and is believed to be the instrument of
Lord Vishnu.
|
| Shehnai
|
A
wind instrument similar to the clarinet, used in Hindustani
music. Its Carnatic counterpart is the Nagaswaram.
|
| Sishya
|
A
student or disciple.
|
| Sloka
|
A
Sanskrit word for poetry, usually of four lines and considered
sacred and powerful.
|
| Sringara
|
Is
one of the nava rasas
(nine emotions) and indicates love.
|
| Sruti
|
Refers
to the microtonal intervals between notes. Twenty-two such
microtonal points have been identified in Carnatic music.
|
| Solkattu
|
Refers
to the mnemonics of Indian dance, specifically Bharatanatyam.
|
| Sthayi
|
Means
octave in Carnatic music.
|
| Suddha
|
Sanskrit
word for pure or untainted.
|
| Swara
|
The
solfa note in Indian music.
|
| Swara
bedha
|
Refers
to the technique of modal shift of the tonic note.
|
| Swara
lipi
|
It
is the notation or the score of a musical composition. Lipi
means script and thus the writing of the swara
is a literal translation.
|
| Swaramela
Kalanidhi
|
A
treatise on Carnatic music authored by Ramamatya in 1550.
|
| Swara
prasthara
|
See
Kalpanaswara
|
