Tala (music) - Knowledge

704: 29: 433: 2701: 1982: 1179: 836: 1010:(pronounced as the English word 'sum' and meaning even or equal) is always the most important and heavily emphasised. It is the point of resolution in the rhythm where the percussionist's and soloist's phrases culminate: a soloist has to sound an important note of the raga there, and a North Indian classical dance composition must end there. However, melodies do not always begin on the first beat of the 49: 266: 2452:

Some talas, for example Dhamaar, Ektaal, Jhoomra and Chautala, lend themselves better to slow and medium tempos. Others flourish at faster speeds, like Jhaptal or Rupak talas. Trital or Teental is one of the most popular, since it is as aesthetic at slower tempos as it is at faster speeds. As stated

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The Vedic texts were orally composed and transmitted, without the use of script, in an unbroken line of transmission from teacher to student that was formalized early on. This ensured an impeccable textual transmission superior to the classical texts of other cultures; it is, in fact, something like

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Talas have a vocalised and therefore recordable form wherein individual beats are expressed as phonetic representations of various strokes played upon the tabla. Various Gharanas (literally 'Houses' which can be inferred to be "styles" – basically styles of the same art with cultivated traditional

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pattern has embedded smaller cyclic patterns, and both of these rhythmic patterns provide the musician and the audience to experience the play of harmonious and discordant patterns at two planes. A musician can choose to intentionally challenge a pattern at the subunit level by contradicting the

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variances) also have their own preferences. For example, the Kirana Gharana uses Ektaal more frequently for Vilambit Khayal while the Jaipur Gharana uses Trital. Players from the Jaipur Gharana are also known to use Ada Trital, a variation of Trital for transitioning from Vilambit to Drut laya.

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also implied singing. The Vedic Sanskrit musical tradition had spread widely in the Indian subcontinent, and according to Rowell, the ancient Tamil classics make it "abundantly clear that a cultivated musical tradition existed in South India as early as the last few pre-Christian centuries".

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vibhag has no beats on the bayan, i.e. no bass beats this can be seen as a way to enforce the balance between the usage of heavy (bass dominated) and light (treble) beats or more simply it can be thought of another mnemonic to keep track of the rhythmic cycle (in addition to Sam). The

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a pattern of twelve beats notated '3', it consists of a downward clap with the palm facing down followed by counting from little finger to the middle finger, a krishya (waving the hand towards the left hand side four times) and a sarpini (waving the hand towards the right four

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was finalized, the ancient Indian traditions had classified musical instruments into four groups based on their acoustic principle (how they work, rather than the material they are made of). These four categories are accepted as given and are four separate chapters in the

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for transmitting vast amounts of Vedic literature. Deeply and systematically embedded structure and meters may have enabled the ancient Indians a means to detect and correct any errors of memory or oral transmission from one person or generation to the next. According to

746:, one each on stringed instruments (chordophones), hollow instruments (aerophones), solid instruments (idiophones), and covered instruments (membranophones). Of these, states Rowell, the idiophone in the form of "small bronze cymbals" were used for 2443:

Some rare talas even contain a "half-beat". For example, Dharami is an 11 1/2 beat cycle where the final "Ka" only occupies half the time of the other beats. This tala's sixth beat does not have a played syllable – in western terms it is a rest.

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carries the musical meter, it does not necessarily imply a regularly recurring pattern. In the major classical Indian music traditions, the beats are hierarchically arranged based on how the music piece is to be performed. The most widely used

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is second speed and so on. Erandaam kaalam fits in twice the number of aksharaas (notes) into the same beat, thus doubling the tempo. Sometimes, Kāla is also used similar to Layā, for example Madhyama Kālam or Chowka Kālam.

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a pattern of sixteen beats notated 'x', it consists of a downward clap with the palm facing down followed by counting from little finger to the middle finger, a pathakam (waving the hand upwards four times),a krishya and a

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measures musical time in Indian music. However, it does not imply a regular repeating accent pattern, instead its hierarchical arrangement depends on how the musical piece is supposed to be performed. A metric cycle of a

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According to Lewis Rowell, a professor of music specializing in classical Indian music, the need and impulse to develop mathematically precise musical meters in the Vedic era may have been driven by the Indian use of

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systems, were not considered as distinct till about the 16th century. There on, during the tumultuous period of Islamic rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. The

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contains a specific number of beats, which can be as short as 3 beats or as long as 128 beats. The pattern repeats, but the play of accent and empty beats are an integral part of Indian music architecture. Each

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a pattern represented by eight beats. It is notated '8' and consists of a downward clap with the palm facing down followed by circling movement of the right hand with closed fingers in the clockwise direction.

139:, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small 413:

forms the metrical structure that repeats, in a cyclical harmony, from the start to end of any particular song or dance segment, making it conceptually analogous to meters in Western music. However,

1081:) vibhag is indicated with a sideways wave of the dominant clapping hand (usually the right) or the placing of the back of the hand upon the base hand's palm instead. But northern definitions of 707:

Five Gandharvas (celestial musicians) from 4th–5th century CE, northwest Indian subcontinent, carrying the four types of musical instruments. Gandharvas are discussed in Vedic era literature.

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is one of the most complete historic medieval era Hindu treatises on this subject that has survived into the modern era, that relates to the structure, technique and reasoning behind

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are much longer than any classical Western meter, such as a framework based on 29 beats whose cycle takes about 45 seconds to complete when performed. Another sophistication in

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1 Guru, 2 Dhrutha Sekara Viraamams, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Dhrutha, 2 Laghus, 1 Anudhrutha, 1 Dhrutha Sekara Viraamam, 1 Guru, 1 Dhrutha Sekara Viraamam

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families, then subdivides them into rhythmic ratios, presenting a methodology for improvisation and composition that continues to inspire modern era Indian musicians.

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1 Guru, 1 Kakapada, 1 Laghu, 1 Dhrutha, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Guru, 1 Dhrutha Sekara Viraamam

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1 Laghu, 1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha

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1 Laghu, 2 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Anudhrutha

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pallavis. In addition, pallavis are often sung in chauka kale (slowing the tala cycle by a magnitude of four times), although this trend seems to be slowing.

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in Indian music covers "the whole subject of musical meter". Indian music is composed and performed in a metrical framework, a structure of beats that is a

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system (35 talas) is used here, according to which there are seven families of tāla. A tāla from this system cannot exist without reference to one of five

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is not restricted to permutations of strong and weak beats, but its flexibility permits the accent of a beat to be decided by the shape of musical phrase.

1616:. It is notated 'l' and consists of a downward clap with the palm facing down followed by counting from little finger to thumb and back, depending on the 618:

is organized into two formats. One part is based on the musical meter, another by the aim of the rituals. The text is written with embedded coding, where

758:. Time keeping with idiophones was considered a separate function than that of percussion (membranophones), in the early Indian thought on music theory. 95: 668:.... Not just the actual words, but even the long-lost musical (tonal) accent (as in old Greek or in Japanese) has been preserved up to the present. 2407: 364: 626:(knot or member). These markings identify which units are to be sung in a single breath, each unit based on multiples of one eighth. The hymns of 1263:

lengths, there are 5 x 7 = 35 talas having lengths ranging from 3 (Tisra-jati Eka tala) to 29 (sankeerna jati dhruva tala) aksharas. The seven

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and music in ancient India are found in the Vedic literature of Hinduism. The earliest Indian thought combined three arts, instrumental music (

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1 Guru, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Dhrutha, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha

1606:, a pattern of two beats, notated 'O', a downward clap with the palm facing down followed by a second downward clap with the palm facing up. 212:

in the Indian tradition embraces the time dimension of music, the means by which musical rhythm and form were guided and expressed. While a

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1 Guru, 1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Guru, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha

814:, in both Hinduism and Jainism, such as through the carving of musicians with cymbals at the fifth century Pavaya temple sculpture near 467:, explore the pattern in exciting ways, then bring the music and audience experience back to the fundamental pattern of cyclical beats. 5725: 1819:

long; each avartana of the tala is 4 x 7 = 28 matras long. For Misra nadai Khanda-jati Rupaka tala, it would be 7 x 7 = 49 matra.

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are open frameworks for creativity and allow theoretically infinite number of possibilities, however, the tradition considers 108

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is the lack of "strong, weak" beat composition typical of the traditional European meter. In classical Indian traditions, the

5961: 5663: 5593: 5572: 5544: 5482: 5457: 5436: 5399: 5299: 5172: 5136: 5085: 4828: 4709: 4682: 4626: 4569: 4542: 1815:. The cycle is thus seven aksharas long. Chaturasra nadai khanda-jati Rupaka tala has seven aksharam, each of which is four 357: 5966: 5749: 3747:

1 Dhrutha, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha

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1 Laghu, 1 Anudhrutha, 2 Dhruthas, 1 Laghu, 1 Anudhrutha, 1 Dhrutha Sekara Viraamam, 1 Guru, 1 Dhrutha Sekara Viraamam

5613: 5051: 4944: 2740: 2021: 1218: 875: 4755:

Rao, Suvarnalata; Rao, Preeti (2014). "An Overview of Hindustani Music in the Context of Computational Musicology".

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1 Guru, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Anudhrutha, 1 Pluta, 1 Anudhrutha

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are marked with numbers starting at 2. Some sources give Rupak tala as starting with khali, the only tala to do so.

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contain melodic content, form, rhythm and metric organization. This structure is, however, not unique or limited to

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became a distinct genre of art, in a form equivalent to contemporary music. This likely occurred before the time of

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1 Guru, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam

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1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Guru, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam

1851:. This number can be three, four, five, seven or nine, and take the same name as the jatis. The default nadai is 350: 1014:

but may be offset, for example to suit the words of a composition so that the most accented word falls upon the

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1 Kakapada, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Pluta, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha

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Ancient Traditions – Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali and India

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and methods for singing the Vedic hymns. The music traditions of the North and South India, particularly the

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1 Guru, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Dhrutha, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha

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1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam

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1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Pluta, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam

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1 Laghu, 1 Dhrutha, 1 Laghu, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Guru, Dhrutha, 1 Dhrutha Sekara Viraamam

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1 Laghu, 1 Dhrutha Sekara Viraamam, 2 Laghus, 1 Dhrutha, 2 Gurus, 1 Anudhrutha, 1 Dhrutha Sekara Viraamam

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1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha

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1 Gurus, 1 Dhrutha Sekara Viraamam, 1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam

5340: 5152: 2037: 1150: 280: 131:) literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in 5414: 5711: 5311: 5077:

A New History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present

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1 Anudhrutha, 1 Dhrutha Sekara Viraamam, 1 Laghu, 2 Dhrutha Sekara Viraamams, 1 Laghu, 1 Anudhrutha

35:

refers to musical meter in classical Indian music. Above: a musician using small cymbals to set the

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1Dhrutha, 1Laghu, 1Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam

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have certain qualitative features that classical European musical meters do not. For example, some

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forms the life cycle and thereby constitutes one of the two foundational elements of Indian music.

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consists of 7 beats, two cycles of it of would be indistinguishable from one cycle of the related

2711: 1992: 1189: 846: 703: 692:. The chants in the Vedic recital text, associated with rituals, are presented to be measured in 3075:

2 Dhrutha Sekara Viraamams, 1 Guru, 1 Anudhrutha, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha

1612:, a pattern with a variable number of beats, three, four, five, seven or nine, depending on the 1580:. As this tala is a twenty-four beat cycle, compositions in it can be and sometimes are sung in 5840: 5375: 5371: 4818: 4814: 4766: 257: 132: 91: 5075: 4672: 4559: 3523:

1 Laghu, 1 Anudhrutha, 1 Pluta, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam

2935:

1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam

1091:, each with its own name that can be vocalized as well as written. In one common notation the 5951: 5628: 5126: 4532: 2440:

is played with a stressed syllable that can easily be picked out from the surrounding beats.

1122:(fast). Carnatic music adds an extra slow and fast category, categorised by divisions of the 144: 20: 4078:

Compositions are rare in the 108 lengthy anga talas. They are mostly used in performing the

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1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Pluta, 1 Anudhrutha

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1 Laghu, 1 Dhrutha Sekara Viraamam, 2 Laghus, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam

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refers to the change of tempo during a rendition of song, typically doubling up the speed.

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as the melodic framework, are the two foundational elements of classical Indian music. The

243:

has other contextual meanings in ancient Sanskrit texts of Hinduism. For example, it means

951:) which roughly correspond to bars or measures but may not have the same number of beats ( 696:

and its multiples in the invariant ratio of 1:2:3. This system is also the basis of every

8: 3103:

1 Laghu, 1 Anudhrutha, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha

1600:, a single beat, notated 'U', a downward clap of the open hand with the palm facing down. 768: 646:

contains three metric lines of exactly eight syllables, with an embedded ternary rhythm.

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associated with it; the tala name mentioned without qualification refers to the default

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meaning primordial in Sanskrit). Nadai is a term which means subdivision of beats. Many

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According to David Nelson, an ethnomusicology scholar specializing in Carnatic music, a

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1 Pluta, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam

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1 Pluta, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam

3159:

1 Guru, 1 Anudhrutha, 1 Dhrutha Sekara Viraamam, 1 Guru, 1 Pluta, 1 Guru, 1 Anudhrutha

1065:

in Carnatic music, and in the Hindustani tradition too, when learning and reciting the

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1 Anudhrutha, 1 Laghu, 1 Anudhrutha, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam

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gives an artist the ingredients palette to build the melody from sounds, while the

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The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent

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to music in ancient and early medieval India is also expressed in numerous temple

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Northern Indian Music, Volume 1. Theory & technique; Volume 2. The main rāgǎs

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1 Dhrutha Sekara Viraamam, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha

3439:

1 Guru, 1 Anudhrutha, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha

3313:

1 Guru, 1 Dhrutha Sekara Viraamam, 2 Laghus, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha

2823:

1 Laghu, 2 Anudhruthas, 1 Guru, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam

2809:

1 Laghu, 2 Anudhruthas, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Guru, 1 Anudhrutha

2363: 2358: 2343: 2161: 5526:, MA dissertation, School of Oriental and African Studies, University of London. 5200: 737:

is at the foundation of the numerous classical music and dance of India. Before

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of ancient Indian tradition. Some of the ancient texts of Hinduism such as the

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For all the 72 melakarta talas and the 108 talas the jathi is mostly chatusram

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provides her with a creative framework for rhythmic improvisation using time.

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A Study of Tabla: A Comprehensive Study with History, Theory and Compositions

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1 Guru, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha

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There are many talas in Hindustani music, some of the more popular ones are:

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In practice, only a few talas have compositions set to them. The most common

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system between them continues to have more common features than differences.

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1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha, 1 Guru, 2 Anudhruthas

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by Prof. P. Sambamurthy, Book II, The Indian Music Publishing House, Madras

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embeds the musical meter too, without the kind of elaboration found in the

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This article is about meter in classical Indian music. For other uses, see

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1 Pluta, 1 Laghu, 1 Dhrutha, 1Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha

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1 Laghu, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Pluta, 1 Guru, 1 Anudhrutha

711:

In the ancient traditions of Hinduism, two musical genre appeared, namely

382: 28: 5905: 5759: 5468: 5385: 5364: 4932: 4864: 4265: 2126: 1087: 1045:

is indicated visually by using a series of rhythmic hand gestures called

920:

is divided in two ways to perfect the musical performance, one is called

776: 605:(~1000 BCE) are structured entirely to melodic themes, it is sections of 5332: 3537:

1 Guru, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu

1231:

Carnatic music uses various classification systems of tālas such as the

432: 5920: 5870: 5865: 5835: 5801: 5791: 3467:

1 Dhrutha, 1 Laghu, 2 Dhruthas, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha

2879:

1 Guru, 2 Anudhruthas, 1 Laghu, 1 Dhrutha, 1 Pluta, 1 Dhrutha, 1 Laghu

2725: in this section. Unsourced material may be challenged and removed. 2638: 2252: 2213: 2208: 2166: 2006: in this section. Unsourced material may be challenged and removed. 1203: in this section. Unsourced material may be challenged and removed. 860: in this section. Unsourced material may be challenged and removed. 677: 5409: 5213:"What is Suladi Sapta Tala and Why is it Important in Carnatic Music?" 3033:

1 Pluta, 3 Dhrutha Sekara Viraamams, 1 Pluta, 1 Dhrutha, 1 Anudhrutha

1077:('clap') and is accompanied by a clap of the hands, while an "empty" ( 987:, is a regularly-divisible cycle of four measures of four beats each. 754:

on idiophones, by Bharata, is a theoretical treatise on the system of

5895: 5875: 5845: 5784: 5754: 5681:

A Visual Introduction to Rhythms (taal) in Hindustani Classical Music

1027: 5431:(4th ed.). Cambridge, Massachusetts: Harvard University Press. 2700: 1981: 1178: 835: 5774: 5703: 5691: 5071: 3355:

1 Dhrutha Sekara Viraamam, 1 Laghu, Anudhrutha, 1 Laghu, 1 Dhrutha

3061:

2 Dhrutha Sekara Viraamams, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha

2187: 2121: 1787: 1461: 601: 311: 223: 177: 172: 5523:

The Development of Rhythmic Organization in Indian Classical Music

3705:

1 Guru, 1 Laghu, 2 Dhrutha Sekara Viraamams, 1 Guru, 1 Anudhrutha

2795:

1 Guru, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu

588: 541:

is a major feature of the Indian tradition, and this is termed as

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1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha

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1 Guru, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha, 2 Gurus, 1 Dhrutha

1576:(Adi Tala Tisra-Nadai). A few fast-paced kritis are set to this 5930: 5734: 5536:

The Rāgs of North Indian Music: Their Structure & Evolution

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1 Guru, 1 Dhrutha Sekara Viraamam, 1 Pluta, 1 Dhrutha, 1 Laghu

3019:

1 Guru, 2 Dhruthas, 1 Guru, 1 Laghu, 1 Dhrutha Sekara Viraamam

2488: 2323: 2308: 2293: 2283: 2262: 2131: 2106: 1508: 811: 140: 4473: 4275:. He is said to have written 16,000 hymns each in a different 3005:

1 Guru, 1 Dhrutha Sekara Viraamam, 1 Dhrutha, 1 Guru, 1 Pluta

998:, notation and additive counting in Hindustani classical music 5915: 4578: 4413: 2673: 2577: 2298: 2288: 2257: 2182: 2141: 2116: 2111: 2076: 2056: 723:

music also implied celestial, divine associations, while the

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Music in the Social and Behavioral Sciences: An Encyclopedia

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1 Laghu, 2 Dhrutha Sekara Viraamams, 2 Gurus, 2 Anudhruthas

1157:, have theoretically developed since ancient times numerous 990: 5106: 4718: 4463: 4461: 4459: 4457: 2066: 1544:(a 14-count), both of which do not fit very well into the s 965:, also of 14 beats but counted 5+2+3+4. The spacing of the 955:) and may be marked by accents or rests. So the Hindustani 688:(finger counts of the beat), a system at the foundation of 476: 316: 153: 125: 5539:(1st revised Indian ed.). Bombay: Popular Prakashan. 5256:

Chatterjee, Samir (31 December 2005). Miner, Allyn (ed.).

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Discovering the Vedas: Origins, Mantras, Rituals, Insights

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1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Anudhrutha

436:

Painting depicting the Vedic sage-musician Narada, with a

5694:: Recordings of Tabla Bols, database for Hindustani Talas 5309:

Gangolli, Ramesh (Summer 2007). "Music and Mathematics".

4735: 4733: 4618:

The Concise Garland Encyclopedia of World Music, Volume 2

509:, and the first beat of any rhythmic cycle is called the 265: 4454: 3425:

1 Guru, 1 Laghu, 1 Dhrutha, 1 Pluta, 1 Dhrutha, 1 Laghu

3271:

1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 2 Dhruthas

3215:

3 Laghus, 1 Anudhrutha, 1 Guru, 1 Dhrutha, 1 Anudhrutha

2690: 1022:, literally 'shift', is used to describe this offset in 5094: 5024: 5022: 5004: 4989: 4977: 4965: 4953: 4909: 4897: 4882: 4635: 4590: 680:, or hand signals to set the recital speed. These were 393:) is a Sanskrit word, which means 'being established'. 4813: 4730: 4537:. University of South Carolina Press. pp. 63–64. 3509:

2 Laghus, 1 Dhrutha, 1 Anudhrutha, 1 Laghu, 1 Dhrutha

2949:

1 Laghu, 1 Anudhrutha, 2 Dhruthas, 1 Laghu, 1 Dhrutha

1030:

on one of the last beats of the previous cycle of the

5474:

Indian Music in Performance: A Practical Introduction

2921:

1 Guru, 1 Anudhrutha, 1 Dhrutha, 2 Laghus, 1 Dhrutha

969:

accents makes them distinct, otherwise, again, since

5687:

Tala Primer – A basic introduction to tabla and tala

5388:; Ruth M. Stone; James Porter; Timothy Rice (1998), 5181: 5019: 4654: 4652: 4650: 4442: 3285:

1 Guru, 1 Anudhrutha, 1 Laghu, 1 Guru, 1 Anudhrutha

2461:

section is marked by 0, and the remaining sections,

1649:

Each tala can incorporate one of the five following

5700:: MIDI files of the common (major) Hindustani Talas 4795: 4704:. Abhinav Publications. pp. 45–48, 53, 56–58. 1552:, while there are also krtis set to both the above 1085:rely far more upon specific drum-strokes, known as 157:which forms the fabric of a melodic structure, the 5287: 5156: 4534:Sonic Liturgy: Ritual and Music in Hindu Tradition 3341:1 Dhrutha Sekara Viraamam, 1 Laghu, 2 Anudhruthas 1936:exposition in some of the rarer, more complicated 959:has 14 beats, counted 3+4+3+4, which differs from 505:. The beats within each rhythmic cycle are called 4670: 4647: 1099:, which is always the first beat of a particular 719:(informal, improvised, entertainment music). The 591:(~500 BCE), since he includes these terms in his 495:when rendered on a percussive instrument such as 90:for phonetic transcriptions, with an appropriate 5943: 3881: 3621:2 Gurus, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha 458:has subunits. In other words, the larger cyclic 5370: 4424: 3201:1 Dhrutha Sekara Viraamam, 2 Laghus, 1 Dhrutha 1251:, differentiated by the length in beats of the 5466: 5066: 5064: 4697: 4584: 4518: 4503: 3784: 1566:). Around half of the varnams are set to this 1493:Chaturasra-nadai Chaturasra-jaati Triputa tala 888:In the South Indian system (Carnatic), a full 396: 388: 227:. In the North Indian system, the most common 5719: 5201:http://chandrakantha.com/faq/tala_thalam.html 4614: 4610: 4608: 4557: 3761:1 Guru, 1 Anudhrutha, 2 Gurus, 1 Anudhruthas 2408: 1524:Chaturasra-nadai Chaturasra-jaati Rupaka tala 358: 5384: 5290:The Dictionary of Hindustani Classical Music 5239: 5237: 5235: 5233: 5128:Carving Devotion in the Jain Caves at Ellora 5112: 4807: 4724: 4488: 4436: 1255:Thus, with all the possible combinations of 5061: 4750: 4748: 4530: 1593:There are six main angas/strokes in talas; 767:(literally 'Ocean of Music and Dance'), by 5726: 5712: 5255: 4605: 4282:. Of these, only 1500–2000 are available. 4263:. These are talas set to the lyrics of the 2457:(first strong beat) is marked with X, the 2447: 2415: 2401: 365: 351: 5585:Sanskrit Play Production in Ancient India 5349:, Oxford & Indiana University Press, 5230: 5124: 4845:Sonic Theology: Hinduism and Sacred Sound 4823:. SAGE Publications. pp. 1693–1694. 4770: 4677:. Infobase Publishing. pp. 104–106. 4285: 2851:1 Guru, 1 Anudhrutha, 1 Laghu, 1 Dhritha 2781:1 Anudhrutha, 1 Dhrutha, 1 Guru, 1 Laghu 2741:Learn how and when to remove this message 2022:Learn how and when to remove this message 1219:Learn how and when to remove this message 876:Learn how and when to remove this message 715:(formal, composed, ceremonial music) and 167:is an ancient music concept traceable to 16:Meter, time cycle measure in Indian music 5449:Music and Musical Thought in Early India 5339: 5308: 5285: 5187: 5080:. Oxford University Press. p. 116. 5070: 4939:. Blackwell Publishing. pp. 68–71. 4745: 4739: 4641: 3649:1 Laghu, 1 Pluta, 1 Anudhrutha, 1 Laghu 3495:2 Laghus, 1 Dhrutha, 1 Laghu, 1 Dhrutha 1530:). A large body of krtis is set to this 989: 702: 431: 27: 1026:. A composition may also start with an 5944: 5608:, Mill Valley: Panoramic Press, 1985. 5557:, Munich, Salzburg: Katzbichler, 1983. 5445: 5421: 5100: 5028: 5013: 4998: 4983: 4971: 4959: 4927: 4915: 4903: 4891: 4847:, University of South Carolina Press, 4801: 4754: 4599: 4467: 4448: 1971: 1574:Tisra-nadai Chatusra-jati Triputa tala 5707: 5407: 5058:discussion see pp. 169-274 (Sanskrit) 4658: 2753: 2691:72 melakarta talas and 108 anga talas 977:. However the most common Hindustani 761:The early 13th century Sanskrit text 5733: 5244:A practical course in Karnatik music 2723:adding citations to reliable sources 2694: 2004:adding citations to reliable sources 1975: 1201:adding citations to reliable sources 1172: 1168: 1165:are very common, and some are rare. 1142:(eight strokes per beat) and lastly 1106:A tala does not have a fixed tempo ( 858:adding citations to reliable sources 829: 42: 5655:Indian Music: History and Structure 5286:Caudhurī, Vimalakānta Rôya (2000). 5163:. Oxford University Press. p. 4937:The Blackwell Companion to Hinduism 4088:. Some examples of anga talas are: 1560:Chatusra-nadai Khanda-jati Ata tala 806:The centrality and significance of 13: 5493: 5131:. BRILL Academic. pp. 76–77. 4931:(2003). "Vedas and Upaniṣads". In 2893:1 Pluta, 2 Anudhruthas, 1 Dhrutha 1940:; such pallavis, if sung in a non- 904:) traditionally written down with 771:patronized by King Sighana of the 80:for transliterated languages, and 60:of its non-English content, using 14: 5978: 5674: 5555:Die Tālas der nordindischen Musik 5380:, London: Oxford University Press 4564:. Cengage Learning. p. 266. 4561:Music of the Peoples of the World 1867:Phonetic representation of beats 5622:; Lahiri, Sarat (October 1931). 5054:, pp. v–vi, ix–x (English), for 4180: : It is the longest tala. 2767:Pattern of the symbols of angas 2699: 2565:Deepchandi (thumri, film songs) 1980: 1177: 834: 264: 47: 5624:"A Study in East Indian Rhythm" 5477:. Manchester University Press. 5452:. University of Chicago Press. 5428:The Harvard Dictionary of Music 5278: 5249: 5205: 5193: 5145: 5118: 5034: 4921: 4858: 4837: 4691: 4664: 4621:. Routledge. pp. 938–939. 4182: 4095: 2907:3 Dhruthas, 1 Laghu, 1 Dhrutha 2710:needs additional citations for 1991:needs additional citations for 1922:Tha Ka Dhi Mi Tha Ka Tha Ki Ta 1857: 1711:Each tala family has a default 1654: 1548:scheme. Many padams are set to 1277: 1188:needs additional citations for 845:needs additional citations for 750:. Almost the entire chapter of 684:(finger and palm postures) and 491:The basic rhythmic phrase of a 5043:Sangitaratnakara of Sarngadeva 4551: 4524: 825: 583:). As these fields developed, 221:in the South Indian system is 194:system of the north is called 96:multilingual support templates 1: 5377:A Sanskrit-English Dictionary 5260:(2006 ed.). Chhandayan. 5199:Chandrakantha Music of India 4758:Journal of New Music Research 4406: 4330:X 0 2 3 0 4 5 6 0 7 8 9 10 0 3882:Shodashangachakram (16 angas) 2643:Carnatic has a 6-beat Roopak 2453:above, the division with the 1149:Indian classical music, both 1095:is denoted by an 'X' and the 1061:. These movements define the 5962:Hindustani music terminology 5564:Semiosis in Hindustani Music 5561:Martinez, José Luiz (2001). 4781:10.1080/09298215.2013.831109 4327:2+2+2+2+2+2+2+2+2+2+2+2+2+2 4259:Another type of tala is the 377: 198:, while the south is called 7: 3785:7 Saptangachakram (7 angas) 2610:Sool Taal (mainly Dhrupad) 1267:families and the number of 474:as the time cycle, and the 440:instrument in his left hand 397:Terminology and definitions 383: 10: 5983: 5967:Carnatic music terminology 5153:Madhukar Keshav Dhavalikar 4671:James B. Robinson (2009). 4585:Sorrell & Narayan 1980 4519:Sorrell & Narayan 1980 4504:Sorrell & Narayan 1980 2661:Tevaraa (used in dhrupad) 2580:(and Chautal, in Dhrupad) 2038:Hindustani classical music 1803:For example, one cycle of 1588: 1161:, though in practice some 731:The classic Sanskrit text 676:also included a system of 560: 513:. An empty beat is called 18: 5745: 5312:Perspectives of New Music 1138:(four strokes per beat), 1103:, denoted by '0' (zero). 931:Each repeated cycle of a 779:, mentions and discusses 537:. The cyclic nature of a 389: 5856:Non-retrogradable rhythm 5346:The Ragas of North India 3170:Dheera sankara bharanam 1911:Tha Ki Ta Tha Ka Dhi Mi 1811:followed by a five-beat 1644: 1134:(two strokes per beat), 1069:, the first beat of any 595:studies, one of the six 517:. The subdivisions of a 5588:. Motilal Banarsidass. 5567:. Motilal Banarsidass. 5415:Encyclopædia Britannica 5372:Monier-Williams, Monier 5294:. Motilal Banarsidass. 5046:, Adyar Library Press, 4698:Vijaya Moorthy (2001). 2491:(or Trital or Teental) 2448:Common Hindustani talas 1951: 1805:khanda-jati rupaka tala 1507:and around half of the 1146:(16 strokes per beat). 1130:(one stroke per beat), 1114:(delayed, i.e., slow), 1049:that correspond to the 151:traditions. Along with 5957:Indian classical music 5508:. London: C. Johnson. 5446:Rowell, Lewis (2015). 4815:William Forde Thompson 4615:Ellen Koskoff (2013). 4558:William Alves (2013). 4286:Rarer Hindustani talas 4269:by the Tamil composer 1932:are sung as part of a 1770:type is also known as 1002:The first beat of any 999: 787:. He identifies seven 708: 670: 441: 258:Indian classical music 133:Indian classical music 40: 5750:Additive and divisive 5642:10.1093/mq/XVII.4.427 5629:The Musical Quarterly 5582:Mehta, Tarla (1995). 5531:Jairazbhoy, Nazir Ali 5408:Nettl, Bruno (2010), 5325:10.1353/pnm.2007.0001 5040:S. S. Sastri (1943), 4085:Ragam Thanam Pallavis 3933:Laghu (Chatusra-jati) 3836:Laghu (Chatusra-jati) 1807:comprises a two-beat 993: 924:(kind) and the other 900:), with three parts ( 706: 661: 435: 149:Indian subcontinental 145:percussion instrument 31: 21:Tala (disambiguation) 5876:Prolation and tempus 4531:Guy L. Beck (2012). 4425:Monier-Williams 1899 3562:Simhendra madhyamam 2719:improve this article 2000:improve this article 1934:Ragam Thanam Pallavi 1197:improve this article 896:. These are cyclic ( 892:is a group of seven 854:improve this article 58:specify the language 56:This article should 5650:Te Nijenhuis, Emmie 5602:Montfort, Matthew. 5520:Humble, M. (2002): 5423:Randel, Don Michael 4701:Romance of the Raga 4491:, pp. 138–139. 4470:, pp. 816–817. 4092:Sarabhanandana tala 3408:Shadvitha maargini 3394:Subha panthuvarali 2974:Maya malava goulam 1972:In Hindustani music 1942:Chatusra-nadai tala 1271:for each of the 35 1118:(medium tempo) and 642:. For example, the 5658:. BRILL Academic. 5620:Sargeant, Winthrop 5125:Lisa Owen (2012). 4055:Pluta-druta-virama 3966:Laghu-druta-virama 3744:Naasikha bhushani 2754:72 melakarta talas 1664:Number of aksharas 1000: 941:counted additively 709: 442: 41: 5939: 5938: 5851:Metric modulation 5665:978-90-04-03978-0 5595:978-81-208-1057-0 5574:978-81-208-1801-9 5553:Junius, Manfred: 5546:978-81-7154-395-3 5484:978-0-7190-0756-9 5459:978-0-226-73034-9 5438:978-0-674-01163-2 5401:978-0-8240-4946-1 5301:978-81-208-1708-1 5174:978-0-19-565458-5 5138:978-90-04-20629-8 5113:Nettl et al. 1998 5103:, pp. 12–14. 5087:978-0-19-164294-4 5016:, pp. 13–14. 5001:, pp. 11–12. 4986:, pp. 11–14. 4843:Guy Beck (1993), 4830:978-1-4833-6558-9 4725:Nettl et al. 1998 4711:978-81-7017-382-3 4684:978-1-4381-0641-0 4628:978-1-136-09602-0 4602:, pp. 12–13. 4571:978-1-133-71230-5 4544:978-1-61117-108-2 4489:Nettl et al. 1998 4437:Nettl et al. 1998 4404: 4403: 4257: 4256: 4178:Simhanandana tala 4175: 4174: 4076: 4075: 4011:Guru-druta-virama 3879: 3878: 3782: 3781: 3716:Jyothi swarupini 3226:Gangeya bhushani 2751: 2750: 2743: 2688: 2687: 2641:(Mughlai/Roopak) 2425: 2424: 2331: 2330: 2221: 2220: 2032: 2031: 2024: 1926: 1925: 1900:Tha Ka Tha Ki Ta 1709: 1708: 1540:(a 10-count) and 1485: 1484: 1245:Suladi Sapta Tāla 1229: 1228: 1221: 1169:In Carnatic music 886: 885: 878: 375: 374: 118: 117: 98:may also be used. 5974: 5728: 5721: 5714: 5705: 5704: 5692:KKSongs Talamala 5685:Colvin Russell: 5669: 5645: 5599: 5578: 5550: 5517: 5488: 5463: 5442: 5418: 5404: 5381: 5367: 5341:Kaufmann, Walter 5336: 5305: 5293: 5272: 5271: 5253: 5247: 5241: 5228: 5227: 5225: 5223: 5209: 5203: 5197: 5191: 5185: 5179: 5178: 5162: 5149: 5143: 5142: 5122: 5116: 5110: 5104: 5098: 5092: 5091: 5068: 5059: 5038: 5032: 5026: 5017: 5011: 5002: 4996: 4987: 4981: 4975: 4974:, p. 67-68. 4969: 4963: 4962:, p. 66-67. 4957: 4951: 4950: 4925: 4919: 4918:, p. 64-65. 4913: 4907: 4906:, p. 62-63. 4901: 4895: 4894:, p. 59-61. 4889: 4880: 4862: 4856: 4841: 4835: 4834: 4811: 4805: 4799: 4793: 4792: 4774: 4752: 4743: 4737: 4728: 4722: 4716: 4715: 4695: 4689: 4688: 4668: 4662: 4656: 4645: 4639: 4633: 4632: 4612: 4603: 4597: 4588: 4582: 4576: 4575: 4555: 4549: 4548: 4528: 4522: 4516: 4507: 4501: 4492: 4486: 4471: 4465: 4452: 4446: 4440: 4434: 4428: 4422: 4377:Ussole e Fakhta 4290: 4289: 4183: 4096: 3886: 3885: 3789: 3788: 3548:Shanmukha priya 3240:Vaga dheeshwari 2960:Vagula bharanam 2758: 2757: 2746: 2739: 2735: 2732: 2726: 2703: 2695: 2471: 2470: 2417: 2410: 2403: 2232: 2231: 2096: 2095: 2034: 2033: 2027: 2020: 2016: 2013: 2007: 1984: 1976: 1963:is first speed, 1858: 1655: 1546:uladi sapta tala 1511:are set to this 1278: 1243:(72 talas). The 1239:(108 talas) and 1224: 1217: 1213: 1210: 1204: 1181: 1173: 881: 874: 870: 867: 861: 838: 830: 793:Sangitaratnakara 764:Sangitaratnakara 575:), vocal music ( 392: 391: 386: 367: 360: 353: 281:Hindustani music 268: 254: 253: 249:Sanskrit prosody 113: 110: 104: 89: 83: 79: 73: 69: 63: 51: 50: 43: 5982: 5981: 5977: 5976: 5975: 5973: 5972: 5971: 5942: 5941: 5940: 5935: 5826:Harmonic rhythm 5741: 5732: 5677: 5672: 5666: 5648: 5618: 5596: 5581: 5575: 5560: 5547: 5529: 5502:Daniélou, Alain 5500: 5496: 5494:Further reading 5491: 5485: 5467:Sorrell, Neil; 5460: 5439: 5402: 5357: 5302: 5281: 5276: 5275: 5268: 5254: 5250: 5242: 5231: 5221: 5219: 5211: 5210: 5206: 5198: 5194: 5186: 5182: 5175: 5150: 5146: 5139: 5123: 5119: 5111: 5107: 5099: 5095: 5088: 5069: 5062: 5039: 5035: 5027: 5020: 5012: 5005: 4997: 4990: 4982: 4978: 4970: 4966: 4958: 4954: 4947: 4929:Witzel, Michael 4926: 4922: 4914: 4910: 4902: 4898: 4890: 4883: 4863: 4859: 4842: 4838: 4831: 4812: 4808: 4800: 4796: 4772:10.1.1.645.9188 4753: 4746: 4738: 4731: 4723: 4719: 4712: 4696: 4692: 4685: 4669: 4665: 4657: 4648: 4640: 4636: 4629: 4613: 4606: 4598: 4591: 4587:, pp. 4–5. 4583: 4579: 4572: 4556: 4552: 4545: 4529: 4525: 4521:, pp. 3–4. 4517: 4510: 4506:, pp. 1–3. 4502: 4495: 4487: 4474: 4466: 4455: 4447: 4443: 4435: 4431: 4423: 4414: 4409: 4288: 4272:Arunagirinathar 3970: 3884: 3787: 3464:Naama narayani 3184:Nagaa nandhini 3086:Gowri manohari 3072:Karahara priya 3030:Jankaradh wani 2756: 2747: 2736: 2730: 2727: 2716: 2704: 2693: 2450: 2421: 2028: 2017: 2011: 2008: 1997: 1985: 1974: 1965:Erandaam kaalam 1954: 1837: 1793:chaturasra jati 1768:chaturasra jati 1746:chaturasra jati 1737:chaturasra jati 1728:chaturasra jati 1647: 1591: 1515:. Other common 1225: 1214: 1208: 1205: 1194: 1182: 1171: 1053:or 'limbs', or 882: 871: 865: 862: 851: 839: 828: 563: 399: 380: 371: 202:. However, the 114: 108: 105: 99: 87: 81: 77: 75:transliteration 71: 67: 61: 52: 48: 24: 17: 12: 11: 5: 5980: 5970: 5969: 5964: 5959: 5954: 5937: 5936: 5934: 5933: 5928: 5926:Time signature 5923: 5918: 5913: 5908: 5903: 5898: 5893: 5888: 5883: 5878: 5873: 5868: 5863: 5861:Notes inégales 5858: 5853: 5848: 5843: 5838: 5833: 5828: 5823: 5818: 5813: 5806: 5805: 5804: 5794: 5789: 5788: 5787: 5777: 5772: 5767: 5762: 5757: 5752: 5746: 5743: 5742: 5731: 5730: 5723: 5716: 5708: 5702: 5701: 5698:Ancient Future 5695: 5689: 5683: 5676: 5675:External links 5673: 5671: 5670: 5664: 5646: 5636:(4): 427–438. 5616: 5600: 5594: 5579: 5573: 5558: 5551: 5545: 5527: 5518: 5497: 5495: 5492: 5490: 5489: 5483: 5464: 5458: 5443: 5437: 5419: 5405: 5400: 5382: 5368: 5356:978-0253347800 5355: 5337: 5306: 5300: 5282: 5280: 5277: 5274: 5273: 5267:978-0984134908 5266: 5248: 5229: 5204: 5192: 5180: 5173: 5144: 5137: 5117: 5115:, p. 299. 5105: 5093: 5086: 5060: 5033: 5018: 5003: 4988: 4976: 4964: 4952: 4945: 4920: 4908: 4896: 4881: 4877:978-0143099864 4857: 4853:978-0872498556 4836: 4829: 4806: 4794: 4744: 4729: 4727:, p. 124. 4717: 4710: 4690: 4683: 4663: 4646: 4644:, p. 130. 4634: 4627: 4604: 4589: 4577: 4570: 4550: 4543: 4523: 4508: 4493: 4472: 4453: 4451:, p. 816. 4441: 4439:, p. 138. 4429: 4427:, p. 444. 4411: 4410: 4408: 4405: 4402: 4401: 4398: 4395: 4392: 4388: 4387: 4384: 4381: 4378: 4374: 4373: 4370: 4367: 4364: 4360: 4359: 4356: 4353: 4350: 4346: 4345: 4342: 4339: 4336: 4332: 4331: 4328: 4325: 4322: 4318: 4317: 4316:X 2 0 3 0 4 0 4314: 4313:2+2+2+2+2+2+2 4311: 4308: 4304: 4303: 4300: 4297: 4294: 4287: 4284: 4255: 4254: 4252: 4250: 4248: 4246: 4244: 4242: 4239: 4235: 4234: 4231: 4228: 4225: 4222: 4219: 4216: 4213: 4209: 4208: 4205: 4202: 4199: 4196: 4193: 4190: 4187: 4173: 4172: 4169: 4166: 4163: 4160: 4157: 4154: 4151: 4147: 4146: 4143: 4140: 4137: 4134: 4131: 4128: 4125: 4121: 4120: 4117: 4114: 4111: 4108: 4105: 4102: 4100: 4074: 4073: 4070: 4067: 4063: 4062: 4059: 4056: 4052: 4051: 4048: 4045: 4041: 4040: 4037: 4034: 4030: 4029: 4026: 4023: 4019: 4018: 4015: 4012: 4008: 4007: 4004: 4001: 3997: 3996: 3993: 3990: 3986: 3985: 3982: 3979: 3975: 3974: 3971: 3967: 3963: 3962: 3959: 3956: 3952: 3951: 3948: 3945: 3941: 3940: 3937: 3934: 3930: 3929: 3926: 3923: 3919: 3918: 3915: 3912: 3908: 3907: 3904: 3901: 3897: 3896: 3893: 3890: 3883: 3880: 3877: 3876: 3873: 3870: 3866: 3865: 3862: 3859: 3855: 3854: 3851: 3848: 3844: 3843: 3840: 3837: 3833: 3832: 3829: 3826: 3822: 3821: 3818: 3815: 3811: 3810: 3807: 3804: 3800: 3799: 3796: 3793: 3786: 3783: 3780: 3779: 3776: 3773: 3770: 3766: 3765: 3762: 3759: 3756: 3752: 3751: 3748: 3745: 3742: 3738: 3737: 3734: 3731: 3730:Dathuvardhani 3728: 3724: 3723: 3720: 3717: 3714: 3710: 3709: 3706: 3703: 3700: 3696: 3695: 3692: 3689: 3688:Chithraambari 3686: 3682: 3681: 3678: 3675: 3674:Mecha Kalyani 3672: 3668: 3667: 3664: 3661: 3658: 3654: 3653: 3650: 3647: 3644: 3640: 3639: 3636: 3633: 3632:Rishabhapriya 3630: 3626: 3625: 3622: 3619: 3616: 3612: 3611: 3608: 3605: 3602: 3598: 3597: 3594: 3591: 3588: 3584: 3583: 3580: 3577: 3574: 3570: 3569: 3566: 3563: 3560: 3556: 3555: 3552: 3549: 3546: 3542: 3541: 3538: 3535: 3532: 3528: 3527: 3524: 3521: 3518: 3514: 3513: 3510: 3507: 3504: 3500: 3499: 3496: 3493: 3490: 3486: 3485: 3482: 3479: 3476: 3472: 3471: 3468: 3465: 3462: 3458: 3457: 3454: 3451: 3448: 3444: 3443: 3440: 3437: 3434: 3430: 3429: 3426: 3423: 3420: 3416: 3415: 3412: 3409: 3406: 3402: 3401: 3398: 3395: 3392: 3388: 3387: 3384: 3381: 3378: 3374: 3373: 3370: 3367: 3364: 3360: 3359: 3356: 3353: 3350: 3346: 3345: 3342: 3339: 3336: 3332: 3331: 3328: 3325: 3322: 3318: 3317: 3314: 3311: 3308: 3304: 3303: 3300: 3297: 3294: 3290: 3289: 3286: 3283: 3280: 3276: 3275: 3272: 3269: 3266: 3262: 3261: 3258: 3255: 3252: 3248: 3247: 3244: 3241: 3238: 3234: 3233: 3230: 3227: 3224: 3220: 3219: 3216: 3213: 3212:Raga vardhini 3210: 3206: 3205: 3202: 3199: 3196: 3192: 3191: 3188: 3185: 3182: 3178: 3177: 3174: 3171: 3168: 3164: 3163: 3160: 3157: 3154: 3150: 3149: 3146: 3143: 3140: 3136: 3135: 3132: 3129: 3126: 3122: 3121: 3118: 3115: 3114:Maara ranjani 3112: 3108: 3107: 3104: 3101: 3098: 3094: 3093: 3090: 3087: 3084: 3080: 3079: 3076: 3073: 3070: 3066: 3065: 3062: 3059: 3056: 3052: 3051: 3048: 3045: 3044:Nata bhairavi 3042: 3038: 3037: 3034: 3031: 3028: 3024: 3023: 3020: 3017: 3016:Haata kambari 3014: 3010: 3009: 3006: 3003: 3000: 2996: 2995: 2992: 2989: 2986: 2982: 2981: 2978: 2975: 2972: 2968: 2967: 2964: 2961: 2958: 2954: 2953: 2950: 2947: 2944: 2940: 2939: 2936: 2933: 2930: 2926: 2925: 2922: 2919: 2916: 2912: 2911: 2908: 2905: 2902: 2898: 2897: 2894: 2891: 2888: 2884: 2883: 2880: 2877: 2874: 2870: 2869: 2866: 2863: 2860: 2856: 2855: 2852: 2849: 2846: 2842: 2841: 2838: 2835: 2832: 2828: 2827: 2824: 2821: 2818: 2814: 2813: 2810: 2807: 2804: 2800: 2799: 2796: 2793: 2790: 2786: 2785: 2782: 2779: 2776: 2772: 2771: 2768: 2765: 2762: 2755: 2752: 2749: 2748: 2707: 2705: 2698: 2692: 2689: 2686: 2685: 2682: 2679: 2676: 2670: 2669: 2667: 2665: 2662: 2658: 2657: 2651: 2648: 2645: 2635: 2634: 2631: 2628: 2625: 2619: 2618: 2616: 2614: 2611: 2607: 2606: 2603: 2600: 2597: 2591: 2590: 2587: 2584: 2581: 2574: 2573: 2571: 2569: 2566: 2562: 2561: 2558: 2555: 2552: 2546: 2545: 2543: 2541: 2538: 2534: 2533: 2530: 2527: 2524: 2518: 2517: 2514: 2511: 2508: 2502: 2501: 2498: 2495: 2492: 2485: 2484: 2481: 2478: 2475: 2449: 2446: 2423: 2422: 2420: 2419: 2412: 2405: 2397: 2394: 2393: 2392: 2391: 2386: 2381: 2376: 2371: 2366: 2361: 2356: 2351: 2346: 2338: 2337: 2333: 2332: 2329: 2328: 2327: 2326: 2321: 2316: 2311: 2306: 2301: 2296: 2291: 2286: 2278: 2277: 2273: 2272: 2271: 2270: 2265: 2260: 2255: 2250: 2245: 2237: 2236: 2228: 2227: 2223: 2222: 2219: 2218: 2217: 2216: 2211: 2206: 2198: 2197: 2193: 2192: 2191: 2190: 2185: 2177: 2176: 2172: 2171: 2170: 2169: 2164: 2159: 2154: 2149: 2144: 2139: 2134: 2129: 2124: 2119: 2114: 2109: 2101: 2100: 2092: 2091: 2087: 2086: 2085: 2084: 2079: 2074: 2069: 2064: 2059: 2054: 2046: 2045: 2041: 2040: 2030: 2029: 1988: 1986: 1979: 1973: 1970: 1953: 1950: 1924: 1923: 1920: 1917: 1913: 1912: 1909: 1906: 1902: 1901: 1898: 1895: 1891: 1890: 1889:Tha Ka Dhi Mi 1887: 1884: 1880: 1879: 1876: 1873: 1869: 1868: 1865: 1862: 1847:is called the 1839:The number of 1836: 1821: 1801: 1800: 1795: 1784: 1775: 1757: 1748: 1739: 1730: 1726:is by default 1707: 1706: 1703: 1699: 1698: 1695: 1691: 1690: 1687: 1683: 1682: 1679: 1675: 1674: 1671: 1667: 1666: 1661: 1646: 1643: 1642: 1641: 1634: 1627: 1621: 1607: 1601: 1590: 1587: 1586: 1585: 1571: 1557: 1535: 1495:, also called 1483: 1482: 1479: 1476: 1473: 1470: 1467: 1464: 1458: 1457: 1454: 1451: 1448: 1445: 1442: 1439: 1435: 1434: 1431: 1428: 1425: 1422: 1419: 1416: 1412: 1411: 1408: 1405: 1402: 1399: 1396: 1393: 1389: 1388: 1385: 1382: 1379: 1376: 1373: 1370: 1366: 1365: 1362: 1359: 1356: 1353: 1350: 1347: 1343: 1342: 1339: 1336: 1333: 1330: 1327: 1324: 1320: 1319: 1313: 1307: 1301: 1295: 1289: 1284: 1235:(four talas), 1227: 1226: 1185: 1183: 1176: 1170: 1167: 953:matra, akshara 916:symbols. Each 884: 883: 842: 840: 833: 827: 824: 773:Yadava dynasty 666:tape-recording 657:Michael Witzel 652:oral tradition 644:Gayatri mantra 611:set to music. 562: 559: 398: 395: 379: 376: 373: 372: 370: 369: 362: 355: 347: 344: 343: 342: 341: 336: 330: 329: 324: 319: 314: 309: 304: 296: 295: 291: 290: 289: 288: 283: 278: 276:Carnatic music 270: 269: 261: 260: 175:, such as the 116: 115: 94:. Knowledge's 55: 53: 46: 15: 9: 6: 4: 3: 2: 5979: 5968: 5965: 5963: 5960: 5958: 5955: 5953: 5950: 5949: 5947: 5932: 5929: 5927: 5924: 5922: 5919: 5917: 5914: 5912: 5909: 5907: 5904: 5902: 5899: 5897: 5894: 5892: 5891:Rhythmic mode 5889: 5887: 5884: 5882: 5879: 5877: 5874: 5872: 5869: 5867: 5864: 5862: 5859: 5857: 5854: 5852: 5849: 5847: 5844: 5842: 5839: 5837: 5834: 5832: 5829: 5827: 5824: 5822: 5819: 5817: 5814: 5812: 5811: 5807: 5803: 5800: 5799: 5798: 5795: 5793: 5790: 5786: 5783: 5782: 5781: 5778: 5776: 5773: 5771: 5770:Canter rhythm 5768: 5766: 5763: 5761: 5758: 5756: 5753: 5751: 5748: 5747: 5744: 5740: 5736: 5729: 5724: 5722: 5717: 5715: 5710: 5709: 5706: 5699: 5696: 5693: 5690: 5688: 5684: 5682: 5679: 5678: 5667: 5661: 5657: 5656: 5651: 5647: 5643: 5639: 5635: 5631: 5630: 5625: 5621: 5617: 5615: 5614:0-937879-00-2 5611: 5607: 5606: 5601: 5597: 5591: 5587: 5586: 5580: 5576: 5570: 5566: 5565: 5559: 5556: 5552: 5548: 5542: 5538: 5537: 5532: 5528: 5525: 5524: 5519: 5515: 5511: 5507: 5503: 5499: 5498: 5486: 5480: 5476: 5475: 5470: 5465: 5461: 5455: 5451: 5450: 5444: 5440: 5434: 5430: 5429: 5424: 5420: 5417: 5416: 5411: 5410:"Tala, Music" 5406: 5403: 5397: 5394:, Routledge, 5393: 5392: 5387: 5383: 5379: 5378: 5373: 5369: 5366: 5362: 5358: 5352: 5348: 5347: 5342: 5338: 5334: 5330: 5326: 5322: 5318: 5314: 5313: 5307: 5303: 5297: 5292: 5291: 5284: 5283: 5269: 5263: 5259: 5252: 5245: 5240: 5238: 5236: 5234: 5218: 5217:Kafqa Academy 5214: 5208: 5202: 5196: 5189: 5188:Kaufmann 1968 5184: 5176: 5170: 5166: 5161: 5160: 5154: 5148: 5140: 5134: 5130: 5129: 5121: 5114: 5109: 5102: 5097: 5089: 5083: 5079: 5078: 5073: 5067: 5065: 5057: 5053: 5052:0-8356-7330-8 5049: 5045: 5044: 5037: 5031:, p. 14. 5030: 5025: 5023: 5015: 5010: 5008: 5000: 4995: 4993: 4985: 4980: 4973: 4968: 4961: 4956: 4948: 4946:1-4051-3251-5 4942: 4938: 4934: 4930: 4924: 4917: 4912: 4905: 4900: 4893: 4888: 4886: 4878: 4874: 4870: 4866: 4861: 4855:, pp. 107–108 4854: 4850: 4846: 4840: 4832: 4826: 4822: 4821: 4816: 4810: 4803: 4798: 4790: 4786: 4782: 4778: 4773: 4768: 4764: 4760: 4759: 4751: 4749: 4742:, p. 56. 4741: 4740:Gangolli 2007 4736: 4734: 4726: 4721: 4713: 4707: 4703: 4702: 4694: 4686: 4680: 4676: 4675: 4667: 4660: 4655: 4653: 4651: 4643: 4642:Caudhurī 2000 4638: 4630: 4624: 4620: 4619: 4611: 4609: 4601: 4596: 4594: 4586: 4581: 4573: 4567: 4563: 4562: 4554: 4546: 4540: 4536: 4535: 4527: 4520: 4515: 4513: 4505: 4500: 4498: 4490: 4485: 4483: 4481: 4479: 4477: 4469: 4464: 4462: 4460: 4458: 4450: 4445: 4438: 4433: 4426: 4421: 4419: 4417: 4412: 4399: 4396: 4393: 4390: 4389: 4385: 4382: 4379: 4376: 4375: 4371: 4368: 4365: 4362: 4361: 4357: 4354: 4351: 4348: 4347: 4343: 4340: 4337: 4334: 4333: 4329: 4326: 4323: 4320: 4319: 4315: 4312: 4309: 4306: 4305: 4301: 4298: 4295: 4292: 4291: 4283: 4281: 4278: 4274: 4273: 4268: 4267: 4262: 4253: 4251: 4249: 4247: 4245: 4243: 4240: 4237: 4236: 4232: 4229: 4226: 4223: 4220: 4217: 4214: 4211: 4210: 4206: 4203: 4200: 4197: 4194: 4191: 4188: 4185: 4184: 4181: 4179: 4170: 4167: 4164: 4161: 4158: 4155: 4152: 4149: 4148: 4144: 4141: 4138: 4135: 4132: 4129: 4126: 4123: 4122: 4118: 4115: 4112: 4109: 4106: 4103: 4101: 4098: 4097: 4094: 4093: 4089: 4087: 4086: 4081: 4071: 4068: 4065: 4064: 4060: 4057: 4054: 4053: 4049: 4046: 4043: 4042: 4038: 4035: 4032: 4031: 4027: 4024: 4021: 4020: 4016: 4013: 4010: 4009: 4005: 4002: 3999: 3998: 3994: 3991: 3988: 3987: 3983: 3980: 3977: 3976: 3972: 3968: 3965: 3964: 3960: 3957: 3954: 3953: 3949: 3946: 3943: 3942: 3938: 3935: 3932: 3931: 3927: 3924: 3921: 3920: 3916: 3913: 3910: 3909: 3905: 3902: 3899: 3898: 3894: 3891: 3888: 3887: 3874: 3871: 3868: 3867: 3863: 3860: 3857: 3856: 3852: 3849: 3846: 3845: 3841: 3838: 3835: 3834: 3830: 3827: 3824: 3823: 3819: 3816: 3813: 3812: 3808: 3805: 3802: 3801: 3797: 3794: 3791: 3790: 3777: 3774: 3771: 3768: 3767: 3763: 3760: 3757: 3754: 3753: 3749: 3746: 3743: 3740: 3739: 3735: 3732: 3729: 3726: 3725: 3721: 3718: 3715: 3712: 3711: 3707: 3704: 3701: 3698: 3697: 3693: 3690: 3687: 3684: 3683: 3679: 3676: 3673: 3670: 3669: 3665: 3662: 3659: 3656: 3655: 3651: 3648: 3645: 3642: 3641: 3637: 3634: 3631: 3628: 3627: 3623: 3620: 3617: 3614: 3613: 3609: 3606: 3603: 3600: 3599: 3595: 3592: 3589: 3586: 3585: 3581: 3578: 3575: 3572: 3571: 3567: 3564: 3561: 3558: 3557: 3553: 3550: 3547: 3544: 3543: 3539: 3536: 3533: 3530: 3529: 3525: 3522: 3519: 3516: 3515: 3511: 3508: 3506:Gamanashrama 3505: 3502: 3501: 3497: 3494: 3491: 3488: 3487: 3483: 3480: 3477: 3474: 3473: 3469: 3466: 3463: 3460: 3459: 3455: 3452: 3450:Davalaambari 3449: 3446: 3445: 3441: 3438: 3435: 3432: 3431: 3427: 3424: 3421: 3418: 3417: 3413: 3410: 3407: 3404: 3403: 3399: 3396: 3393: 3390: 3389: 3385: 3382: 3379: 3376: 3375: 3371: 3368: 3365: 3362: 3361: 3357: 3354: 3351: 3348: 3347: 3343: 3340: 3337: 3334: 3333: 3329: 3326: 3323: 3320: 3319: 3315: 3312: 3309: 3306: 3305: 3301: 3298: 3295: 3292: 3291: 3287: 3284: 3281: 3278: 3277: 3273: 3270: 3267: 3264: 3263: 3259: 3256: 3253: 3250: 3249: 3245: 3242: 3239: 3236: 3235: 3231: 3228: 3225: 3222: 3221: 3217: 3214: 3211: 3208: 3207: 3203: 3200: 3197: 3194: 3193: 3189: 3186: 3183: 3180: 3179: 3175: 3172: 3169: 3166: 3165: 3161: 3158: 3155: 3152: 3151: 3147: 3144: 3141: 3138: 3137: 3133: 3130: 3127: 3124: 3123: 3119: 3116: 3113: 3110: 3109: 3105: 3102: 3100:Varuna priya 3099: 3096: 3095: 3091: 3088: 3085: 3082: 3081: 3077: 3074: 3071: 3068: 3067: 3063: 3060: 3057: 3054: 3053: 3049: 3046: 3043: 3040: 3039: 3035: 3032: 3029: 3026: 3025: 3021: 3018: 3015: 3012: 3011: 3007: 3004: 3002:Suryakantham 3001: 2998: 2997: 2993: 2990: 2987: 2984: 2983: 2979: 2976: 2973: 2970: 2969: 2965: 2962: 2959: 2956: 2955: 2951: 2948: 2945: 2942: 2941: 2937: 2934: 2931: 2928: 2927: 2923: 2920: 2917: 2914: 2913: 2909: 2906: 2903: 2900: 2899: 2895: 2892: 2889: 2886: 2885: 2881: 2878: 2875: 2872: 2871: 2867: 2864: 2861: 2858: 2857: 2853: 2850: 2847: 2844: 2843: 2839: 2836: 2833: 2830: 2829: 2825: 2822: 2819: 2816: 2815: 2811: 2808: 2805: 2802: 2801: 2797: 2794: 2791: 2788: 2787: 2783: 2780: 2777: 2774: 2773: 2769: 2766: 2764:Name of raga 2763: 2760: 2759: 2745: 2742: 2734: 2731:December 2016 2724: 2720: 2714: 2713: 2708:This section 2706: 2702: 2697: 2696: 2683: 2680: 2677: 2675: 2672: 2671: 2668: 2666: 2663: 2660: 2659: 2656: 2652: 2649: 2646: 2644: 2640: 2637: 2636: 2632: 2629: 2626: 2624: 2621: 2620: 2617: 2615: 2612: 2609: 2608: 2604: 2601: 2598: 2596: 2593: 2592: 2588: 2585: 2582: 2579: 2576: 2575: 2572: 2570: 2567: 2564: 2563: 2559: 2556: 2553: 2551: 2548: 2547: 2544: 2542: 2539: 2537:Ada Chautaal 2536: 2535: 2531: 2528: 2525: 2523: 2520: 2519: 2515: 2512: 2509: 2507: 2504: 2503: 2499: 2496: 2493: 2490: 2487: 2486: 2482: 2479: 2476: 2473: 2472: 2469: 2466: 2464: 2460: 2456: 2445: 2441: 2439: 2434: 2429: 2418: 2413: 2411: 2406: 2404: 2399: 2398: 2396: 2395: 2390: 2387: 2385: 2382: 2380: 2377: 2375: 2372: 2370: 2367: 2365: 2362: 2360: 2357: 2355: 2352: 2350: 2347: 2345: 2342: 2341: 2340: 2339: 2335: 2334: 2325: 2322: 2320: 2317: 2315: 2312: 2310: 2307: 2305: 2302: 2300: 2297: 2295: 2292: 2290: 2287: 2285: 2282: 2281: 2280: 2279: 2276:Semiclassical 2275: 2274: 2269: 2266: 2264: 2261: 2259: 2256: 2254: 2251: 2249: 2246: 2244: 2241: 2240: 2239: 2238: 2234: 2233: 2230: 2229: 2225: 2224: 2215: 2212: 2210: 2207: 2205: 2202: 2201: 2200: 2199: 2195: 2194: 2189: 2186: 2184: 2181: 2180: 2179: 2178: 2174: 2173: 2168: 2165: 2163: 2160: 2158: 2155: 2153: 2150: 2148: 2145: 2143: 2142:Esraj/Dilruba 2140: 2138: 2135: 2133: 2130: 2128: 2125: 2123: 2120: 2118: 2115: 2113: 2110: 2108: 2105: 2104: 2103: 2102: 2098: 2097: 2094: 2093: 2089: 2088: 2083: 2080: 2078: 2075: 2073: 2070: 2068: 2065: 2063: 2060: 2058: 2055: 2053: 2050: 2049: 2048: 2047: 2043: 2042: 2039: 2036: 2035: 2026: 2023: 2015: 2012:December 2016 2005: 2001: 1995: 1994: 1989:This section 1987: 1983: 1978: 1977: 1969: 1966: 1962: 1961:Onnaam kaalam 1958: 1949: 1947: 1944:, are called 1943: 1939: 1935: 1931: 1921: 1918: 1915: 1914: 1910: 1907: 1904: 1903: 1899: 1896: 1893: 1892: 1888: 1885: 1882: 1881: 1877: 1874: 1871: 1870: 1866: 1863: 1860: 1859: 1856: 1854: 1850: 1846: 1842: 1834: 1830: 1826: 1820: 1818: 1814: 1810: 1806: 1799: 1796: 1794: 1790: 1789: 1785: 1783: 1779: 1776: 1773: 1769: 1765: 1761: 1758: 1756: 1752: 1749: 1747: 1743: 1740: 1738: 1734: 1731: 1729: 1725: 1722: 1721: 1720: 1718: 1714: 1704: 1701: 1700: 1696: 1693: 1692: 1688: 1685: 1684: 1680: 1677: 1676: 1672: 1669: 1668: 1665: 1662: 1660: 1657: 1656: 1653: 1652: 1638: 1635: 1631: 1628: 1625: 1622: 1619: 1615: 1611: 1608: 1605: 1602: 1599: 1596: 1595: 1594: 1583: 1579: 1575: 1572: 1569: 1565: 1561: 1558: 1555: 1551: 1547: 1543: 1539: 1536: 1533: 1529: 1525: 1522: 1521: 1520: 1518: 1514: 1510: 1506: 1502: 1498: 1494: 1490: 1480: 1477: 1474: 1471: 1468: 1465: 1463: 1460: 1459: 1455: 1452: 1449: 1446: 1443: 1440: 1437: 1436: 1432: 1429: 1426: 1423: 1420: 1417: 1414: 1413: 1409: 1406: 1403: 1400: 1397: 1394: 1391: 1390: 1386: 1383: 1380: 1377: 1374: 1371: 1368: 1367: 1363: 1360: 1357: 1354: 1351: 1348: 1345: 1344: 1340: 1337: 1334: 1331: 1328: 1325: 1322: 1321: 1317: 1314: 1311: 1308: 1305: 1302: 1299: 1296: 1293: 1290: 1288: 1287:Anga notation 1285: 1283: 1280: 1279: 1276: 1274: 1270: 1266: 1262: 1258: 1254: 1250: 1246: 1242: 1238: 1234: 1223: 1220: 1212: 1209:December 2016 1202: 1198: 1192: 1191: 1186:This section 1184: 1180: 1175: 1174: 1166: 1164: 1160: 1156: 1152: 1147: 1145: 1141: 1137: 1133: 1129: 1125: 1121: 1117: 1113: 1109: 1104: 1102: 1098: 1094: 1090: 1089: 1084: 1080: 1076: 1072: 1068: 1064: 1060: 1056: 1052: 1048: 1044: 1039: 1037: 1036:ateeta eduppu 1033: 1029: 1025: 1021: 1017: 1013: 1009: 1005: 997: 992: 988: 986: 985: 980: 976: 972: 968: 964: 963: 958: 954: 950: 946: 943:in sections ( 942: 938: 935:is called an 934: 929: 927: 923: 919: 915: 911: 907: 903: 899: 895: 891: 880: 877: 869: 866:December 2016 859: 855: 849: 848: 843:This section 841: 837: 832: 831: 823: 821: 817: 813: 809: 804: 802: 798: 794: 790: 786: 782: 778: 774: 770: 766: 765: 759: 757: 753: 749: 745: 740: 736: 735: 734:Natya Shastra 729: 726: 722: 718: 714: 705: 701: 699: 695: 691: 687: 683: 679: 675: 669: 667: 660: 658: 653: 647: 645: 641: 637: 633: 629: 625: 621: 617: 612: 610: 609: 604: 603: 598: 594: 590: 586: 582: 579:) and dance ( 578: 574: 573: 568: 565:The roots of 558: 556: 552: 548: 544: 540: 536: 532: 528: 524: 520: 516: 512: 508: 504: 503: 498: 494: 489: 487: 483: 479: 478: 473: 468: 466: 461: 457: 452: 447: 439: 434: 430: 428: 424: 420: 416: 412: 408: 404: 394: 385: 368: 363: 361: 356: 354: 349: 348: 346: 345: 340: 337: 335: 332: 331: 328: 325: 323: 320: 318: 315: 313: 310: 308: 305: 303: 300: 299: 298: 297: 293: 292: 287: 284: 282: 279: 277: 274: 273: 272: 271: 267: 263: 262: 259: 256: 255: 252: 250: 246: 242: 238: 236: 235: 230: 226: 225: 220: 215: 211: 207: 205: 201: 197: 193: 188: 184: 180: 179: 174: 171:era texts of 170: 166: 162: 160: 156: 155: 150: 146: 142: 138: 137:musical meter 134: 130: 127: 123: 112: 109:November 2021 102: 97: 93: 86: 76: 66: 59: 54: 45: 44: 38: 34: 30: 26: 22: 5952:Tala (music) 5910: 5808: 5654: 5633: 5627: 5604: 5584: 5563: 5554: 5535: 5522: 5505: 5473: 5469:Narayan, Ram 5448: 5427: 5413: 5390: 5386:Nettl, Bruno 5376: 5345: 5319:(2): 51–56. 5316: 5310: 5289: 5279:Bibliography 5257: 5251: 5243: 5220:. 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