सङ्गीतरत्नाकर: प्रथम भाग (शार्ङ्गदेव - स्वरगताध्याय सविस्तार व्याख्या व अनुवाद सहित)

INDEX-CUM-GLOSSARY
OF TECHNICAL TERMS AND ALLIED CONCEPTS
(The references are to page numbers)*

Abhinavagupta—9
Abhirudgatā, a mūrcchanā of ṣaḍja-
grāma—168, 169; as also accord-
ing to Nārada—179
Abhyuccaya, an embellishment of the
ascendant tone-pattern—245, 246
Abhyudaya, a hexatonic combination-
al note-series of madhyamagrāma
—226
Acyuta (unmoved) ṣaḍja—141
Ādhāra-cakra, the foundational cycle
—85
Ādityāyana, a hexatonic combina-
tional note-series of madhyama-
grāma—225
Agnicit, a hexatonic combinational
note-series of madhyamagrāma—
226
Agniṣṭoma, a hexatonic combination-
al note-series of ṣaḍjagrāma—223,
224
Ājñā-cakra, the cycle of supreme
command—93
Ākṣepa, an embellishment of the cir-
culatory tone-pattern—249, 250,
253
Ākṣipta, an embellishment of the
ascendant tone-pattern—245, 247

Alaṅkāra, (pattern of tonal phrases)
—3, 13, 16; tonal embellishment
(the definition of ) 236, 264
Ālapa, a mūrcchanā of gāndharagrāma
—178, 179
Ālāpinī, a variety of karuṇā śruti-class
—137, 138, 139
Ālapti (the delineation of rāga)—14,
17
Alīkrama-Alisampṛkta—14, 18 ṣāḍastha,
14, 18
Alpatā (rareness)—281, 294
Aṁśa (the fundamental note)—281,
283
Anabhyāsa (non-repetition)—249, 295
Anāhata-cakra (the cycle of the
unmanifest)—91, as related to
music—96
Anāhata-nāda (the unmanifest sound)
—104
Āndhalī--312, 313, 315, 316
Āndhrī (an associate modified jāti)
—273, 274, 277, 279, 280, 290,
291, Characteristic features—
355-359
Aṅga (integral part of a musical
composition) 14, 18

• In this index the Sanskrit-terms too are written in the Roman
  script, and hence it is the order of Roman alphabet that has
  been followed excepting where the order is concerned only
  with the sibilants, the Roman providing the same letter for
  all the three, for in that case only the order of Devanāgarī
  script has been taken into consideration.

Index-Cum-Glossary 419

Aṅgirā, a pentatonic combination
note-series of ṣaḍjagrāma — 226
Añjaneya—9
Antaḥ-karaṇa (the internal organ)
—50
Antara (gāndhāra)—142; svara, defi-
nition—173, 174, 231, 320
Antarabhāṣā—13, 16
Antaramārga—281, 282 definition of
—295. 296
Anuvādī (assonant) - 148, 149
Apāna (vāyu)—57, 60
Apanyāsa (semi-final note)—281, 290
Apūrṇa-kūṭatāna (incomplete permu-
tational note-series)—186, 187,
188
Āpyāyanī, a mūrcchanā of madhyama-
grāma, according to Nārada—
178, 171
Ardhamāgadhī-gīti—376, 377, 378,
382, 384
Ardha-sāvitrī, a hexatonic combina-
tional note-series of madhyama-
grāma—225
Arjuna—8, 9
Āroha (ascendence), of notes (in
mūrcchanā)—167
Ārohī-varṇa (ascendant tone-pattern)
—245
Ārṣabhī (a śuddha jāti)—266, 273,
274, 275, 279, 280, 290, 291—
characteristic features—305-307
Ārṣabhī-kapāla—370, verbal text—
373
Āśaya-s (receptacles)—67
Ascendant tone-pattern (ārohī-varṇa)
—245
Aṣṭakapālaka, a pentatonic combina-
tional note-series of madhyama-
grāma—227
Asthi (bone)—39, 73
Asthi-sandhi-s (bone-joints)—74

Aśvakrāntā, a mūrcchanā of ṣaḍja-
grāma—268; as also according
to Nārada—178; a hexatonic
combinational note series of ṣaḍ-
jagrāma—224
Aśvamedha, a hexatonic combina-
tional note-series of ṣaḍja-grāma
—223, 224
Aśvapratigraha, a pentatonic combi-
national note-series of ṣaḍjagrāma
—226; hexatonic combinational
note series of madhyamagrāma—
225, 226
Aśvatara—8, 9, 278
Aśvin—177, 178
Ātman, the intelligent substratum of
self—30, 69
Atyagniṣṭoma, a hexatonic combina-
tional note series of ṣaḍjagrāma
—223, 224
Auḍuva (pentatone)—282, 296
Auḍuva-tāna (penta-tonic note-series)
—182
Avabhṛtha, a pentatonic combina-
tional note-series of madhyama-
grāma—227
Avalokita, an embellishment of the
circulatory tone-pattern—250,
260
Avaroha, descendence of notes in
mūrcchanā-s—167
Avarohī (descending tone-pattren)
—235
Avartaka, an alaṅkāra (embellish-
ment)—261, 262
Avidyā (nescience)—25
Āyata, a class of śruti-s—137, 138
Bahusauvarṇa, a hexatonic combina-
tional note-series of ṣaḍjagrāma
—224, 224
Bahutva (profusion)—281, 293