Music and Dance have great affinity with each other and together with rhythm it is called 'Sangitam'. They work with the principles of symmetry and harmony. However,the fundamental truth about music is its tremendous potentiality to raise man to a spiritual heights. As we notice, every raga(melody/tune) has a capacity to produce certain mood which helps to manifest the creation of rasa in the audience.
Amarakosha defines Tala in music as "KaalaKriyamanam" tala is the measurement of time which disciplines music and entices the audience to gain stability. Appropriate sentiments can be created only if the musical notes i.e, swara is coordinated with tala. From the ancient times, creation of sentiments has been possible only by changing the tempo of the Tala.
Sarangadeva in his Sangeeta Ratnakara expounded the theory that each Swara /musical note carries its own emotional cloud around it for eg: Sa- Ri - depicts Veera( Valour) and Adbhuta (wonder)
Dha- Bhibahtsa (Disgust and Bhayanaka(fear)
Ga-Ni - depcits Karuna (Pathos) Hasya (laughter) Shringara ( love).
similarly rhythm becomes essential in creating rasa.
Having this knowledge of music its our responsibility as a dancer/Choreographer to take utmost care to chose the right tempo to convey the desired emotions. For eg: Shanta-Karuna rasa can be depicted in Vilambita(Slow) tempo Shringara-Love in Madhya or Medium tempo, Veera Or Bhaya in Druta(fast tempo).
Amarakosha defines Tala in music as "KaalaKriyamanam" tala is the measurement of time which disciplines music and entices the audience to gain stability. Appropriate sentiments can be created only if the musical notes i.e, swara is coordinated with tala. From the ancient times, creation of sentiments has been possible only by changing the tempo of the Tala.
Sarangadeva in his Sangeeta Ratnakara expounded the theory that each Swara /musical note carries its own emotional cloud around it for eg: Sa- Ri - depicts Veera( Valour) and Adbhuta (wonder)
Dha- Bhibahtsa (Disgust and Bhayanaka(fear)
Ga-Ni - depcits Karuna (Pathos) Hasya (laughter) Shringara ( love).
similarly rhythm becomes essential in creating rasa.
Having this knowledge of music its our responsibility as a dancer/Choreographer to take utmost care to chose the right tempo to convey the desired emotions. For eg: Shanta-Karuna rasa can be depicted in Vilambita(Slow) tempo Shringara-Love in Madhya or Medium tempo, Veera Or Bhaya in Druta(fast tempo).
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