{"id":4458,"date":"2021-07-14T17:58:12","date_gmt":"2021-07-14T17:58:12","guid":{"rendered":"https:\/\/chandrakantha.com\/?page_id=4458"},"modified":"2021-09-02T20:18:19","modified_gmt":"2021-09-02T20:18:19","slug":"glossary-s","status":"publish","type":"page","link":"https:\/\/chandrakantha.com\/glossary\/glossary-s\/","title":{"rendered":"Glossary S"},"content":{"rendered":"\n<p>by <a href=\"https:\/\/chandrakantha.com\/about-us\/bio-of-d-courtney\/\">David Courtney<\/a> <img loading=\"lazy\" src=\"https:\/\/chandrakantha.com\/media\/l_p_s.gif\" alt=\"working tools\" width=\"39\" height=\"10\"><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p>| <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-a\">A<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-b\">B<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-c\">C<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-d\">D<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-e\">E<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-f\">F<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-g\">G<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-h\">H<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-i\">I<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-j\">J<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-k\">K<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-l\">L<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-m\">M<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-n\">N<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-o\">O<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-p\">P<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-q\">Q<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-r\">R<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-s\">S<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-t\">T<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-u\">U<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-v\">V<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-w\">W<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-x\">X<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-y\">Y<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-z\">Z<\/a> |<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p id=\"sectA\">Select the first letter of the word from the list above to jump to appropriate section of the glossary.<\/p>\n\n\n\n<script async=\"\" src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\n<!-- March20_4_2020 -->\n<ins class=\"adsbygoogle\" style=\"display:block\" data-ad-client=\"ca-pub-0047309040523061\" data-ad-slot=\"9410001606\" data-ad-format=\"auto\" data-full-width-responsive=\"true\"><\/ins>\n<script>\n     (adsbygoogle = window.adsbygoogle || []).push({});\n<\/script>\n\n\n\n<p><strong>sa<\/strong> \u2013 The first note of the Indian scale.<br><strong>saami<\/strong> \u2013 A women\u2019s folk dance of the Punjab.<br><strong>saaz<\/strong> &#8211; A musical instrument.<br><strong>sabrang<\/strong> &#8211; The nom de plume of Bade Ghulam Ali Khan(1902-1968).<br><strong>sabri brothers<\/strong> &#8211; Ghulam Farid Sabri (1930-1994) and Maqbool Ahmed Sabri (1945-2011) , who were 20th century musicians considered to be greatly responsible for raising the status of the qawwali form of singing.<br><strong>sadanand tal<\/strong> \u2013 A tal of three beats somewhat similar to dadra.<br><strong>sadarang<\/strong> &#8211; (1670-1748) Pen name of Niyamat Khan who was very noteworthy for the popularisation of the kheyal style of singing.<br><strong>sadra<\/strong> &#8211; An old style of singing that had some of the characteristics of Kheyal and some of the characteristics of Dhrupad.  It was usually performed in either Tivra tal (7 beats) or Sool tal (10 beats).<br><strong>sadhana<\/strong> \u2013 Great perseverance, practice.<br><strong>safed-char<\/strong> \u2013 The fourth white key of a harmonium\u2019s octave. (i.e., F)<br><strong>safed-chhe<\/strong> \u2013 The sixth white key of a harmonium\u2019s octave. (i.e., A)<br><strong>safed-do<\/strong> \u2013 The second white key of a harmonium\u2019s octave. (i.e., D)<br><strong>safed-ek<\/strong> \u2013 The first white key of a harmonium\u2019s octave. (i.e., C)<br><strong>safed-panch<\/strong> \u2013 The fifth white key of a harmonium\u2019s octave. (i.e., G)<br><strong>safed-saat<\/strong> \u2013 The seventh white key of a harmonium\u2019s octave. (i.e., B)<br><strong>safed-teen<\/strong> \u2013 The third white key of a harmonium\u2019s octave. (i.e., E)<br><strong>sagar tal<\/strong> \u2013 An obscure tal of 17 beats.<br><strong>sahana<\/strong> \u2013 A rag.<br><strong>sajan<\/strong> &#8211; A rare rag<br><strong>sajgiri<\/strong> &#8211; A rare rag.<br><strong>sakari<\/strong> \u2013 See \u201ccharhi\u201d.<br><strong>sakhi nata<\/strong> \u2013 A puppet dance of Odissa.<br><strong>salvanth tal<\/strong> \u2013 An obscure tal of 26 matras, formerly played on pakhawaj.<br><strong>sam<\/strong> \u2013 The first beat of a cycle. (<a href=\"https:\/\/chandrakantha.com\/music-and-dance\/i-class-music\/tala-tal\/#sam\">more info.<\/a>)<br><strong>sam grah<\/strong> \u2013 1) The process of ending a composition on the sam.  2) An archaic term indicating that the music starts on sam. One of the das pran of tal. (<a href=\"\/music-and-dance\/i-class-music\/tala-tal\/#graha\">more info.<\/a>)<br><strong>sama yati<\/strong> \u2013 (Archaic) A type of yati characterized by uniform tempo from beginning to end.<br><strong>samadarshan tal<\/strong> \u2013 An obscure tal of 24 beats.<br><strong>samant sarang<\/strong> \u2013 A rare rag.<br><strong>samavadi<\/strong> \u2013 The second most important note of a rag. (<a href=\"\/music-and-dance\/i-class-music\/rag\/#vad\">more info.<\/a>)<br><strong>samaveda<\/strong> \u2013 One of the Vedas (religious texts) of the Hindus.<br><strong>samay<\/strong> \u2013 The appropriate time for performance of a rag. (<a href=\"\/music-and-dance\/i-class-music\/rag\/#sam\">more info.<\/a>)<br><strong>sambal<\/strong> \u2013 Folk drums of western India.<br><strong>samir tal<\/strong> \u2013 An obscure tal of seven beats.<br><strong>sampurna-audav <\/strong>\u2013 A rag which has 7 notes in the ascending structure and 5 notes in the descending structure. (<a href=\"\/music-and-dance\/i-class-music\/rag\/#jat\">more info.<\/a>)<br><strong>sampurna jati<\/strong> \u2013 A rag of seven notes. (<a href=\"\/music-and-dance\/i-class-music\/rag\/#jat\">more info.<\/a>)<br><strong>sampurna-sampurna <\/strong>\u2013 A rag which has 7 notes in the ascending structure and 7 notes in the descending structure. (<a href=\"\/music-and-dance\/i-class-music\/rag\/#jat\">more info.<\/a>)<br><strong>sampurna-shadav <\/strong>\u2013 A rag which has 7 notes in the ascending structure and 6 notes in the descending structure. (<a href=\"\/music-and-dance\/i-class-music\/rag\/#jat\">more info.<\/a>)<br><strong>sampurna tihai<\/strong> \u2013 A tihai at the end of a kaida which contains the entire theme.<br><strong>samyak<\/strong> -(Archaic) A style of timekeeping in marg sashabd kriya, characterized by the striking of the stationary right hand with the left hand.<br><strong>sanchari<\/strong> \u2013 A tertiary theme found in Dhrupad and other older vocal forms.<br><strong>sandhi prakash<\/strong> &#8211; Twilight (either morning or evening.)<br><strong>sangat(i<\/strong>) \u2013 Accompaniment.<br><strong>sangavikram tal<\/strong> \u2013 An obscure tal of 64 beats.<br><strong>sangeet<\/strong> \u2013 Music and dance.<br><strong>sangeet darpan<\/strong> &#8211; 17th century treatise on music written by Damodar Mishra.<br><strong>sangeet makarand<\/strong> &#8211; 9th century treatise on music writtten my Narada (not the Narada of mythology).<br><strong>sangeet ratnakar<\/strong> \u2013 A 13th century treatise on music written by Sharangdev.<br><strong>sanghalila tal<\/strong> \u2013 An obscure tal of 14 beats.<br><strong>sanjh ka hindol<\/strong> &#8211; A rare rag.<br><strong>sankirna jati<\/strong> \u2013 A rhythm of 4 <sup>1<\/sup>\/<sub>2<\/sub>, 9, 18, etc. beats. (<a href=\"\/music-and-dance\/i-class-music\/tala-tal\/#jati\">more info.<\/a>)<br><strong>sankirna tihai<\/strong> \u2013 A tihai at the end of a kaida which contains only a portion of the theme.<br><strong>sannipat<\/strong> \u2013 (Archaic) A style of timekeeping in the marg sashabd kriya characterized by the movement of both hands.<br><strong>santoor<\/strong> \u2013 See \u201csantur\u201d.<br><strong>santur<\/strong> \u2013 An Indian hammered dulcimer.<br><strong>sapat tan<\/strong> &#8211; A tan which moves in a very straight note-by-note process to quickly move up the octave<br><strong>saptak<\/strong> \u2013 1) The gamut or octave. (<a href=\"\/music-and-dance\/i-class-music\/rag\/#sap1\">more info.<\/a>) 2) The interval of one octave (e.g., Sa and S\u00e5 or 1200 cents). 3) The register (The position in the audio spectrum expressed as 2-to1 ratios of the fundamental frequency.) (<a href=\"\/music-and-dance\/i-class-music\/rag\/#sap2\">more info.<\/a>)<br><strong>sar tal<\/strong> \u2013 An obscure tal of eight beats.<br><strong>sarang<\/strong> \u2013 A rag.<br><strong>sarangi<\/strong> \u2013 A fretless bowed instrument with numerous strings.<br><strong>saraswati<\/strong> \u2013 1) Hindu goddess of music, arts, and learning. 2) A rag.<br><strong>saraswati tal<\/strong> \u2013 An obscure tal of 18 beats.<br><strong>saraswati vina<\/strong> \u2013 The common south Indian vina.<br><strong>sargam<\/strong> \u2013 The gamut. (i.e,. Sa, Re, Ga, Ma, Pa, Dha, and Ni).<br><strong>saringda<\/strong> \u2013 A folk version of sarangi found in Rajasthan.<br><strong>sarod<\/strong> \u2013 A stringed instrument similar to rabab.<br><strong>saroj tal<\/strong> \u2013 An obscure tal of 12 beats.<br><strong>sarparada<\/strong> &#8211; A rare rag.<br><strong>sarpini<\/strong> \u2013 (Archaic) A style of silent timekeeping (deshi nishabd kriya).<br><strong>sashabd kriya<\/strong> \u2013 (Archaic) Timekeeping that makes noise (e.g., clapping of hands). (<a href=\"https:\/\/chandrakantha.com\/music-and-dance\/i-class-music\/tala-tal\/#kriya\">more info.<\/a>)<br><strong>satgun<\/strong> \u2013 Division of matra into seven divisions.<br><strong>sath<\/strong> \u2013 A class of compositions found in the pakhawaj styles.<br><strong>sath sangat<\/strong> \u2013 A style of playing where beat-for-beat the tabla follows the main artist.<br><strong>saurashtratank<\/strong> &#8211; A rare rag.<br><strong>savai<\/strong> \u2013 see \u201csawai\u201d. <br><strong>savani kalyan<\/strong> &#8211; A rare rag.<br><strong>savari badi tal<\/strong> \u2013 See \u201cbadi savari\u201d.<br><strong>savari choti tal<\/strong> \u2013 Choti savari, see \u201cpancham savari\u201d.<br><strong>savari pancham tal<\/strong> \u2013 See \u201cpancham savari\u201d.<br><strong>savari<\/strong> &#8211; A rare rag.<br><strong>savari tal<\/strong> \u2013 An obscure tal variously described as 14, 15, 16, 30, or 32 beats. See also \u201cbadi savari\u201d or \u201cchoti savari\u201d.<br><strong>sawai<\/strong> \u2013 1<sup>1<\/sup>\/<sub>4<\/sub> time. (i.e., playing five strokes in four beats.) See \u201ckuadi\u201d. (<a href=\"https:\/\/chandrakantha.com\/music-and-dance\/i-class-music\/tala-tal\/#lay2\">more info.<\/a>)<br><strong>sawai gandharva<\/strong> &#8211; (1886-1952) Famous vocalist of the Kirana gharana.<br><strong>sawal-javab<\/strong> &#8211; (lit. &#8220;question and answer&#8221;) An interchange between two musicians whereby one performs a pattern and it is duplicated by the second musician.<br><strong>saveri<\/strong> \u2013 A rare rag.<br><strong>saz<\/strong> &#8211; See &#8220;saaz&#8221;.<br><strong>semi-tone<\/strong> \u2013 One 12th of an octave (e.g., the interval between Sa and komal Re). It is also known as a \u201cminor 2nd\u201d. In Western music it is fixed at 100 cents, but is highly variable in Indian music.<\/p>\n\n\n\n<script async=\"\" src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\n<!-- March20_4_2020 -->\n<ins class=\"adsbygoogle\" style=\"display:block\" data-ad-client=\"ca-pub-0047309040523061\" data-ad-slot=\"9410001606\" data-ad-format=\"auto\" data-full-width-responsive=\"true\"><\/ins>\n<script>\n     (adsbygoogle = window.adsbygoogle || []).push({});\n<\/script>\n\n\n\n<p><br><strong>seeda kan<\/strong> \u2013 A direct way of executing a kan swar (grace note) on a sitar or similar stringed instrument.<br><strong>seni rebab<\/strong> \u2013 A large sarod like instrument popular during the Moghal period.<br><strong>senia gharana<\/strong> &#8211; The musical lineage of Mian Tansen.<br><strong>seven<\/strong> \u2013 According to the South Indian nomenclature of pitch, this represents B. It is so called because it represents the seventh white key of the octave of the harmonium.<br><strong>shabad<\/strong> \u2013 A religious song of the Sikhs.<br><strong>shadav<\/strong> \u2013 A rag composed six notes. (<a href=\"\/music-and-dance\/i-class-music\/rag\/#jat\">more info.<\/a>)<br><strong>shadav-audav <\/strong>\u2013 A rag which has 6 notes in the ascending structure and 5 notes in the descending structure. (<a href=\"\/music-and-dance\/i-class-music\/rag\/#jat\">more info.<\/a>)<br><strong>shadav-sampurna <\/strong>\u2013 A rag which has 6 notes in the ascending structure and 7 notes in the descending structure. (<a href=\"\/music-and-dance\/i-class-music\/rag\/#jat\">more info.<\/a>)<br><strong>shadav-shadav <\/strong>\u2013 A rag which has 6 notes in the ascending structure and 6 notes in the descending structure. (<a href=\"\/music-and-dance\/i-class-music\/rag\/#jat\">more info.<\/a>)<br><strong>shadj<\/strong> \u2013 The first note of the Indian scale (Sa).<br><strong>shadajagrama<\/strong> \u2013 (Archaic) A parent scale from which numerous jatis (modal forms) were derived.<br><strong>shadtal<\/strong> \u2013 An obscure tal of 12 beats.<br><strong>shagird<\/strong> \u2013 A student or disciple.<br><strong>shahana<\/strong> &#8211; A rag.<br><strong>shahana kanada<\/strong> &#8211; A rare rag.<br><strong>shai<\/strong> \u2013 Vernacular of syahi. See \u201csyahi\u201d.<br><strong>shakti<\/strong> \u2013 Energy, force, power.<br><strong>shakti<\/strong> <strong>tal<\/strong> \u2013 An obscure tal of 10 beats.<br><strong>sham chaurasia gharana<\/strong> &#8211; A vocal gharana of the Punjab, its most notworthy exponents in recent time were Nazakat Ali and Salamat Ali Khan.<br><strong>shambhu tal<\/strong> \u2013 An obscure tal of 16 beats.<br><strong>shankar tal<\/strong> \u2013 An obscure tal of 11 beats.<br><strong>shankara<\/strong> \u2013 A common rag.<br><strong>shankh<\/strong> \u2013 A conch shell horn.<br><strong>shankh tal<\/strong> \u2013 An obscure tal of 10 or 13 beats.<br><strong>shanmukh tal<\/strong> \u2013 An obscure tal of 10 beats.<br><strong>shanta<\/strong> &#8211; The emotion of peace or tranquility, one of the Navaras (nine emotions) behind all art forms.<br><strong>sharabhakrida tal<\/strong> \u2013 An obscure tal of 19 beats.<br><strong>sharabhalila tal<\/strong> \u2013 An obscure tal of 21 beats.<br><strong>sharangdev<\/strong> \u2013 (1175-1247) Author of Sangeet Ratnakar.<br><strong>sharajanma tal<\/strong> \u2013 An obscure tal of 15 beats.<br><strong>sharp<\/strong> \u2013 To be higher than a particular pitch<br><strong>shastriya sangeet<\/strong> \u2013 Classical music.<br><strong>shavarni tal<\/strong> \u2013 An obscure tal of seven beats.<br><strong>shehnai<\/strong> \u2013 An Indian oboe.<br><strong>shesh tal<\/strong> \u2013 An obscure tal of 19 beats.<br><strong>shikhir tal<\/strong> \u2013 An obscure tal of 17 beats.<br><strong>shikhiravahan tal<\/strong> \u2013 An obscure tal of 12 beats.<br><strong>shishya<\/strong> \u2013 A student, or disciple.<br><strong>shisham<\/strong> \u2013 Indian rosewood (Dalbergia sisu).<br><strong>shivaranjani<\/strong> \u2013 An extremely common pentatonic rag known for its mood of pathos.<br><strong>shivmatt bhairav<\/strong> &#8211; A rare rag.<br><strong>shobhadham tal<\/strong> \u2013 An obscure tal of 22 beats.<br><strong>shravannil tal<\/strong> \u2013 An obscure tal of 21 beats.<br><strong>shree<\/strong> \u2013 A common rag.<br><strong>shree kalyan<\/strong> &#8211; A rare rag.<br><strong>shreeranjani<\/strong> &#8211; A rag.<br><strong>shreetank<\/strong> &#8211; A rare rag.<br><strong>shringar<\/strong> &#8211; The romantic or erotic emotion, one of the Navaras (nine emotions) behind all art forms.<br><strong>shruti<\/strong> \u2013 (lit. \u201cto be heard\u201d) 1) The Vedas, 2) The drone. 3) The microtones.<br><strong>shruti tal<\/strong> \u2013 An obscure tal of 22 beats.<br><strong>shuddha<\/strong> \u2013 (lit. \u201cpure\u201d) Basic, primary.<br><strong>shuddha asawari<\/strong> \u2013 A rag.<br><strong>shuddha kalyan<\/strong> \u2013 A rag.<br><strong>shuddha jati<\/strong> \u2013 One of the seven modes which may be derived by simple modulation.<br><strong>shuddha madalam<\/strong> \u2013 Two faced drum of Kerala.<br><strong>shuddha sarang<\/strong> \u2013 A rag.<br><strong>shuddha swar<\/strong> \u2013 A natural note.<br><strong>shukla bilawal<\/strong> \u2013 A rare rag.<br><strong>shultal<\/strong> \u2013 See \u201csulfak\u201d tal.<br><strong>shyam<\/strong> \u2013 (lit. \u201cdark\u201d) Krishna.<br><strong>shyam kalyan<\/strong> \u2013 A rag.<br><strong>shyam kedar<\/strong> &#8211; A rare rag.<br><strong>siddheshwari devi<\/strong> &#8211; (1903-1977) A popular thumri singer of the Benares gharana.<br><strong>sidha<\/strong> \u2013 The small wooden right hand drum.<br><strong>simhendra madhyamam<\/strong> \u2013 A rag, originally of Carnatic music, which today is also performed in the North.<br><strong>sindh<\/strong> &#8211; A region of Pakistan.<br><strong>sindhi<\/strong> &#8211; An Indo-European language common to the Sindh region.<br><strong>sindhu bhairavi<\/strong> &#8211; A very light and popular form of Bhairavi.<br><strong>sinduri<\/strong> &#8211; A rare rag.<br><strong>singhnad tal<\/strong> \u2013 An obscure tal of 40 beats.<br><strong>sir tal<\/strong> \u2013 An obscure tal of six beats.<br><strong>sitar<\/strong> \u2013 A common long necked fretted instrument.<br><strong>sitarkhani<\/strong> \u2013 A 16 beat tal which is the same as Punjabi theka.<br><strong>six<\/strong> \u2013 According to the South Indian nomenclature of pitch, this represents A. It is so called because it represents the sixth white key of the octave of the harmonium.<br><strong>six-and-half<\/strong> \u2013 According to the South Indian nomenclature of pitch, this represents A# (B<sup>b<\/sup>). It is so called because it represents a half-step higher than the sixth white key of the octave of the harmonium.<br><strong>sohani<\/strong> \u2013 A rag.<br><strong>sool tal<\/strong> \u2013 See \u201csulfak tal\u201d.<br><strong>soolfak tal<\/strong> \u2013 See \u201csulfak tal\u201d.<br><strong>sorath<\/strong> \u2013 A rare rag.<br><strong>srotagata yati<\/strong> \u2013 (Archaic) This yati is said to flow like a stream. It begins slow and gradually increases to a fast conclusion.<br><strong>sthai<\/strong> \u2013 The primary theme of a classical vocal piece.<br><strong>stick zither<\/strong> \u2013 Any stringed instrument based upon a central stick which is either attached to or penetrates the resonator(s). (e.g., rudra vina, ektar, dotar.)<br><strong>stotra<\/strong> &#8211; A Sanskrit couplet.<br><strong>stuti<\/strong> \u2013 (lit. \u201cprayer, praise of God\u201d) See bol paran.<br><strong>sudarshan tal<\/strong> \u2013 An obscure tal of 10 or 20 beats.<br><strong>sufi<\/strong> \u2013 An Islamic mystical tradition, very popular in South Asia, which uses devotional music as an important part of its activities.<br><strong>sugrahai<\/strong> \u2013 a rare rag.<br><strong>suha<\/strong> \u2013 A rare rag.<br><strong>sul tal<\/strong> \u2013 See \u201csulfak tal\u201d.<br><strong>sulfak tal<\/strong> \u2013 An old pakhawaj tal of 10 beats.<br><strong>summation tone<\/strong> \u2013 A tone created by mixing two other tones, whose frequency equals the sum of the frequencies of the two original frequencies. This phenomenon is especially important in defining the sound of the tanpura.<br><strong>sur<\/strong> \u2013 1) A note (see \u201cswar\u201d). 2) The pitch of the tabla or other instrument. 3) The maidan of the tabla or pakhawaj.<br><strong>sur malhar<\/strong> &#8211; A rare rag.<br><strong>surbahar<\/strong> \u2013 A bass sitar.<br><strong>surdas<\/strong> \u2013 (1535-1640) A great saint who composed many bhajans.<br><strong>suresh babu<\/strong> &#8211; (1902-1953) Suresh Babu Mane, great vocalist of the Kirana gharana.<br><strong>surmandal<\/strong> \u2013 A small harp used to accompany vocalists.<br><strong>surpeti<\/strong> \u2013 A small box, sometimes hand pumped and sometimes electronic, used to provide a drone.<br><strong>sursringar<\/strong> \u2013 A large lute that was relatively popular in the past but today is very rare.<br><strong>sushir<\/strong> \u2013 A musical instrument characterized by blowing air (flute, shehnai, harmonium, etc.)<br><strong>swami haridas<\/strong> &#8211; 16th century musician\/ saint who is reputed to be the teacher of Mian Tansen.<br><strong>swar<\/strong> \u2013 A musical note. (<a href=\"\/music-and-dance\/i-class-music\/rag\/#swa\">more info.<\/a>)<br><strong>swar prastar<\/strong> \u2013 See \u201cprastar #2\u201d<br><strong>swarabat<\/strong> \u2013 A south Indian version of the sarod. It is very rare today.<br><strong>swarit<\/strong> &#8211; The upper note in the old three-note style of singing Vedic chants. The middle note being the uddata, while the lower note is the annudata.<br><strong>swarlipi<\/strong> \u2013 Musical notation.<br><strong>swarmalika<\/strong> \u2013 A style of singing where the vocalist sings the sargam of the song.<br><strong>swarmelakalanidhi<\/strong> \u2013 16th century work by Ramamatya of Vijaynagar, which was one of the first to observe the divergent paths of what became known as Hindustani and Carnatic sangeet.<br><strong>swarup<\/strong> \u2013 (lit. \u201cshape\u201d or \u201cform\u201d) See \u201cpakad\u201d. (<a href=\"\/music-and-dance\/i-class-music\/rag\/#pak\">more info.<\/a>)<br><strong>syahi<\/strong> \u2013 The black application on the heads of the tabla, pakhawaj or similar instruments.<br><strong>sympathetic strings<\/strong> &#8211; A series of strings on the sitar, sarod, or similar stringed instrument whose purpose is to vibrate whenever their corresponding note is sounded on the main playing string. The sympathetic strings are generally referred to as &#8220;tarafdar&#8221;<br><strong>sympathetic vibration <\/strong>&#8211; The phenomenon by which two vibrating objects will vibrate simultaneously, even if only one of which is excited. <\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p>| <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-a\">A<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-b\">B<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-c\">C<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-d\">D<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-e\">E<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-f\">F<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-g\">G<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-h\">H<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-i\">I<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-j\">J<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-k\">K<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-l\">L<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-m\">M<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-n\">N<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-o\">O<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-p\">P<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-q\">Q<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-r\">R<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-s\">S<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-t\">T<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-u\">U<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-v\">V<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-w\">W<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-x\">X<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-y\">Y<\/a> | <a href=\"https:\/\/chandrakantha.com\/glossary\/glossary-z\">Z<\/a> |<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<script async=\"\" src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\n<!-- March20_4_2020 -->\n<ins class=\"adsbygoogle\" style=\"display:block\" data-ad-client=\"ca-pub-0047309040523061\" data-ad-slot=\"9410001606\" data-ad-format=\"auto\" data-full-width-responsive=\"true\"><\/ins>\n<script>\n     (adsbygoogle = window.adsbygoogle || []).push({});\n<\/script>\n","protected":false},"excerpt":{"rendered":"<p>by David Courtney | A | B | C | D | E | F | G | H | I | J | K&#8230;<\/p>\n<div class=\"more-link-wrapper\"><a class=\"more-link\" href=\"https:\/\/chandrakantha.com\/glossary\/glossary-s\/\">Continue reading<span class=\"screen-reader-text\">Glossary S<\/span><\/a><\/div>\n","protected":false},"author":1,"featured_media":0,"parent":3873,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages\/4458"}],"collection":[{"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/comments?post=4458"}],"version-history":[{"count":70,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages\/4458\/revisions"}],"predecessor-version":[{"id":6083,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages\/4458\/revisions\/6083"}],"up":[{"embeddable":true,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages\/3873"}],"wp:attachment":[{"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/media?parent=4458"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}