ABSTRACT
The Indian musician is as much concerned with this inner kernel of reality and its expression and statement in the flow of sound as the artist is in his struggle to give expression to what is so fugitive in representational art. The Sangeet Ratnakara states that an ornamental vocalization which is known as an alamkara is a combination of several melodic phrases which make up altogether an overall movement or varna. Sanchari are the mixing up of all the forms into really elaborate interweavings and permutations of a complex multitude which often sound like a whirlpool of sound. It is a distorted simplification but it illustrates visually an approximation of the principle behind the memoria technica which every musician carries in his brain from years of hard labour memorizing by ear. Laya is the tempo of the music of which tala plays the detailed part. Laya again brings to mind certain imagery of the painting craft.
