: is a kind of melody in Hindusthani music. It is a kind of composition
of the light classical kind.
DAGAR : is the name of a family of musicians who are traditional dhrupad singers.
DARDILA : is used to describe a voice or music touched with anguish.
DASAVIDHA GAMAKA : are 10 kinds of gamakas - Avaroha, Dhalu, Sphuritha, Kampitha, Ahata, Pratyahatha, Tripuchcha, Andola, Murchchana.
DEEM TA DEEM : is the mnemonic of syllables of the tarana compositions of khayals.
DATU PRAYOGA : a musical phrase containing datu swaras. A raga admits of only those datu swara prayogas which reveal and establish its melodic individuality.
DATU SWARA : a note removed from another note by some steps.
DATU SWARA VARISAI : swara exercises involving datu swaras. The practice of these exercises develops swarajnanam.
DHATU : the technical term signifying the music of a composition as distinguished from the term 'maatu', which signifies the sahitya of the composition.
DHRUVA : a kind of musical composition referred to by Bharatha in his Natya Sastra, used in dramas.
DHRUVAPADA (Dhrupad) : a form of song in Hindustani music, sung in slow tempo.
DHVANI : literally, means sound.
DINDI : a Marathi musical form sung in Kathakalakshepams.
DIVYANAAMA KIRTANA : literally, a song containing the names of the Lord & His praises and intended for being sung in bhajans.
DIVYANAAMA SANKIRTANAM : practice of Divyanaama kirtanaas.
DHUNS : are those tunes which many folk and rural songs are based.
DHEERGHA(long) : a long note lasting atleast two units of time as opposed to a swara which lasts only one unit beat of time.
DIVYA PRABANDHAM : the 4000 verses of slokas composed by Vaishnava saints in Tamil.
DRISYA GAANAM : singing from sight. Musical passages given in notation.
DHURITA KAALAM : quick tempo.
DVAADASA MUDRA : the 12 kinds of mudras figuring in musical compositions. Mudras are names introduced into the sahitya of a musical composition to signify facts like its composer, raga, tala, type, etc.,
DVIDHATU PRABHANDA : a musical composition which has 2 sections; Udgraaha nd Dhruva. Jayadeva's Ashtapadi are examples.
DVIMUDRAKAARA : a composer who has used two kinds of mudras in his compositions.
DVITIYA RAGAVARDHANI : the second section of the main part of the body of the raga aalaapana. The sanchaaras in this section are confined to the madhya sthayi, with occasssional flights in the other octaves. The sanchaaras in this section in particular reveal the individuality, creative talents and imaginative skill of the performer.