Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 29
Stran 28
... accordance . Challenges here may come from rhythmic accompaniment , integral to Kathak ; or from the mere contemplation as to how sparkling a pattern would look at For double the present pace ; and these too must be met in terms of ...
... accordance . Challenges here may come from rhythmic accompaniment , integral to Kathak ; or from the mere contemplation as to how sparkling a pattern would look at For double the present pace ; and these too must be met in terms of ...
Stran 87
... accordance will be merely ignored . Intensive though it fairly is , it would be wrong to suppose that the way I have analyzed the two paran āmads is exhaustive . I have missed a vital point which may now be mentioned . In a whole Kathak ...
... accordance will be merely ignored . Intensive though it fairly is , it would be wrong to suppose that the way I have analyzed the two paran āmads is exhaustive . I have missed a vital point which may now be mentioned . In a whole Kathak ...
Stran 150
... accordance with its true vocal idiom , a dhamăr can admit of pretty long rhythmic bouts without any loss of the seriousness requisite for classical art ; and the dhruvapada form , even where it uses the simple Chautāla rhythm , enjoins ...
... accordance with its true vocal idiom , a dhamăr can admit of pretty long rhythmic bouts without any loss of the seriousness requisite for classical art ; and the dhruvapada form , even where it uses the simple Chautāla rhythm , enjoins ...
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Abhinavagupta abhinaya accompanist aesthetic experience aestheticians amad appear art-work artist attention attunement bandish basic beats beauty Bharatanatyam bhāva Birju Maharaj bodily bols character charm chukkurdār classical dance clear contemplation course creative dance form dancer danseuse demands dhruvapada distinct distinguished drummer elements emotion emphasis essay essential everyday expression expressional fact feeling flow footfalls footwork freely gently gestures hand Ibid imagination individual inner intra-form Jāti Kathak dance Kathak Kendra Kathak recital kind Krishna lahra Langer läsya laya look mark mātrās means merely movement mudrā mukhvilās nritta object Odissi overall pace Pakhawaj paran paṛhant pattern Phenomenology posture present projection question rāga rasa rasika relation relish representation respect rhythm rhythmic sangeet seems seen self-complete sense speak śringāra sthāyibhāva suggest syllables Tablā taken tāla tatkār thața thumri tiyā torhā Tritāla vandanā variform vibhāva vilambit vocal whole winsome word थेई धधिगिन है