Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 87
Stran 90
... pattern is a form of syllables that strike the ear variously in respect of both tone and pace . So it is different from laya which may be contemplated as a mere flow where the bols are sparse or distantly positioned , and so appear to ...
... pattern is a form of syllables that strike the ear variously in respect of both tone and pace . So it is different from laya which may be contemplated as a mere flow where the bols are sparse or distantly positioned , and so appear to ...
Stran 91
... pattern's seeming completeness than in the case of anagat patterns I just referred to . If , on the other hand , we reflect as to how , in spite of its many clear silences , the second amad discussed in this chapter appears quite ...
... pattern's seeming completeness than in the case of anagat patterns I just referred to . If , on the other hand , we reflect as to how , in spite of its many clear silences , the second amad discussed in this chapter appears quite ...
Stran 145
... pattern is being danced - the harmonium may be allowed to sway , and in suggesting the flow of the lahra the Sārangi may be given preference . This , of course , demands that the accompanists clearly see what their true role is : that ...
... pattern is being danced - the harmonium may be allowed to sway , and in suggesting the flow of the lahra the Sārangi may be given preference . This , of course , demands that the accompanists clearly see what their true role is : that ...
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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