Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
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Zadetki 1–3 od 21
Stran 59
... reference here is to Ustad Zakir Hussain , the well - known Tablă player of today , who is matched only by Delhi's Shafaat Ahmad Khan in respect of providing sangati to Kathak dancers . 10. Phenomenology is the philosophical movement ...
... reference here is to Ustad Zakir Hussain , the well - known Tablă player of today , who is matched only by Delhi's Shafaat Ahmad Khan in respect of providing sangati to Kathak dancers . 10. Phenomenology is the philosophical movement ...
Stran 60
... reference here is to the Jaipur paran ämad — which , as such , cannot move more repidly than it does commencing with the bolsa ff , a pattern which is analyzed in Chapter III . 36. Like the khali bol f occurring between the eighth and ...
... reference here is to the Jaipur paran ämad — which , as such , cannot move more repidly than it does commencing with the bolsa ff , a pattern which is analyzed in Chapter III . 36. Like the khali bol f occurring between the eighth and ...
Stran 162
... reference to all the different elements of dance and to their proper integration . It is the word beauty , I suggest , which alone is so meaningful . The other predicates used are all alike aspectual in significance . Where we find an ...
... reference to all the different elements of dance and to their proper integration . It is the word beauty , I suggest , which alone is so meaningful . The other predicates used are all alike aspectual in significance . Where we find an ...
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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