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The Red Line Of Descent - 2849530133

29,99 z│

The Red Line Of Descent

Ksi▒┐ki Obcojŕzyczne>Angielskie>Literature & literary studies>Poetry>Individual poets

Autumn Is The Best Of Seasons, Combining The Last Colourful Flourishes Of Summer With The Chilly Onset Of Winter. These Short Poems Celebrate The Fall Of Summer, The Shortening Of The Days And The Approaching Realism Of Winter. The Colour Red Is Also At I


Source: Wikipedia - Ragas - 2846872860

76,92 z│

Source: Wikipedia - Ragas Books LLC, Reference Series

Ksi▒┐ki / Literatura obcojŕzyczna

Source: Wikipedia. Pages: 41. Chapters: Gauri, Raga, Raga mala, Kalyani, Marva, Ragamala paintings, Ahir Bhairav, Gurmat Sangeet, Yakshagana raga, Adana, Puriya Dhanashree, Ragmala, Bhairavi, Malkaush, Bhopali, Khamaj, Bihag, Kalavati, Kafi, Todi, Purvi, Sangita Makarandha, Bilaval, Darbari Kanada, Bhimpalasi, Kalpanaswaram, Vrindavani sarang, Malhar, Bahar, Bilaskhani Todi, Bairari, Madhukali, Kirwani, Alhaiya Bilawal, Sohni, Asa, Ragas in the Guru Granth Sahib, Kedar, Gond, Tilang, Dhanasari, Vasant, Sorath, Yaman, Bhupal Todi, Bhatiyar, Pilu, Bibhas, Malgunji, Desh, Bihagara, Megh, Avarohana, Bageshri, Hindol, Shahana, Lalit, Asavari, Tilak Kamod, Shankara, The Raga Guide, Jog, Pakad, Jaunpuri, Durga, Hem Bihag, Sindhu Bhairavi, Zeelaf, Megh Malhar, Gurjari Raga, Raga Music, Barwa, Sarpada, Hameer, Multani, Desi, Ramkali, Bairagi, Patmanjiri. Excerpt: A raga (Sanskrit raga ,, literally "colour, hue" but also "beauty, melody"; also spelled raag, rag, ragam) is one of the melodic modes used in Indian classical music. It is a series of five or more musical notes upon which a melody is made. In the Indian musical tradition, ragas are associated with different times of the day, or with seasons. Indian classical music is always set in a raga. Non-classical music such as popular Indian film songs and ghazals sometimes use ragas in their compositions. The term raga was defined by Joep Bor of the Rotterdam Conservatory of Music as "tonal framework for composition and improvisation." Nazir Jairazbhoy, chairman of UCLA's department of ethnomusicology, characterized ragas as separated by scale, line of ascent and descent, transilience, emphasized notes and register, and intonation and ornaments. The Sanskrit noun raga is derived from the verbal root ra˝j "to colour, to dye". It is used in the literal sense of "the act of dyeing", and also "colour, hue, tint", especially "red colour" in the Sanskrit epics. A figurative sense "passion, love, desire, delight" is also found in the Mahabharata. The specialized sense of "loveliness, beauty", especially of voice or song, emerges in Classical Sanskrit, used by Kalidasa and in the Pancatantra. The term first occurs in a technical context in the Brihaddeshi (dated ca. 5th to 8th century), where it is described as "a combination of tones which, with beautiful illuminating graces, pleases the people in general". Ragini (Devanagari: ┐┐┐┐┐┐) is a term for the "feminine" counterpart or "wife" to a raga. The raga-ragini scheme from about the 14th century aligned 6 'male' ragas with 6 'wives'. Raga Shree recital to Krishna and Radha, Ragamala paintings, 19th century┐┐┐┐┐ ┐┐┐┐┐┐┐┐┐┐┐┐┐┐ ┐┐┐┐┐┐┐┐┐┐┐┐┐┐┐┐ ┐┐┐┐┐┐┐ ┐┐┐┐┐┐┐┐┐┐┐ ┐ ┐ ┐┐┐ ┐┐┐┐┐┐┐ ┐┐"That which is a special dhwani (tune), is bedecked with swara (notes) and varna and is colorful or delightful to the minds of the people, is said to be r


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