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The word kafi, is of Arabic origin, used in the sense of "final" or "enough" in the expression “Allah Kafi”, which means, “God Almighty is Supreme”. Thus the kafi is a devotional form of music composed in a particular form derived from a mixture of classical, semi-classical, and light music forms (specifically, the khayal , tappa ...
The songs which constitute the qawwali repertoire are primarily in Persian, Urdu, and Hindi, [13] [14] although Sufi poetry appears in local languages as well (including Punjabi, Saraiki, and dialects of northern India like Braj Bhasha and Awadhi.) [15] [16] The sound of regional language qawwali can be totally different from that of mainstream ...
Grant, O harvest Lord, that we Wholesome grain and pure may be. 3. For the Lord our God shall come, And shall take the harvest home; From His field shall in that day All offences purge away, Giving angels charge at last In the fire the tares to cast; But the fruitful ears to store In the garner evermore. 4. Then, thou Church triumphant come,
Woh Humsafar Tha (Urdu: وہ ہم سفر تھا, ‘Wuh ham-safar tha’ lit. He was [my] co-journeyer) is a ghazal written in 1971 by Naseer Turabi [1] after the Fall of Dhaka. It serves as the title song for the Pakistani drama serial Humsafar. The ghazal was originally sung by Abida Parveen [2] and later by Qurat-ul-Ain Balouch.
The Urdu ghazal makes use of two main rhymes: the radif and qaafiya. [9] The radif is a repeating refrain consisting of a single word or short phrase that ends every second line in the ghazal. [9] However, in the matla, the first she'r of a ghazal, the radif will end both lines of the she'r. [8] The qaafiya is a rhyming syllable that precedes ...
Naʽat (Bengali: নাত and Urdu: نعت) is poetry in praise of the Islamic prophet, Muhammad. The practice is popular in South Asia (Bangladesh, Pakistan and India), commonly in Bengali, Punjabi, or Urdu. People who recite Naʽat are known as Naʽat Khawan or sanaʽa-khuaʽan.
[citation needed] Somewhat like American soul music, but with melancholy instead of funk, most ghazals can be viewed in a spiritual context, with the Beloved being a metaphor for God or the poet's spiritual master. It is the intense Divine Love of Sufism that serves as a model for all the forms of love found in ghazal poetry.
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