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Doha is a lyrical verse-format which was extensively used by Indian poets and bards of North India probably since the beginning of the 6th century AD. Dohas of Kabir, Tulsidas, Raskhan, Rahim and the dohas of Nanak called Sakhis are famous. Satasai of Hindi poet, Bihārī, contains many dohas. Dohas are written even now.
The song enthralled the college students and Margaret Cousins, then vice-principal of the college (also an expert in European music and wife of Irish poet James Cousins). Based on the notes provided by Tagore himself, the song was preserved in 1919 in Western notation at Madanapalle of Andhra Pradesh by Margaret Cousins and her students.
Shloka or śloka (Sanskrit: श्लोक śloka, from the root श्रु śru, lit. ' hear ' [1] [2]) in a broader sense, according to Monier-Williams's dictionary, is "any verse or stanza; a proverb, saying"; [3] but in particular it refers to the 32-syllable verse, derived from the Vedic anuṣṭubh metre, used in the Bhagavad Gita and many other works of classical Sanskrit literature.
According to Frits Staal, it is "the Rigveda set to music". [15] It is a fusion of older melodies (sāman) and the Rig verses. [15] It has far fewer verses than Rigveda, [6] but Samaveda is textually larger because it lists all the chant- and rituals-related score modifications of the verses. [15]
Carnatic songs (kritis) are varied in structure and style, but generally consist of three units: Pallavi. This is the equivalent of a refrain in Western music, with 1 or 2 lines. Anupallavi. This is the second verse, also as 2 lines. Charana. The final (and longest) verse that wraps up the song. The Charanam usually borrows patterns from the ...
While ragas in Hindustani music are divided into thaats, ragas in Carnatic music are divided into melakartas. A raga ( IAST : rāga , IPA: [ɾäːɡɐ] ; also raaga or ragam or raag ; lit. ' colouring ' or ' tingeing ' or ' dyeing ' [ 1 ] [ 2 ] ) is a melodic framework for improvisation in Indian classical music akin to a melodic mode . [ 3 ]
Doha (Urdu: دوہا, Hindi: दोहा, Punjabi: ਦੋਹਾ) is a form of self-contained rhyming couplet in poetry composed in Mātrika metre. This genre of poetry first became common in Apabhraṃśa and was commonly used in Hindustani language poetry. [1] Among the most famous dohas are those of Sarahpa, Kabir, Mirabai, Rahim, Tulsidas ...
The Hindi Kavita project, initiated by Manish Gupta in 2014, has contributed to the promotion and popularization of Hindi poetry through various platforms. [23] [24] Hindi Kavita has also made significant contributions to Indian film music. Several famous musical masterpieces have been witnessed.