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Ratna Indraswari (24 April 1949 – 28 March 2011), nicknamed the Queen of the Bees, was an Indonesian poet, author, and human rights activist.Paralyzed since the age of 10, she composed more than 400 short stories and novels during her life, including socially and critically engaged works such as the environmentalist Lemah Tanjung (2003).
Sucharitra scale with shadjam at C. It is the 1st rāgam in the 12th chakra Aditya.The mnemonic name is Aditya-Pa.The mnemonic phrase is sa ru gu mi pa dha na. [3] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):
Pada rangkap is sometimes used as an iteration mark for reduplicated words (for example kata-kata ꦏꦠꦏꦠ → kata2 ꦏꦠꧏ) [54] Several punctuation marks do not have Latin equivalents and are often decorative in nature with numerous variant shapes, for example the rerenggan which is sometimes used to enclose titles.
The Research Organization for Archaeology, Language, and Literature (Indonesian: Organisasi Riset Arkeologi, Bahasa, dan Sastra, ORARBASTRA) [1] is one of Research Organizations under the umbrella of the National Research and Innovation Agency (Badan Riset dan Inovasi Nasional, BRIN). On 24 January 2022, the formation of the agency is announced ...
Jamboopathe by Muthuswamy Dikshitar, set to Rupaka talam is a famous composition. Some other famous compositions in Yamunakalyani are Krishna Nee Begane by Vyasatirtha, Bhavayami Gopalam by Annamacharya, Pibare Ramarasam by Sadashiva Brahmendra, O Rama Nee Nama by Bhadrachala Ramadasu, Sri Ramachandra Kripalu by Sant Tulsidas, Haridasulu by Tyagaraja and Kadana Vatsava Hari by Vijayadasa in ...
Shuddha Saveri or śuddha sāveri is a ragam in Carnatic music (musical scale of South Indian classical music) and Yakshagana music. It is an audava rāgam (or owdava rāgam, meaning pentatonic scale). It is a janya rāgam (derived scale)of the Melakarta
An alapana, sometimes also called ragam, [7] is the exposition of a raga or tone - a slow improvisation with no rhythm, [8] where the raga acts as the basis of embellishment. [9] In performing alapana, performers consider each raga as an object that has beginnings and endings and consists of sequences of thought.
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