与 «A VĂDÍ»相关的罗马尼亚语书籍
在以下的参考文献中发现
a vădí的用法。与
a vădí相关的书籍以及同一来源的简短摘要提供其在 罗马尼亚语文献中的使用情境。
1
Fine Arts in Ancient India - Pagina 45
In other words, a Vadi is the key svara or the main note which predominates in the Raga. A note which is next only to the Vadi in importance is called Sarhvadi and it follows the key note, that is, Vadi, like a Mantri or minister. Besides these two ...
2
Bhatkhande's Contribution to Music: A Historical Perspective
Vadi swara is the main swara of a raga and is considered like a king. It is also called as 'Jiva' swara, meaning the life- giving note. 2. Mere change of vadi swara can change a raga and also the singing time. 3. Vadi swara denotes a raga. 4.
3
Handbook of Amazonian Languages - Volumul 3 - Pagina 257
(384) o-karaga-'a-ha ada Fatima ka-mai'da lSG-find-ASP-THEME,m DEM,m Fatima GEN-comb,m 'I Paumari 257. 'house' 'arm' 1SG o-gora-na o-vadi-0 2SG i-gora-ni i-vadi-ni 3SG,f gora-ni vadi-ni 3SG,m gora-na vadi-0 1PL a-gora-na a-vadi-0 ...
Desmond C. Derbyshire, Geoffrey K. Pullum, 1991
4
Sixty-four Arts in Ancient India - Pagina 34
Every Raga must have a Vadi, meaning a note that stands for the Raga. A Vadi thus is the most important of all notes that constitute a Raga. In other words, a Vadi is the key swara or the main note which predominates in the Raga. A note ...
5
Essays on Religion, Literature and Law - Pagina 97
Nor can we say that cultivation is the economic base of vadi A, as only three families out of 23 concentrate on agriculture. The families of vadi A belong to nine exogamous groups, that is, there are no marriages among families with the same ...
Günther-Dietz Sontheimer, Heidrun Brückner, Anne Feldhaus, 2004
6
Blândețea scorpionului (Romanian edition)
Piesele poematice sunt expuse, în exemplaritatea lor de etalon lăuntric, spre a vădi o autonomie a realizării de sine, într-o strălucire pro se, datorată fidelității față de razele primordiale, nealterate, ale intenției inițiale. Revelatoriu este ...
7
Daruind vei dobindi: Cuvinte de credinta
Mai este negreşit nevoie, de vrem să ne mântuim, de mărturisirea ei cu gura ori de câte ori suntem puşi în situaţia de a vădi cine suntem, ce credem şi ce hram purtăm. Despre această îndatorire a creştinilor am mai avut prilejul să vorbim290.
N. Steinhardt, Stefan Iloaie, 2011
8
A historical study of Indian music - Pagina 126
An amsa or a vadi really determines the genuine form and nature of the raga, and so Matanga has defined vddi as "vadandt iti vadi" Parsvadeva (7th-9th or 7th-llth century ad) has also supported this definition. In fact, an amsa or a vddi is ...
Prajnanananda (Swami), 1981
9
The science of music - Pagina 56
can have 12 sub-species of chhayas by the variation of Vadi and Samvadi. There is therefore the possibility of constructing 84 ragas for each set of 7 swaras. This method of creating derivative ragas appears to have found favour in the ancient ...
10
The Origin of the Rāga: A Short Historical Sketch of ... - Pagina 92
Similarly Utter or Utteranga Ragas having their Vadi note in Utteranga are sung between midnight and mid-day. These M Ragas may be classified into the following two groups according to the notes used as Vadi in them. Group I. Poorva ...
Shripada Bandyopadhyaya, 1946
