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The 108 karanas of Tandava have inspired Shiva sculptures of the 1st-millennium BCE, particularly the Tandava style which fuses many of these into a composite image found at the Nataraja temple of Chidambaram. [26] [27] Shiva as Nataraja or Krishna dancing the Tandava is a recurring theme in the Chola period bronzes. Various Shiva temples in ...
Nataraja is a significant visual interpretation of Brahman and a dance posture of Shiva. The details in the Nataraja artwork have attracted commentaries and secondary literature such as poems detailing its theological significance. [19] [24] It is one of the widely studied and supreme illustrations of Hindu art from the medieval era. [45] [46]
The theory of music, techniques for singing, and music instruments are discussed over chapters 28 to 34. [ 43 ] [ 41 ] The text in its final chapters describes the various types of dramatic characters, their roles and need for team work, what constitutes an ideal troupe, closing out the text with its comments of the importance of performance ...
The Theory and Technique of Electronic Music (2007) Max (software), Pure Data: Philip Ewell: born 1966 Music Theory and the White Racial Frame (2020) Race in music, Russian and twentieth century music, as well as rap and hip hop [218] Ellie Hisama: Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (2007)
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
The depiction of Shiva as Nataraja (Sanskrit नटराज; Naṭarāja) is a form (mūrti) of Shiva as "Lord of Dance". [278] [279] The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. [280] His association with dance and also with music is prominent in the Puranic period. [281]
The doctrine of the affections, also known as the doctrine of affects, doctrine of the passions, theory of the affects, or by the German term Affektenlehre (after the German Affekt; plural Affekte) was a theory in the aesthetics of painting, music, and theatre, widely used in the Baroque era (1600–1750).
Lasya (Sanskrit: लास्य, romanized: Lāsya) is a female dance form that originated in India. [1] In Hindu mythology, Lasya refers to the dance innovated and performed by the goddess Parvati, described to be gentle and graceful. [2]