Anagram & Information om | Engelska ordet VEENA

Exempel på hur man kan använda VEENA i en mening

• Subbulakshmi (Kunjamma to her family) was born on 16 September 1916 in Madurai, Madras Presidency, to veena player Shanmukavadiver Ammal and Subramania Iyer.
• While Uchchhishta-Matangini carries a noose, sword, goad, and club, her other well-known form, Raja-Matangi, plays the veena and is often pictured with a parrot.
• A kirtan performance includes an accompaniment of regionally popular musical instruments, especially Indian instruments like the Indian harmonium, the veena, sitar, or ektara (strings), the tabla (one-sided drums), the mrdanga or pakhawaj (two-sided drum), flute (woodwinds), and karatalas or talas (cymbals).
• His compositions, of which around 500 are known and are noted for their elaborate, poetic descriptions of Hindu gods / temples and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas.
• She is also trained in playing the veena, and has a good command over Tamil, Sanskrit, Kannada, Telugu, which helps her sing with greater understanding or artha bhava (meaning and emotion).
• Raghavendra Tirtha was also an accomplished player of the veena and he composed several songs under the name of Venu Gopala.
• It provides a valuable hardwood used for furniture, ornamental panelling, shipbuilding, and musical instruments like the sitar, rudra veena, and drums.
• In the area of instrumental music, giants such as Dwaram Venkataswamy Naidu (violin), Emani Sankara Sastry (veena), Sheik Chinna Moulana (Nadaswaram), and Chitti Babu (veena) are famous.
• The gottuvadyam is a 20 or 21-string fretless lute-style veena in Carnatic music from around the late 19th and early 20th centuries, named by Sakha Rama Rao from Tiruvidaimarudur, who was responsible for bringing it back to the concert scene.
• The term thaat is also used to refer to the frets of stringed instruments like the sitar and the veena.
• Although he was discouraged by his father from experimenting with the structure of the veena, he nevertheless modified the instrument after his father's death to better equip it for solo performance, transforming it into a larger bass instrument (sometimes called a 'Dagar veena'): With the help of the instrument house Kanailal & Brother, he enlarged the tumbas (gourds) and dhandhi (hollow neck) to create greater resonance and to allow the notes to sustain longer and so better reproduce the techniques used in dhrupad singing.
• The first of these was a mix of the sarod, veena and surbahar, developed in 1948 by Radhika Mohan Maitra.
• If he is represented with only two arms, his hands must carry a trident and a kapala or one of the hands (the left one generally) might be in the varadamudra; if, however, he has four hands, the two front ones should be sculptured as playing upon a veena and the others are to be held in the varada and abhaya mudras.
• Ustad Allauddin Khan was passing on not only playing technique but the musical knowledge and approach of the Maihar gharana (school); yet there was a definite trend in his teaching to infuse the sitar and sarod with the been-baj aesthetic of the Rudra veena, surbahar and sursringar—long, elaborate alaap (unaccompanied improvisation) built on intricate meend work (bending of the note).
• Tapered pegs are common on classical Indian instruments such as the sitar, the Saraswati veena, and the sarod, but some like the esraj and Mohan veena often use modern tuning machines instead.
• The name "rudra veena" comes from Rudra, a name for the Lord Shiva; rudra vina means "the veena of Shiva" (compare Saraswati veena).
• Raman's training in Carnatic classical music makes its presence felt in Tamil classical titles such as "Sharavana," her singing "Meanwhile" (on the same album) in a rāgam called Kanakaangi, and in the song "Light Years" which features a melody in Kalyani rāgam as well as the veena playing of Punya 'Devi' Srinivas.
• The veena was often used to accompany the Dhrupad style of singing and this did not allow for much intricacy or embellishment around the notes.

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