Technical Definitions Flashcards

1
Q

Taal

A

Measurement calculating the number of beats utilised in a certain amount of time.

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2
Q

Aavartan

A

One cycle of any taal.

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3
Q

Laya

A

Rhythm, tempo or pulse. Determined by the duration of time between two beats.

Three types:

  • Vilambit: Slow
  • Madhya: Moderate
  • Drut: Fast
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4
Q

Taali

A

Taali means clap. It is the beat where you clap.

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5
Q

Khaali

A

Khaali means empty. It the rest point of the taal. The tabla player hardly ever plays the tabla on this beat. It is shown by the wave of a hand

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6
Q

Matra

A

Matra means the set of beats in a Vibhag

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7
Q

Vibhag

A

Subdivisions of a taal. Denoted by a small vertical line. Each Vibhag has a certain number of matras.

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8
Q

Sam

A

The first beat of all Taals. The dancer must return to the sam after an avartan. this is an accented beat and is denoted by an x

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9
Q

Theka

A

Thekas are the syllables of a taal played on the tabla. Eg:- Dha, Dhin Dhin, Dha

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10
Q

Lehra

A

The melody played on an instrument representing a taal cycle as an accompaniment. Can be played in different Raags.

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11
Q

Tatkar

A

Basic footwork of any Kathak for a taal. It is considered to have been derived from Natwari Bols

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12
Q

Tihai

A

Tihai is an intricate footwork composition that is repeated thrice and which ends on the Sam.

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13
Q

Tukra

A

Tukra means piece. Tukras are small compositions are usually spread over a single aavartan. Generally has less matras.

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14
Q

Todas

A

Similar to tukras, but more elaborate compositions.

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15
Q

Thaat

A

Means decoration/graceful attitude. Dancer uses gentle movements of eyes, waist, wrists etc. while performing. Minimum accompaniment from tabla.

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16
Q

Uthaan

A

Performed after thaat. Can start on any beat but ends on Sam. Means ‘uthke aana’

17
Q

Aamad

A

Means entrance. Previously used to mark a dancer’s entrance on stage but now performed after thaat and uthan. Composed of patterns of Natwari bols. First introduction of bols into the performance.

18
Q

Paran

A

Composition comprising of pakhawaj bols instead of dance or tabla only. Eg:- Dhum Kita, Dhage Ti Ta

19
Q

Paran-aamad / Paran judi Aamad

A

When an aamad is joined after a paran

20
Q

Chakkardaar Paran (only definition, not types)

A

Paran compositions that have a repetitive pattern

21
Q

Chakkardaar Pharmaishi Paran

A
  • First dha of first cycle’s tihai comes to the Sam
  • Second dha of second cycle’s tihai comes to the sam
  • Thirs dha of third cycle’s tihai comes to the sam
22
Q

Kamali Chakkardaar Paran

A

The tihai should include 3 dhas.

23
Q

Kavitta

A

Poem set on time cycle. Narrates mythological episodes like kaliya daman or Krishna Leela. Dancer expresses the meaning of Kavitta through gesture & movement

24
Q

Gat Nikas

A

Gat = walk

Shows abstract and beautiful scenes of everyday life with chakkar paltas in between. No bols. Only theka and lehra

25
Q

Gat Bhav

A

Dancer uses dramatic gat to portray mundane daily events. Dancer plays all the characters in the story and switches betw/ them using paltas.

Mix of Abhinaya (expressions), Nritta (Movement of body w/ rhythm) and Natya (Dance). No accompaniment of songs or words, only mime.

26
Q

Ladi

A

Sequence of bols repeating in different combinations. Footwork composition. Ends in a Tihai

27
Q

Tarana

A

Type of composition in Hindustani classical music and dance. Contains words based on Arabic phonemes. Invented by Aamir Khusro

28
Q

Bhajan

A

Means sharing. Bhajans are any songs with a religious/spiritual theme sung in a regional folk language. Based on Raags. Belongs to Bhakti Rasa and ideas stem from scriptures, legendary epics etc.

Genre examples: Nirguni, Gorakhnathi

29
Q

Thumri

A

Word is derived from thumkana or ‘walk with dancing steps to make anklet bells tinkle’. It is a common genre of Semi classical Indian Music. Lyrics in Awadhi, Hindi or Brij Bhasha

The form is associated with love poetry, dramatic gestures, dance etc. The text is devotional/romantic in nature and often revolves around a girl’s love for Krishna

30
Q

Paramelu

A

Para = Different and melu = Union

Composition with different sound syllables of different percussion instruments - manjira, nagada, Jhanja, Pakhawaj as well as Natwari bols.

Other syllables: Jhanak, Dhivang, Thudang

31
Q

Jaati

A

A particular group of a specific number of bols/words

Types:

  • Tishra Jati: 3
  • Chatushra: 4
  • Khanda: 5
  • Mishra: 7
  • Sankeerna: 9

All betw/ 2 matras ^