Anagrams & Informasjon om | Engelsk ordet ALAP

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Eksempler på bruk av ALAP i en setning

• Quark acquired A Lowly Apprentice Productions (ALAP), which provides extended technology for the publishing and graphic design industries, in 2005.
• Nevertheless, a concert with a solo sarangi as the main item will sometimes include a full-scale raag presentation with an extensive alap (the unmeasured improvisatory development of the raga) in increasing intensity (alap to jor to jhala) and several compositions in increasing tempo called bandish.
• In dhrupad singing the alap is unmetered, improvised (within the raga) and unaccompanied (except for the tanpura drone), and started at a slow tempo.
• In Hindustani classical music, the jor (Hindi: जोर, ; also spelt jod and jhor) is a formal section of composition in the long elaboration (alap) of a raga that forms the beginning of a performance.
• The alap consists of tambura drone, over which the main melody is outlined on dilruba, a bow-played string instrument that Boyd began learning in India.
• Pepper's Lonely Hearts Club Band in June 1967, and both songs were arranged in a Hindustani classical structure, with distinct alap, gat and drut gat sections.
• Described by Harrison biographer Simon Leng as "essentially an adaptation of a blues lick", the seven-note motif that closes the alap serves as a recurring motif during the ensuing gat.
• Examples of musical genres employing free time include Gregorian chant, the petihot used as transitions between Baqashot in Sephardic Jewish cantillation, nusach, layali, early types of organum, Anglican chant, the préludes non mesurés of 17th-century French lute and keyboard music, the alap of Hindustani classical music, Javanese pathetan, the hora lungă of Romania, the urtiin duu of Mongolia, the Zulu izibongo, free improvisation, free jazz and noise music.
• His full performance practice started with a surbahar alap in dhrupad ang (embellished with more romantic touches), followed by a shorter alap on the sitar leading into gat in traditional Imdadkhani style.
• He has specialized in advanced techniques of Alap - Jod - Jhala, laykari, voice culture and pedagogy both traditional and institutional.
• London soon left the group, and Toko Yasuda joined the band in 1995 to record their first album Stealing From Our Favorite Thieves in 1996 with Alap Momin at Sweetwood Sound.
• Musicians belonging to the gharana adhere to a dhrupad aesthetic in their approach to playing the alap and jor portions in a raga.
• During the sessions for the aforementioned release, they recorded several more songs for future releases at NJ's Sweetwood Sound with current Dalek member Alap Momin behind the boards.
• This is the only Gharana that has still continued to sing Dhrupad-Dhamar along with Nom-Tom Alap, Khayal, Thumri, Tappa, Tarana, Hori,.
• His alap was constructed along the lines of a dhrupad alap, and his jod and jhala derived a lot from rudra vina technique.
• Narayan's performances are strung together from the meditative and measured alap (non-metrical introduction) and jor (performance with pulse) in dhrupad style, followed by a faster and less reserved gat section (composition with rhythmic pattern provided by the tabla) in khyal style.
• Though Rao credits "Tose Naina" as her career debut song, the soundtrack of the film Ek Ajnabee (2005) has a semi-instrumental track titled "Stranger On The Prowl" which has Rao's alap incorporated within it.
• The singing of a borgeet is preceded by raga diya or raga tana, the local term for alap, but unlike the syllables used in Khyal or Dhrupad, words like Rama, Hari, Govinda, etc.
• This album is the first Starkweather recording with bassist Vincent Rosa, and features extensive lead guitar work by frequent collaborator Bill Molchanow as well as soundscape interludes by producer Oktopus (Alap Momin from Dälek) and Liz Jacobs (Sophia Perennis).
• Prominent in his recital is Gayaki Ang, with imaginative Alap, Jod Jhala, Gatkari and Layakari, in which he excels.
• Darbhanga gharana is based on the Gauhar Vani of dhrupad and is unique in that it has equal balance between the alap, or opening section, and the bandish instead of emphasising the alap as is typical in other dhrupad gharanas.
• His Raga presentation unites the meditative depth in the Alap (introduction) – the unparalleled fortitude of the Dagarbani Dhrupad – with the dynamic interpretation of the faster performance stages (Jor, Jhala), a distinguished characteristic of the Khandarbani style.
• It was initiated by the International Visegrad Fund along with public service media from Visegrád Group countries (Telewizja Polska, Polskie Radio, Česká televize, Český rozhlas, Rozhlas a televízia Slovenska, Médiaszolgáltatás-támogató és Vagyonkezelő Alap) and established by memorandum of understanding between public service media form Visegrád Group countries on 18 June 2015.
• Athavale questioned the legitimacy of gharanas and argued that their salient features were defined by alap, bol, and taan, not merely swara and laya.

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