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What is the greek word for the word decathlon?
decathlon is of a Greek originδέκαθλον [thekathlon] < δέκα[theka] +άθλον [athlon]δέκα = ten (see decade, decimal)άθλος = achievement (see athlete)
What is 1-10 in Greek?
In Greek, the numbers 1-10 are: 1 - ένα (éna) 2 - δύο (dýo) 3 - τρία (tría) 4 - τέσσερα (téssera) 5 - πέντε (pénte) 6 - έξι (éxi) 7 - επτά (eptá) 8 - οκτώ (októ) 9 - εννιά (enniá) 10 - δέκα (déka)
Is a tala an instrument?
A Tala is the rhythmic cycle in Indian classical music. Some examples are: (most common) Tintal or Teental - 16 beats in the pattern 4 + 4 + 4 + 4 Keherwa Tal - 8 beats in the pattern 2 + 2 + 2 + 2 Rupak Tal - 7 beats in the pattern 3 + 2 + 2
What does the phrase between the 2 advents in the bible mean?
The Tabla developed as a hybridized drum, influenced by al these varieties in particular, the mridangam and the puskara. Musicians often placed the puskara's smaller vertical drum (called 'alinga') on their lap and played more than one drum at a time. Given the design, technology, and musical structure for drums common in this period, we can piece together numerous features of the Tabla. The name 'Tabla', probably derived from the Arabic word for a drum (generic), called the 'tabl', and possibly to some extent the Turkish word 'dawal'. Another popular notion is that Amir Khursuro invented the Tabla by splitting the Pakawaj into two drums. This is highly disputed. Over the last two centuries, the Tabla begins to take the forefront of percussion instruments in north Indian Classical music. We can trace the family lineage of the gharanas from the 18th century onward. Over this time, the Tabla slowly changed, the dayan (right) decreasing in size while the bayan (left) increased. Just as the "note" is the basis of the melodic component of music, the bol is the foundation for Taal. Bol literally means speech or syllables. Different schools of percussion may pronounce the same bol differently. Several bols structured in a specific manner and arranged in sub-divisions are called thekas. Although thekas are usually standard, bols of thekas can vary slightly, depending on the musical school or individual style of the Tabla player. The Tabla player strikes the theka repeatedly at a pace set by the melodic performer or dancer; thus providing the rhythmic foundation for the melodic improvisation. The role of Tabla players is more significant during an instrumental recital since percussionists here are expected to complement the melodic and rhythmic performance of the instrumentalist rather than just playing plain theka as in vocal performances. The interaction between the Tabla player and melodic performer can be exciting, as the percussionist imitates the rhythmic patters created by the melodic performer, and the two artist synchronize their approach to the samm after an improvised phrase, especially a tihai (a pattern repeated three times).
How do you count to 10 in Greek?
0= Μηδέν (mee-then)1= Ένα (aena)2= Δύο (thee-o)3= Τρία (tree-a)4= Τέσσερα (taess-aer-a)5= Πέντε (paend-ae)6= Έξι (aeks-ee)7= Εφτά (aefta)8= Οχτώ (oct-o)9= Εννιά (en-ey-ya)10= Δέκα (thae-ca)
How is the rhythmic time cycle of India recognized?
Indian Rhythmic CyclesThe concept of the ever-recurring cyclic rhythms of the universe is one of the basic tenets of Hindu philosophy. The perception of the cyclic nature of life is reflected in Indian classical music through the device of tala, a recurring time-measure or rhythmic cycle. Just as in the Hindu religion, man is born, lives his life, dies and is then reincarnated to begin a new life, so the tala cycle begins, develops and then returns to the sam, the first beat of the cycle, anchor of all melody and rhythm and the leading beat to which all returns.There are two different traditions in Indian classical music, the Carnatic music of South India and the Hindustani music of North India. The music of South India retained a purity of development that has led to a highly organized theoretical system. In contrast, Hindustani music has achieved its equally high artistic standards through the cultural interaction between Hindus and Muslims, producing an extremely rich but less-systemized music.The book Ancient Traditions--Future Possibilities, by Matthew Montfort, contains exercises that teach both North and South Indian rhythms. Some of these exercises are adapted here for the World Wide Web.Using MIDIGM Standard MIDI files of North and South Indian rhythm exercises from the book are presented here, arranged for General MIDI conga and bongo. Use these to practice, or as a rhythm track for an original composition.Computers with multimedia capabilities now come configured for MIDI playback via web browsers. However, with the built-in MIDI support in Netscape and Explorer, some files may not reproduce properly. For proper playback, this site recommends the Beatnik Plugin which supports both GM voices and user programmable sounds.To set up playback on a MIDI sound module that is not GM compatible, see the mridangam MIDI map of the sounds of the mridangam (a South Indian two-headed barrel drum made of jackwood with goatskin heads), or the tabla MIDI map of the sounds of the tabla (a North Indian pair of drums with goat-skin heads).South Indian GroovesSouth Indian Solkattu MIDI File. Solkattu is the onomatopoetic drum syllable language of the mridangam. This composition in khanda gati adi tala, an 8 beat rhythmic cycle where each beat is divided into quintuplets, is an advanced level example from Chapter 3, Exercise IV, pages 86-87.(345K GIF of Solkattu Notation)To practice reciting solkattu, use this pronunciation guide to Indian drum syllables along with the GIF of solkattu notation shown above.North Indian GroovesThe tabla has a language all its own. For every sound on the drum there is a corresponding syllable. These syllables are known as bols, and to the tabla master these onomatopoetic bols and their corresponding sounds on the drums are almost one and the same. Each North Indian tala has a theka, a standard set of bols that identify the rhythmic cycle. The theka aids the soloist in keeping time. Practice reciting the following thekas while keeping track of the rhythmic cycle, as shown in the following link. The MIDI files of these thekas make excellent groove tracks for creating compositions or practicing.Thirteen Talas is an explanation of the thekas for thirteen different talas, including instructions for keeping tal (marking of the beat using hand gestures), as well as MIDI files of the thekas arranged for General MIDI conga and bongo.Ancient Rhythms--Future Grooves: MIDI Percussion Groove Tracks from the Traditions of Africa, Bali, and India. Want more MIDI files? Get this complete collection of MIDI files based on the book Ancient Traditions--Future Possibilities.© info. E-mail: info@ancient-future.com
How do you say the numbers 1 - 10 in Greek?
101
What geographical problems did Pakistan encounter as a new country in 1947?
Accession of Princely States Prior to partition, there existed in British India many semi-autonomous Princely states whose future had to be settled before Britain withdrew from India. There were some 560 such states all over the Sub-continent. Some fell within Indian territory, others in Pakistan. On July 25, 1947, Lord Louis Mountbatten (the last Viceroy of India) in his address to the Chamber of Princes advised them that in deciding the question of accession, they should take into consideration communal composition and the geographical location of their states. Nearly all the states accepted the reality of the situation and opted either for Pakistan or India accordingly. But there were four states, Junagadh, Hyderabad, Jodhpur and Kashmir, which defied the principle of partition. I. Junagadh: The ruler of Junagadh was a Muslim but 80 percent of his subjects were Hindus. On September 15, 1947, the Nawab acceded to Pakistan, despite the fact that his state did not fall within the geographical grouping of Pakistan. India protested, stormed in her troops, and forcibly reversed the Nawab's decision and Junagadh became a part of India. II. Hyderabad: Hyderabad, the second of the defiant states was the largest and richest in India. Its population was 85 percent Hindu but the ruler (Nizam) was a Muslim. He was reluctant to accede either to India or Pakistan but was dismissed by Mountbatten for adopting this course. The Nizam was forced by the Indian government and Lord Mountbatten to join India. A standstill agreement was concluded between India and Hyderabad. The Hindu subjects were incited to revolt against the Nizam's desire to be independent. The whole province suffered turmoil and violence. Hyderabad filed a compliant with the Security Council of the United Nations. Before the hearing could be started, Indian troops entered Hyderabad to "restore order", and under the pretext of "police action" Hyderabad was forced to join India. The Hyderabad army surrendered on September 17, 1948, and finally Hyderabad was annexed into the Indian Union. III. Jodhpur: Yet another prince, the Maharaja of Jodhpur, expressed a wish to join Pakistan but Mountbatten warned him that his subjects were mostly Hindus and his accession to Pakistan would create problems. As a result Jodhpur, too, acceded to India. IV. Kashmir: Please see "Kashmir Crisis".
