GOD  OF  DANCE AND  SINGING

Introduction about dance vs singing

           Introduction About Dance Vs Singing

DANCE 

Move is for the most part, however not solely, performed with the backup of music and could conceivably be acted so as to such music. Some move, (for example, tap move) may give its very own discernible backup instead of (or notwithstanding) music. Numerous early types of music and move were made for one another and are as often as possible performed together. Striking instances of conventional move/music couplings incorporate the dance, waltz, tango, disco, and salsa. Some melodic classifications have a parallel move structure, for example, ornate music and rococo move; different assortments of move and music may share terminology however grew independently, for example, old style music and traditional artful dance.

Move and music

Fundamental article: Dance music


Move is by and large, however not only, performed with the backup of music and could possibly be acted so as to such music. Some move, (for example, tap move) may give its own discernible backup instead of (or notwithstanding) music. Numerous early types of music and move were made for one another and are as often as possible performed together. Eminent instances of customary move/music couplings incorporate the dance, waltz, tango, disco, and salsa. Some melodic types have a parallel move structure, for example, ornate music and elaborate move; different assortments of move and music may share classification however grew independently, for example, traditional music and old style artful dance.

Asia

All Indian traditional moves are to changing degrees established in the Natyashastra and accordingly share basic highlights: for instance, the mudras (hand positions), some body positions, and the incorporation of emotional or expressive acting or abhinaya. Indian traditional music gives backup and artists of almost every one of the styles wear ringers around their lower legs to antithesis and supplement the percussion.

There are currently numerous provincial assortments of Indian traditional move. Moves like "Odra Magadhi", which after decades long discussion, has been followed to display day Mithila, Odisha locale's move type of Odissi (Orissi), show impact of moves in social communications between various regions.

The Punjab zone covering India and Pakistan is the spot of root of Bhangra. It is generally referred to both as a style of music and a move. It is for the most part identified with old reap festivities, love, nationalism or social issues. Its music is composed by an instrument called the 'Dhol'. Bhangra isn't simply music however a move, a festival of the reap where individuals beat the dhol (drum), sing Boliyaan (verses) and move. It grew further with the Vaisakhi celebration of the Sikhs.

The moves of Sri Lanka incorporate the fallen angel moves (yakun natima), a painstakingly made custom venturing far go into Sri Lanka's pre-Buddhist past that joins old "Ayurvedic" ideas of malady causation with mental control and consolidates numerous perspectives including Sinhalese cosmology. Their impact can be seen on the old style moves of Sri Lanka.

Two old style ballet performers play out a grouping of The Nutcracker, a standout amongst other known works of traditional move


The moves of the Middle East are normally the conventional types of circle moving which are modernized to a degree. They would incorporate dabke, tamzara, Assyrian people move, Kurdish move, Armenian move and Turkish move, among others. All these types of moves would as a rule include members connecting each other by clasping hands or arms (contingent upon the style of the move). They would make cadenced moves with their legs and shoulders as they bend around the move floor. The leader of the move would for the most part hold a stick or handkerchief.


                          SINGING

In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows; on the larynx, which acts as a reed or vibrator; on the chest, head cavities and skeleton, which have the function of an amplifier, as the tube in a wind instrument; and on the tongue, which together with the palate, teeth, and lips articulate and impose consonants and vowels on the amplified sound. Though these four mechanisms function independently, they are nevertheless coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by the abdominal, internal intercostal and lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals, scalenes, and sternocleidomastoid muscles. The pitch is altered with the vocal cords. With the lips closed, this is called humming.

The sound of each individual's singing voice is entirely unique not only because of the actual shape and size of an individual's vocal cords, but also due to the size and shape of the rest of that person's body. Humans have vocal folds which can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume (loudness), timbre, or tone of the sound produced. Sound also resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual.

Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds. These different kinds of laryngeal function are described as different kinds of vocal registers.The primary method for singers to accomplish this is through the use of the Singer's Formant; which has been shown to match particularly well to the most sensitive part of the ear's frequency range.

It has also been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa. The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds.