N Western music theory, the term sentence<span> is analogous to the way the term is used in </span>linguistics, in that it usually refers to a complete, somewhat self-contained statement. Usually a sentence refers to musical spans towards the lower end of the durational scale; i.e. melodic or thematic entities well below the level of 'movement' or 'section', but above the level of 'motif' or 'measure<span>'. The term is usually encountered in discussions of </span>thematic construction<span>. In the last fifty years, an increasing number of theorists such as </span>Arnold Schoenberg<span> and </span>William Caplin<span> have used the term to refer to a specific theme-type involving repetition and development.
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In Indian theatre, the rasa, or <u>flavor</u>, allows spectators to understand a dramatic situation through a powerful feeling that they themselves possess.
Rasa is a term used to describe nectar, essence, or flavor in Indian aesthetics. It alludes to a notion in Indian arts regarding the aesthetic flavor of any artistic creation, whether it be a piece of literature, music, or visual arts, that elicits in the spectator or reader an emotion or sensation that cannot be adequately expressed. It refers to the writer's intentional use of emotional undertones or essence that a "sensitive spectator" or sadhana—literally, one with "heart"—can relate to and enjoy.
Sahdaya is able to connect to the work emotionally and without being detached from it. Although the idea of rasa is fundamental to many forms of Indian art, such as dance, music, theater, painting, sculpture, and literature, how a particular rasa is interpreted and applied varies across styles and schools.
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