Annual Report
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Secondary Indian Culture and Heritage
Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture. -
Music & Dance Examinations
MUSIC & DANCE EXAMINATIONS I. THE AIMS AND OBJECTIVES OF THE FACULTY ARE 1. To encourage the study of Performing Arts as a vocation 2. To institute degree and Junior Diploma Courses in Performing Arts 3 To produce artists of high order and to train and prepare teachers well versed in theory, practice and history of Performing Arts; 4 To conduct research and to carry on auxiliary activities such as collection and publication of manuscripts; 5. To develop a high standard of education and knowledge of the Theory of Music and aesthetics, both ancient and modern, through the study of old and new literature in Sanskrit and other languages and give training in performing arts as a vocation 6. To make special arrangements by way of extension course for those who are not otherwise qualified to be admitted to the Faculty. 7. The Faculty while serving as a repository of all forms of Music including different schools of Music and regional styles, seeks to preserve the traditional methods of teaching and in doing so makes use of all modern techniques e.g. notation and Science of voice culture. In furthering the objectives laid down above, the Faculty arranges for lectures, concerts, demonstrations and excursion tours to important centers of Music in India. II. ADMISSION TO COLLEGES/FACULTIES OF THE UNIVERSITY 1. The last date for admission to all the constituent Colleges / Faculties of the University shall be fixed each year by the Academic Council. 2. Each College/ Faculty maintained by the University shall have a separate form of application which will be serially numbered and issued by the Principal/Dean of the College /Faculty concerned, on payment of the prescribed amount of application fee or by any other officer deputed by University. -
Published by Sampan Media Pvt. Ltd. for Chhattisgarh Tourism Board All Rights Reserved
Published by Sampan Media Pvt. Ltd. for Chhattisgarh Tourism Board All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without the prior permission of the copyright owner. Details like telephone, fax numbers, opening hours, prices and travel information may change. The publisher is not responsible for error, if any. Copyright©2014 Chhattisgarh Tourism Board Published for Chhattisgarh Tourism Board by Sampan Media Pvt. Ltd. Regd. Office: 124, 3rd Floor, Shahpur Jat, Opp. Siri Fort Auditorium, New Delhi – 110049, Ph: 9560264447, [email protected] Contents Introducing Chhattisgarh 4 The Land and its History 5 Tribal Culture 16 Handicrafts 28 Cultural Traditions 39 Destinations 47 Raipur and Around 48 Bilaspur and Around 77 Bastar Division 104 National Parks and Sanctuaries 121 Practical Information 130 Introducing Chhattisgarh Chitrakote Fall The Land and its History hhattisgarh was a part of the state of Madhya Pradesh up till C2000, after which it was declared as a separate state with Raipur as the capital city. The state borders shares the states of Madhya Pradesh, Maharashtra, Andhra Pradesh, Odisha, Jharkhand and Uttar Pradesh. Located in central India, the state comprises of 27 districts. Chhattisgarh is endowed with rich cultural heritage and is a home of some of India’s ancient caves, waterfalls, The river side view temples, Buddhist sites, rock paintings, Chhattisgarh contains the wildlife and hill plateaus. source of one of the most important rivers of the South Historically Chhattisgarh shares Asian peninsula—the Mahanadi. its boundaries with many kingdoms. This river originates in a village The reason mentioned in the Imperial near Raipur. -
Background Material on Service Tax- Entertainment Sector
Background Material on Service Tax- Entertainment Sector The Institute of Chartered Accountants of India (Set up by an Act of Parliament) New Delhi © The Institute of Chartered Accountants of India All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form, or by any means, electronic mechanical, photocopying, recording, or otherwise, without prior permission, in writing, from the publisher. DISCLAIMER: The views expressed in this book are of the author(s). The Institute of Chartered Accountants of India may not necessarily subscribe to the views expressed by the author(s). The information cited in this book has been drawn from various sources. While every effort has been made to keep the information cited in this book error free, the Institute or any office of the same does not take the responsibility for any typographical or clerical error which may have crept in while compiling the information provided in this book. Edition : February, 2015 Committee/Department : Indirect Taxes Committee Email : [email protected] Website : www.idtc.icai.org Price : ` 90/- ISBN No. : 978-81-8441-759-3 Published by : The Publication Department on behalf of the Institute of Chartered Accountants of India, ICAI Bhawan, Post Box No. 7100, Indraprastha Marg, New Delhi - 110 002. Printed by : Sahitya Bhawan Publications, Hospital Road, Agra 282 003 February/2015/1,000 Foreword The introduction of Service Tax was recommended by Dr. Raja Chelliah Committee in early 1990s which pointed out that the indirect taxes at the Central level should be broadly neutral in relation to production and consumption of goods and should, in course of time cover commodities and services. -
FIRST YEAR ARTS MUSIC VOCAL THEORY PAPER-1 HINDUSTANI MUSIC 1 PAPER CODE – MUSV101 Time: 3 Hrs M.M
FIRST YEAR ARTS MUSIC VOCAL THEORY PAPER-1 HINDUSTANI MUSIC 1 PAPER CODE – MUSV101 Time: 3 hrs M.M. 30 Unit-1 1. Full study of following Ragas prescribed in the course. i. Kafi ii. Yaman iii. Des iv. Bhairav v. Aasawari 2. Fully Description of the following ; Talas with Dungun. i. Trital ii. Ektal iii. Jhaptal iv. Kaherva Unit-2 3. Writing of chota khayal with notation in following Ragas. Yaman-Bhairav-Kafi-Aasawari 4. Writing of Ten Alankar in Ten That’s. Unit-3 5. Complete knowledge about the following terms i. Aroh ii. Pakad iii. Samvadi iv. Vivadi v. Avroh vi. Vadi vii. Anuvadi viii. Saptak 6. Complete knowledge about sangeet and alankar. Unit-4 7. Brief study of the following terms: i. Alap ii. Tan iii. Alankar iv. Meed v. Gamak vi. Khayal 8. Study of 10 That’s and difference between That’s and Rag. Unit-5 9. Description and utility of following Instruments: i. Tanpura ii. Tabla iii. Sitar 10. Life sketches of: i. Jaidev ii. Gopal Nayak iii. Swami hari das iv. Ameer Khusro v. Tansen FIRST YEAR ARTS MUSIC VOCAL THEORY PAPER-II HINDUSTANI MUSIC II PAPER CODE – MUSV102 Time: 3 hrs M.M. 30 Unit- 1 1. Complete knowledge of Aadhunik Alap Gayan. 2. Detailed study of following terms : i. Raag Alap ii. Rupak Alap iii. Swasthan Niyam iv. Nad v. Alpatva vi. Laya Unit-2 3. Importance and basic rules regarding Hindustani Music. 4. Detail study of Rag Jati. Unit-3 5. History of Indian Music with reference to ancient period. -
Of 209 Ministry of Environment, Forest and Climate Change Impact
MoM of 3rd meeting of the Re-constituted EAC (Industry-I) held during 9th to 11th January, 2019 Ministry of Environment, Forest and Climate Change Impact Assessment Division (Industry-I Sector) SUMMARY RECORD OF THE THIRD(3RD) MEETING OF RE-CONSTITUTED EXPERT APPRAISAL COMMITTEE HELD DURING 9TH TO 11THJANUARY 2019 FOR ENVIRONMENTAL APPRAISAL OF INDUSTRY-I SECTOR PROJECTS CONSTITUTED UNDER EIA NOTIFICATION, 2006. The thirdmeetingof the Re-ConstitutedExpert Appraisal Committee (EAC) for Industry-I Sector as per the provisions of the EIA Notification, 2006 for Environmental Appraisal of Industry-I Sector Projects was held during 9th to 11thJanuary, 2019 in the Ministry of Environment, Forest and Climate Change. The list of participants is annexed. 2.0 After welcoming the Committee Members, discussion on each of the agenda items was taken up ad-seriatim. The minutes of 2ndmeeting held during 10th to 12th December, 2018 circulated were confirmed. 9thJanuary 2019 (Teesta) 3.1 Expansion of stainless steel production from 0.8 to 2.2 MTPA and cold rolling mill from 0.8 to 1.6 MTPA located at Kalinga Nagar Industrial Complex (KNIC), Danagadi near Duburi in Jajpur district of Odisha by M/s Jindal Stainless Limited [Online proposal No. IA/OR/IND/86727/2018; MoEFCC File No. J-11011/281/2007- IA.II(I)] – Environmental Clearance. 1.0 M/s Jindal Stainless Limited made online application vide proposal no. IA/OR/IND/86727/2018, dated 30thNovember, 2018 along with copies of EIA/EMP report seeking environmental clearance under the provisions of the EIA Notification, 2006 for the project mentioned above. -
BPA Syllabus for Light Music
Indira Kala Sangit Vishwavidyalaya, Khairagarh Syllabus Objectives – The elective group (B) Light Music courses are designed to expose the students to different neo-classical and some other popular song forms of India. These courses offer a balanced exposure to theoretical and performance aspects to provide a working understanding of the subject. B.P.A. Elective Group (B)– LIGHT MUSIC Semester I (Course 1) Credit – 3 Marks – 100 (External – 70 Internal – 30) Sr. Theory No. 1. (A) Study of two music systems (Hindustani and Karnataka) prevalent in India with their similarities and dissimilarities. (B) Brief studies of the following – Sangit, Naad, Shruti, Swar, Saptak, Varna. 2. (A) General introduction of song forms - Geet and Bhajan. (B) Study of any Geet, Ghazal and Bhajan with its meaning from prescribed syllabus. (C) Study of the following Taalas with notation - Trital, Kehrawa and Daadra. [Thah only] 3. Diagrammatic Description of the following musical instruments – Harmonium, Tabla and Dholak. 4. Study of life sketch of the following – Mirza Ghalib, Mahadevi Verma, and Meerabai. 5. An essay in about 200 words on various topics of light music. References: B.P.A. Elective Group (B)– LIGHT MUSIC Semester I (Course 2) Credit – 3 Marks – 100 (External – 70 Internal – 30) Sr. Practical No. 1. Performance study of two compositions each of – Geet, Ghazal and Bhajan (total six) of AIR-approved lyricists. 2. Alankar in following thatas – Bilawal and Yaman,. 3. One folk song from any region of India. 4. Practice of National Anthem and National Song (Based on raga Des as approved by AIR) 5. Practice of the following Taalas (with Taali-Khali showing hand gestures) – Tritaal, Daadra, Kehrawa. -
The Lyrics of Thumn
The Lyrics of Thumn: Hindi Poetry in a Musical Genre Lara Mirene (Lalita) du Perron A thesis submitted to the University of London for the degree of Doctor of Philosophy (PhD) Department of the Languages and Cultures of South Asia School of Oriental and African Studies January 2000 ProQuest Number: 10731628 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731628 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract Thumri is a vocal genre in North Indian (Hindustani) art music. It was traditionally used in songstress-courtesan performance, in the early nineteenth century as an accompaniment to interpretive dance, and later as a lyrical and emotive song form. TTiumri is now one of the most popular genres in contemporary art music. The lyrics of thumri have not been the subject of extensive academic enquiry. This dissertation examines thumri texts from two perspectives: linguistic and contextual. It is primarily based on song texts collected during field work in North India in 1996-97, as well as on material transcribed from commercial recordings and printed sources. -
F.No.9-2/2019-S&F Government of India Ministry of Culture S&F
F.No.9-2/2019-S&F Government of India Ministry of Culture S&F Section ***** Puratatav Bhavan, 2nd Floor ‘D’ Block, GPO Complex, INA, New Delhi-110023 Dated:17th February, 2020 MINUTES OF 41ST MEETING OF CULTURAL FUNCTION AND PRODUCTION GRANT (CFPG) HELD ON 22nd to 25thJULY - 2019 ATNSD, NEW DELHI. Under CFPG, financial assistance is given to ‘Not-for-Profit’ organisations, NGOs including societies, Trust, Universities etc. for holding Conferences, Seminar, Research, Workshops, Festivals, Exhibitions and Production of Dance, Drama, Theatre, Music and undertaking small research project etc. on any art forms/important cultural matters relating to different aspects of Indian Culture. The scheme of CFPG is administered by NCZCC, Pryagraj. The quantum of assistance is restricted to 75% of the project cost subject to maximum Rs. 5.00 Lakhs per projects recommend by the Expert Committee. In exceptional circumstances, Financial Assistance may be given upto Rs. 20 Lakhs with the approval of Hon’ble Minister of Culture. The grant is paid in 02 instalments of 75% and 25% respectively. 2. A meeting of CFPG was held on 22nd to 25thJuly, 2019 under the Chairpersonship of Joint Secretary (Performing Arts Bureau) to consider the proposals for financial assistance by the Expert Committee. 3. The Expert Committee has considered the 1684 applicationswhich were complete and supported with all documents required under the scheme in the 41st Meeting of CFPG held 22nd to 25th July, 2019 under the Scheme. The Committee examined each and every proposal individually before taking a decision and has recommended 859 proposals for financial assistance under the scheme.The details of all 859 cases approved for grant is placed at Annexure-I. -
The Journal of the Music Academy
ISSN 0970 - 3101 THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LXXII 2001 «T£tGT qsr ftfqfal fagTfa ^ n “I dwell not in Vaikunta, nor in the hearts o f Yogins nor in the Sun; (but) where my bhaktas sing, there be 1, Narada!” - Naradiya Bhakti Sutra Edited by T.T. VASU The Music Academy, Madras 306, T.T.K. Road, Madras - 600 014. Annual Subscription - Inland Rs. 70/- Foreign : $3 JOURNAL COMMITTEE TT. Vasu Chairman N. Kumar Co-Chairman Dr. V.V. Srivatsa Member Maithreyi Ramadurai Ex-Officio N. Ramji Ex-Officio Nandini Ramani Ex-Officio M.S. Venkataraman Ex-Officio EDITORIAL BOARD S.R. Janakiraman Sulochana Pattabhiraman Lakshmi Viswanathan ff ' 1 " ■ 111 — .......... ......... ................- ..........M\ All correspondence relating to the journal should be addressed and all books etc., intended for it should be sent in duplicate to the Editor, The Journal of the Music Academy, 306, T.T.K. Road, Chennai - 600 014. Articles on music and dance are accepted for publication on the recommendatioh of the Editorial Board. The Board reserves the right to accept or reject any articles without assigning reasons. Manuscripts should be legibly written or preferably, type written (double spaced and on one side of the paper only) and should be signed by the writer (giving his or her address in lull). The Editor of the Journal is not responsible for the views expressed by contributors in their articles. ... ............. " ' ' ......... — ^ r \ Statement about ownership and other particulars regarding THE JOURNAL OF THE MUSIC ACADEMY CHENNAI FORM IV (See Rule 8) Place of Publication The Music Academy, Chennai - 14. -
MEG-16 Indian Folk Literature Indira Gandhi National Open University School of Humanities
MEG-16 Indian Folk Literature Indira Gandhi National Open University School of Humanities Block 7 FOLK THEATRE UNIT 27 Appropriation of Folk in Indian Theatre: Jatra, Kathakali, Tamasha, Nautanki and Pala 5 UNIT 28 Folk, Popular and Film 18 UNIT 29 Girish Karnad’s Hayavadana and Naga-Mandala 29 UNIT 30 Habib Tanvir’s Charandas Chor 46 EXPERT COMMITTEE Late Prof. U.R. Ananthamurthy Prof. Satyakam Eminent Writer Director (SOH). Padmashree Prof. Manoj Das English Faculty, SOH Eminent Writer Prof. Anju Sahgal Gupta Prof. Neera Singh Prof. Indranath Choudhury Prof. Malati Mathur Eminent Writer Prof. Nandini Sahu Prof. K. Satchidanandan Dr. Pema E Samdup Eminent Writer Ms. Mridula Rashmi Kindo Dr. Parmod Kumar Prof. T.S. Satyanath, Formerly Professor Dr. Malathy A. Dept. of MIL and LS, University of Delhi COURSE COORDINATOR Prof. Nandini Sahu Professor of English School of Humanities, IGNOU BLOCK PREPARATION COURSE EDITORS Dr. Pinak Sankar Bhattacharya Prof. Nandini Sahu Assistant Professor, Department of English Dr. Banibrata Mahanta LPU, Jalandhar Dr. Vibha Sharma Associate Professor of English AMU Dr. Kuljeet Singh Assistant Professor, Department of English SGTB Khalsa College, DU Secretarial assistance: Mr. Sandeep K. Tokas, C. O. (SOH) PRINT PRODUCTION Mr. C.N. Pandey Section Officer (Publication) SOH, IGNOU, New Delhi June, 2018 © Indira Gandhi National Open University, 2018 ISBN : 978-93-87960-60-2 All rights reserved. No part of this work may be reproduced in any form, by mimeograph or any other means, without permission in writing from the Indira Gandhi National Open University. Further information on Indira Gandhi National Open University courses may be obtained from the University's office at Maidan Garhi. -
An Evening of FOLK MUSIC ROOTS - Purpose
ROOTS Presents An Evening of FOLK MUSIC ROOTS - Purpose Our vision is to popularise folk music and make people realise and appreciate the richness and sweetness of Indian folk music. While doing that we would also establish ourselves as Musical Group with a purpose.. using music as media to influence and inspire people. A Music Group with a PURPOSE 2 ROOTS - Purpose • “Roots” also wants to be Musical group with purpose – to change society by impacting the thinking level of the people for a better world. • Roots strongly believes that they need to carry out the message of the these great Poet, Saints, singers, composer, social thinker so that it can keep impacting the mind of the people and inspiring and influence to create a better world. 3 ROOTS – Our Objectives • To promote folk and tribal music through performance, seminars, talks and workshops and to achieve a certain level of recognition of the folk and tribal music • To bring out the meaning of Folk and Tribal music of some the remote parts of India and spread it across the other parts of the country • To create an awareness and liking for the folk based music amongst the new generation of children and youth • To spread the message of some of the powerful folk based artist to the masses across the country 4 ROOTS – Our Objectives • To promote harmonious understanding and equal respect for all religions, cultures, races and ideologies • To promote and revive the tribal and folk music of some of the remote parts of India • To promote interest in general public in Indian Folk and tribal culture, music and thus spread this culture far and wide.