Neural Network Based Indian Folk Dance Song Classification Using MFCC and LPC
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SYLLABUS BA/B.Sc
SYLLABUS FOR B.A./B.Sc. (12+3 SYSTEM OF EDUCATION) (SEMESTER–II) Examinations: 2015-16 GURU NANAK DEV UNIVERSITY AMRITSAR Note: (i) Copy rights are reserved. Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time. 1 B.A./B.Sc. (Semester System) (12+3 System of Education) (Semester–II) INDEX OF SEMESTER–II Sr.No. Subject Page No. FACULTY OF ARTS & SOCIAL SCIENCES 1. Political Science 5-6 2. History 7-8 3. Defence and Strategic Studies 9-11 4. Journalism and Mass Communication (Vocational) 12-13 5. Mass Communication and Video Production (Vocational) 14-16 6. Public Administration 17 7. Sociology 18 8. Women Empowerment 19 9. Psychology 20-22 10. Geography 23-26 FACULTY OF ECONOMICS & BUSINESS 11. Economics 27 12. Industrial Economics 28 13. Quantitative Techniques 29 14. Agricultural Economics and Marketing 30 15. Rural Development 31 16. Office Management and Secretarial Practice (Vocational) 32-36 17. Travel and Tourism 37-38 18. Tourism and Hotel Management (Vocational) 39 19. Tourism and Travel Management (Vocational) 40-41 20. Tax Procedure and Practice (Vocational) 42-43 21. Advertising Sales Promotion and Sales Management (Vocational) 44-45 22. Commerce 46-47 2 B.A./B.Sc. (Semester System) (12+3 System of Education) (Semester–II) FACULTY OF SCIENCES 23. Mathematics 48-49 24. Statistics 50-53 25. Chemistry 54-58 26. Physics 59-63 27. B.Sc. Geography (Geophysics) 64-65 28. Home Science 66-67 29. -
Ma Gurmat Sangeet
M.A. GURMAT SANGEET PART - II SEMESTER - III (2017-2018) Paper I HISTORICAL PERSPECTIVE OF GURMAT SANGEET Time: 3 hrs. Max. Marks : 75 Internal Assessment : 25 Marks Pass Marks : 35 % Assessment Test : 15 Total Teaching Hours : 75 Attendance : 10 INSTRUCTIONS FOR THE PAPER-SETTER AND THE CANDIDATES The question paper will consist of three sections A, B & C. Sections A & B will have 5 questions of 8 marks each from the respective sections of the syllabus and acandidates are required to attempt three questions from each section. Section C will consist of 9 short answer type questions of 3 marks each, which will cover the entire syllabus uniformly. Students are required to attempt all questionos of Section C. Section - A 1. Evolution and Development of Gurmat Sangeet during a) Guru Nanak period b) Guru Angad Dev to Guru Arjan Dev period c) Guru Hargobind to Guru Gobind Singh period 2. Taksaal tradition of Gurmat Sangeet with reference to a) Damdami taksaal b) Jawaddi Taksaal 3. Contribution of Rabaabi tradition in Gurmat Sangeet. Section – B 1. Historical development of Kirtan Chauki tradition a) Upto Guru Arjan Dev period. b) Tradition of Sri Harimandir Sahib 2. Analytical study of basic sources of Gurmat Sangeet with reference to a) Sri Guru Granth Sahib b) Panth Parkaash 3. Contribution of different scholars towards Gurmat Sangeet with special reference to the 19th century. BOOKS PRESCRIBED 1 Gurmat Sangeet : Vibhin Pripekh, Gurnam Singh (Dr.) (Editor), Punjabi University Patiala, 1995 2. Gurmat Sangeet : Prabandh te Pasaar Gurnam Singh (Dr.), Punjabi University, Patiala. 2012 3. Gurmat Sangeet da Sangeet Vigyan, Varinder Kaur (Dr.), Amarjit Sahit Parkashan, Patiala 2005 4. -
Northern Junket, Vol. 6, No. 11
\ \ Title CiNTMS \ rage i Take It Jr Leave It 1 Juvenile Delinquency & Square Hancing 2 From The Mailbox 7 Coming Events at Folk 3ance House - - 11 Irish Dancing -.-_ 12 Bayanihan Dance Group >. 23 Polish State Folk Ballet 24 The P»und Party 25 Contra Dance - Maiden fteel ------ 27 Square Dance - Kitty Corner -------- 28 Folk Dance - Manitou Mixer — 29 Folk Song - If My fid T«p Were A Dancing Man 30 News 32 Book Review - Spiked Boots __- 34 It's Fun To Hunt 35 lasy To Make Decorations ---- — - 43 Holiday Foo4 46 The Town Criei; 5* ******* I :0^vM^... i< k *$ R L E..A. T'B I T The longer I stay in this "business the surer I am of two things to ensure its long life and continued in- terest in it: PROPER PROGRAMMING AMD A YOUTH PROGRAM . The callers who have been active for ten or more years and are still in demand are the ones who program each of their dances so that they give something for the "hot shot" dancer; something for the "newcomer" to square dancing; and a heck of lot for the people in between who outnumber the others maybe ten to one. The dances for the in-betweens will "be a good mixture of old and traditional dances and enough of the neweir ones to keep the floor on its toes. And one thing they never are guilty of: they never deliberately try to "throw the floor". Any idiot can do that; it takes a real good caller to sense the limitations of the group and arrange or re-arrange his material accordingly. -
Europeanfolkdanc006971mbp.Pdf
CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life. -
Classical Dances Have Drawn Sustenance
Performing Art 1 Classic Dances 4 Bharatnatyam Dance 8 Kathakali Dance 12 Kathak Dance 18 Manipuri 21 Lai Haraoba 22 Radha and Krishna 23 Pung Cholam 23 Kartal Cholam 23 Thang-Ta 24 Musicians 24 Odissi 25 Kuchipudi 30 Sattriya 34 Performing Art In India, various facets of performing arts are all pervading bringing colour and joy to numerous festivals and ceremonies, and reaffirming the faith of the people in their heritage. These facets have been responsible for sustaining the long continuities of ancient traditions. They are the link between the past and the present. It thus exemplifies the complex, organic interaction of all aspects of life implicit in all tribal and folk art forms; art is not seen as something apart from life, a mere ornamentation or entertainment, but as an intrinsic part of it. Page !1 of !36 Pre-historic Cave painting, Bhimbetka, Madhya Pradesh Under the patronage of Kings and rulers, skilled artisans and entertainers were encouraged to specialize and to refine their skills to greater levels of perfection and sophistication. Gradually, the classical forms of Art evolved for the glory of temple and palace, reaching their zenith around India around 2nd C.E. onwards and under the powerful Gupta empire, when canons of perfection were laid down in detailed treatise - the Natyashastra and the Kamasutra - which are still followed to this day. Through the ages, rival kings and nawabs vied with each other to attract the most renowned artists and performers to their courts. While the classical arts thus became distinct from their folk roots, they were never totally alienated from them, even today there continues a mutually enriching dialogue between tribal and folk forms on the one hand, and classical art on the other; the latter continues to be invigorated by fresh folk forms, while providing them with new thematic content in return. -
Missionlands Workers Strike Over Wage Demands
DISTRIBUTION AREAS - DOOR TO DOOR: TONGAAT: Buffelsdale, Belvedere, Watsonia, Mitha Nagar, Flamingo Heights, Ghandi Nagar, Fair Breeze, Bur Breeze, Ghandi’s Hill, Truro land, Emona, Sea Tides, La Mercy, Sandfields. VERULAM: Everest Heights, Ottawa, Oaklands, Redcliffe,Trenance Park (Old phase), Trenance Park (New phase), Dawn Crest, Mountview, Verulam Central, Temple Valley, Riyadh, Parkgate. WATERLOO COPIES Vol. 1 No. 21 JULY 13, 2017 Tel. 031-507 7761 / 031-459-8300 email: [email protected] 22 500 FREE WEEKLY Website: www.phoenixsun.co.za Phoenix Sun @PhoenixSunNews Missionlands workers strike over wage demands Missionland’s New Age Stationery factory workers downed tools from Monday, striking over what they claim to be unfavourable work- ing conditions and a miserable wage increase. Discontent over low pay, disgruntled workers affiliated to National Union of Furniture & Al- lied Workers SA (NUFAWSA) union block- aded the road in the proximity of the factory with burning tyres and debris, restricting other workers not to enter the factory premises. These workers claimed their salaries of R11, 65 per hour does not reflect their work and demand better working conditions and fairer pay. Among their grievances was a lousy R1.17 in- crease offered by the company while they had requested for an increase of at least R5 per hour. According to a shop steward, Senzi Mathon- jwa, the strike was sparked after a failed agree- ment by the company’s management to pay them an increase of R5. These workers, consisting mainly of breadwin- ners and single parents, said their earnings are not enough to cover for basic needs and sup- port their families. -
Song and Memory: “Singing from the Heart”
SONG AND MEMORY: “SINGING FROM THE HEART” hir kIriq swDsMgiq hY isir krmn kY krmw ] khu nwnk iqsu BieE prwpiq ijsu purb ilKy kw lhnw ]8] har kīrat sādhasangat hai sir karaman kai karamā || kahu nānak tis bhaiou parāpat jis purab likhē kā lahanā ||8|| Singing the Kīrtan of the Lord’s Praises in the Sādh Sangat, the Company of the Holy, is the highest of all actions. Says Nānak, he alone obtains it, who is pre-destined to receive it. (Sōrath, Gurū Arjan, AG, p. 641) The performance of devotional music in India has been an active, sonic conduit where spiritual identities are shaped and forged, and both history and mythology lived out and remembered daily. For the followers of Sikhism, congregational hymn singing has been the vehicle through which melody, text and ritual act as repositories of memory, elevating memory to a place where historical and social events can be reenacted and memorialized on levels of spiritual significance. Hymn-singing services form the magnetic core of Sikh gatherings. As an intimate part of Sikh life from birth to death, Śabad kīrtan’s rich kaleidoscope of singing and performance styles act as a musical and cognitive archive bringing to mind a collective memory, uniting community to a common past. As a research scholar and practitioner of Gurmat Sangīt, I have observed how hymn singing plays such a significant role in understanding the collective, communal and egalitarian nature of Sikhism. The majority of events that I attended during my research in Punjab involved congregational singing: whether seated in the Gūrdwāra, or walking in a procession, the congregants were often actively engaged in singing. -
Arizona Dance E-Star
Arizona Dance e-Star Arizona Dance e-Star a publication of the Arizona Dance Coalition Volume 2, Issue 10 November 2012 Dear Readers, November promises to be interesting with the elections and !anksgiving. We can only hope that the arts continue be a driving force in Arizona and that we have stronger support for the arts from our communities and elected o#cials. !is will be necessary in order to attract more grant monies from those who can give and believe the arts positively in$uence our economy (jobs), our intelligence (education) and our wellbeing (lifestyle). !e article on page 13 speaks to this topic and is written by Roberto Bedoya, Executive Director of the Tucson Pima Arts Council. November marks Bedoya's 6th year with TPAC. !e Member Spotlight shines on AZDance Group and Kenda Newbury (pg 12). Kenda's contribution to dance and working with children and adults with Table of Contents disabilities is signi"cant. !e Photo of the Month is of the Calendar of Events . .. .. .. .. .. .. .. .. .. .. .. .. .. 2-7 Terpsicore Dance Company—pronounced Terp%si% CORE— to bring attention to a dancer's "core." Master Classes & Workshops. .. .. .. .. .. .. .. .. .. 8 !is November we can be thankful that there are so many Auditions .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 8 events where we can celebrate DANCE. Project Dance ADC Member Announcements .. .. .. .. .. .. .. .. 9 Phoenix (pg 4) is one event where participants will actually Regional News . .. .. .. .. .. .. .. .. .. .. .. .. .. 10-11 discuss feeling blessed to dance. !e month begins with Photo of the Month . .. .. .. .. .. .. .. .. .. .. .. .. .11 leftover Halloween/Vampires performances and ends with Member Spotlight: AZDance Group . .. .. .. .. .12 the beginnings of !e Nutcracker season! Inbetween we Article: Arts Boon or Drain?. -
Deepika Padukone Songs Free Download
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The Arts, Grades 11 and 12
2010 REVISED The Ontario Curriculum Grades 11 and 12 The Arts CONTENTS INTRODUCTION 3 Secondary Schools for the Twenty-First Century . 3 The Importance of the Arts Curriculum . 3 Ideas Underlying the Arts Curriculum . 5 Roles and Responsibilities in the Arts Program . 5 Attitudes in the Arts . 7 THE PROGRAM IN THE ARTS 9 Overview of the Program . 9 Curriculum Expectations . 13 Strands in the Arts Curriculum . 15 The Creative Process . 15 The Critical Analysis Process . 17 ASSESSMENT AND EVALUATION OF STUDENT ACHIEVEMENT 23 Basic Considerations . 23 The Achievement Chart for the Arts: Grades 9–12 . 26 Information on the Achievement Chart . 28 SOME CONSIDERATIONS FOR PROGRAM PLANNING IN THE ARTS 31 Instructional Approaches . 31 Planning Arts Programs for Students With Special Education Needs . 32 Program Considerations for English Language Learners . 34 Environmental Education and the Arts . 37 Healthy Relationships and the Arts . 38 Equity and Inclusive Education in the Arts Program . 38 Multiple Literacies in the Arts . 40 Literacy, Mathematical Literacy, and Inquiry/Research Skills . 41 Critical Thinking and Critical Literacy in the Arts . 42 The Role of the School Library in the Arts Program . 43 The Role of Information and Communications Technology in the Arts Program . 44 The Ontario Skills Passport and Essential Skills . 45 Career Education . 45 Une publication équivalente est disponible en français sous le titre suivant : Le curriculum de l’Ontario, 11e et 12e année – Éducation artistique, 2010 This publication is available on the Ministry of Education’s website, at http://www.edu.gov.on.ca. Cooperative Education and Other Forms of Experiential Learning . 45 Planning Program Pathways and Programs Leading to a Specialist High Skills Major . -
The Role of Indian Dances on Indian Culture
www.ijemr.net ISSN (ONLINE): 2250-0758, ISSN (PRINT): 2394-6962 Volume-7, Issue-2, March-April 2017 International Journal of Engineering and Management Research Page Number: 550-559 The Role of Indian Dances on Indian Culture Lavanya Rayapureddy1, Ramesh Rayapureddy2 1MBA, I year, Mallareddy Engineering College for WomenMaisammaguda, Dhulapally, Secunderabad, INDIA 2Civil Contractor, Shapoor Nagar, Hyderabad, INDIA ABSTRACT singers in arias. The dancer's gestures mirror the attitudes of Dances in traditional Indian culture permeated all life throughout the visible universe and the human soul. facets of life, but its outstanding function was to give symbolic expression to abstract religious ideas. The close relationship Keywords--Dance, Classical Dance, Indian Culture, between dance and religion began very early in Hindu Wisdom of Vedas, etc. thought, and numerous references to dance include descriptions of its performance in both secular and religious contexts. This combination of religious and secular art is reflected in the field of temple sculpture, where the strictly I. OVERVIEW OF INDIAN CULTURE iconographic representation of deities often appears side-by- AND IMPACT OF DANCES ON INDIAN side with the depiction of secular themes. Dancing, as CULTURE understood in India, is not a mere spectacle or entertainment, but a representation, by means of gestures, of stories of gods and heroes—thus displaying a theme, not the dancer. According to Hindu Mythology, dance is believed Classical dance and theater constituted the exoteric to be a creation of Brahma. It is said that Lord Brahma worldwide counterpart of the esoteric wisdom of the Vedas. inspired the sage Bharat Muni to write the Natyashastra – a The tradition of dance uses the technique of Sanskrit treatise on performing arts. -
Dear Aspirant with Regard
DEAR ASPIRANT HERE WE ARE PRESENTING YOU A GENRAL AWERNESS MEGA CAPSULE FOR IBPS PO, SBI ASSOT PO , IBPS ASST AND OTHER FORTHCOMING EXAMS WE HAVE UNDERTAKEN ALL THE POSSIBLE CARE TO MAKE IT ERROR FREE SPECIAL THANKS TO THOSE WHO HAS PUT THEIR TIME TO MAKE THIS HAPPEN A IN ON LIMITED RESOURCE 1. NILOFAR 2. SWETA KHARE 3. ANKITA 4. PALLAVI BONIA 5. AMAR DAS 6. SARATH ANNAMETI 7. MAYANK BANSAL WITH REGARD PANKAJ KUMAR ( Glory At Anycost ) WE WISH YOU A BEST OF LUCK CONTENTS 1 CURRENT RATES 1 2 IMPORTANT DAYS 3 CUPS & TROPHIES 4 4 LIST OF WORLD COUNTRIES & THEIR CAPITAL 5 5 IMPORTANT CURRENCIES 9 6 ABBREVIATIONS IN NEWS 7 LISTS OF NEW UNION COUNCIL OF MINISTERS & PORTFOLIOS 13 8 NEW APPOINTMENTS 13 9 BANK PUNCHLINES 15 10 IMPORTANT POINTS OF UNION BUDGET 2012-14 16 11 BANKING TERMS 19 12 AWARDS 35 13 IMPORTANT BANKING ABBREVIATIONS 42 14 IMPORTANT BANKING TERMINOLOGY 50 15 HIGHLIGHTS OF UNION BUDGET 2014 55 16 FDI LLIMITS 56 17 INDIAS GDP FORCASTS 57 18 INDIAN RANKING IN DIFFERENT INDEXS 57 19 ABOUT : NABARD 58 20 IMPORTANT COMMITTEES IN NEWS 58 21 OSCAR AWARD 2014 59 22 STATES, CAPITAL, GOVERNERS & CHIEF MINISTERS 62 23 IMPORTANT COMMITTEES IN NEWS 62 23 LIST OF IMPORTANT ORGANIZATIONS INDIA & THERE HEAD 65 24 LIST OF INTERNATIONAL ORGANIZATIONS AND HEADS 66 25 FACTS ABOUT CENSUS 2011 66 26 DEFENCE & TECHNOLOGY 67 27 BOOKS & AUTHOURS 69 28 LEADER”S VISITED INIDIA 70 29 OBITUARY 71 30 ORGANISATION AND THERE HEADQUARTERS 72 31 REVOLUTIONS IN AGRICULTURE IN INDIA 72 32 IMPORTANT DAMS IN INDIA 73 33 CLASSICAL DANCES IN INDIA 73 34 NUCLEAR POWER