Class Notes Class: IX Subject: English Topic: the Sound of Music Prepared By: Uttam Kumar Dutta
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Famous Indian Classical Musicians and Vocalists Free Static GK E-Book
oliveboard FREE eBooks FAMOUS INDIAN CLASSICAL MUSICIANS & VOCALISTS For All Banking and Government Exams Famous Indian Classical Musicians and Vocalists Free static GK e-book Current Affairs and General Awareness section is one of the most important and high scoring sections of any competitive exam like SBI PO, SSC-CGL, IBPS Clerk, IBPS SO, etc. Therefore, we regularly provide you with Free Static GK and Current Affairs related E-books for your preparation. In this section, questions related to Famous Indian Classical Musicians and Vocalists have been asked. Hence it becomes very important for all the candidates to be aware about all the Famous Indian Classical Musicians and Vocalists. In all the Bank and Government exams, every mark counts and even 1 mark can be the difference between success and failure. Therefore, to help you get these important marks we have created a Free E-book on Famous Indian Classical Musicians and Vocalists. The list of all the Famous Indian Classical Musicians and Vocalists is given in the following pages of this Free E-book on Famous Indian Classical Musicians and Vocalists. Sample Questions - Q. Ustad Allah Rakha played which of the following Musical Instrument? (a) Sitar (b) Sarod (c) Surbahar (d) Tabla Answer: Option D – Tabla Q. L. Subramaniam is famous for playing _________. (a) Saxophone (b) Violin (c) Mridangam (d) Flute Answer: Option B – Violin Famous Indian Classical Musicians and Vocalists Free static GK e-book Famous Indian Classical Musicians and Vocalists. Name Instrument Music Style Hindustani -
Part 2 - Mcqs ★ Menti Quiz 1 ★ Summary of Part 2 ★ Vocabulary ★ Extract Based Mcqs ★ Assertion and Reason Type Mcqs ★ Homework Question ★ Menti Quiz 2 1
Part 2 - MCQs ★ Menti Quiz 1 ★ Summary of part 2 ★ Vocabulary ★ Extract based MCQs ★ Assertion and Reason type MCQs ★ Homework Question ★ Menti Quiz 2 1. Ayush Kumar Singh 2. Priyal Shrivastava 3. Aditya kr Maurya 4. Simran Gupta 5. ARYAN Choudhary 9b 6. mopal mahalakshmi 7. Shailendra Singh 8. TANMAY AGRAWAL 9. TULIP OJHA 10.Nishant buwa Amit RohraEnglish ● 10+ Years of teaching experience. ● Taught & mentored more than 40,000 students. In my class you will learn to Be a Reader, a Writer and an Achiever. The Shehnai of Bismillah Khan ● Shehnai replaced pungi which had a shrill unpleasant sound. Shehnai Pungi ● Pungi’s tonal quality was improved by a nai (barber) of shah (emperor Aurangzeb) hence it was named as shehnai. Aurangzeb ● Ustad Bismillah Khan is a Shehnai Maestro. ● Bismillah khan took to music early in life when he was 3 years old in the company of his maternal uncle. ● He used to sing ‘Chaita’ in Bihariji temple and practicing shehnai in Vishnu temple and Mangala Maiya temple of Varanasi. ● His life is a source of simplicity and communal harmony. ● Bismillah khan got his big break with the opening of All India Radio in Lucknow in 1938. ● He also played shehnai on 15 August, 1947 from Red fort in presence of Pandit Nehru. ● Bismillah khan gave many memorable performance both in India and abroad. ● He also gave music in two movies ‘Gunj Uthi shehnai’ and ‘Sanadhi Apanna’. ● He was so fond of his motherland India, Benaras and the holy Ganga that he refused an offer to be the Head of Shehnai school in USA. -
New and Bestselling Titles Sociology 2016-2017
New and Bestselling titles Sociology 2016-2017 www.sagepub.in Sociology | 2016-17 Seconds with Alice W Clark How is this book helpful for young women of Any memorable experience that you hadhadw whilehile rural areas with career aspirations? writing this book? Many rural families are now keeping their girls Becoming part of the Women’s Studies program in school longer, and this book encourages at Allahabad University; sharing in the colourful page 27A these families to see real benefit for themselves student and faculty life of SNDT University in supporting career development for their in Mumbai; living in Vadodara again after daughters. It contributes in this way by many years, enjoying friends and colleagues; identifying the individual roles that can be played reconnecting with friendships made in by supportive fathers and mothers, even those Bangalore. Being given entrée to lively students with very little education themselves. by professors who cared greatly about them. Being treated wonderfully by my interviewees. What facets of this book bring-in international Any particular advice that you would like to readership? share with young women aiming for a successful Views of women’s striving for self-identity career? through professionalism; the factors motivating For women not yet in college: Find supporters and encouraging them or setting barriers to their in your family to help argue your case to those accomplishments. who aren’t so supportive. Often it’s submissive Upward trends in women’s education, the and dutiful mothers who need a prompt from narrowing of the gender gap, and the effects a relative with a broader viewpoint. -
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
COMMENCEMENT CONCERT 2017 COMMENCEMENT CONCERT FRIDAY, June 9, 2017 • 8 P.M
COMMENCEMENT CONCERT 2017 COMMENCEMENT CONCERT FRIDAY, june 9, 2017 • 8 P.m. Lawrence Memorial chapel Maggie Anderson ’19 Jack Breen ’18 Allison Brooks-Conrad ’18 Elisabeth Burmeister ’17 Sarah Clewett ’17 Isabel Dammann ’17 Garrett Evans ’17 Nathan Gornick ’17 Raleigh Heath ’17 Andrew Hill ’18 Ming Hu ’17 Emmett Jackson ’18 Nicholas Kalkman ’17 Kate Kilgus ’18 Jason Koth ’17 Sara Larsen ’17 Alaina Leisten ’17 Mingfei Li ’17 Madalyn Luna ’17 Gabriella Makuc ’17 Mikaela Marget ’18 Evan Newman ’17 Nick Nootenboom ’17 Froya Olson ’17 Sam Pratt ’17 Kaira Rouer ’17 Bryn Rourke ’18 Madeline Scholl ’17 Shaye Swanson ’17 Gawain Usher ’18 Lauren Vanderlinden ’17 Erec VonSeggern ’18 1 PROGRAM From Rusalka Antonín Dvořák “Měsíčku na nebi hlubokém” (1841-1904) Etude in D minor, op. 2, no. 1 Sergei Prokofiev Froya Olson ’17, soprano (1891-1953) Susan Wenckus, piano Evan Newman ’17, piano ✦ INTERMISSION ✦ From Partenope George Frideric Handel “Furibondo spira il vento” (1685-1759) Solo Improvisation Sam Pratt Shaye Swanson ’17, mezzo-soprano (b. 1995) Nathan Birkholz, piano Sam Pratt ’17, saxophone Karate Alex Mincek Four Fragments from the Canterbury Tales Lester Trimble (b. 1975) IV. The Wyf of Biside Bathe (1923-86) Jack Breen ’18, saxophone Jason Koth ’17, saxophone Lauren Vanderlinden ’17, voice Sara Larsen ’17, flute Kate Kilgus ’18, clarinet Abegg Variations, op. 1 Robert Schumann Madeline Scholl ’17, harpsichord (1810-1856) Mingfei Li ’17, piano Toccata, op. 15 Robert Muczynski (1929-2010) Concertino Erwin Schulhoff Ming Hu ’17, piano I. Andante con moto (1894-1942) IV. Rondino: Allegro gaio Kaira Rouer ’17, flute Summer Music, op. -
Instrument Descriptions
RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it. -
Masculinity and the Structuring of the Public Domain in Kerala: a History of the Contemporary
MASCULINITY AND THE STRUCTURING OF THE PUBLIC DOMAIN IN KERALA: A HISTORY OF THE CONTEMPORARY Ph. D. Thesis submitted to MANIPAL ACADEMY OF HIGHER EDUCATION (MAHE – Deemed University) RATHEESH RADHAKRISHNAN CENTRE FOR THE STUDY OF CULTURE AND SOCIETY (Affiliated to MAHE- Deemed University) BANGALORE- 560011 JULY 2006 To my parents KM Rajalakshmy and M Radhakrishnan For the spirit of reason and freedom I was introduced to… This work is dedicated…. The object was to learn to what extent the effort to think one’s own history can free thought from what it silently thinks, so enable it to think differently. Michel Foucault. 1985/1990. The Use of Pleasure: The History of Sexuality Vol. II, trans. Robert Hurley. New York: Vintage: 9. … in order to problematise our inherited categories and perspectives on gender meanings, might not men’s experiences of gender – in relation to themselves, their bodies, to socially constructed representations, and to others (men and women) – be a potentially subversive way to begin? […]. Of course the risks are very high, namely, of being misunderstood both by the common sense of the dominant order and by a politically correct feminism. But, then, welcome to the margins! Mary E. John. 2002. “Responses”. From the Margins (February 2002): 247. The peacock has his plumes The cock his comb The lion his mane And the man his moustache. Tell me O Evolution! Is masculinity Only clothes and ornaments That in time becomes the body? PN Gopikrishnan. 2003. “Parayu Parinaamame!” (Tell me O Evolution!). Reprinted in Madiyanmarude Manifesto (Manifesto of the Lazy, 2006). Thrissur: Current Books: 78. -
MOXF6/MOXF8 Data List 2 Voice List
Data List Table of Contents Voice List..................................................2 Drum Voice List ......................................12 Drum Voice Name List............................. 12 Drum Kit Assign List ................................ 13 Waveform List ........................................32 Performance List ....................................45 Master Assign List ..................................47 Arpeggio Type List .................................48 Effect Type List.......................................97 Effect Parameter List..............................98 Effect Preset List ..................................106 Effect Data Assign Table......................108 Mixing Template List ............................116 Remote Control Assignments...............117 Control List ...........................................118 MIDI Data Format.................................119 MIDI Data Table ...................................123 MIDI Implementation Chart...................146 EN Voice List PRE1 (MSB=63, LSB=0) Category Category Number Voice Name Element Number Voice Name Element Main Sub Main Sub 1 A01 Full Concert Grand Piano APno 2 65 E01 Dyno Wurli Keys EP 2 2 A02 Rock Grand Piano Piano Modrn 2 66 E02 Analog Piano Keys Synth 2 3 A03 Mellow Grand Piano Piano APno 2 67 E03 AhrAmI Keys Synth 2 4 A04 Glasgow Piano APno 4 68 E04 Electro Piano Keys EP 2 5 A05 Romantic Piano Piano APno 2 69 E05 Transistor Piano Keys Synth 2 6 A06 Aggressive Grand Piano Modrn 3 70 E06 EP Pad Keys EP 3 7 A07 Tacky Piano Modrn 2 71 E07 -
Shares Due to Be Transferred to IEPF Account in 2019
DETAILS OF SHARES TO BE TRANSFERRED TO IEPF S.No Folio / DP ID / Client ID Name Shares 1 DBL0109970 GOWRA KRISHNAIAH SETTY 220 2 DBL0109972 DAYA PRAKASH GILRA 584 3 DBL0109993 GOUTAM ROHIDAS HATTIANGADI 600 4 DBL0110007 SAT PAL PURI 185 5 DBL0110011 NARAIN DAS DARGAN 10 6 DBL0110012 HARDIT SINGH 2160 7 DBL0110020 CHANDER KUMARI CHAUDHRY 3000 8 DBL0110021 NARINDER NATH BHARDWAJ 20 9 DBL0110033 M M RAO 500 10 DBL0110034 VISHWA MITTRA SAHNI 1020 11 IN30086110032270 SUMIT KUMAR 5 12 DBL0110038 JAGANNATH GUJRAL 3420 13 DBL0110056 SATISH CHANDER SHARDA 40 14 DBL0110063 SATWANT SINGH 3000 15 DBL0110064 HARDIP KOUR 800 16 DBL0110070 AMAR DEEPAK RAWAL 40 17 1201910100577069 SUMATI BHARDWAJ 25 18 DBL0110096 TEK CHAND JAIN 40 19 DBL0110101 PUSHPA VATI 140 20 DBL0110103 SOM NATH MEHRA 10 21 DBL0110113 YASHBIR KUMAR WADHERA 600 22 DBL0110114 SATYAPAL PANDIT 50 23 DBL0110117 JATINDER NATH 1000 24 1202890000455163 SHAHNAZA AKTHER 20 25 DBL0110134 RAM AVTAR GOVIL 230 26 DBL0110136 RAMESH CHANDRA 500 27 DBL0110142 SURESH CHANDRA CHATURVEDI 180 28 DBL0110143 NIDHI VAISH 350 29 DBL0110144 NUPUR VAISH 335 30 DBL0110156 KAMLA DEVI KOHLI 240 31 DBL0110166 PHIRAYA LAL 240 32 DBL0110171 MOHAMED TAIB ESQ 3600 33 DBL0110182 JYOTSNA KUMARI SWARUP 1940 34 DBL0110183 L GOPAL RAJ SWARUP 2900 35 DBL0110186 AMAR SINGH 5900 36 DBL0110191 BAL RAJ SURI 70 37 DBL0110194 RAMESHWAR DAYAL AGARWALA 10 38 DBL0110201 KRISHNA DEVI TOTLA 40 39 DBL0110206 UGRASEN GOSWAMI 1000 40 DBL0110208 RATAN LAL VERMA 500 41 1304140005162947 RAKESH KUMAR BANSAL 10 42 DBL0110209 SUWATI DEVI 5840 -
Indian Music Instruments Sarangi Sitar Sitar Is of the Most Popular Music
Indian Music Instruments Sarangi Sitar Sitar is of the most popular music instruments of North India. The Sitar has a long neck with twenty metal frets and six to seven main cords. Below the frets of Sitar are thirteen sympathetic strings which are tuned to the notes of the Raga. A gourd, which acts as a resonator for the strings is at the lower end of the neck of the Sitar. The frets are moved up and down to adjust the notes. Some famous Sitar players are Ustad Vilayat Khan, Pt. Ravishankar, Ustad Imrat Khan, Ustad Abdul Halim Zaffar Khan, Ustad Rais Khan and Pt Debu Chowdhury. Sarod Sarod has a small wooden body covered with skin and a fingerboard that is covered with steel. Sarod does not have a fret and has twenty-five strings of which fifteen are sympathetic strings. A metal gourd acts as a resonator. The strings are plucked with a triangular plectrum. Some notable exponents of Sarod are Ustad Ali Akbar Khan, Ustad Amjad Ali Khan, Pt. Buddhadev Das Gupta, Zarin Daruwalla and Brij Narayan. Sarangi Sarangi is one of the most popular and oldest bowed instruments in India. The body of Sarangi is hollow and made of teak wood adorned with ivory inlays. Sarangi has forty strings of which thirty seven are sympathetic. The Sarangi is held in a vertical position and played with a bow. To play the Sarangi one has to press the fingernails of the left hand against the strings. Famous Sarangi maestros are Rehman Bakhs, Pt Ram Narayan, Ghulam Sabir and Ustad Sultan Khan. -
Musical Instruments of North India 5.1 Do You Know
Musical instruments of North India 5.1 Do you know Description Image Source Sarangi is the only instrument which comes in closest proximity to the human voice and therefore it is very popular among the singers as an accompanying instrument in hindustani classical music. Pakhawaj is the only percussion instrument to accompany the dhrupad style of singing. Bansuri or flute is a simple bamboo tube of a uniform bore. The primary function of tabla is to mentain the metric cycle in which the compositions are set. Tanpura is an instrumenused in both north and south Indian classical music. 5.2 Glossary Staring Related Term Definition Character Term Membranophones, instruments in which sound is A Avanadha produced by a membrane, stretched over an opening. B Bansuri A bamboo transverse flute of north India. D Dand The finger board. G Ghan Idiophones; percussion Instruments. A stringed musical instrument with a fretted finger board Guitar played by plucking or strumming with the fingers or a plectrum. H Harmonium A free reed aero phone which has a keyboard. K Khunti Tuning pegs. P Pakhawaj A percussion instrument used as an accompaniment. A large plucked string instrument used in R RudraVeena HindustaniClassical music. Aero phones, wind instruments in which sound is S Sushir produced by the vibration of air. A plucked string instrument used in HindustaniClassical Sitar music. A stringed musical instrument used in Sarod HindustaniClassical music. A trapezoid shaped string musical instrument played with Santoor two wooden sticks. A bowing stringed instrument used in Sarangi HindustaniClassical music. A wind instrument particularly played on auspicious Shehnai occasions like weddings. -
Testbook Live Course Capsules
Useful Links Bharat Ratna Awards 2020 1 Useful Links “Jewel of India”, known as Bharat Ratna is the highest civilian award of the country. Bharat Ratna award is conferred for exceptional service to the nation in various fields such as science, arts, litera- ture, and in recognition of public services of the highest order. Bharat Ratna award can be granted posthumously and since its establishment 7 awards were granted posthumously. This award is one of the precious awards given in the country which is given to any person irrespective of race, occupation, position, or gender. Read this article below on the Bharat Ratna award, which is the most important part of the government exam. Many government exams such as SSC , IBPS SO, Bank, Railway, etc in- clude this topic in the general awareness section or history section. Read this article below to excel in your general knowledge and history section for various competitive exams. History of Bharat Ratna award Bharat Ratna award was established by the former President of India Rajendra Prasad on 2nd January 1954. The concept of awarding this award posthumously was not there in the original statue declared in Jan- uary 1954 but later it got declared posthumously in January 1966 statue of this prestigious award. Bharat Ratna award was awarded first to Sarvepalli Radhakrishnan, Sir CV Raman, Chakravarti Ra- jagopalachari in 1954. In the history of sports, Sachin Tendulkar is the first sportsperson and the youngest Bharat Ratna awardee. About Bharat Ratna Award The medallion of the Bharat Ratna award is cast in bronze. The medallion of the Bharat Ratna award is designed to side the leaf of a peepal tree with sunburst in the center and Bharat Ratna is engraved underneath it.