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On Identifying a Common Goal Between Musicians and Scientists
ON IDENTIFYING A COMMON GOAL BETWEEN MUSICIANS AND SCIENTISTS Soubhik Chakraborty Department of Applied Mathematics Birla Institute of Technology Mesra, Ranchi-835215, India Email: [email protected] Abstract The aim of this article is to identify a common goal between musicians and scientists. Our analysis ends on a positive note suggesting that the “gap” between the two, so to say, exists only in the nature of the paths undertaken. There is hardly any gap so far as the goal is concerned. This realization, which I believe will be helpful in bringing scientists and musicians together thereby raising the standard of music appreciation, music therapy and music-learning, bears a sure relevance in the context of those developing countries such as India to which this author belongs where music therapy is not yet an established profession, nor is scientific research in music as popular as in the west. Key words Music appreciation; music therapy; music learning 1. Introduction Discovering similarities between the pursuits of scientific research and musical arts is a compelling and perennially interesting topic that has been discussed for around a century. This article gives my subjective personal opinion on the topic and bears a sure relevance in the Indian context where music therapy is not yet an established profession, nor is scientific research in music as popular as in the west. For further literature, however, the reader is referred to Parncutt and McPherson (2002), Hallam, Cross and Thaut (2009). See also Levinson (2003). 1.1 Discovering science in art Morgan and King (1986) have distinguished art from science as follows:- Science is a body of systematized knowledge. -
ANURADHA MAHESH Music Therapy for Wellness
Music Therapy for Wellness | ANURADHA MAHESH http://anuradhamahesh.wordpress.com/music-therapy/ ANURADHA MAHESH ’Music is a Discipline and a Mistress of Good Manners, she makes the people milder and gentler, more Moral and more Reasonable’’ – Martin Luther King. Music Therapy for Wellness #7-The Concept of Remedial Music (http://anuradhamahesh.wordpress.com/music-therapy /the-concept-of-remedial-music/) #6-Music and Stress Relief It is with great dedication and devotion I have composed this music for stress relief . This was done by me when a famous Ayurvedic group approached me and asked for a soothing music that could bring down the stress level. This particular music is played during their Panchakarma Chikitsa session which is done during the morning hours. When the Sun fades and all extroversion, entertainment, and distraction is denied to Man, the mind retreats into a state of meditative introversion we call sleep. Thoughts that are unfinished in the mind, during the day, continue throughout the night in the forms of dreams, striving towards their resolution, as part of the brain’s intrinsic mechanism to find order. In a sense then, sleep is Nature’s way of reuniting Man with him or herself, enabling that which lies dormant in the hidden recesses of the mind, to reveal and express itself in secure isolation from the world. 1 of 35 28-Jan-14 15:20 Music Therapy for Wellness | ANURADHA MAHESH http://anuradhamahesh.wordpress.com/music-therapy/ The dawn of a morning then, has tremendous significance. It is the first witness of the conscious mind to the revelations of the night. -
Sep 22 from 6.00 Pm to 9.00 Pm: Ravanodbhavam with Sadanam Balakrishnan (Kalanilayam) As Ravanan
Brought to you by September 22nd - 29th Service Square ChennaiThisWeek Click below for the latest on the city’s happenings Movies Concerts Exhibitions Deals Food & Drink Getaways Sunitha’s Column Services Classifields Who needs mirrors at home, when your floors are polished by us! It’s easy - use your Service Square Membership If you wish to subscribe to our weekly bulletin, please mail us at [email protected] Call 2225355 / 98849 12349 You can also view this bulletin online at http://chennai.servicesquare.in Our address - 5, Balaji Nagar, 1st Main Road, Ekkattuthangal, Chennai – 600 035 Brought to you by September M o v i e s i n C i t y M u l t i p l e x e s 22nd - 29th ChennaiThisWeek Service Square Escape Cinemas - From 23rd Sep ExpresssEscape Avenue Mall, CinemasThousand Lights, Ph:4224 4224 Movie Language Screen Show Timing Crazy Stupid Love English Blush-110 1.00 pm Body Guard Hindi Blush-110 4.00 pm Contagion English Blush-110 7.20 pm Warrior English Blush-110 10.10 pm Mausam Hindi Weave-110 12.20 & 3.50 pm Abduction English Weave-110 7.30 & 10.20 pm Engeyum Eppothum Tamil Spot-120 12.40,3.50,7.00 & 10.30 pm Final Destination English Streak-310 1.10 pm Vanthaan Vendraan Tamil Streak-310 3.30 & 10.15 pm Mausam Hindi Streak-310 6.45 pm Mankata Tamil Plush-310 11.45 am & 10.30 pm Mausam Dookodu Telugu Plush-310 3.15 & 6.50 pm Final Destination Ayiram Vilakku Tamil Frame-120 1.00 pm The Zoo Keeper English Frame-120 4.30 pm Speedy Singhs English Frame-120 7.15 pm New Final Destination English Frame-120 10.20 pm Mere Brother Ki -
Track Name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt
Track name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt. Bhimsen Joshi 3 HINDOLIKA Pt. Bhimsen Joshi 4 Thumri-Bhairavi Pt. Bhimsen Joshi 5 SHANKARA MANIK VERMA 6 NAT MALHAR MANIK VERMA 7 POORIYA MANIK VERMA 8 PILOO MANIK VERMA 9 BIHAGADA PANDIT JASRAJ 10 MULTANI PANDIT JASRAJ 11 NAYAKI KANADA PANDIT JASRAJ 12 DIN KI PURIYA PANDIT JASRAJ 13 BHOOPALI MALINI RAJURKAR 14 SHANKARA MALINI RAJURKAR 15 SOHONI MALINI RAJURKAR 16 CHHAYANAT MALINI RAJURKAR 17 HAMEER MALINI RAJURKAR 18 ADANA MALINI RAJURKAR 19 YAMAN MALINI RAJURKAR 20 DURGA MALINI RAJURKAR 21 KHAMAJ MALINI RAJURKAR 22 TILAK-KAMOD MALINI RAJURKAR 23 BHAIRAVI MALINI RAJURKAR 24 ANAND BHAIRAV PANDIT JITENDRA ABHISHEKI 25 RAAG MALA PANDIT JITENDRA ABHISHEKI 26 KABIR BHAJAN PANDIT JITENDRA ABHISHEKI 27 SHIVMAT BHAIRAV PANDIT JITENDRA ABHISHEKI 28 LALIT BEGUM PARVEEN SULTANA 29 JOG BEGUM PARVEEN SULTANA 30 GUJRI JODI BEGUM PARVEEN SULTANA 31 KOMAL BHAIRAV BEGUM PARVEEN SULTANA 32 MARUBIHAG PANDIT VASANTRAO DESHPANDE 33 THUMRI MISHRA KHAMAJ PANDIT VASANTRAO DESHPANDE 34 JEEVANPURI PANDIT KUMAR GANDHARVA 35 BAHAR PANDIT KUMAR GANDHARVA 36 DHANBASANTI PANDIT KUMAR GANDHARVA 37 DESHKAR PANDIT KUMAR GANDHARVA 38 GUNAKALI PANDIT KUMAR GANDHARVA 39 BILASKHANI-TODI PANDIT KUMAR GANDHARVA 40 KAMOD PANDIT KUMAR GANDHARVA 41 MIYA KI TODI USTAD RASHID KHAN 42 BHATIYAR USTAD RASHID KHAN 43 MIYA KI TODI USTAD RASHID KHAN 44 BHATIYAR USTAD RASHID KHAN 45 BIHAG ASHWINI BHIDE-DESHPANDE 46 BHINNA SHADAJ ASHWINI BHIDE-DESHPANDE 47 JHINJHOTI ASHWINI BHIDE-DESHPANDE 48 NAYAKI KANADA ASHWINI -
Annual Report 2014-15 ICSSR Annual Report 2014-15 ICSSR
Annual Report 2014-15 ICSSR Annual Report 2014-15 ICSSR Aruna Asaf Ali Marg, JNU Institutional Area, New Delhi - 110067 Tel No. 26741849/50/51 Fax : 91-11-26741836 Ministry of Human Resource Development e-mail : [email protected] Website : www.icssr.org Government of India Annual Report 2014-15 Indian Council Of Social Science Research Aruna Asaf Ali Marg, J.N.U. Institutional Area, New Delhi-110067 Contents Programmes 1-48 1. Overview 1-3 2. Research Promotion 4-12 3. Documentation 13-16 4. Research Survey and Publications 17-18 5. International Collaboration 19-31 6. Regional Centers 32-37 7. Research Institutes 38-47 Appendices 49-480 1. List of Members of the Council 51-53 2. ICSSR Senior Officials 54-55 3. Research Projects 56-107 4. Research Fellowships 108-193 5. Financial Assistance Provided for Organising 194-200 Capacity Building Programmes and Research Methodology Courses. 6. Financial Assistance Provided for Organising 201-244 International / National Seminars/ Conferences/ Workshops in India. 7. Publication Grants 245-250 8. Financial Assistance Provided to Scholars for 251-268 Participation in International Conferences / Data Collection Abroad. 9. Major Activities of ICSSR Regional Centres 269-296 10. Major Activities of ICSSR Research Institutes 297-475 11. Theses Purchased / Bibliographies Prepared in 476-479 the NASSDOC Statement of Accounts 481-580 Programmes 1 Overview Social science research, which presupposes launched in May 1969. It was considered a freedom of intellectual choice and opinion, significant achievement of evolving Indian needs to be encouraged by a developing democracy. nation. India has not only encouraged it, but also promoted it with state patronage. -
Sruti Notes a Publication of SRUTI - the India Music & Dance Society E-Mail: [email protected] Volume 16, Issue 2
Sruti Notes A Publication of SRUTI - The India Music & Dance Society www.sruti.org E-mail: [email protected] Volume 16, Issue 2, Board of Directors President’s Note President Dear Indian Classical Music and Dance Rasikas: Ravi Pillutla Greetings! Hope you enjoyed an India-like summer in Philadelphia as the board is gearing President-Elect Sunanda Gandham up to present to you a very exciting lineup of concerts in the fall. This year, Indian classical music mourns the loss of music stalwarts Pt. Ravishankar, Sri Lalgudi Jayaraman, MS Go- Treasurer palakrishnan and Maha Guru Sri Pinakapani. We are going to miss them dearly, and their Venkat Kilambi contributions to the art will be cherished by generations to come. Secretary The 2013 spring season was a phenomenal success, starting with the Thyagaraja Ara- Madhavi Ratnagiri dhana in April, featuring an American born young musician in Ramakrishnan Murthy, fol- lowed by an exquisite dance performance featuring the contrasting styles of Odissi and Directors Kandyan by Nrithyagram and the Srilankan dancers. Sri Malladi Suribabu's workshop on Ramana Kanumalla manodhrama sangeetham, varnam and kritis in the Pinakapani style and a vocal concert Suresh Tyagarajan by the upcoming Kunnakudi Balamurali Krishna kept us busy in the remainder of April. In Nari Narayanan May and June, we had the fortune of presenting a lively performance of the Malladi broth- Uma Sivakumar ers with a memorable RTP in charukesi followed by a lilting performance by the Mandolin Sundar Arunapuram duo of Shrinivas & Rajesh to wrap up the spring season. We were overwhelmed by the number of families that came forward to sponsor the 2013 events. -
Raga (Melodic Mode) Raga This Article Is About Melodic Modes in Indian Music
FREE SAMPLES FREE VST RESOURCES EFFECTS BLOG VIRTUAL INSTRUMENTS Raga (Melodic Mode) Raga This article is about melodic modes in Indian music. For subgenre of reggae music, see Ragga. For similar terms, see Ragini (actress), Raga (disambiguation), and Ragam (disambiguation). A Raga performance at Collège des Bernardins, France Indian classical music Carnatic music · Hindustani music · Concepts Shruti · Svara · Alankara · Raga · Rasa · Tala · A Raga (IAST: rāga), Raag or Ragam, literally means "coloring, tingeing, dyeing".[1][2] The term also refers to a concept close to melodic mode in Indian classical music.[3] Raga is a remarkable and central feature of classical Indian music tradition, but has no direct translation to concepts in the classical European music tradition.[4][5] Each raga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "color the mind" and affect the emotions of the audience.[1][2][5] A raga consists of at least five notes, and each raga provides the musician with a musical framework.[3][6][7] The specific notes within a raga can be reordered and improvised by the musician, but a specific raga is either ascending or descending. Each raga has an emotional significance and symbolic associations such as with season, time and mood.[3] The raga is considered a means in Indian musical tradition to evoke certain feelings in an audience. Hundreds of raga are recognized in the classical Indian tradition, of which about 30 are common.[3][7] Each raga, state Dorothea -
The Journal of the Music Academy Devoted to the Advancement of the Science and Art of Music
ISSN. 0970 -3101 THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LXVI 1995 »T5CtCT w qrafor w fagffa w * II "/ dwell not in Vaikuntha, nor in the hearts o f Yogins nor in the Sun; (but) where my bhaktas sing, there be I, NaradaV' Edited by T.S. PARTHASARATHY The Music Academy, Madras 306, T.T.K. Road, Madras - 600 014. Annual Subscript sign $ 3-00 THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LXVI 1995 t TOTfiT 1 V f t I *nr nurfer w ftgrfir h r * n "I dwell not in Vaikuntha, nor in the hearts o f Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada!" Edited by T.S. PARTHASARATHY The Music Academy, Madras 306, T.T.K. Road, Madras - 600 014. Annual Subscription - Inland oreign $ 3-00 r OURSELVES This Journal is published as an Annual. All correspondence relating to the Journal should be sent to The Editor Journal of the Music Academy, 306, T.T.K. Road, Madras - 600 014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, typewritten (double -spaced and on one side of the paper only) and should be signed by the writer (giving his or her address in full). The Editor of the Journal is not responsible for the views expressed by contributors in their articles. -
Born Kamal Haasan 7 November 1954 (Age 56) Paramakudi, Madras State, India Residence Chennai, Tamil Nadu, India Occupation Film
Kamal Haasan From Wikipedia, the free encyclopedia Kamal Haasan Kamal Haasan Born 7 November 1954 (age 56) Paramakudi, Madras State, India Residence Chennai, Tamil Nadu, India Occupation Film actor, producer, director,screenwriter, songwriter,playback singer, lyricist Years active 1959–present Vani Ganapathy Spouse (1978-1988) Sarika Haasan (1988-2004) Partner Gouthami Tadimalla (2004-present) Shruti Haasan (born 1986) Children Akshara Haasan (born 1991) Kamal Haasan (Tamil: கமலஹாசன்; born 7 November 1954) is an Indian film actor,screenwriter, and director, considered to be one of the leading method actors of Indian cinema. [1] [2] He is widely acclaimed as an actor and is well known for his versatility in acting. [3] [4] [5] Kamal Haasan has won several Indian film awards, including four National Film Awards and numerous Southern Filmfare Awards, and he is known for having starred in the largest number of films submitted by India in contest for the Academy Award for Best Foreign Language Film.[6] In addition to acting and directing, he has also featured in films as ascreenwriter, songwriter, playback singer, choreographer and lyricist.[7] His film production company, Rajkamal International, has produced several of his films. In 2009, he became one of very few actors to have completed 50 years in Indian cinema.[8] After several projects as a child artist, Kamal Haasan's breakthrough into lead acting came with his role in the 1975 drama Apoorva Raagangal, in which he played a rebellious youth in love with an older woman. He secured his second Indian National Film Award for his portrayal of a guileless school teacher who tends a child-like amnesiac in 1982's Moondram Pirai. -
Table-1 Raga Name Correction 1 Corrected Original Abhogi Kanhra
Table-1 Raga name correction 1 Corrected Original Abhogi Kanhra Abhogi Kannada,Abhogi Kannda Ahir Bhairav Aihir Bhairav Ahir Lalit Ahiri Lalita Ahir Vibhas Ahir Bibhas Alhaiya Bilaval Alahiya Bilawal,Alhailya Bilawal,Alhaiya Bilawal Amrt Varsni Amritavarshini Anand Bhairav Ananda Bhairav Arun Kauns Arunkauns Asa Asha Asavari Asawari Bagesri Bageshri,Begeshri,Baheshri Bagesri Bahar Bageshri Bahar Bagesri Kanhra Bageshri Kannada Bairagi Bhairagi Bairagi Bhairav Bhairagi Bhairav,Bhairagi Bhatrau Bala Kauns Balakauns Barva Barawa,Barwa Basant Bansant,Bsant,Vasant Basant Bahar Bsant Bahar Bihad Bhairav Beehad Bhairav Bhairav Sadra Bhaira Bhairavi Bhatiyar Bhairaivi Bhatiyar Bihagda Des Bihagda Desh Bihari Bilhari Bilaval Bilawal Bilaval Bahar Bilawal Bahar Campakali Canpakali Candani Kedar Chandani Kedar,Chandni Kedar Candra Bhankar Chandrabhankar Candrakauns Chandra Kauns,Chandrakauns Candramadhu Chandramadhu Candranandan Chandranandan Carukesi Charukeshi Chaya Chhaya Chaya Nat Chyanat Dhani Kauns Dhanikauns Darbari Kanhra Darabari Kannada,Darbari Kannada,Darbari Kannda, Darbari Des Desh Des Malhar Desh Malhar Des Marva Desh Marwa Desi Deshi Desi Todi Deshi Todi Deskar Deshkar Dev Gandhar Devgandhar Table-1 Raga name correction 2 Corrected Original Devgiri Bilaval Devgiri Bilawal Dhana Basanti Dhanabasanti Dhanasri Dhanashri Dipavali Dipawali Gara Kanhra Gara Kannada Gauri Gaudi Gauri Basant Gaudi Basant Gauri Todi Gaudi Todi Gurjari Todi Gujari Todi, Gurjari Hamsdhvani Hamsadhwani Hansnarayani Hans Narayan Hari Kauns Harikauns Hem Bihag Hembihag -
Film Preservation & Restoration Workshop
FILM PRESERVATION & RESTORATION WORKSHOP, INDIA 2016 1 2 FILM PRESERVATION & RESTORATION WORKSHOP, INDIA 2016 1 Cover Image: Ulagam Sutrum Valiban, 1973 Tamil (M. G. Ramachandran) Courtesy: Gnanam FILM PRESERVATION OCT 7TH - 14TH & RESTORATION Prasad Film Laboratories WORKSHOP 58, Arunachalam Road Saligramam INDIA 2017 Chennai 600 093 Vedhala Ulagam, 1948, Tamil The Film Preservation & Restoration Workshop India 2017 (FPRWI 2017) is an initiative of Film Heritage Foundation (FHF) and The International Federation of Film Archives (FIAF) in association with The Film Foundation’s World Cinema Project, L’Immagine Ritrovata, The Academy of Motion Picture Arts & Sciences, Prasad Corp., La Cinémathèque française, Imperial War Museums, Fondazione Cineteca di Bologna, The National Audivisual Institute of Finland (KAVI), Národní Filmový Archiv (NFA), Czech Republic and The Criterion Collection to provide training in the specialized skills required to safe- guard India’s cinematic heritage. The seven-day course designed by David Walsh, Head of the FIAF Training and Outreach Program will cover both theory and practical classes in the best practices of the preservation and restoration of both filmic and non-filmic material and daily screenings of restored classics from around the world. Lectures and practical sessions will be conducted by leading archivists and restorers from preeminent institutions from around the world. Preparatory reading material will be shared with selected candidates in seven modules beginning two weeks prior to the commencement of the workshop. The goal of the programme is to continue our commitment for the third successive year to train an indigenous pool of film archivists and restorers as well as to build on the movement we have created all over India and in our neighbouring countries to preserve the moving image legacy. -
Pallavi of Thecapital District Presents
Write to us: [email protected] Visit us: http://www.pallaviny.org/ Follow us: https://www.facebook.com/Pallavi-484735931675430/ Pallavi of theCa pital District presents th 4 PYO Annual Day Click here to watch on Facebook Live th Saturday, June 27 , 2020 Morning Session: 10:30 AM – 12:30 PM Afternoon Session: 3:00 – 5:00 PM Special Guest concert by Ms. Keerthana Sivaramakrishnan Program Details 10. Hrithik Shenbahasan Presenters: Lavanya Chandramouli & Lavanya Subramaniam ➢ KAncheesha & PAhimAm jAnaki - ShankarAbharanam - Eka MORNING SESSION : 10:30 AM – 12:30 PM 11. Vidhur Kannan ➢ Shyamale Meenakshi & Aanjaneyam - ShankarAbharanam - Eka Welcome Address 12. Girish Balakrishnan Mrs. Jayashree Ganesh - President, PALLAVI ➢ Shara Shara Samaraika - Kuntala VarAli - Aadi 13. Samanvita Nalladega List of Performances ➢ GOvardhana Giridhara - HindOlam - Aadi 14. Kalaimagal Govindaraj 1. Kirthish Sivakumaran ➢ SArasa netrA pAragunA - ShankarAbharanam - Eka ➢ ShrI GananAtham Bhajare - EeshamanOhari - Roopakam 15. Kavin Ilavarasu 2. Aarav Vishwanath ➢ SOmAskantham & HEmaye - ShankarAbharanam - Eka ➢ Pankaja mukha & VarashivabAlam - ShankarAbharanam - Eka 16. Sinchana Keshavan 3. Vainavi Kannan ➢ Purahara nandana - Hameer KalyAni - Aadi ➢ VandE Meenakshi - ShankarAbharanam - Eka 17. Maanasa Vijayaraghavan 4. Samathmika Diwakar ➢ Janani Janani JananI - REvati - Aadi ➢ Jagadeesha & PIta Varnam - ShankarAbharanam - Eka 18. Srinidhi Thattai, Surabhi Iyer & Priya Pillai 5. Aariyan Surendar ➢ SaraswatI VidiyuvatI - HindOlam - Roopakam ➢ Shankaravara