DOCSLIB.ORG

(India's Public Service Broadcaster) All India Radio: Ahmedabad – 380

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(India's Public Service Broadcaster) All India Radio: Ahmedabad – 380 PRASAR BHARATI (INDIA’S PUBLIC SERVICE BROADCASTER) ALL INDIA RADIO: AHMEDABAD – 380 009 ANNUAL LIST OF MUSIC ARTISTS OF ALL INDIA RADIO : AHMEDABAD AS ON 01/01/2020 Sr. Name of the Artist Type Category Grade Date of Basic Fee Last Date of Present Remarks No. Audition ` Broadcast in performance NPM/AVSS quality CLASSICAL – TOP GRADE (VOCAL -1 AND INSTRUMENT – 2) `1 USTAD SHAUKAT HUSSAIN KHAN CLASSICAL VOCAL TOP 19/08/2007 11000/- 17/12/2011-NPM According to His 98987 31629 21/07/2018-NPM Grade 2 NAKUL MISHRA CLASSICAL TABLA TOP 12/01/2016 STAFF According to His 09426356713 Grade 3 VIDUSHI MANJU MEHTA CLASSICAL SITAR TOP 19/08/2007 11000/- 28/09/2013-AVSS According to Her 079- 22866398 grade CLASSICAL – A GRADE (VOCAL -3 AND INSTRUMENT –7) 1 MAHENDRA TOKE CLASSICAL VOCAL A 16/04/2013 STAFF 28/09/2013-AVSS According to His 9879433699 Grade 2 RUPANDE SHAH CLASSICAL VOCAL A 11/06/1992 7400/- According to Her 9376100824 grade 3 VIRAJ AMAR CLASSICAL VOCAL A 17/07/1994 7400/- 27/06/2010-AVSS According to Her 98253 05328 grade 4 BIMAL KUMAR BHATTACHARYA CLASSICAL TABLA A 01/09/2016 7400 According to His 94275 21076 Grade 5 HETAL MEHTA CLASSICAL TABLA A 18/04/2006 7400/- According to Her 079- 22866398 grade 6 MUNJAL MEHTA CLASSICAL TABLA A 06/06/2019 7400/- According to His 98255 27116 grade 7 IKRAM KHAN KALAWANT CLASSICAL SARANGI A 29/03/2007 STAFF According to His 9725062184 Grade 8 MEHMOOD KHAN PATHAN CLASSICAL SITAR A 25/09/2000 7400/- According to His 9898237122 RETIRED Grade 9 POORVI N. MEHTA CLASSICAL SITAR A 19/05/1995 7400/- 01/09/2013- RASS According to Her 079- 22866398 Grade 10 RAFIQ KHAN CLASSICAL VIOLIN A 06/06/2019 STAFF According to His 94284 20738 Grade CLASSICAL – BH GRADE (VOCAL -9 AND INSTRUMENT – 18) 1 MONICA SHAH CLASSICAL VOCAL BH 3000/- Good 09898069350 2 NIRAJ PARIKH CLASSICAL VOCAL BH 16/03/1993 STAFF Good 09925032366 3 PRADIPTA GANGULY CLASSICAL VOCAL BH 06/04/1992 3000/- Good 4 PRAKASH SHAH CLASSICAL VOCAL BH 09/11/1993 3000/- Good 098256 11677 5 RANJANA HARISH CLASSICAL VOCAL BH 03/09/1993 3000/- Good 079-26746848 6 RAJENDRA DIXIT CLASSICAL VOCAL BH 26/07/2006 3000/- Good 7 SWETA ZAVERI CLASSICAL VOCAL BH 25/10/1990 3000/- Good 8 SHIRISH PANDIT CLASSICAL VOCAL BH 18/05/2015 3000/- Good 9 VIKASH PARIKH CLASSICAL VOCAL BH 09/11/1993 3000/- Good 09327002999 10 ANUJ ANJARIA CLASSICAL SANTOOR BH 06/06/2019 3000/- Good 9375664061 11 AMITA DALAL CLASSICAL SITAR BH 28/03/1995 3000/- Good 098240 86454 12 AAKASH TRIVEDI CLASSICAL TABLA BH 06/06/2019 3000/- Good 8879919426 Page – 2 Sr. Name of the Artist Type Category Grade Date of Basic Fee Last Date of Present Mobile No./ Phone No. Audition ` Broadcast in performance No. NPM/AVSS quality 13 SHREYANS SHAH CLASSICAL TABLA BH 21/08/2019 3000/- Good 85118 03048 14 BIJAL SHAH CLASSICAL FLUTE BH 01/08/1995 3000/- Good 15 HEMANT BHATT CLASSICAL PAKHAWAJ BH 06/04/1992 3000/- Good 93742 45199 16 KADAR KHAN (Stays in U.S.) CLASSICAL TABLA BH 3000/- Good 17 LAXMAN PHULPAGARE CLASSICAL TABLA BH 3000/- Good 99095 51382 18 NIHAR MEHTA CLASSICAL TABLA BH 3000/- Good 19 NAGRAJ RAMANATHAN CLASSICAL SITAR BH 08/12/1991 3000/- Good 999 8222 387 20 PRATIMA ANANDJIWALA CLASSICAL SITAR BH 24/03/1995 3000/- Good 94278 04685 21 PRITHVIRAJ MISHRA CLASSICAL TABLA BH 21/12/1993 3000/- 28/09/2013- AVSS Good 9414 00 80 88 22 PARTHA SARKAR CLASSICAL FLUTE BH 19/08/2011 3000/-- Good 9088143149 (Trans. From AIR Kolkata) 23 RAJAL SHAH CLASSICAL TABLA BH 04/12/1992 3000/- Good 98258 86153 24 SAPAN ANJARIA (2nd IN AIR MUSIC CLASSICAL TABLA BH 06/06/2019 3000/- Good 98790 07155 COMPETITION IN 2011) 25 SHISHIR BHATT CLASSICAL PAKHAWAJ BH 16/03/1993 STAFF Good 94263 77470 26 TANMAY MISHRA (Trans. From AIR : CLASSICAL GUITAR BH 29/06/2011 3000/- Good 9879835867 Vadodara 27 VINOD VAISHNAV CLASSICAL TABLA BH 04/07/1991 3000/- Good 93282 48473 CLASSICAL – B GRADE (VOCAL -6 AND INSTRUMENT – 22) 1 AMI NIRAJ PARIKH CLASSICAL VOCAL B 11/11/1998 1700/- Good 9925032166 2 BALRAJ NARENDRABHAI CLASSICAL VOCAL B 15/11/2016 1700/- Good 97229 23255 SHASHTRI 3 RUJUL PATHAK CLASSICAL VOCAL B 26/03/2003 1700/- Good 079-26563378 4 SASWATI BHATTACHARYA CLASSICAL VOCAL B 16/06/2016 1700/- Good 97254 73557 5 VRAJ VALLABH GOSWAMI CLASSICAL VOCAL B 02/09/2013 1700/- Good 6 YASH MEHTA CLASSICAL VOCAL B 21/08/2019 1700/- Good 9426046304 7 DHAVAL NAYAK CLASSICAL TABLA B 06/06/2019 1700/- Good 9427042794 8 HEMANT JOSHI CLASSICAL TABLA B 06/09/1995 1700/- Good 9 HASMUKH CHAVDA CLASSICAL TAR SEHNAI B 04/06/1991 1700/- Good 10 HIREN R CHATE CLASSICAL TABLA B 02/09/2013 1700/- Good 099788 48608 11 JAJWALYA SHUKLA CLASSICAL TABLA B 11/11/1996 1700/- Good 12 JAY DABGAR CLASSICAL TABLA B 03/12/2002 1700/- Good 13 KEYUR B. SONI CLASSICAL FLUTE B 23/12/1999 1700/- Good 098243 17243 14 MANTRAK MEHTA CLASSICAL TABLA B 21/12/2016 1700/- Good 079-26605720 15 MATANG PARIKH CLASSICAL TABLA B 10/06/1993 1700/- Good 99987 45222 16 MAYUR M. NARVEKAR CLASSICAL TABLA B 23/12/1999 1700/- Good 17 NAMAN GANDHARV CLASSICAL PAKHAWAJ B 10/04/2019 1700/- Good 18 PRAVIN SHINDE CLASSICAL TABLA B 27/12/1993 1700/- Good 19 PIYUSH NAGAR CLASSICAL HARMONIUM B 1700/- Good 20 RAJU GANDHARVA CLASSICAL HARMONIUM B 1700/- Good 21 RAMESH BAPODARA CLASSICAL TABLA,PAKHAVAJ B 24/01/1995 1700/- Good 22 SUGNA SHAH CLASSICAL SITAR B 13/06/1991 1700/- Good 23 SURESH PARIKH CLASSICAL FLUTE B 25/10/1990 1700/- Good 24 SHISHIR BHATT CLASSICAL HARMONIUM B STAFF Good 09426377470 25 VRAJ NIKUNJBHAI PATEL (1ST IN CLASSICAL TABLA B 27/11/2017 1700/- Good AIR MUSIC COMPETITION IN 2017) 26 VANRAJ SHASHTRI (2ND IN AIR CLASSICAL SARANGI B 04/10/2018 1700/- Good 97242 97780 MUSIC COMPETITION IN 2018) 27 YAMIN KHAN CLASSICAL HARMONIUM B 1700/- Good Page - 3 Sr. Name of the Artist Type Category Grade Date of Basic Fee Last Date of Present Mobile No./ Phone No. Audition ` Broadcast in performance No. NPM/AVSS quality 28 YOGENDRA R. DIXIT CLASSICAL PAKHAVAJ B 02/09/2013 1700/- Good (COMPOSER GRADE I - 2 AND GRADE II - 6) 1 HASMUKH PATADIA COMPOSER GRADE I 20/07/1994 STAFF According to His 09427016126 Grade 2 GAURANG VYAS COMPOSER GRADE I 7200/- According to His 079-26423572 Grade 3 NAYAN PANCHOLI COMPOSER GRADE II 14/03/2019 4,000/- Good 98250 38547 4 RAJU GANDHARVA COMPOSER GRADE II 4000/- Good 5 SHYAMAL P. MUNSHI COMPOSER GRADE II 11/04/1990 4000/- Good 98250 69291 6 SUDHIR KHANDEKAR COMPOSER GRADE II 4000/- Good 7 SUHANI SHAH COMPOSER GRADE II 14/03/2019 4,000/- Good 98254 84557 8 YAMIN KHAN COMPOSER GRADE II 17/05/1995 4000/- Good LIGHT – TOP GRADE (VOCAL – 1) 1 NAYAN PANCHOLI LIGHT VOCAL TOP 12/01/2016 11,000/- NP 2014 According to His 98250 38547 Grade LIGHT – A GRADE (VOCAL - 7) 1 BANSARI YOGENDRA LIGHT VOCAL A 24/07/1982 7400/- According to Her 98240 81721 Grade 2 HASMUKH PATADIA LIGHT VOCAL A 14/03/2019 STAFF According to Her 94270 16126 Grade 3 KALYANI KOTHALKAR LIGHT VOCAL A 26/03/2009 7400/- NP 2014 According to Her 98256 10160 Grade 4 MALTI LANGE LIGHT VOCAL A 17/05/1988 7400/- According to Her Grade 5 PRAFUL DAVE LIGHT VOCAL A 24/07/1982 7400/- According to His 98253 25130 Grade 6 PRATIMA TRIVEDI LIGHT VOCAL A 24/07/1982 7400/- According to Her Grade 7 SAROJ GUNDANI LIGHT VOCAL A 24/07/1982 7400/- According to Her Grade LIGHT – BH GRADE (VOCAL -20 AND INSTUMENT - 4) 1 AMI NIRAJ PARIKH LIGHT VOCAL BH 29/06/2001 3000/- Good 9925032166 2 BIREN PUROHIT LIGHT VOCAL BH 26/03/2009 3000/- Good 98254 98394 3 DIPTI DESAI LIGHT VOCAL BH 26/03/2009 3000/- Good 9825278760 4 FALGUNI DOCTOR LIGHT VOCAL BH 15/03/1999 3000/- Good 9426284999 5 NAYNESH JANI LIGHT VOCAL BH 26/03/2009 3000/- Good 98253 58274 6 PRAVIN JOSHI LIGHT VOCAL BH 24/06/1998 3000/- Good 98254 36560 7 PARAGI AMAR LIGHT VOCAL BH 06/05/2016 3000/- Good 98250 93947 8 REKHA THAKAR LIGHT VOCAL BH 09/02/1993 3000/- Good 97277 25094 9 RITISHA MUKHERJEE (Trans. From LIGHT VOCAL BH 16/04/2018 3000/- Good 95863 63784 AIR Kolkata. 2nd in AIR Music Comp.- 2012) 10 SANJAY VASITHA LIGHT VOCAL BH 15/03/1999 3000/- Good 11 SALAMATKHAN SHEIKH LIGHT VOCAL BH 26/03/2009 3000/- Good 98792 51620 12 SONAL RAVAL LIGHT VOCAL BH 31/12/1998 3000/- Good 13 SHILPA PANDIT LIGHT VOCAL BH 16/09/2015 3000/- Good 98255 26025 14 SURESH S.RATNOTTAR LIGHT VOCAL BH 06/05/2013 3000/- Good 079-23257760 15 SUDHIR THAKAR LIGHT VOCAL BH 30/10/1992 3000/- Good 098792 09537 Page – 4 Sr. Name of the Artist Type Category Grade Date of Basic Fee Last Date of Present Mobile No./ Phone No. Audition ` Broadcast in performance No. NPM/AVSS quality 16 SUNANDA SHAH LIGHT VOCAL BH 22/09/1971 3000/- Good 9909 9732 61 17 SURESH JANI LIGHT VOCAL BH 23/09/1971 3000/- Good 18 SHRUSHTI BHATT LIGHT VOCAL BH 06/05/2016 3000/- Good 9998745333 19 VAISHALI TRIVEDI LIGHT VOCAL BH 15/09/1999 3000/- Good 098791 67614 20 VIBHA DESAI LIGHT VOCAL BH 23/08/1971 3000/- Good 21 GOPAL BRAHMBHATT LIGHT DHOLAK BH 19/04/2018 3000/- Good 98790 52112 22 PARTH TRIPATHI LIGHT TABLA BH 19/04/2018 3000/- Good 99985 13888 23 RISHIN R SARAIYA LIGHT TABLA BH 19/04/2018 3000/- Good 98981 87771 24 SHYAMSUNDER BRAHMBHATT LIGHT TABLA BH 12/06/1991 3000/- Good LIGHT B GRADE (VOCAL – 103 INSTRUMENTS – 66) 1 AARTI S.
Load more

Recommended publications
  • Music Initiative Jka Peer - Reviewed Journal of Music
    VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc.
    [Show full text]
  • 1457621917.Pdf
    ATN DD BHARATI Schedule MAR 07 TO MAR 13,2016 ET Monday Tuesday Wednesday Thursday Friday Saturday Sunday PT 7-Mar 8-Mar 9-Mar 10-Mar 11-Mar 12-Mar 13-Mar Asian Magazine Asian Magazine Asian Magazine Utsav Asian Magazine Asian Magazine Asian Magazine Asian Magazine 0:00 Ryerson University Holi Celebration Unity Festival 21:00 Konkani Association SMCC Youth Talent Show Taal Se Taal Mila Ek Shaam Kishore Kumar Ke Naam Shafqat Amanat Ali Live in Mississauga Part 01 Markham Part 01 Asian Magazine Asian Magazine Utsav Asian Magazine Asian Magazine Asian Magazine Asian Magazine Asian Magazine 0:30 Ryerson University Holi Celebration 21:30 Konkani Association Sunehri Yaadein Sham - E- Parag Canada's Diversity Celebration Rung : South Asian Heritage Weekend Toronto Festival of Literature & Arts Part 02 Part 02 1:00 Yog Vigyan Yog Vigyan Yog Vigyan Yog Vigyan Yog Vigyan Yog Vigyan Yog Vigyan 22:00 1:30 Thin Green Line Nano Ki Duniya Nano Ki Duniya Nano Ki Duniya Nano Ki Duniya Nano Ki Duniya Nano Ki Duniya 22:30 2:00 K Sankar Pillai Muzaffar Ali Ashq Dur Se Nazdeek Se A.K. Roychoudhary Ramakrishna Paramahamsa Spirit of soul DST 23:00 2:30 Sankat Mochan Hanuman Sankat Mochan Hanuman Sankat Mochan Hanuman Sankat Mochan Hanuman Sankat Mochan Hanuman Sankat Mochan Hanuman DST 23:30 3:00 Women of Substance Bandhan Bandhan Bandhan Bandhan Bhisham Sahani 0:00 Bandhan 3:30 Sanskriti Bharati Rang Tarang Aas Paas Sanskriti Bharati Sanskriti Bharati Sanskriti Bharati 0:30 4:00 Kitabnama Maati Ke Rang - Chaho To Pa Lo Kanya Kumari Ki Kahaniya : Mangal Sutra Kanya Kumari Ki Kahaniya 1:00 Bharat ke Sant Kavi ABhImanyu's Face Best of Indian Cinema :Vazhakku- Tamil Sarvjan Prarthanalay Chandani Chowk Chandani Chowk Chandani Chowk 4:30 Chandani Chowk Chandani Chowk 1:30 5:00 2:00 Carnatic Vocal : Dr.
    [Show full text]
  • MUSIC (Lkaxhr) 1. the Sound Used for Music Is Technically Known As (A) Anahat Nada (B) Rava (C) Ahat Nada (D) All of the Above
    MUSIC (Lkaxhr) 1. The sound used for music is technically known as (a) Anahat nada (b) Rava (c) Ahat nada (d) All of the above 2. Experiment ‘Sarna Chatushtai’ was done to prove (a) Swara (b) Gram (c) Moorchhana (d) Shruti 3. How many Grams are mentioned by Bharat ? (a) Three (b) Two (c) Four (d) One 4. What are Udatt-Anudatt ? (a) Giti (b) Raga (c) Jati (d) Swara 5. Who defined the Raga for the first time ? (a) Bharat (b) Matang (c) Sharangdeva (d) Narad 6. For which ‘Jhumra Tala’ is used ? (a) Khyal (b) Tappa (c) Dhrupad (d) Thumri 7. Which pair of tala has similar number of Beats and Vibhagas ? (a) Jhaptala – Sultala (b) Adachartala – Deepchandi (c) Kaharva – Dadra (d) Teentala – Jattala 8. What layakari is made when one cycle of Jhaptala is played in to one cycle of Kaharva tala ? (a) Aad (b) Kuaad (c) Biaad (d) Tigun 9. How many leger lines are there in Staff notation ? (a) Five (b) Three (c) Seven (d) Six 10. How many beats are there in Dhruv Tala of Tisra Jati in Carnatak Tala System ? (a) Thirteen (b) Ten (c) Nine (d) Eleven 11. From which matra (beat) Maseetkhani Gat starts ? (a) Seventh (b) Ninth (c) Thirteenth (d) Twelfth Series-A 2 SPU-12 1. ? (a) (b) (c) (d) 2. ‘ ’ ? (a) (b) (c) (d) 3. ? (a) (b) (c) (d) 4. - ? (a) (b) (c) (d) 5. ? (a) (b) (c) (d) 6. ‘ ’ ? (a) (b) (c) (d) 7. ? (a) – (b) – (c) – (d) – 8. ? (a) (b) (c) (d) 9. ? (a) (b) (c) (d) 10.
    [Show full text]
  • Unit 10 Music
    UNIT 10 MUSIC lob! Objeh. l02i Mwicinhdia-S 10.22 No& Indian and Camat& Styles 103 Music - Essential Elemeats 103.1 Sound (!jwara) , 103.2 Beat (Tael) I t&. Thus music has brdtn gt&@ ,m . r'3. /.I ..,... Music :;eetam, Vaadyarn, Nrityam, Trayam, Sangeet, Muchyate. i.c. the music is composed of three. basic parts - the vocal, the instrument anci the dance. It is true that all these three forms of art are interrelated though all have also grown and developed somewhat independently. Since sound is the common feature of all, it is generally understood that music comprises all the three . 10.2.1 Marg and Desi Music: It is an interesting fact that Indian music, since very beginning develuped along two parallel 4treams. One ol , ' IC stream used masic a1)undantly in the religious ceremonies while the other equally rich tradition is that of recourse to music during popular festivals or on occasions for public entertainment. The fcrmer is known as marg music ::lid the latter is called desi. 'The two streams, we may like you to understand. did not remain independent of each other. The truth is that the fonthead of both has been popular music and therefore there is no diffcrcncc in thcir parentage. Since rcllgious ceremonies gradually became the monopoly of a specialized group, the marg strcam in some ways distanced itself from the multitudes of pcoplc and latcr came to be designated as classical. Unlike this the other strcam viz. desi remaincd in the domain of people and gained great popularity in a variety of forms in all regions of Ind'a, To further clarify the difference we would iikc to cquate marg music with the rather quiet soulful flow of the water of a river like Ganga or Godavari.
    [Show full text]
  • Classification of Indian Musical Instruments with the General
    Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals).
    [Show full text]
  • Repor T Resumes
    REPOR TRESUMES ED 017 908 48 AL 000 990 CHAPTERS IN INDIAN CIVILIZATION--A HANDBOOK OF READINGS TO ACCOMPANY THE CIVILIZATION OF INDIA SYLLABUS. VOLUME II, BRITISH AND MODERN INDIA. BY- ELDER, JOSEPH W., ED. WISCONSIN UNIV., MADISON, DEPT. OF INDIAN STUDIES REPORT NUMBER BR-6-2512 PUB DATE JUN 67 CONTRACT OEC-3-6-062512-1744 EDRS PRICE MF-$1.25 HC-$12.04 299P. DESCRIPTORS- *INDIANS, *CULTURE, *AREA STUDIES, MASS MEDIA, *LANGUAGE AND AREA CENTERS, LITERATURE, LANGUAGE CLASSIFICATION, INDO EUROPEAN LANGUAGES, DRAMA, MUSIC, SOCIOCULTURAL PATTERNS, INDIA, THIS VOLUME IS THE COMPANION TO "VOLUME II CLASSICAL AND MEDIEVAL INDIA," AND IS DESIGNED TO ACCOMPANY COURSES DEALING WITH INDIA, PARTICULARLY THOSE COURSES USING THE "CIVILIZATION OF INDIA SYLLABUS"(BY THE SAME AUTHOR AND PUBLISHERS, 1965). VOLUME II CONTAINS THE FOLLOWING SELECTIONS--(/) "INDIA AND WESTERN INTELLECTUALS," BY JOSEPH W. ELDER,(2) "DEVELOPMENT AND REACH OF MASS MEDIA," BY K.E. EAPEN, (3) "DANCE, DANCE-DRAMA, AND MUSIC," BY CLIFF R. JONES AND ROBERT E. BROWN,(4) "MODERN INDIAN LITERATURE," BY M.G. KRISHNAMURTHI, (5) "LANGUAGE IDENTITY--AN INTRODUCTION TO INDIA'S LANGUAGE PROBLEMS," BY WILLIAM C. MCCORMACK, (6) "THE STUDY OF CIVILIZATIONS," BY JOSEPH W. ELDER, AND(7) "THE PEOPLES OF INDIA," BY ROBERT J. AND BEATRICE D. MILLER. THESE MATERIALS ARE WRITTEN IN ENGLISH AND ARE PUBLISHED BY THE DEPARTMENT OF INDIAN STUDIES, UNIVERSITY OF WISCONSIN, MADISON, WISCONSIN 53706. (AMM) 11116ro., F Bk.--. G 2S12 Ye- CHAPTERS IN INDIAN CIVILIZATION JOSEPH W ELDER Editor VOLUME I I BRITISH AND MODERN PERIOD U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY.
    [Show full text]
  • Role of Percussion Instruments in Indian Music
    Vol 6 Issue 7 April 2017 ISSN No : 2249-894X ORIGINAL ARTICLE Monthly Multidisciplinary Research Journal Review Of Research Journal Chief Editors Ashok Yakkaldevi Ecaterina Patrascu A R Burla College, India Spiru Haret University, Bucharest Kamani Perera Regional Centre For Strategic Studies, Sri Lanka Welcome to Review Of Research RNI MAHMUL/2011/38595 ISSN No.2249-894X Review Of Research Journal is a multidisciplinary research journal, published monthly in English, Hindi & Marathi Language. All research papers submitted to the journal will be double - blind peer reviewed referred by members of the editorial Board readers will include investigator in universities, research institutes government and industry with research interest in the general subjects. Regional Editor Dr. T. Manichander Advisory Board Kamani Perera Delia Serbescu Mabel Miao Regional Centre For Strategic Studies, Sri Spiru Haret University, Bucharest, Romania Center for China and Globalization, China Lanka Xiaohua Yang Ruth Wolf Ecaterina Patrascu University of San Francisco, San Francisco University Walla, Israel Spiru Haret University, Bucharest Karina Xavier Jie Hao Fabricio Moraes de AlmeidaFederal Massachusetts Institute of Technology (MIT), University of Sydney, Australia University of Rondonia, Brazil USA Pei-Shan Kao Andrea Anna Maria Constantinovici May Hongmei Gao University of Essex, United Kingdom AL. I. Cuza University, Romania Kennesaw State University, USA Romona Mihaila Marc Fetscherin Loredana Bosca Spiru Haret University, Romania Rollins College, USA Spiru Haret University, Romania Liu Chen Beijing Foreign Studies University, China Ilie Pintea Spiru Haret University, Romania Mahdi Moharrampour Nimita Khanna Govind P. Shinde Islamic Azad University buinzahra Director, Isara Institute of Management, New Bharati Vidyapeeth School of Distance Branch, Qazvin, Iran Delhi Education Center, Navi Mumbai Titus Pop Salve R.
    [Show full text]
  • THE GAZETTE of INDIA : EXTRAORDINARY [PART II—SEC. 3(I)] NOTIFICATION New Delhi, the 22Nd September, 2017 No.28/2017-Union
    66 THE GAZETTE OF INDIA : EXTRAORDINARY [P ART II—SEC . 3(i)] 111. उडुकईi 112. चंडे 113. नागारा - केटलेG स कƙ जोड़ी 114. प बाई - दो बेलनाकार Gम कƙ इकाई 115. पैराित पु, हगी - sेम Gम दो िटϝस के साथ खेला 116. संबल 117. िटक डफ या िटक डफ - लाठी के साथ खेला जाने वाला टġड मĞ डेफ 118. तमक 119. ताशा - केटलेGम का Oकार 120. उƞम 121. जलातरंग िच पēा - पीतल के ƚजगल के साथ आग टĪग 122. चĞिगल - धातु िडक 123. इलाथलम 124. गेजर - Qास पोत 125. घटक और मटकाम (िमŝी के बरतन बतϕन Gम) 126. घुंघĐ 127. खारट या िच पला 128. मनजीरा या झंज या ताल 129. अखरोट - िमŝी के बतϕन 130. संकरजांग - िल थोफोन 131. थाली - धातु लेट 132. थाकुकाजामनाई 133. कंचारांग, कांच के एक Oकार 134. कथाततरंग, एक Oकार का जेलोफ़ोन [फा सं.354/117/2017-टीआरयू-भाग II] मोिहत ितवारी, अवर सिचव Ɨट पणी : Oधान अिधसूचना सं. 2/2017- संघ राϤ यϓेJ कर (दर), तारीख 28 जून, 2017, सा.का.िन. 711 (अ) तारीख 28 जून, 2018 ůारा भारत के राजपJ , असाधारण, भाग II, खंड 3, उपखंड (i) ůारा Oकािशत कƙ गई थी । NOTIFICATION New Delhi, the 22nd September, 2017 No.28/2017-Union Territory Tax (Rate) G.S.R.1196 (E).— In exercise of the powers conferred by sub-section (1) of section 8 of the Union Territory Goods and Services Tax Act, 2017 (14 of 2017), the Central Government, being satisfied that it is necessary in the public interest so to do, on the recommendations of the Council, hereby makes the following amendments in the notification of the Government of India in the Ministry of Finance (Department of Revenue), No.2/2017-Union territory Tax (Rate), dated the 28th June, 2017, published in the Gazette of India, Extraordinary, Part II, Section 3, Sub-section (i), vide number G.S.R.
    [Show full text]
  • The Arunachal Pradesh Gazette EXTRAORDINARY PUBLISHED by AUTHORITY
    The Arunachal Pradesh Gazette EXTRAORDINARY PUBLISHED BY AUTHORITY No. 411, Vol. XXIV, Naharlagun, Wednesday, October 4, 2017 Asvina 12, 1939 (Saka) GOVERNMENT OF ARUNACHAL PRADESH DEPARTMENT OF TAX & EXCISE ITANAGAR ————— Notification No. 28/2017-State Tax (Rate) The 26th September, 2017 No. GST/24/2017.— In exercise of the powers conferred by sub-section (1) of Section 11 of the Arunachal Pradesh Goods and Services Tax Act, 2017 (7 of 2017), the State Government, on the recommendations of the Council, hereby makes the following amendments in the notification of the Government of Arunachal Pradesh, Department of Tax & Excise, No.2/2017-State Tax (Rate), dated the 28th June, 2017, published in the Extra ordinary Gazette of Arunachal Pradesh, vide number 192, Vol XXIV, dated the 30th June, 2017, namely:- In the said notification,- (B) in the Schedule,- (i) against serial number 27, in column (3), for the words “other than put up in unit containers and bearing a registered brand name”, the words, brackets and letters “other than those put up in unit container and,- (a) bearing a registered brand name; or (b) bearing a brand name on which an actionable claim or enforceable right in a court of law is available [other than those where any actionable claim or enforceable right in respect of such brand name has been foregone voluntarily, subject to the conditions as in the ANNEXURE I]”, shall be substituted ; (jj) against serial numbers 29 and 45, in column (3), for the words “other than put up in unit container and bearing a registered brand
    [Show full text]
  • Indian Classical Music Is One of the Oldest Forms of Music in the World
    AN INTRODUCTION TO THE CLASSICAL MUSIC OF INDIA Rangaraj M. Rangayyan Department of Electrical and Computer Engineering University of Calgary Calgary, Canada T2N 1N4. Phone: +1 (403) 220-6745 Fax: +1 (403) 282-6855 e-mail: [email protected] Web: http://www.enel.ucalgary.ca/People/Ranga 48 Scandia Hill N.W. Calgary, Alberta, CANADA T3L 1T8 Phone/fax: +1 (403) 239-7380 I. INTRODUCTION Indian classical music is one of the oldest forms of music in the world. It has its roots in diverse areas such as the ancient religious vedic hymns, tribal chants, devotional temple music, and folk music[2]. Indian music is melodic in nature, as opposed to Western music which is harmonic. The most important point to note is that movements in Indian classical music are on a one-note-at-a-time basis. This progression of sound patterns along time is the most significant contributor to the tune and rhythm of the presentation, and hence to the melody[2]. Although Indian music is now divided into the two major classes of Hindusthani (Northern Indian) and Karnatak or Carnatic (Southern Indian), the origins and fundamental concepts of both these types of music are the same. The form of presentation may however vary between the two systems, as well as from one gharana (family) to another in the former system. The fundamental concepts that have to be understood at the outset are those of swara (musical note), raga (a melodic concept, or scale of notes) and tala (beats of timing or rhythm). This paper begins with an introduction to these concepts.
    [Show full text]
  • Sample of Mcqs Question Bank
    University of Mumbai Department of Music MCQ Demo Paper for B.Mus. III and M. Mus. II Paper/Subject Code --------- Paper Name - ------------- Total Marks - 50 Students Seat No. -------- Instructions Section I and Section II are Compulsory. All questions carries equal marks. Section I Choose the correct alternative 1. Which of the following Artists is not a 'Santoor Player'? A - Pt.Bhajan Sopori B - Pt.Tarun Bhattacharya C - Ustad Ali Akbar Khan D - Pt.Shivkumar Sharma 2.Which Instrument did 'Ustad Vilayat khansahab' play? A - Tabla B - Sarod C - Santoor D - Sitar 3. Who plays the instrument 'Mohanveena'? A - Ganesh Mohan B - Krishnamohan Bhatt C - Vishwamohan Bhatt D - Mohan Ratan Sharma 4. The Famous vocalist 'Kaushiki Chakravarty' belongs to which Gharana? A - Patiayala gharana B - Gwalior gharana C - Rampur gharana D - Agra gharana 5. Which Indian Classical vocalist has sung the Famous song 'Ab ke Saawan'? A - Meeta Pandit B - Shubha Mudgal C - Neela Bhagwat D - Shubha Joshi 6. Which Artist has been awarded the 'Bharat Ratna' by the Govt of India? A - Pt.Hariprasad Chaurasia B - Ustad Bismillah khan C - Ustad Amjad ali khan D - Begum Parveen Sultana 7. What is the name of Sitar players Niladri Kumar's Guru? A - Pt.Ajay Kumar B - Pt.Suresh Kumar C - Pt.Himalay kumar D - Pt.Kartick kumar 8. 'Sawai Gandharva Sangeet Sammelan' is organised in which City? A - Mumbai B - Pune C - Delhi D - Banaras 9. Which Vocalist is famous by the Pen name 'Pran Piya'? A - Ustad Vilayat Hussain Khan B - Ustad Imrat hussain khan C - Ustad Faiyaz khan D - Ustad Vajahat hussain Khan 10.
    [Show full text]
  • An Inquiry Into Contextualized Christian Expression in North India
    © 2011 M. J. Gracin ii ABSTRACT AN INQUIRY INTO CONTEXTUALIZED CHRISTIAN EXPRESSION IN NORTH INDIA M. J. Gracin Liberty University The riches of India’s ancient and diverse culture are proclaimed from the music that communicates the heart of Bharat Mata – Mother India. This sentiment resounds across the vast geographical area of India in songs from Hindus, Muslims, Sikhs, Buddhists, Christians and Bollywood composers. The question of how Christians might express their faith in light of societal, historical and religious amalgamations is the topic of discussion for this project. The inquiry will focus on the music culture of North India, specifically as it is expressed in the city of B_____, Uttar Pradesh. A six week field study was conducted in India to interview Hindu musicians and non-musicians. Audio and video recordings were made of the interviews, and photographs and recordings were made of various performances. The analysis endeavors to fill the gap concerning an understanding of the need for contextualized Christian expression and recommendations are presented for carrying out the task. iii CONTENTS CHAPTER I: INTRODUCTION ................................................................................................5 Project Significance ...............................................................................................................5 Definition of Purpose .............................................................................................................9 Intended Outcomes .............................................................................................................
    [Show full text]