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RHYTHMUNITY ENSEMBLE Kalyan Patak Jean-Christophe Leroy Janet Cramer
RHYTHMUNITY ENSEMBLE Kalyan Patak Jean-Christophe Leroy Janet Cramer PREPARING YOUR SCHOOL FOR THE ENSEMBLE’S VISIT Program Description: The Rhythmunity Ensemble is a group of percussionists hailing from all over the world who present a musical world tour of traditional percussion music. Committed to education in the belief that knowledge of other cultures can break down barriers between cultures, the ensemble has performed for thousands of public school students, college students, teachers, and business people. The program interweaves music, folklore, history, and geography in a very entertaining, educational and accessible presentation. Some of the cultures represented in the program include Cuban, West African, Arab, Indian, and Brazilian. The ensemble members are all highly accomplished musicians who have lived, studied, and performed all over the globe. Terms • Percussion • Balaphone • Guinea • Malinke • India • Conga • Bata Toque • Middle East • Samba • Djembe Musical excerpts to be selected from the following: 1) Traditional rhythms of the Malinke people of Guinea, West Africa, including Zawouli, Kuku, Tiriba and Menjani. 2) Traditional Balaphone from West Africa 3) Traditional rhythms from North Africa and the Middle East. 4) Traditional tabla music from Northern India, and folkloric dhol drum. 5) Cuban rumba and Bata music. 6) The music of Capoeira from northern Brazil 7) Traditional samba batucata from Rio de Janeiro, Brazil. GUIDELINE QUESTIONS FOR FOLLOW-UP DISCUSSION: Q: What instruments were used in today’s program? A: Bells, shekere, djembe, djun-djun, balaphone, tar, Egyptian tabla, riq, tabla,dhol, dholak, bata, congas, clave, berimbau, pandiero, repinique, caxia, surdo, agogo bells Q: What makes a traditional samba band? A: About 400 drummers. -
Safeguarding the Intangible Cultural Heritage and Diverse Cultural Traditions of India”
Scheme for “Safeguarding the Intangible Cultural Heritage and Diverse Cultural Traditions of India” Form for National Inventory Register of Intangible Cultural Heritage of India A. Name of the State WEST BENGAL B. Name of the Element/Cultural Tradition (in English) BENA B.1. Name of the element in the language and script of the community Concerned, if applicable 뇍যানা (Bengali) C. Name of the communities, groups or, if applicable, individuals concerned (Identify clearly either of these concerned with the practice of the said element/cultural tradition) The Bena is traditionally used by two communities - the Rajbongshis and the Meities of Manipur. The Rajbongshis are spread across North Bengal, western Assam, Meghalaya and eastern parts of Bihar and the neighbouring countries of Bangladesh and Nepal. The Meiteis of Manipur have a similar instrument which they call the Pena and it plays a very important role in their culture - accompanying many of their rituals and their folk music. It continues to play a much larger role in their lives than the Bena does among the Rajbongshis. D. Geographical location and range of the element/cultural tradition (Please write about the other states in which the said element/tradition is present ) The Bena is to be found in the northern districts of Cooch Behar and Jalpaiguri (which has recently been bifurcated into Jalpaiguri and Alipurduar districts) in West Bengal, Assam, Meghalaya, Bihar and also neighbouring countries like Bangladesh and Nepal. The Bena is traditionally an integral part of a Rajbongshi folk theatre called Kushan. However the Kushan tradition prevails only in North Bengal, Bangladesh and Assam. -
Cpmg / Ka / Bg-Gpo/13/2003-2005
The Karnataka Value Added Tax Act, 2003 Act 32 of 2004 Keyword(s): Assessment, Business, Capital Goods, To Cultivate Personally, Dealer, Export, Goods Vehicle, Import, Input Tax, Maximum Retail Price, Output Tax, Place of Business, Published, Registered Dealer, Return, Sale, State Representative, Taxable Sale, Tax Invoice, Tax Period, Taxable Turnover, Total Turnover, Works Contract Amendments appended; 5 of 2009, 32 of 2013, 54 of 2013, 5 of 2015 DISCLAIMER: This document is being furnished to you for your information by PRS Legislative Research (PRS). The contents of this document have been obtained from sources PRS believes to be reliable. These contents have not been independently verified, and PRS makes no representation or warranty as to the accuracy, completeness or correctness. In some cases the Principal Act and/or Amendment Act may not be available. Principal Acts may or may not include subsequent amendments. For authoritative text, please contact the relevant state department concerned or refer to the latest government publication or the gazette notification. Any person using this material should take their own professional and legal advice before acting on any information contained in this document. PRS or any persons connected with it do not accept any liability arising from the use of this document. PRS or any persons connected with it shall not be in any way responsible for any loss, damage, or distress to any person on account of any action taken or not taken on the basis of this document. 301 KARNATAKA ACT NO. 32 OF 2004 THE KARNATAKA VALUE ADDED TAX ACT, 2003 Arrangement of Sections Sections: Chapter I Introduction 1. -
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. -
1 Syllabus for MA (Previous) Hindustani Music Vocal/Instrumental
Syllabus for M.A. (Previous) Hindustani Music Vocal/Instrumental (Sitar, Sarod, Guitar, Violin, Santoor) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical and Theoretical Study of Ragas 70 Marks A. Historical Study of the following Ragas from the period of Sangeet Ratnakar onwards to modern times i) Gaul/Gaud iv) Kanhada ii) Bhairav v) Malhar iii) Bilawal vi) Todi B. Development of Raga Classification system in Ancient, Medieval and Modern times. C. Study of the following Ragangas in the modern context:- Sarang, Malhar, Kanhada, Bhairav, Bilawal, Kalyan, Todi. D. Detailed and comparative study of the Ragas prescribed in Appendix – I Internal Assessment 30 marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Music of the Asian Continent 70 Marks A. Study of the Music of the following - China, Arabia, Persia, South East Asia, with special reference to: i) Origin, development and historical background of Music ii) Musical scales iii) Important Musical Instruments B. A comparative study of the music systems mentioned above with Indian Music. Internal Assessment 30 marks Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of half an hour’s duration before an audience in Ragas selected from the list of Ragas prescribed in Appendix – I Candidate may plan his/her performance in the following manner:- Classical Vocal Music i) Khyal - Bada & chota Khyal with elaborations for Vocal Music. Tarana is optional. Classical Instrumental Music ii) Alap, Jor, Jhala, Masitkhani and Razakhani Gat with eleaborations Semi Classical Music iii) A short piece of classical music /Thumri / Bhajan/ Dhun /a gat in a tala other than teentaal may also be presented. -
Rabindra Sangeet
UNIVERSITY GRANTS COMMISSION NET BUREAU Subject: MUSIC Code No.: 16 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music www.careerindia.com -1- Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. www.careerindia.com -2- Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics. -
Categorization of Stringed Instruments with Multifractal Detrended Fluctuation Analysis
CATEGORIZATION OF STRINGED INSTRUMENTS WITH MULTIFRACTAL DETRENDED FLUCTUATION ANALYSIS Archi Banerjee*, Shankha Sanyal, Tarit Guhathakurata, Ranjan Sengupta and Dipak Ghosh Sir C.V. Raman Centre for Physics and Music Jadavpur University, Kolkata: 700032 *[email protected] * Corresponding Author ABSTRACT Categorization is crucial for content description in archiving of music signals. On many occasions, human brain fails to classify the instruments properly just by listening to their sounds which is evident from the human response data collected during our experiment. Some previous attempts to categorize several musical instruments using various linear analysis methods required a number of parameters to be determined. In this work, we attempted to categorize a number of string instruments according to their mode of playing using latest-state-of-the-art robust non-linear methods. For this, 30 second sound signals of 26 different string instruments from all over the world were analyzed with the help of non linear multifractal analysis (MFDFA) technique. The spectral width obtained from the MFDFA method gives an estimate of the complexity of the signal. From the variation of spectral width, we observed distinct clustering among the string instruments according to their mode of playing. Also there is an indication that similarity in the structural configuration of the instruments is playing a major role in the clustering of their spectral width. The observations and implications are discussed in detail. Keywords: String Instruments, Categorization, Fractal Analysis, MFDFA, Spectral Width INTRODUCTION Classification is one of the processes involved in audio content description. Audio signals can be classified according to miscellaneous criteria viz. speech, music, sound effects (or noises). -
Numbers in Bengali Language
NUMBERS IN BENGALI LANGUAGE A dissertation submitted to Assam University, Silchar in partial fulfilment of the requirement for the degree of Masters of Arts in Department of Linguistics. Roll - 011818 No - 2083100012 Registration No 03-120032252 DEPARTMENT OF LINGUISTICS SCHOOL OF LANGUAGE ASSAM UNIVERSITY SILCHAR 788011, INDIA YEAR OF SUBMISSION : 2020 CONTENTS Title Page no. Certificate 1 Declaration by the candidate 2 Acknowledgement 3 Chapter 1: INTRODUCTION 1.1.0 A rapid sketch on Assam 4 1.2.0 Etymology of “Assam” 4 Geographical Location 4-5 State symbols 5 Bengali language and scripts 5-6 Religion 6-9 Culture 9 Festival 9 Food havits 10 Dresses and Ornaments 10-12 Music and Instruments 12-14 Chapter 2: REVIEW OF LITERATURE 15-16 Chapter 3: OBJECTIVES AND METHODOLOGY Objectives 16 Methodology and Sources of Data 16 Chapter 4: NUMBERS 18-20 Chapter 5: CONCLUSION 21 BIBLIOGRAPHY 22 CERTIFICATE DEPARTMENT OF LINGUISTICS SCHOOL OF LANGUAGES ASSAM UNIVERSITY SILCHAR DATE: 15-05-2020 Certified that the dissertation/project entitled “Numbers in Bengali Language” submitted by Roll - 011818 No - 2083100012 Registration No 03-120032252 of 2018-2019 for Master degree in Linguistics in Assam University, Silchar. It is further certified that the candidate has complied with all the formalities as per the requirements of Assam University . I recommend that the dissertation may be placed before examiners for consideration of award of the degree of this university. 5.10.2020 (Asst. Professor Paramita Purkait) Name & Signature of the Supervisor Department of Linguistics Assam University, Silchar 1 DECLARATION I hereby Roll - 011818 No - 2083100012 Registration No – 03-120032252 hereby declare that the subject matter of the dissertation entitled ‘Numbers in Bengali language’ is the record of the work done by me. -
Scheme of Examination for Session 2020-21 One Year Diploma in Tabla Programme Code- DPT1 Semester-I Paper Theory/ Practical
Scheme of Examination for session 2020-21 One Year Diploma in Tabla Programme Code- DPT1 Semester-I Paper Theory/ Paper Nomenclature Maximum Internal Total Credits Practical Code of Paper Marks Assessment Marks I Theory 20CPT11C1 Basics of 80 20 100 4 Tabla II Theory 20CPT11C2 Historical & 80 20 100 4 Theoretical Study of Tabla III Practical 20CPT11C3 Stage 150 150 6 Performance IV Practical 20CPT11C4 Viva-Voce 150 150 6 Total 500 20 Paper Theory/ Paper Nomenclature Maximum Internal Total Credits Practical Code of Paper Marks Assessment Marks V Theory 20DPT12C1 History and 80 20 100 4 Basics of Tabla VI Theory 20DPT12C2 Applied 80 20 100 4 Theory of Tabla VII Practical 20DPT12C3 Stage 150 150 6 Performance VIII Practical 20DPT12C4 Viva-Voce 150 150 6 Total 500 20 The candidate has to answer five questions by selecting atleast one question from each Unit. Maximum Marks 80 Internal Assessment 20 marks Semester 1 Theory Paper - I Programme Name One Year Diploma Programme Code DPT1 in Tabla Course Name Basics of Tabla Course Code 20CPT11C1 Credits 4 No. of 4 Hours/Week Duration of End 3 Hours Max. Marks 100 term Examination Course Objectives:- 1. To impart Practical knowledge about Tabla. 2. To impart knowledge about theoretical aspects of Tabla in Indian Music. 3. To impart knowledge about Tabla and specifications of Taala 4. To impart knowledge about historical development of Tabal and it’s varnas(Bols) Course Outcomes 1. Students would able to know specifications of Tabla and Taalas 2. Students would gain knowledge about Historical development of Tabla 3. -
The West Bengal College Service Commission State
THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics. -
Assam - a Study on Bihugeet in Guwahati (GMA), Assam
International Journal of Science and Research (IJSR) ISSN: 2319-7064 Impact Factor (2018): 7.426 Female Participation in Folk Music of Assam - A Study on Bihugeet in Guwahati (GMA), Assam Palme Borthakur1, Bhaben Ch. Kalita2 1Department of Earth Science, University of Science and Technology, Meghalaya, India 2Professor, Department of Earth Science, University of Science and Technology, Meghalaya, India Abstract: Songs, instruments and dance- the collaboration of these three ingredients makes the music of any region or society. Folk music is one of the integral facet of culture which also poses all the essentials of music. The instruments used in folk music are divided into four halves-taat (string instruments), aanodha(instruments covered with membrane), Ghana (solid or the musical instruments which struck against one another) and sushir(wind instruments)(Sharma,1996). Out of these four, Ghana and sushirvadyas are being preferred to be played by female artists. Ghana vadyas include instruments like taal,junuka etc. and sushirvadyas include instruments that can be played by blowing air from the mouth like flute,gogona, hkhutuli etc. Women being the most essential part of the society are also involved in the process of shaping up the culture of a region. In the society of Assam since ancient times till date women plays a vital role in the folk music that is bihugeet. At times Assamese women in groups used to celebrate bihu in open spaces or within forest areas or under big trees where entry of men was totally prohibited and during this exclusive celebration the women used to play aforesaid instruments and sing bihu songs describing their life,youth and relation with the environment. -
Indian Dance Drama Tradition
Imperial Journal of Interdisciplinary Research (IJIR) Vol-3, Issue-4, 2017 (Special Issue), ISSN: 2454-1362, http://www.onlinejournal.in Proceedings of 5th International Conference on Recent Trends in Science Technology, Management and Society Indian Dance Drama Tradition Dr. Geetha B V Post-Doctoral research fellow, Women Studies Department, Kuvempu University, Shankarghatta, Shimoga. Abstract: In the cultures of the Indian subcontinent, for its large, elaborate make up and costumes. The drama and ritual have been integral parts of a elaborate costumes of Kathakalli become the most single whole from earliest recorded history. The recognized icon of Kerala. The themes of the first evidences of ritual dance drama performances Kathakali are religious in nature. The typically occur in the rock painting of Mirzapur, Bhimbetka, deal with the Mahabarat, the Ramayana and the and in other sites, which are various dated 20,000- ancient Scriptures known as the puranas. 5000 bce. The ancient remains of Mohenjo-Daro Kuchipudi dance drama traditions hails from and the Harappa (2500-2000 bce) are more Andhrapradesh. BhamaKalapam is the most definitive. Here archeological remains clearly popular Dance-Drama in Kuchipudi repertoire point to the prevalence of ritual performance ascribed to Siddhendra Yogi. The story revolves involving populace and patrons. The Mohenjo – round the quarrel between satyabhama and Daro seals, bronze fegurines, and images of priest Krishna. and broken torsos are all clear indications of dance In this paper I am dealing with Yakshagana dance as ritual. The aspects of vedic ritual tradition drama tradition. I would like to discuss this art closest to dance and drama was a rigorous system form’s present scenario.