Office of Advocate General, Punjab

Total Page：16

File Type：pdf, Size：1020Kb

Office of Advocate General, Punjab Dated: July 5, 2018 Thapar Institute of Engineering and Technology, Patiala conducted the test for recruitment to vacant posts of Clerk-cum-Data Entry Operator in the department of Advocate General Punjab, on June 24th, 2018. The answer key for the paper was uploaded on June 25th, 2018 and the objections pertaining to any of the keys were invited upto June 29th, 2018. After due consultation with the experts of the specific area, some of the objections were found valid and its modified key is provided below. Candidates, who raised the objections, will receive the solution of the question through their registered Email. The question for which the original key was found valid are also provided alongside. I QUERIES FOUND VALID AND QUESTION CANCELLED. 1 MARK HAS BEEN AWARDED TO ALL THE CANDIDATES FOR THIS QUESTION. Which one amongst the following music personalities has NOT been awarded the Bharat Ratna award? A) M S Subbulakshmi B) Lata Mangeshkar C) Pt. Bhimsen Joshi D) Ustad Bismillah Khan Explanation: As all of the four named mentioned in options are recipients of Bharat Ratna Award; henceforth this question has been CANCELLED. II QUERIES FOUND VALID AND THE CHANGES IN THE KEY OF THE QUESTION PAPER INCORPORATED If in a certain language GRASP is coded as BMVNK, which of the following word would be coded as CRANE? A) FUDQH B) HWFSJ C) GVERI D) XMVIZ Explanation: "GRASP" is written as "BMVNK". This was done by subtracting 5 from the alphabetical order number of the word "GRASP" i.e." 7 for G, 18 for R, 1 for A, 19 for S, 16 for P". When we subtract 5 from each of the alphabetical order of the word "GRASP", we will get the alphabetical order of the code word which is "BMVNK" as "2 for B, 13 for M, 22 for V, 14 for N, 11 for K" Similarly, since the word has to be found for which the code is 'CRANE' we have to add 5 to each of the alphabet C, R, A, N and E that will give the code 'HWFSJ'. Considering that candidates may have interpreted the question as to find the code for 'CRANE'. Thus, when we subtract 5 from the alphabetical order no of the word "CRANE or 3,18,1,14,5" we will get the required code word which is "XMVIZ or 24,13,22,9,26) Henceforth, options B and D both are correct. III QUERIES FOR QUESTION NUMBERS 7, 16, 21, 25, 27, 29, 30, 35, 40, 44, 60, 62, 71, 75, 78, 79, 83, 85, 90 and 98 ARE FOUND INVALID AND THE ANSWER KEY AS UPLOADED WAS FOUND TO BE CORRECT. The result will be declared on 6th July, 2018 and subsequently admit cards for skill test would be issued. The skill test would held as per the schedule given on the website. .

Copy Link

Recommended publications

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
[Show full text]
And Joydeep Ghosh (Sarod)
The Asian Indian Classical Music Society 51491 Norwich Drive Granger, IN 46530 Concert Announcement Vidushi Mita Nag (sitar) Pandit Joydeep Ghosh (sarod) with Pandit Subhen Chatterjee (Tabla) April 26, 2016, Tuesday, 7.00PM At: the Andrews Auditorium, Geddes Hall University of Notre Dame Cosponsored with the Liu Institute of Asia and Asian Studies Tickets available at gate. General Admission: $10, AICMS Members and ND/SMC faculty: $5, Students: FREE Mita Nag, daughter of the veteran sitarist, Pandit Manilal Nag and granddaughter of Sangeet Acharya Gokul Nag, belongs to the Vishnupur Gharana of Bengal, a school of music that is nearly 300 years old and which is known for its dhrupad style of playing. She was initiated into music at the age of four, and studied with her mother, grandfather and father. She appeared for her debut performance at the age of ten, when she also won the Government of India’s Junior National Talent Search Award. She has given many concert performances, both alone and with her father, in cities in the US, Canada, Japan and Europe as well as in India. Joydeep Ghosh is hailed as one of India’s leading sarod, surshringar and Mohanveena artists. He started his sarod training at the age of five, and has studied with the great masters the late Sangeetacharya Anil Roychoudhury , late Sangeetacharya Radhika Mohan Moitra and Padmabhusan Acharya Buddhadev Dasgupta all of the Shahajahanpur Gharana. He has won numerous awards and fellowships, including those from the Government of India, the title of “Suramani” from the Sur Singar Samsad (Mumbai) and “Swarshree” from Swarankur (Mumbai).
[Show full text]
Fusion Without Confusion Raga Basics Indian
Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap".
[Show full text]
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.
[Show full text]
The Seductive Voice
> The art of seduction The seductive voice Charles Darwin had no doubts about the origins of music – it was a kind of mating call, a primitive language of the emotions from an early stage of evolution. While his ideas about music and evolution have often been alluded to, Darwin never really paid much attention to music. His contemporary Herbert Spencer, who was much more conversant with music, saw it differently – music had evolved from language, in particular speech laden with emotion. Wim van der Meer tic and the texts always had something to do with love. But their greatest asset was their voice. The best singers were (and iscussion on the origins of music and its evolutionary are) capable of captivating their audience with magical Dsignificance has regained momentum over the past magnetism. decade and a half. Nils Wallin, Ian Cross, Steven Mithen and Björn Merker are among those who have given impetus to this In my personal contact with some of the great women singers field of research referred to as biomusicology. Others oppose of India, I have been struck by how powerful the voice can be. the idea of music as important to evolution. Steven Pinker, for It is enough for them to barely utter a few sounds and one can- instance, considers music a useless, though pleasant, side- not escape the attraction. It is some indefinable quality of the product of language that could just as well be eliminated from voice, openness of the sound, and an earthy sensuality. Of human existence. course this is not limited to Indian courtesans.
[Show full text]
Teachers Day Program Details 2018 V11
CMANA 4. Time: 12:00 PM to 12:20 PM in association with GCD 2017 Winner The Sringeri Vidya Bharati Foundation, USA Keshav Muralidharan 19th May 2018 from 10:30 AM Onwards (Vocal) Location The Auditorium, Sringeri Vidya Bharati Foundation, 327,Cays Road, Stroudsburg PA 18360 Break Time: 12:30 PM to 01:15 PM 1. Time: 10:30 AM to 10:50 AM GCD 2017 Winner 5. Time: 01:20 PM to 01:40 PM Neharika Murthy GCD 2016 Winner of Padma Srinivasan Prize (Vocal) Srinath Peraganur ((violin)) 2. Time: 11:00 AM to 11:20 AM Local Teacher Group Participation 6. Time: 01:50 PM to 02:10 PM Teacher Name: Teacher Name: Local Teacher Group Participation Bhavani Prakash Prakash Rao Teacher Name: Manjula Ramachandran Participants Participants Krishna Palya Ananth Rayar Sabarinath Manjula Ramachandran Hemant Gosukonda Ramachandran 3. Time: 11:30 AM to 11:50 AM (Veena) (Vocal) (Mridangam) Local Teacher Group Participation Teacher Name: 7. Time: 02:15 PM to 03:00 PM Srividhya Sairam CMANA HONY PATRON PADMA SRINIVASAN AWARD WINNER IN INSTRUMENTAL CATEGORY ( KRITI,ALAPANA AND SWARAM) IN 2017 Participants Vishal Sowmyan Sabari Ramachandran (Violin) (Mridangam) Sanjana Venkatesh Sowmya Venkatesh www.cmana.org 02 8. Time: 03:10 PM to 03:30 PM GCD 2017 Winner Shardul Krishnakumar T S Nandakumar Shri T.S. Nandakumar, an Top grade artist of the All India Radio, hails 9. Time: 03:40 PM to 04:00 PM from the family of the renowned Nadaswaram exponents, Ambalapuzha Brothers of Kerala. He underwent training in percussion Local Teacher Group Participation under Shri Kaithavana Madhavdas in the Gurukulam tradition.
[Show full text]
What They Say
WHAT THEY SAY What THEY SAY Mrs. Kishori Amonkar 27-02-1999 “It was great performing in the new reconstructed Shanmukhananda Hall. It has improved much from the old one, but still I’ve a few suggestions to improve which I’ll write to the authorities later” Pandit Jasraj 26-03-1999 “My first concert here after the renovation. Beautiful auditorium, excellent acoustics, great atmosphere - what more could I ask for a memorable concert here for me to be remembered for a long long time” Guru Kelucharan Mohapatra 26-03-1999 “It is a great privilege & honour to perform here at Shanmukhananda Auditorium. Seeing the surroundings here, an artiste feeling comes from inside which makes a performer to bring out his best for the art lovers & the audience.” Pandit Birju Maharaj 26-03-1999 “ yengle mece³e kesÀ yeeo Fme ceW efHeÀj DeekeÀj GmekeÀe ve³ee ©He osKekeÀj yengle Deevevo ngDee~ Deeies Yeer Deeles jnW ³en keÀecevee keÀjles ngS~ μegYe keÀecevee meefnle~” Ustad Vilayat Khan 31-03-1999 “It is indeed my pleasure and privilege to play in the beautiful, unique and extremely musical hall - which reconstructed - renovated is almost like a palace for musicians. I am so pleased to be able to play today before such an appreciative audience.” § 34 § Shanmukhananda culture redefined2A-Original.indd 34 02/05/19 9:02 AM Sant Morari Bapu 04-05-1999 “ cesjer ÒemeVelee Deewj ÒeYeg ÒeeLe&vee” Shri L. K. Advani 18-07-1999 “I have come to this Auditorium after 10 years, for the first time after it has been reconstructed.
[Show full text]
US Eyelights August
Number : 27 August 2021 Sankara Nethralaya USA Sankara Nethralaya USA 9710, Traville Gateway Drive No.392, Rockville, MD 20850 e-mail : [email protected] Sankara Nethralaya’s new centre at R. A. Puram August 2021 2 Sankara Nethralaya Fundraiser – A Grand Success Sankara Nethralaya (SN) is a non-profit charity organization providing ophthalmic (eye) care throughout India. For the last four decades, SN has treated millions of patients. Sankara Nethralaya USA (SN USA) was formed in the USA thirty years ago so NRIs could contribute to help mission of SN. SN USA, based in the USA, has received the highest rating of four stars by Charity Navigator for maintaining financial accountability and fiscal transparency for funds donated by donors and how they are utilized towards the stated cause. Every year, Sankara Nethralaya USA organizes Indian classical dance and music programs in various cities to raise awareness and raise funds. Because of the pandemic, all programs have been conducted virtually. As part of our mid-year campaign, Kalaratna Vidwan Flute Nagaraju Talluri gave a devotional flute music concert on July 25th, 2021. He performed the following songs: Ÿ Maha Ganapateem - Lord Ganesh Ÿ Adivo Alladivo - Annamayya Ÿ Janani Janani - Tamil song by Ilayaraja Ÿ Shyam Teri Bansi- Hindi- Lata Mangeshkar Ÿ Bhagyada Laxmi Baaramma- Kannada Ÿ Tandanaanaa Hare - Annamayya Ÿ Payoji Maine Raam Ratan Dhan Payo - Hindi - Meera bhajan Ÿ Harivaraasanam – a popular Malayalam song for Ayyappa Swami first sung by Shri K. J. Yesudas Ÿ Shankara Nada Sharirapara - SPB - Sankarabharanam Ÿ Sathyam Shivam Sundaram - Hindi - Lata Mangeshkar 3 August 2021 Sankara Nethralaya executive committee members - President Emeritus S V Acharya, President Bala Reddy Indurti, Vice President Moorthy Rekapalli, Secretary Srinivas Ganagoni, Treasurer Banumati Ramkrishnan, Joint Secretary Sowmiya Narayanan, Joint Treasurer Raja Krishnamurti, and Past President Leela Krishnamurthy appealed the audience through TV channels to support the cause and help indigent blind patients in India.
[Show full text]
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art.
[Show full text]
"Improvised" Music
The University of Manchester Research Formulas and the building blocks of humr style: a study in "improvised" music Document Version Final published version Link to publication record in Manchester Research Explorer Citation for published version (APA): Alaghband-Zadeh, C. (2012). Formulas and the building blocks of humr style: a study in "improvised" music. Analytical Approaches to World Music Journal, 2(1), 1-48. Published in: Analytical Approaches to World Music Journal Citing this paper Please note that where the full-text provided on Manchester Research Explorer is the Author Accepted Manuscript or Proof version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version. General rights Copyright and moral rights for the publications made accessible in the Research Explorer are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Takedown policy If you believe that this document breaches copyright please refer to the University of Manchester’s Takedown Procedures [http://man.ac.uk/04Y6Bo] or contact [email protected] providing relevant details, so we can investigate your claim. Download date:06. Oct. 2021 Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music Chloe Zadeh PART I: IMPROVISATION, STRUCTURE AND FORMULAS IN NORTH INDIAN CLASSICAL MUSIC usicians, musicologists and
[Show full text]
Top 10 Male Indian Singers
Top 10 Male Indian Singers 001asd Don't agree with the list? Vote for an existing item you think should be ranked higher or if you are a logged in,add a new item for others to vote on or create your own version of this list. Share on facebookShare on twitterShare on emailShare on printShare on gmailShare on stumbleupon4 The Top Ten TheTopTens List Your List 1Sonu Nigam +40Son should be at number 1 +30I feels that I have goten all types of happiness when I listen the songs of sonu nigam. He is my idol and sometimes I think that he is second rafi thumbs upthumbs down +13Die-heart fan... He's the best! Love you Sonu, your an idol. thumbs upthumbs down More comments about Sonu Nigam 2Mohamed Rafi +30Rafi the greatest singer in the whole wide world without doubt. People in the west have seen many T.V. adverts with M. Rafi songs and that is incediable and mind blowing. +21He is the greatest singer ever born in the world. He had a unique voice quality, If God once again tries to create voice like Rafi he wont be able to recreate it because God creates unique things only once and that is Rafi sahab's voice. thumbs upthumbs down +17Rafi is the best, legend of legends can sing any type of song with east, he can surf from high to low with ease. Equally melodious voice, well balanced with right base and high range. His diction is fantastic, you may feel every word. Incomparable. More comments about Mohamed Rafi 3Kumar Sanu +14He holds a Guinness World Record for recording 28 songs in a single day Awards *.
[Show full text]
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.
[Show full text]