Yojana Magazine Summary for August 2020 Issue
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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. -
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. -
NAGALAND Basic Facts
NAGALAND Basic Facts Nagaland-t2\ Basic Facts _ry20t8 CONTENTS GENERAT INFORMATION: 1. Nagaland Profile 6-7 2. Distribution of Population, Sex Ratio, Density, Literacy Rate 8 3. Altitudes of important towns/peaks 8-9 4. lmportant festivals and time of celebrations 9 5. Governors of Nagaland 10 5. Chief Ministers of Nagaland 10-11 7. Chief Secretaries of Nagaland II-12 8. General Election/President's Rule 12-13 9. AdministrativeHeadquartersinNagaland 13-18 10. f mportant routes with distance 18-24 DEPARTMENTS: 1. Agriculture 25-32 2. Animal Husbandry and Veterinary Services 32-35 3. Art & Culture 35-38 4. Border Afrairs 39-40 5. Cooperation 40-45 6. Department of Under Developed Areas (DUDA) 45-48 7. Economics & Statistics 49-52 8. Electricallnspectorate 52-53 9. Employment, Skill Development & Entrepren€urship 53-59 10. Environment, Forests & Climate Change 59-57 11. Evalua6on 67 t2. Excise & Prohibition 67-70 13. Finance 70-75 a. Taxes b, Treasuries & Accounts c. Nagaland State Lotteries 3 14. Fisheries 75-79 15. Food & Civil Supplies 79-81 16. Geology & Mining 81-85 17. Health & Family Welfare 85-98 18. Higher & Technical Education 98-106 19. Home 106-117 a, Departments under Commissioner, Nagaland. - District Administration - Village Guards Organisation - Civil Administration Works Division (CAWO) b. Civil Defence & Home Guards c. Fire & Emergency Services c. Nagaland State Disaster Management Authority d. Nagaland State Guest Houses. e. Narcotics f. Police g. Printing & Stationery h. Prisons i. Relief & Rehabilitation j. Sainik Welfare & Resettlement 20. Horticulture tl7-120 21. lndustries & Commerce 120-125 22. lnformation & Public Relations 125-127 23. -
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. -
Observed Rainfall Variability and Changes Over Nagaland State
CLIMATE RESEARCH AND SERVICES INDIA METEOROLOGICAL DEPARTMENT MINISTRY OF EARTH SCIENCES PUNE Observed Rainfall Variability and Changes over Nagaland State Met Monograph No.: ESSO/IMD/HS/Rainfall Variability/19(2020)/43 Pulak Guhathakurta, Sakharam Sanap, Preetha Menon, Ashwini Kumar Prasad, Neha Sangwan and S C Advani GOVERNMENT OF INDIA MINISTRY OF EARTH SCIENCES INDIA METEOROLOGICAL DEPARTMENT Met Monograph No.: ESSO/IMD/HS/Rainfall Variability/19(2020)/43 Observed Rainfall Variability and Changes Over Nagaland State Pulak Guhathakurta, Sakharam Sanap, Preetha Menon, Ashwini Kumar Prasad, Neha Sangwan and S C Advani INDIA METEOROLOGICAL DEPARTMENT PUNE - 411005 1 DOCUMENT AND DATA CONTROL SHEET 1 Document Title Observed Rainfall Variability and Changes Over Nagaland State 2 Issue No. ESSO/IMD/HS/Rainfall Variability/19(2020)/43 3 Issue Date January 2020 4 Security Unclassified Classification 5 Control Status Uncontrolled 6 Document Type Scientific Publication 7 No. of Pages 23 8 No. of Figures 42 9 No. of References 3 10 Distribution Unrestricted 11 Language English 12 Authors Pulak,Guhathakurta, Sakharam,Sanap, Preetha Menon, Ashwini Kumar Prasad, Neha Sangwan and S C Advani 13 Originating Climate Research Division/ Climate Application & Division/ Group User Interface Group/ Hydrometeorology 14 Reviewing and Director General of Meteorology, India Approving Meteorological Department, New Delhi Authority 15 End users Central and State Ministries of Water resources, agriculture and civic bodies, Science and Technology, Disaster Management Agencies, Planning Commission of India 16 Abstract India is in the tropical monsoon zone and receives plenty of rainfall as most of the annual rainfall during the monsoon season every year. However, the rainfall is having high temporal and spatial variability and due to the impact of climate changes there are significant changes in the mean rainfall pattern and their variability as well as in the intensity and frequencies of extreme rainfall events. -
“I Cannot Live Without Music”
INTERVIEW “I cannot live without music” Swati Tirunal was undoubtedly one of the most important modern composers, one who included Hindustani styles in his compositions. Nowadays it has become fashionable to say you must avoid Hindustani in Carnatic music or the other way around. But looking back, Bhimsen Joshi was among those south Indians who became luminaries in the north Indian style. How many south Indians are really open to Hindustani music is debatable. The late M.S. Gopalakrishnan was very competent in the Hindustani field, and my colleague Sanjay Subrahmanyan is a Carnatic musician open to Hindustani ragas – he sings a Rama Varma at the Swarasadhana workshop focussing on Swati Tirunal’s compositions pallavi in Bagesree, for instance. Then again there are ‘fundamentalist’ groups Well known Carnatic vocalist Rama Varma was in Chennai recently to who think Behag, Sindhubhairavi, conduct a two-day workshop (9 and 10 February 2013) Swarasadhana, Yamunakalyani, Sivaranjani and their at the Satyananda Yoga Centre at Triplicane. Here he speaks of the event, ilk should be totally done away with. his journey in classical music and his thoughts on the changing trends of the art form. Rama Varma How did Swarasadhana happen? in conversation with I have been teaching in a village called Perla near Mangalore for the past M. Ramakrishnan four years, at a music school called Veenavadini, run by the musician Yogeesh Sharma. He invites musicians to visit there once a year. Four years ago Veenavadini invited me. They enjoyed my teaching and Do you follow the same style of teaching I enjoyed being there too, and my visits became regular. -
Britain and the Sino-Indian War of 1962
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Nottingham The Long Shadow of Colonial Cartography: Britain and the Sino-Indian War of 1962 PAUL M. McGARR Department of American and Canadian Studies, University of Nottingham, UK ABSTRACT This article examines British responses to the Sino-Indian border war of 1962. It illustrates how, in the years leading up to the war, Britain’s colonial legacy in the Indian subcontinent saw it drawn reluctantly into a territorial dispute between Asia’s two largest and most powerful nations. It analyses disagreements in Whitehall between the Foreign Office and Commonwealth Relations Office over the relative strength of India and China’s border claims, and assesses how these debates reshaped British regional policy. It argues that the border war was instrumental in transforming Britain’s post-colonial relationship with South Asia. Continuing to filter relations with India through an imperial prism proved unsatisfactory; what followed was a more pragmatic Indo-British association. KEY WORDS: India, China, Sino-Indian border, Foreign Office, Commonwealth Relations Office. If two giant countries, the biggest countries of Asia, are involved in conflict, it will shake Asia and shake the world. It is not just a little border issue, of course. But the issues surrounding it are so huge, vague, deep-seated and far-reaching, inter-twined even, that one has to think about this with all the clarity and strength at one’s command, and not be swept away by passion into action which may harm us instead of doing us good. -
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. -
Academic Catalog 2020
Academic Catalog 03/01/2020 – 12/31/2020 University of Silicon Andhra Dr. Hanimireddy Lakireddy Bhavan 1521 California Circle, Milpitas, CA 95035 1-844-872-8680 www.universityofsiliconandhra.org University of Silicon Andhra, Academic Catalog- 2020 Table of Contents INTRODUCTION: ............................................................................................ 5 Mission Statement ........................................................................................................................................................................................................................... 5 Vision Statement ..............................................................................................................................................................................................................................5 Institutional Learning Outcomes ............................................................................................................................................................................................. 5 Notice to Current and Prospective Students ......................................................................................................................................................................... 6 Academic Freedom Statement .................................................................................................................................................................................................. 6 Notice to Prospective Degree Program Students -
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. -
Brill's Encyclopedia of Hinduism
Brill’s Encyclopedia of Hinduism HANDBOOK OF ORIENTAL STUDIES HANDBUCH DER ORIENTALISTIK SECTION TWO INDIA edited by J. Bronkhorst A. Malinar VOLUME 22/5 Brill’s Encyclopedia of Hinduism Volume V: Religious Symbols Hinduism and Migration: Contemporary Communities outside South Asia Some Modern Religious Groups and Teachers Edited by Knut A. Jacobsen (Editor-in-Chief ) Associate Editors Helene Basu Angelika Malinar Vasudha Narayanan Leiden • boston 2013 Library of Congress Cataloging-in-Publication Data Brill’s encyclopedia of Hinduism / edited by Knut A. Jacobsen (editor-in-chief); associate editors, Helene Basu, Angelika Malinar, Vasudha Narayanan. p. cm. — (Handbook of oriental studies. Section three, India, ISSN 0169-9377; v. 22/5) ISBN 978-90-04-17896-0 (hardback : alk. paper) 1. Hinduism—Encyclopedias. I. Jacobsen, Knut A., 1956- II. Basu, Helene. III. Malinar, Angelika. IV. Narayanan, Vasudha. BL1105.B75 2009 294.503—dc22 2009023320 ISSN 0169-9377 ISBN 978 90 04 17896 0 Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhoff Publishers. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. Printed in the Netherlands Table of Contents, Volume V Prelims Preface .............................................................................................................................................. -
The Charismatic Authority of Sankardeva and Routinization of His Charisma: a Weberian Analysis
INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 9, ISSUE 03, MARCH 2020 ISSN 2277-8616 The Charismatic Authority Of Sankardeva And Routinization Of His Charisma: A Weberian Analysis Bedanta Bikash Bora Abstract: The theory of authority is at the heart of the sociology of Max Weber where he focusses on the historical shifts in the exercise of power. The third type of authority explained by Weber is the theory of charismatic authority where he talks about the charismatic powers of different personalities like prophets, heroes in wars, religious leaders etc; by dint of which they are considered superior to the ordinary people. This paper attempts to experiment this celebrated theory in the life and legacy of Sankardeva, a 15th century polymath who founded the vaishnavism in Assam and propounded a reformed version of Hinduism. His eternal charisma on the Assamese society in many ways corresponds to the theory of Weber. The notion of the recognition of validity of charisma, the concept of felt duty, the emancipator and revolutionary spirit of charisma and repudiation of the past- can be very easily attributed to the charismatic personality of Sankardeva. Weber also talks about the routinization of charismatic personality i.e. the demands placed on the charismatic personality while settling the crisis of succession, validation of the positions of authority, social status and the economic priviledges of the subjects, and the demand of giving it an administrative apparatus; which clearly corresponds to the routinization of charisma of Sankardeva after his death in the form of shifting of the authority to his favourite disciple Madhavdeva and in increasing bureaucratization of the Sattra institutes.