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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 -
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. -
Ssc Special Daily Quiz -740 Total Questions-40, Time - 40 Minutes, Marks - 40 Arena of General Knowledge 1
DAILY QUIZ-740 (11.09.2019) TEST YOURSELF SSC SPECIAL DAILY QUIZ -740 TOTAL QUESTIONS-40, TIME - 40 MINUTES, MARKS - 40 ARENA OF GENERAL KNOWLEDGE 1. Which of the following is in liquid form at room temperature? (a) Cerium (b) Sodium (c) Francium (d) Lithium 2. Soda water contains (a) Nitrous Acid (b) Carbonic Acid (c) Carbon Dioxide (d) Sulphur Acid 3. Which of the following is not an isotope of hydrogen? (a) Protium (b) Yttrium (c) Deuterium (d) Trituim 4. Polythene is industrially prepared by the polymerization of (a) Methane (b) Styrene (c) Acetylene (d) Ethylene 5. Which of the following is not a chemical reaction? (a) Burning of Paper (b) Digestion of Food (c) Conversion of Water into Steam (d) Burning of Coal 6. What is condensation? (a) Change of Gas into Solid (b) Change of Solid into Liquid (c) Change of Vapour into Liquid (d) Change of Heat Energy into Cooling Energy 7. During the development of an embryo the formation of brain marks the beginning of organ formation. Eye in a vertebrate develops from midbrain. If after the formation of brain the mid brain is destroyed then what will be the resultant effect? (a) Total Failure of Eye Formation (b) Development of a Single Eye (c) Defective Development of Eyes (d) Absence of Vision in the Eyes 8. The artificial rearing of honey bees is called (a) Sylviculture (b) Sericulture (c) Apiculture (d) Lociculture 9. Pineapple is a (a) Single Fruit (b) Collection of Fruit (c) Stem of the Plant (d) Collection of Leaves 10. The disease trachoma is related to the (a) Eye (b) Ear (c) Mouth (d) Throat 11. -
Part 05.Indd
PART MISCELLANEOUS 5 TOPICS Awards and Honours Y NATIONAL AWARDS NATIONAL COMMUNAL Mohd. Hanif Khan Shastri and the HARMONY AWARDS 2009 Center for Human Rights and Social (announced in January 2010) Welfare, Rajasthan MOORTI DEVI AWARD Union law Minister Verrappa Moily KOYA NATIONAL JOURNALISM A G Noorani and NDTV Group AWARD 2009 Editor Barkha Dutt. LAL BAHADUR SHASTRI Sunil Mittal AWARD 2009 KALINGA PRIZE (UNESCO’S) Renowned scientist Yash Pal jointly with Prof Trinh Xuan Thuan of Vietnam RAJIV GANDHI NATIONAL GAIL (India) for the large scale QUALITY AWARD manufacturing industries category OLOF PLAME PRIZE 2009 Carsten Jensen NAYUDAMMA AWARD 2009 V. K. Saraswat MALCOLM ADISESHIAH Dr C.P. Chandrasekhar of Centre AWARD 2009 for Economic Studies and Planning, School of Social Sciences, Jawaharlal Nehru University, New Delhi. INDU SHARMA KATHA SAMMAN Mr Mohan Rana and Mr Bhagwan AWARD 2009 Dass Morwal PHALKE RATAN AWARD 2009 Actor Manoj Kumar SHANTI SWARUP BHATNAGAR Charusita Chakravarti – IIT Delhi, AWARDS 2008-2009 Santosh G. Honavar – L.V. Prasad Eye Institute; S.K. Satheesh –Indian Institute of Science; Amitabh Joshi and Bhaskar Shah – Biological Science; Giridhar Madras and Jayant Ramaswamy Harsita – Eengineering Science; R. Gopakumar and A. Dhar- Physical Science; Narayanswamy Jayraman – Chemical Science, and Verapally Suresh – Mathematical Science. NATIONAL MINORITY RIGHTS MM Tirmizi, advocate – Gujarat AWARD 2009 High Court 55th Filmfare Awards Best Actor (Male) Amitabh Bachchan–Paa; (Female) Vidya Balan–Paa Best Film 3 Idiots; Best Director Rajkumar Hirani–3 Idiots; Best Story Abhijat Joshi, Rajkumar Hirani–3 Idiots Best Actor in a Supporting Role (Male) Boman Irani–3 Idiots; (Female) Kalki Koechlin–Dev D Best Screenplay Rajkumar Hirani, Vidhu Vinod Chopra, Abhijat Joshi–3 Idiots; Best Choreography Bosco-Caesar–Chor Bazaari Love Aaj Kal Best Dialogue Rajkumar Hirani, Vidhu Vinod Chopra–3 idiots Best Cinematography Rajeev Rai–Dev D Life- time Achievement Award Shashi Kapoor–Khayyam R D Burman Music Award Amit Tivedi. -
Annual Report 2014 - 2015 Ministry of Culture Government of India
ANNUAL REPORT 2014 - 2015 MINISTRY OF CULTURE GOVERNMENT OF INDIA Annual Report 2014-15 1 Ministry of Culture 2 Detail from Rani ki Vav, Patan, Gujarat, A World Heritage Site Annual Report 2014-15 CONTENTS 1. Ministry of Culture - An Overview – 5 2. Tangible Cultural Heritage 2.1 Archaeological Survey of India – 11 2.2 Museums – 28 2.2a National Museum – 28 2.2b National Gallery of Modern Art – 31 2.2c Indian Museum – 37 2.2d Victoria Memorial Hall – 39 2.2e Salar Jung Museum – 41 2.2f Allahabad Museum – 44 2.2g National Council of Science Museum – 46 2.3 Capacity Building in Museum related activities – 50 2.3a National Museum Institute of History of Art, Conservation and Museology – 50 2.3.b National Research Laboratory for conservation of Cultural Property – 51 2.4 National Culture Fund (NCF) – 54 2.5 International Cultural Relations (ICR) – 57 2.6 UNESCO Matters – 59 2.7 National Missions – 61 2.7a National Mission on Monuments and Antiquities – 61 2.7b National Mission for Manuscripts – 61 2.7c National Mission on Libraries – 64 2.7d National Mission on Gandhi Heritage Sites – 65 3. Intangible Cultural Heritage 3.1 National School of Drama – 69 3.2 Indira Gandhi National Centre for the Arts – 72 3.3 Akademies – 75 3.3a Sahitya Akademi – 75 3.3b Lalit Kala Akademi – 77 3.3c Sangeet Natak Akademi – 81 3.4 Centre for Cultural Resources and Training – 85 3.5 Kalakshetra Foundation – 90 3.6 Zonal cultural Centres – 94 3.6a North Zone Cultural Centre – 95 3.6b Eastern Zonal Cultural Centre – 95 3.6c South Zone Cultural Centre – 96 3.6d West Zone Cultural Centre – 97 3.6e South Central Zone Cultural Centre – 98 3.6f North Central Zone Cultural Centre – 98 3.6g North East Zone Cultural Centre – 99 Detail from Rani ki Vav, Patan, Gujarat, A World Heritage Site 3 Ministry of Culture 4. -
Lessons in Perseverance
Articles by Prince Rama Varma Lessons in Perseverance We all know that India is a land of surprises. One may come across such treasures as original Raja Ravi Varma paintings hidden away in the lofts of ancient family homes in Kerala or Stradivarius violins made in the 1790s lying in an antique shop somewhere. One meets all kinds of amazing and unexpected people too. Many such treasures, be they people, places or things, sadly cannot be always shared with the public. However, there are some treasures which fortunately can be shared and here is one that I'd like to share with you. One of the most pristine, unspoilt and serene parts of India is North Karnataka or North Canara... places like Hubli and Dharwad. Rich tradition Despite being in South India, this belt has had a very rich tradition of North Indian classical music for several years and has produced some of the greatest maestros that our country has seen, like the Late Pandit Mallikarjun Mansur, Gangubai Hangal and others. One of the treasures hidden away in this part of the country is a little village called Hasanagi. To reach Hasanagi, one first has to take an overnight train to Hubli from Bengalooru [Bangalore]. Then an hour's journey by car would bring one to a little town called Yellapura.And Hasanagi is a short drive away from Yellapura. What makes Hasanagi, a little village that's hidden away in the hills and forests of North Karnataka, so special? This is where a miracle worker named Pandit Ganapathi Bhatt lives and works his miracles. -
Und Audiovisuellen Archive As
International Association of Sound and Audiovisual Archives Internationale Vereinigung der Schall- und audiovisuellen Archive Association Internationale d'Archives Sonores et Audiovisuelles (I,_ '._ • e e_ • D iasa journal • Journal of the International Association of Sound and Audiovisual Archives IASA • Organie de I' Association Internationale d'Archives Sonores et Audiovisuelle IASA • Zeitschchrift der Internationalen Vereinigung der Schall- und Audiovisuellen Archive IASA Editor: Chris Clark,The British Library National Sound Archive, 96 Euston Road, London NW I 2DB, UK. Fax 44 (0)20 7412 7413, e-mail [email protected] The IASA Journal is published twice a year and is sent to all members of IASA. Applications for membership of IASA should be sent to the Secretary General (see list of officers below). The annual dues are 25GBP for individual members and IOOGBP for institutional members. Back copies of the IASA Journal from 1971 are available on application. Subscriptions to the current year's issues of the IASA Journal are also available to non-members at a cost of 35GBP I 57Euros. Le IASA Journal est publie deux fois I'an etdistribue a tous les membres. Veuillez envoyer vos demandes d'adhesion au secretaire dont vous trouverez I'adresse ci-dessous. Les cotisations annuelles sont en ce moment de 25GBP pour les membres individuels et 100GBP pour les membres institutionels. Les numeros precedentes (a partir de 1971) du IASA Journal sont disponibles sur demande. Ceux qui ne sont pas membres de I'Association peuvent obtenir un abonnement du IASA Journal pour I'annee courante au coOt de 35GBP I 57 Euro. -
13Th Pune International Film Festival (8Th - 15Th January 2015 )
13th Pune International Film Festival (8th - 15th January 2015 ) SR. NO. TITLE ORIGINAL TITLE RUNTIME YEAR DIRECTOR COUNTRY OPENING FILM 1 Timbuktu Timbuktu 98 2014 Abderrahmane Sissako France WORLD COMPITITION 1 Priklyuchenie Adventure 102 2014 Nariman Turbayeu Kazakhstan 2 Pelo malo Bad Hair 93 2013 Mariana Rondón Venezuela, Peru, Argentina, Germany 4 Silsile Consequences 105 2014 Ozan Aciktan Turkey 5 Court Court 116 2014 Chaitanya Tamhane India 6 Difret Difret 99 2014 Zeresenay Berhane Mehari Ethiopia 7 Hotel Nueva Isla Hotel Nueva Isla 71 2014 Irene Gutierrez Spain, Cuba 8 Jako Nikdy Like Never Before 93 2013 Zdenek Tyc Czech Republic 9 Nabat Nabat 105 2014 Elchin Musaoglu Azerbaijan 10 En el último trago One for the Road 91 2014 Jack Zagha Kababie Mexico 11 Annemin Sarkisi Song of My Mother 90 2014 Erol Mintas Turkey 12 Ispytanie Test 95 2014 Alexander Kott Russia 13 Haganenet The Kindergarten Teacher 119 2014 Nadav Lapid Israel, France 14 The Owners The Owners 93 2014 Adilkhan Yerzhanov Kazakhstan MARATHI COMPITITION 1 Ek Hazarachi Note 1000 Rupee Note 89 2014 Shrihari Sathe India 2 Elizabeth Ekadashi Elizabeth Ekadashi 90 2014 Paresh Mokashi India 3 Killa The Fort 107 2014 Avinash Arun India 4 Khwada Obstacle 115 2014 Bhaurao Karhade India Dr. Prakash Baba Amte - 5 Dr. Prakash Baba Amte 117 2014 Samruddhi Porey India The Real Hero 6 Salaam Salute 120 2014 Kiran Yadnyopavit India 7 Yellow Yellow 130 2014 Mahesh Limaye India STUDENT COMPITITION ANIMATION 1 Ab Ovo Ab Ovo 5:23 PWSFTviT Poland 2 Crochet Noir Crochet Noir 7:58 VCA Australia -
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. -
Passage 1: Direction: Read the Following Passage and Answer The
Passage 1: Direction: Read the following Passage and answer the following questions: Gandhiji had to travel by train from Durban to Pretoria in connection with his job. Once while travelling by train, he was asked by the white passengers to leave the first class compartment and shift to the van compartment. He refused to do so. Thereafter he was pushed forcibly out of the compartment and his luggage was thrown on the platform. It was winter and he kept shivering all night. He did not go to the waiting room because the white men sleeping there might insult him further. This event was a turning point in the life of Gandhiji and he decided to stay back in South Africa and fight against this blatant injustice. 1. The white people asked Gandhiji to abandon the first class compartment because (a) they wanted to annoy him (b) They wanted to avenge themselves on Gandhi. (c) They treated Indians as inferior to them (d) they were looking for a chance to talk to him. 2. Why was he thrown out of the compartment? Because……. (a) he misbehaved with the whites (b) they wanted him to spend the night in the waiting room. (c) they wanted to insult him. (d)he refused to shift to the van compartment 3. Why did he not go to the waiting room to spend the night? (a)The room was unclean. (b)He wanted to sleep in the open. (c)He was badly hurt and so could not move to the room. (d)He feared that the White men there might insult him further. -
Reconstructing the Indian Filmography
ASHISH RAJADHYAKSHA Reconstructing The Indian Filmography Sitara Devi and the Indian filmographer A n apocryphal story has V.A.K. Ranga Rao, the irascible collector of music and authority on South Indian cinema, offering an open challenge. It seems he saw Mother India on his television one night and was taken aback to see Sitara Devi’s name in the acting credits. The open challenge was to anyone who could spot Sitara Devi anywhere in the film. And, he asked, if she was not in the film, to answer two questions. First, what happened? Was something filmed with her and cut out? If so, when was this cut out? Almost more important: what to do with Sitara Devi’s filmography? Should Mother India feature in that or not? Such a problem would cut deep among what I want to call the classic years of the Indian filmographers. The Encyclopaedia of Indian Cinema decided to include Sitara Devi’s name in its credits, mainly because its own key source for Hindi credits before 1970 was Firoze Rangoonwala’s iconic Indian Filmography, Silent and Hindi Film: 1897-1969, published in 1970 and Har Mandir Singh ‘Hamraaz’s somewhat different, equally legendary Hindi Film Geet Kosh which came out with the first edition of its 1951-60 listings in 1980. The Singh Geet Kosh tradition would provide bulwark support both on JOURNAL OF THE MOVING IMAGE 13 its own but also through a series of other Geet Koshes by Harish Raghuvanshi on Gujarati, Murladhar Soni on Rajasthani and many others. Like Ranga Rao, Singh and the other Geet Kosh editors have had his own variations of the Sitara Devi problem: his focus was on songs, and he was coming across major discrepancies between film titles, their publicity material and record listings. -
Gangubai Hangal's Primary Guru in Music Was Sawai Gandharva. She Has Also Acknowledged the Inspiration and Influence of Her
Gangubai Hangal's primary guru in music was Sawai Gandharva. She has also acknowledged the inspiration and influence of her mother Ambabai and Zohrabai Agrewali on her musical development. Her singing embodies an extraordinary grasp of the essence of raga, keen sensitivity of swara, and an acute feeling for aesthetic design. She lives in Hubli and ********* Excerpts of an interview from C.S. Lakshmi's The Singer and the Song - Conversations with Women Musicians Vol 1 (2000). On her Padma Bhushan award: Gangubai: It is normally announced to the D.C. (District Collector) here. Then they come to ask to check who the person is, whether they want to receive the award or not. "You have got it, do you want to accept it?" My uncle was sitting outside, I wasn't there. "What is it? If it is Padma Bhushan she will take it," he said. "If you come tomorrow she will be back." I came back. He said, "Look, you have got the Padma Bhushan." They came and took my signature from the Tehsildar's office. After they took it, I thought, 'These are announced on January 26th, maybe on the 25th night. I must listen to the radio before I sleep. Both of us must sit together before the radio, listen to the announcement and then sleep'. We sat for a long time. Nothing was announced. So I said, "Look, they asked me for my signature just like that. It's not there. Nothing has come." It did not occur to me that nobody's name was announced.