DOCSLIB.ORG

Chapter 6 Instruments, Melodic and Rhythmic ______(1) 7-12, C/U Pages 65 the Indian Violin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chapter 6 Instruments, Melodic and Rhythmic ______(1) 7-12, C/U Pages 65 the Indian Violin Chapter 6 Instruments, Melodic and Rhythmic ______________________________________________________________________ (1) 7-12, C/U Pages 65 The Indian Violin As have those in other nations and cultures, Indians have imported the violin from Europe and have used it with those instruments that are indigenous to the region. Explore with students the acculturation process by which the violin has become integral to Indian musical traditions, listening, observing, and discussing the distinctive manner in which Indians have fashioned (1) its tuning (a-d-a-d), (2) its playing position (at an oblique angle from under the chin to where the scroll rests on the foot), and (3) its timbre (played with a straight, non-vibrato tone). Invite students to play with these possibilities. Look to other journeys the violin has made--to Turkey, Indonesia, Mexico, eastern Canada, the Apache nation, and Bolivia, by searching keywords like "violin", "fiddle" and "lute, bowed", and compare the violin on the three facets which Indians have shaped to their liking and use. _____________________________________________________________________ (2) 7-12, C/U Pages 65-66 Instrumental Influences Challenge students to search for examples of Indian instruments in the musical styles of neighboring countries. What instruments exist in Burma, China, Iraq, Iran, and Nepal that resemble the Indian sāntur (hammered dulcimer), sitār, and tablā? (For illustrations of instruments, see Ruth Midgley et. al., editors, 1997, Musical Instruments of the World, New York: Sterling Publishers). ____________________________________________________________________ (3) AA Pages 66-68 The Drone Have students explore the function of the tānpura in providing a drone to create a fixed tonal center for a melodic performance by a singer or instrumentalist. Listen for the drone in the musical selections. Play a V-I-I-I (G-c-c-G or A-d-d-D) drone on piano (with pedal), guitar, or cello, and then add a sung or played melody above it. Invite someone with a tānpura in to class to demonstrate it. ____________________________________________________________________ (4) AA Page 68-69, 76-79 Instrumentally “Fit” Examine with students an assortment of familiar instruments to determine whether they would qualify in the performance of Indian traditional styles. Consider, for example, the clarinet (or the viola, guitar, recorder, trumpet, flute, trombone, or keyboard), and run the three-point test to see whether it "fits" Indian music: (1) Can the instrument be played to slide between notes up to the interval of a fifth? (2) Can it play in slightly altered tunings? (3) Can it play ornaments, like trills, to decorate the melody? Encourage students to play their own instruments to determine whether they pass the “fit” test. ___________________________________________________________________ (5) 7-12, C/U Pages 71-72 How Teachers Teach Read aloud to students the excerpt from Ravi Shankar's My Music, My Life. Guide students in contemplating the manner in which teachers teach, including disciplinary measures (or "motivational strategies" as the case may be) taken by someone's piano (or flute, or guitar, or voice) teacher for a poorly executed piece or exercise. Discuss Ravi Shankar's feelings regarding his teacher's reaction to his performance, and speculate why he was able to work his way through these feelings. ______________________________________________________________________ (6) AA CD Track 32-36 Ali Akbar Khan, Rag Chandranandan on the sarod 1. Play the beginning of the selection. Ask "What do you hear?" Answer: sarod, tānpura, (and at 27") tablā. 2. Describe the featured melody instrument, sarod, as a plucked lute thatis played by using the fingernail on a fretless steel fingerboard to produce various pitches. 3. Chandrananandan is an evening rāga. It is played by Ali Akbar Khan, who studied sarod with his father, Allauddin Khan, later to be joined by sitarist Ravi Shankar. Ali Akbar Khan now lives and teaches sarod near San Francisco, and continues to be an active performer of sarod. 4. Listen to piece, for the interplay of sarod with the tablā, for the repeated motifs as well as the progressive development of the melody, the intricacies of the sarod's melodic ornamentation and tablā's rhythmic play, the increasing tempo. 5. Listen freely to the piece, or using the guide below. As the piece runs long, it is useful to stop for each of the five sections, to discuss what might be musically going on at the moment within the piece. Compare the following events with the guide on Text Pages 88-89. _____ ______ ______ _______ _____ _____ _____ ___ * Introduction to the raga on the sarod [running 0’27”] * Beginning of descending Mukhrā by sarod and entrance of the tablā playing tīntāl. (The 16-beat tīntāl can be clapped and counted, and the mukhra can be quietly sung, in following the musical development.) [running 0’28”] * Mukhrā [running 0’09”] * Vistār (improvised instrumental section) on sarod lasting two cycles of tīntāl.[running 0’20”] * Return of Mukhrā, followed by rhythmic variations by tabla lasting two cycles. Sarod explores lower register in vistār.[running 1’23”] * Return of Mukhrā, and tablā playing in triplets and more complicated rhythmic flourishes. Sarod continues to improvise in vistār, including upper register improvisations. [running 0’30”] * Vistāar in middle register [running 0’30”] * Tān of mainly down-strokes on sarod [running 0’05”] * Tihāī [running 1’ 03”] * Tan ends with Mukhrā [0’32”] * (Recording cuts actual performance) Sarod becomes more rhythmically intricate through the use of syncopations.(called layakari, or "playing with the rhythm") [running 1’18”] * Return of Mukhrā. [running 0’05”] * Beginning of fast composition (gat) represent with its regular rhythmic plucking pattern, "1- 2-3, 1-2-3....", w * Emergence of a structured tān, or improvised section [running 0’30”] * Beginning of the jhālā section, characterized by repeated quick strokes of the sarod's drone strings and tablā's rising and falling pitches that complement the rhythm of the sarod. [running 1’18”] * Question-answer section begins, with sarod's melodic phrases imitated (or varied) by the tablā. Phrases are a tīntāl 16-beat cycle in length. [running 1’29”] * Question-answer phrases are reduced by half in length, to 8 beats. [running 0’25”] * Question-answer phrases are reduced by half in length, to 4 beats. [running 0’13”] * Question-answer phrases are reduced by half in length, to 2 beats. [running 0’02”] * Question-answer phrases are reduced by half in length, to 1 beat. [running 0’30”] * Tempo quickens, sarod's drone strings are prominent.[running 0’20”] * Closure comes through repeated phrases sounding together by sarod and tablā.[running to the end] _____________________________________________________________________ (7) AA CD Track 37 Nikhil Banerjee plays sitār gat in Rāg Sindhūr Khammāj 1. Play selection. Identify the melodic instrument as the sitār, the preeminent melodic instrument of India. Note that the standard trio of instruments can be heard: sitār, tablā, and tānpura. 2. Listen to and feel the rocking rhythm of 16 beats, or tintal, by first swaying right and then left. Then, clap the strong beats and then sway. (The current selection is gat-torā style, which is important for its use of structures of bols (plucking patterns.) 3. Listen to the pitches of the recurring melody, and sing them. This melodic phrase sounds four times in the first minute of the rāg. 4. After a short break, there appears the jhālā, a section that features the fast stroking of the drone strings. The 16-beat tāla is quite fast, and the steady pulsing of the drone is prominent. _____________________________________________________________________ (8) AA CD Track 38 Shivkumar Sharma plays sāntur in Rag Rāgeshri 1. Play selection. Guide students in identifying the melodic instrument as the sāntur, a hammered dulcimer similar to those found in the Middle East, China, Scandinavia, and the Appalachian Mountains of the eastern U.S. Explain that the instrument consists of strings stretched from one end of a trapezoidal sounding board to the other, which sounds when slim felt-tipped dowels are bounced upon them. 2. Listen to the tān, and ask the following questions: * What instruments can be heard? (Sāntur, tablā, tānpura) * Does the sāntour's improvisation consist of a narrow or wide range of pitches? (A wide range spanning three octaves) * Does the sāntour's improvisation feature a consistent and unchanging or changing dynamic level? (Changing, as this is one of the distinguishing features of the sāntour [and not the sitar or sarod]) 3. Following Figure 6.7, Page 76, sing the theme from the sāntur solo. 4. Challenge students to follow the tablā player's performance in the 16-beat tīntāl. (Count, clap and wave the sixteen beats. It is challenging, as the sāntour plays rhythmically 1-2-123’1-2-123’123123 (offbeat from the 14th beat) unique structure but Zakir Hussain picks it up!) 5. At about 1'25", Ask “Do you hear the increasing tension that is built by the tablāa's tihāī (cadential ending)?” (Note that the sāntour repeatedly plays a melodic phrasethat supports rather than overshadows the tablā's part.) 6. At about 1'50", ask “Do you hear the release of tension created by the tablā's dramatic finish of the tihāī at the beginning of sāntour's melodic theme? _____________________________________________________________________ (9) AA CD Track 39 Sultan Khan plays sarangī Rajashthani folk song 1. Play selection. With students, identify the melodic instrument that sounds in the second half of the piece, playing the same melody the singer sang in the first half, as the sarangī. Note that the sarangī is a small bowed lute with thirty-five sympathetic vibrating strings which is played with the cuticle of the nail of the left hand sliding up and down the string to the pitches of the melody. 2. Listen to the singer's ornamented melody rise and fall and surround a tonal center without venturing very far above or below it.
Load more

Recommended publications
  • 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]
  • To Download the Advance Information Sheet
    NEW TITLE AUGUST 2015 MUSIC ISBN: 978-93-83098-98-9 `595/£14.99/$20 PB Published by Fine publishing within reach D-78, Okhla Industrial Area, Phase-I, New Delhi-110 020, INDIA Tel: 91-11-26816301, 49327000; Fax: 91-11-26810483, 26813830 email: [email protected]; website: www.niyogibooksindia.com MUSIC `595/£14.99/$20 PB ISBN: 978-93-83098-98-9 Size:229 x 152mm, 324pp, 26 b/w photographs Interviewers Black and white, 80gsm bookprint Geeta Sahai & Shrinkhla Sahai Paperback Ever wondered how late Pandit Ravi Shankar went beyond cultural boundaries to Geeta Sahai is a writer, propagate Hindustani classical music and impact the global music scene? How did broadcaster and documentary Ustad Amjad Ali Khan fight emotional and financial setbacks to settle into musical filmmaker. Her short stories harmony with destiny? How did Begum Akhtar’s soulful voice inspire a reluctant have won international awards percussionist to dedicate his life to vocal music and emerge as the legendary Pandit and have been included in Jasraj? How did late Dr Gangubai Hangal break away from the shackles of social an international anthology– ostracism to emerge as a legend of her times? Undiscovered Gems. She was associated with Worldspace Satellite Radio for nearly ten years Beyond Music – Maestros in Conversation delves into candid opinions on issues, as Programme Director - Radio Gandharv-24X7 revealing thoughts on music-making and emotional sagas of some of the most Hindustani Classical Music Station. She has made accomplished, revered classical musicians—Dr Prabha Atre, Pandit Vishwa Mohan many introspective documentary films. Currently, Bhatt, Dr N.
    [Show full text]
  • The Sixth String of Vilayat Khan
    Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration.
    [Show full text]
  • Inde Du Nord1
    Cité de la musique 1 L’Inde du Nord Traditions hindoustanies programme Jeudi 20, vendredi 21, samedi 22 et dimanche 23 mars 2003 Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours maximum avant chaque concert : www.cite-musique.fr La découverte des Indes « fabuleuses » des XVIe et XVIIe siècles frappa durablement l’imaginaire collectif occidental. Depuis, maintes fois décrite comme une terre de diversité, de contrastes et de paradoxes aux richesses infinies, l’Inde n’a cessé de fasciner. Sa culture musicale, fortement imprégnée d’une ancestrale pensée religieuse, a su préserver un héritage prestigieux tout en s’enrichissant régulièrement d’apports exogènes. La musique jouée au XIIIe siècle à la cour du Sultan de Delhi était alors essentiellement importée d’Asie centrale. Par un lent processus d’intégration et d’assimilation 2 réciproques, des générations de musiciens iraniens, turcs et hindous développèrent une culture musicale syncrétique, issue des mondes persan et indien. C’est ce formidable métissage qui permit aux instruments, aux formes et aux répertoires de s’enrichir mutuellement, en donnant corps à une culture hindoustanie qui allait devenir en Occident, dans le courant du XXe siècle, l’ambassadrice des « musiques du monde ». ’Inde du Nord - Traditions hindoustanies Traditions - ’Inde du Nord L Jeudi 20 mars - 20h Salle des concerts Pandit Hariprasad Chaurasia, flûte bansuri Subhankar Banerjee, tabla Bhawani Shankar, pakhavaj Rupak Kulkarni, flûte bansuri 3 programme jeudi 20 mars - 20h Durée du concert : 2h Avec le soutien de l’Ambassade de France en Inde et de l’Indian Council for Cultural Relations Hariprasad Chaurasia Né en 1939, Hariprasad Chaurasia aurait dû, en bonne logique, reprendre le métier de son père, qui était lutteur.
    [Show full text]
  • Annual-Report-2014-2015-Ministry-Of-Information-And-Broadcasting-Of-India.Pdf
    Annual Report 2014-15 ANNUAL PB REPORT An Overview 1 Published by the Publications Division Ministry of Information and Broadcasting, Government of India Printed at Niyogi offset Pvt. Ltd., New Delhi 20 ANNUAL 2 REPORT An Overview 3 Ministry of Information and Broadcasting Annual Report 2014-15 ANNUAL 2 REPORT An Overview 3 45th International Film Festival of India 2014 ANNUAL 4 REPORT An Overview 5 Contents Page No. Highlights of the Year 07 1 An Overview 15 2 Role and Functions of the Ministry 19 3 New Initiatives 23 4 Activities under Information Sector 27 5 Activities under Broadcasting Sector 85 6 Activities under Films Sector 207 7 International Co-operation 255 8 Reservation for Scheduled Castes, Scheduled Tribes and other Backward Classes 259 9 Representation of Physically Disabled Persons in Service 263 10 Use of Hindi as Official Language 267 11 Women Welfare Activities 269 12 Vigilance Related Matters 271 13 Citizens’ Charter & Grievance Redressal Mechanism 273 14 Right to Information Act, 2005 Related Matters 277 15 Accounting & Internal Audit 281 16 CAG Paras (Received From 01.01.2014 To 31.02.2015) 285 17 Implementation of the Judgements/Orders of CATs 287 18 Plan Outlay 289 19 Media Unit-wise Budget 301 20 Organizational Chart of Ministry of I&B 307 21 Results-Framework Document (RFD) for Ministry of Information and Broadcasting 315 2013-2014 ANNUAL 4 REPORT An Overview 5 ANNUAL 6 REPORT Highlights of the Year 7 Highlights of the Year INFORMATION WING advertisements. Consistent efforts are being made to ● In order to facilitate Ministries/Departments in promote and propagate Swachh Bharat Mission through registering their presence on Social media by utilizing Public and Private Broadcasters extensively.
    [Show full text]
  • Ragamala World Music 2017 Program Book
    RAGAMALA 2017: WELCOME SCHEDULE Ragamala 2017 A CELEBRATION OF INDIAN CLASSICAL MUSIC + DANCE For the 5th year, spanning 15 hours and featuring dozens of performers, Ragamala offers a FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 Presented in collaboration with Kalapriya Foundation, Center for Indian Performing Arts jaw-dropping assortment of Indian classical music from some of its greatest and emerging Ragamala: A Celebration of Indian Classical Music + Dance A CELEBRATION OF INDIAN CLASSICAL MUSIC + DANCE practitioners. Ragamala functions as the perfect, immersive introduction to the classical music Chicago Cultural Center, Preston Bradley Hall FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 of India. Not only are both the music of the north (Hindustani) and the south (Carnatic) + Millennium Park, Great Lawn FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 - 6:30PM-10AM Chicago Cultural Center represented, but listeners will also get the rare chance to hear ragas performed at the time of 78 E. Washington Street, 3rd Floor Preston Bradley Hall, 3rd Floor day they were originally composed for—a facet of the tradition lost in the west. 6:30pm-10am 78 E Washington Street Presented in collaboration with Kalapriya Foundation, Center for Indian Performing Arts 6:30pm-6:30am The word “raga” has a Sanskrit origin, meaning "coloring or dyeing". The term also connotes an Evolution of Songs from Indian Films: 1930-2017 emotional state referring to a "feeling, affection, desire, interest, joy or delight", particularly 6:30-7:30pm SATURDAY, SEPTEMBER 9 related to passion, love, or sympathy for a subject or something. In the context of ancient Anjali Ray, vocals with Rishi Thakkar, tabla and Anis Chandnani, harmonium Yoga + Gong Meditation Indian music it is often devotional and used as a prayer.
    [Show full text]
  • Festival of Arts Shiraz-Persepolis1 OR You Better Believe in As Many As Six Impossible Things Before Breakfast
    Updated and illustrated version of a paper originally commissioned by the Asia Society for The Shiraz Arts Festival: A Global Vision Revisited, a symposium held in New York on October 5, 2013. Festival of Arts Shiraz-Persepolis1 OR You better believe in as many as six impossible things before breakfast By Mahasti Afshar OVERVIEW2 1st Shiraz Arts he Shiraz-Persepolis Festival of Arts was an international Festival poster 1967 Tfestival held in Iran every summer for eleven years, 1967-1977. Jashn-e Honar-e Shiraz as it was popularly known in Persian was an inspired and feverish exploration, experimentation and creative conversation between Iran and the outside world that unfolded primarily through music, drama, dance and film. The programs started at 10 a.m. every day and ended at 1 or 2 a.m. the next, staggered across ancient, medieval and modern venues, some natural, some formal, others makeshift, in Shiraz, or forty miles 11th Festival 1977 Poster design: northeast at the Achaemenid ruins of Persepolis and Naqsh-e Qobad Shiva Rostam. True to its mission, the festival’s ecosystem cut across time and other boundaries, refreshing the traditional, celebrating the classical, nurturing the experimental, and stimulating a dialogue across generations, cultures, and languages, East and West, North and South. 1 The official English title in festival catalogues published annually, 1967-1977. CONTENTS 2 The primary printed sources for content and images for this report include the Shiraz Festival OVERVIEW catalogues, bulletins, program notes, and Tamasha Magazine, 1967-1977. Supplemental data were provided by individuals with firsthand knowledge of the Festival, Reza Ghotbi, Sheherazade PROGRAMS Afshar, Bijan Saffari, and Arby Ovanessian, as well as Parviz Sayyad and Mohammad-Baqer Ghaffari.
    [Show full text]
  • Social Science TABLE of CONTENTS
    2015 Social Science TABLE OF CONTENTS Academic Tools 79 Labour Economics 71 Agrarian Studies & Agriculture 60 Law & Justice 53 Communication & Media Studies 74-78 Literature 13-14 Counselling & Psychotherapy 84 7LHJL *VUÅPJ[:[\KPLZ 44-48 Criminology 49 Philosophy 24 Cultural Studies 9-13 Policy Studies 43 Dalit Sociology 8 Politics & International Relations 31-42 Development Communication 78 Psychology 80-84 Development Studies 69-70 Research Methods 94-95 Economic & Development Studies 61-69 SAGE Classics 22-23 Education 89-92 SAGE Impact 72-74 Environment Studies 58-59 SAGE Law 51-53 Family Studies 88 SAGE Studies in India’s North East 54-55 Film & Theatre Studies 15-18 Social Work 92-93 Gender Studies 19-21 Sociology & Social Theory 1-7 Governance 50 Special Education 88 Health & Nursing 85-87 Sport Studies 71 History 25-30 Urban Studies 56-57 Information Security Management 71 Water Management 59 Journalism 79 Index 96-100 SOCIOLOGY & SOCIAL THEORY HINDUISM IN INDIA A MOVING FAITH Modern and Contemporary Movements Mega Churches Go South Edited by Will Sweetman and Aditya Malik Edited by Jonathan D James Edith Cowan University, Perth Hinduism in India is a major contribution towards ongoing debates on the nature and history of the religion In A Moving Faith by Dr Jonathan James, we see for in India. Taking into account the global impact and the first time in a single coherent volume, not only that influence of Hindu movements, gathering momentum global Christianity in the mega church is on the rise, even outside of India, the emphasis is on Hinduism but in a concrete way, we are able to observe in detail as it arose and developed in sub-continent itself – an what this looks like across a wide variety of locations, approach which facilitates greater attention to detail cultures, and habitus.
    [Show full text]
  • Padma Vibhushan * * the Padma Vibhushan Is the Second-Highest Civilian Award of the Republic of India , Proceeded by Bharat Ratna and Followed by Padma Bhushan
    TRY -- TRUE -- TRUST NUMBER ONE SITE FOR COMPETITIVE EXAM SELF LEARNING AT ANY TIME ANY WHERE * * Padma Vibhushan * * The Padma Vibhushan is the second-highest civilian award of the Republic of India , proceeded by Bharat Ratna and followed by Padma Bhushan . Instituted on 2 January 1954, the award is given for "exceptional and distinguished service", without distinction of race, occupation & position. Year Recipient Field State / Country Satyendra Nath Bose Literature & Education West Bengal Nandalal Bose Arts West Bengal Zakir Husain Public Affairs Andhra Pradesh 1954 Balasaheb Gangadhar Kher Public Affairs Maharashtra V. K. Krishna Menon Public Affairs Kerala Jigme Dorji Wangchuck Public Affairs Bhutan Dhondo Keshav Karve Literature & Education Maharashtra 1955 J. R. D. Tata Trade & Industry Maharashtra Fazal Ali Public Affairs Bihar 1956 Jankibai Bajaj Social Work Madhya Pradesh Chandulal Madhavlal Trivedi Public Affairs Madhya Pradesh Ghanshyam Das Birla Trade & Industry Rajashtan 1957 Sri Prakasa Public Affairs Andhra Pradesh M. C. Setalvad Public Affairs Maharashtra John Mathai Literature & Education Kerala 1959 Gaganvihari Lallubhai Mehta Social Work Maharashtra Radhabinod Pal Public Affairs West Bengal 1960 Naryana Raghvan Pillai Public Affairs Tamil Nadu H. V. R. Iyengar Civil Service Tamil Nadu 1962 Padmaja Naidu Public Affairs Andhra Pradesh Vijaya Lakshmi Pandit Civil Service Uttar Pradesh A. Lakshmanaswami Mudaliar Medicine Tamil Nadu 1963 Hari Vinayak Pataskar Public Affairs Maharashtra Suniti Kumar Chatterji Literature
    [Show full text]
  • © HFI. All Rights Reserved
    ourc Res e fo HOLY FAITH tal r i HOLY FAITH Te ig a D c h e e e MBD MBD r r MBD s MBD MBD F MBD MBD MBD MBD MBD MBD MBD MBD MB 3 MBD MBD MBD MBD MBD MB The HF ABSOLUTE GENERAL KNOWLEDGE series aims to make students intelligent about information. Knowledge is the acceptance of facts. Intelligence is implementation of those facts wisely. The HF ABSOLUTE GENERAL KNOWLEDGE series—a set of 8 books—is a carefully graded series for Grades 1 to 8. Forced or rote learning does not sustain students' interest. With HF ABSOLUTE GENERAL KNOWLEDGE series, setting up an informative learning environment is easy. ABSOLUTE series has comprehensive e-contents with adequate information about the topic catering to curiosity. 3 So, when students learn that the 'Great Wall of China' is the longest wall in the world from the Book, they also learn—from comprehensive e-contents—that it was constructed to protect the first reserved. dynasty of Imperial China (Qin dynasty) against incursions by nomads from Inner Asia. Features of the Series ● Attention-grabbing subject matter ● Additional information to make learning fun ● Helps students make a psychological investment in learning ● Promotes higher-level thinking for enduring understanding rights ● Adequate information about each topic ● Topicscovered in a thorough mode ● presentation of facts and latest information with o Clear writing style All o Radical contents o Interesting pedagogy ISBN 9789353483197 HFI. © 1908H0326A5460 An ISO 9001:2015 Certified Company 9 789353 483197 Price : 110.00 reserved. rights All HFI. © HOLY FAITH General Knowledge 3 Dhrumin Pandya Acknowledgement: Harsha Dugar reserved.
    [Show full text]
  • Alphabetical List of Recommendations Received for Padma Awards - 2014
    Alphabetical List of recommendations received for Padma Awards - 2014 Sl. No. Name Recommending Authority 1. Shri Manoj Tibrewal Aakash Shri Sriprakash Jaiswal, Minister of Coal, Govt. of India. 2. Dr. (Smt.) Durga Pathak Aarti 1.Dr. Raman Singh, Chief Minister, Govt. of Chhattisgarh. 2.Shri Madhusudan Yadav, MP, Lok Sabha. 3.Shri Motilal Vora, MP, Rajya Sabha. 4.Shri Nand Kumar Saay, MP, Rajya Sabha. 5.Shri Nirmal Kumar Richhariya, Raipur, Chhattisgarh. 6.Shri N.K. Richarya, Chhattisgarh. 3. Dr. Naheed Abidi Dr. Karan Singh, MP, Rajya Sabha & Padma Vibhushan awardee. 4. Dr. Thomas Abraham Shri Inder Singh, Chairman, Global Organization of People Indian Origin, USA. 5. Dr. Yash Pal Abrol Prof. M.S. Swaminathan, Padma Vibhushan awardee. 6. Shri S.K. Acharigi Self 7. Dr. Subrat Kumar Acharya Padma Award Committee. 8. Shri Achintya Kumar Acharya Self 9. Dr. Hariram Acharya Government of Rajasthan. 10. Guru Shashadhar Acharya Ministry of Culture, Govt. of India. 11. Shri Somnath Adhikary Self 12. Dr. Sunkara Venkata Adinarayana Rao Shri Ganta Srinivasa Rao, Minister for Infrastructure & Investments, Ports, Airporst & Natural Gas, Govt. of Andhra Pradesh. 13. Prof. S.H. Advani Dr. S.K. Rana, Consultant Cardiologist & Physician, Kolkata. 14. Shri Vikas Agarwal Self 15. Prof. Amar Agarwal Shri M. Anandan, MP, Lok Sabha. 16. Shri Apoorv Agarwal 1.Shri Praveen Singh Aron, MP, Lok Sabha. 2.Dr. Arun Kumar Saxena, MLA, Uttar Pradesh. 17. Shri Uttam Prakash Agarwal Dr. Deepak K. Tempe, Dean, Maulana Azad Medical College. 18. Dr. Shekhar Agarwal 1.Dr. Ashok Kumar Walia, Minister of Health & Family Welfare, Higher Education & TTE, Skill Mission/Labour, Irrigation & Floods Control, Govt.
    [Show full text]