Small Science Class 4 Acknowledgements Chapter 5 Fun with Water!
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Agenda for 25 GST Council Meeting
Confidential Agenda for 25th GST Council Meeting Volume – 1 18 January 2018 Page 2 of 252 File No: 297/25th GSTC Meeting/GSTC/2017 GST Council Secretariat Room No.275, North Block, New Delhi Dated: 22 December, 2017 Notice for the 25th Meeting of the GST Council scheduled on 18 January 2018 The undersigned is directed to refer to the subject cited above and to say that the 25th Meeting of GST Council will be held on Thursday, 18 January 2018 from 12:20 pm onwards at Hall No 2-3, Vigyan Bhavan, New Delhi. Before the meeting of the GST Council, Union Finance Minister will have discussions with the Finance Ministers of States on the budget proposals for the Union Budget 2018-19 from 10:00 am to 12:00 noon at the same venue. 2. The Meeting of the GST Council shall be followed by Cultural Programme and Dinner to be hosted by Government of NCT of Delhi from 7:00 pm to 10:00 pm on 18 January 2018. 3. The detailed agenda items for the 25th Meeting of the GST Council will be communicated in due course of time. 4. The main agenda in the GST Council Meeting will be to discuss the draft Amendment to CGST Act, SGST Act and IGST Act. In order to have detailed discussions on the draft proposals for amendment, Union Finance Secretary will take a separate meeting of Officers of State and Central Government from 11:00 am onwards on Thursday, 11 January 2018 at Hall No 2-3, Vigyan Bhavan, New Delhi. -
Agenda for 25 GST Council Meeting
Confidential Agenda for 25th GST Council Meeting Volume – 1 18 January 2018 Page 2 of 252 File No: 297/25th GSTC Meeting/GSTC/2017 GST Council Secretariat Room No.275, North Block, New Delhi Dated: 22 December, 2017 Notice for the 25th Meeting of the GST Council scheduled on 18 January 2018 The undersigned is directed to refer to the subject cited above and to say that the 25th Meeting of GST Council will be held on Thursday, 18 January 2018 from 12:20 pm onwards at Hall No 2-3, Vigyan Bhavan, New Delhi. Before the meeting of the GST Council, Union Finance Minister will have discussions with the Finance Ministers of States on the budget proposals for the Union Budget 2018-19 from 10:00 am to 12:00 noon at the same venue. 2. The Meeting of the GST Council shall be followed by Cultural Programme and Dinner to be hosted by Government of NCT of Delhi from 7:00 pm to 10:00 pm on 18 January 2018. 3. The detailed agenda items for the 25th Meeting of the GST Council will be communicated in due course of time. 4. The main agenda in the GST Council Meeting will be to discuss the draft Amendment to CGST Act, SGST Act and IGST Act. In order to have detailed discussions on the draft proposals for amendment, Union Finance Secretary will take a separate meeting of Officers of State and Central Government from 11:00 am onwards on Thursday, 11 January 2018 at Hall No 2-3, Vigyan Bhavan, New Delhi. -
Classification of Indian Musical Instruments with the General
Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals). -
CCBC Choices 2013 || Cooperative Children's Book Center || University
CCBC Choices 2013 CCBC Choices 2013 Kathleen T. Horning Merri V. Lindgren Megan Schliesman Cooperative Children’s Book Center School of Education University of Wisconsin–Madison Copyright ©2013, Friends of the CCBC, Inc. ISBN–10: 0–931641–23–3 ISBN–13: 978–0–931641–23–7 CCBC Choices 2013 was produced by the office of University Communications, University of Wisconsin–Madison. Cover design: Lois Ehlert This publication was created by librarians at the Cooperative Children’s Book Center, School of Education, University of Wisconsin–Madison. Funding for the production and printing was provided by the Friends of the CCBC, Inc. For information, see the Appendices, or go to www.education.wisc.edu/ccbc/. CCBC Choices 2013 3 Contents Acknowledgments .............................................4 Introduction .................................................5 Organization of CCBC Choices 2013 ..............................6 The Charlotte Zolotow Award ...................................8 A Few Observations on Publishing in 2012 .......................10 The Choices Science, Technology, and the Natural World .....................14 Seasons and Celebrations ....................................20 Folklore, Mythology, and Traditional Literature. 21 Historical People, Places, and Events ...........................22 Biography and Autobiography ................................30 Contemporary People, Places, and Events .......................37 Understanding Oneself and Others ............................41 The Arts ................................................42 -
Hindustani Music[Edit] Carnatic Music[Edit]
The music of India includes multiple varieties of folk, popular, pop, classical music andR&B. India's classical music tradition, including Carnatic and Hindustani music, has a history spanning millennia and developed over several eras. Music in India began as an integral part of socio-religious life and that Indian music is essentially melodic: sounds follow one another expressing an emotional state in an aesthetic unity.[1] Two main traditions of classical music are Carnatic music, found predominantly in the peninsular regions, and Hindustani music, found in the northern and central regions.[2] The basic concepts of this music includes Shruti, Swara, Alankar, Rāga, and Tāla. Its tonal system divides the octave into 22 segments called shrutis, not all equal but each roughly equal to one quarter of a whole tone of Western music. Melody is based on the system of ragas, which are melody types used as the basis for improvisation. Hindustani music[edit] Main article: Hindustani classical music Hindustani music tradition was developed around 13th and 14th centuries AD with Persian influences and from existing religious and folk music.[3] The practice of singing based on notes was popular even from the Vedic times where the hymns in Sama Veda, a sacred text, were sung as Samagana and not chanted. Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. In contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic philosophy and native Indian sounds but also enriched by the Persian performance practices of the Mughals. -
Some Observations on Curriculum Change Colloquium at the Institute of Mathematical Sciences, Chennai December 29, 2016
'Small Science' in the classroom: Some observations on curriculum change Colloquium at the Institute of Mathematical Sciences, Chennai December 29, 2016. Jayashree Ramadas Homi Bhabha Centre for Science Education Tata Institute of Fundamental Research V. N. Purav Marg, Mankhurd, Mumbai 400 088 Homi Bhabha Curriculum for Primary Science • 'Small Science' for I-V developed during 1998-2004 • Translations - हलका फुलका िवजान - Halka Phulka Vigyan - हलके फुलके िवजान - Halke Phulke Vidnyan Halki Phulki Science - ہلکی یلقی سائنس - • English version published by OUP in 2007-12 • Distributed by InOpen 2012-16 • From 2016 distributed by HBCSE 2 Small Science usage • Widely used as resource books • As regular curriculum ~ 3000 students each year • Max. 10,000 in 14 / 21 States; mostly in English • Local languages - low feedback • No follow up or support 3 The Small Science Approach • Asking questions, making sense of the natural world • Organised experiences enhance and enrich life experiences • Experiences of the natural world - NOT a sanitised, idealised, prettified world - NOR a far-away, fantastic world (e.g. NatGeo Explorer) - But the world in which you live, which you engage with • Authentic experiences - A decaying banana peel - The sky, sun, moon, stars 4 The Small Science Approach • Engage with the world through observing, drawing, recording, analysing, expressing, discussing, arguing, writing ... communicating with peers • Tools for learning and thinking: - Systematic observation - Counting, tabulating, graphing – Quantitative thinking - Expressing, describing, writing – Language skills - Planning, constructing – Design and engineering 5 Systematic observations • Learning through inquiry Try planting different dals, grains of rice, sago. Do they sprout? Make your own guess why they did not sprout? 3. -
Art & Culture Material
ART & CULTURE MATERIAL CONTENTS 1. CARNATIC MUSIC 2. CLASSICAL DANCE FORMS 3. DRAMA, PAINTING AND VISUAL ARTS 4. HINDUSTANI MUSIC 5. IMPORTANT INSTITUTIONS 6. INDIAN ARCHITECTURE 7. INDIAN FAIRS AND FESTIVALS 8. INDIAN MUSIC 9. LANGUAGES OF INDIA 10. LITERATURE OF INDIA 11. MUSICAL INSTRUMENTS OF INDIA 12. PAINTINGS OF INDIA 13. DRAMA 14. PUPPETRY FORMS OF INDIA 15. REGIONAL FOLKS DANCES 16. RELIGIOUS ISSUES ASSOCIATED WITH CULTURE 17. SANGAM SOCIETY 1 CARNATIC MUSIC The Tamil classic of the 2nd Century AD titled the Silappadhikaram contains a vivid description of the music of that period. The Tolkappiyam, Kalladam & the contributions of the Shaivite and the Vaishnavite saints of the 7th & the 8th Centuries A.D. were also serve as resource material for studying musical history. It is said that South Indian Music, as known today, flourished in Deogiri the capital city of the Yadavas in the middle ages, and after the invasion & the plunder of the city by the Muslims, the entire cultural life of the city took shelter in the Carnatic Empire of Vijaynagar under the reign of Krishnadevaraya. Thereafter, the music of South India came to be known as Carnatic Music. In the field of practical music, South India had a succession of briliant & prolific composers who enriched the art with thousands of compositions. After Purandharasa, Tallapakam, Annamacharya, Naryana Tirtha, Bhadrachalam Ramdasa, Kshetranja made contributions to the wealth of the contributions. The birth of the musical trinity- Thyagraja, Muthuswami Dikshitar & Shyama Sgasyri- at Tiruvai between the years 1750-1850 A.D. ushered in an era of dynamic development in Carnatic Music. -
History Dlsc
Dr. Lakshmaiah IAS Study Circle H. No: 1-10-233, Ashok Nagar, Hyderabad - 500 020. Delhi, Dehradun, Amaravati, Guntur, Tirupati, Vishakhapatnam Ph no:040-27671427/8500 21 8036 HISTORY DLSC Dr. Lakshmaiah IAS Study Circle H. No: 1-10-233, Ashok Nagar, Hyderabad - 500 020. Delhi, Dehradun, Amaravati, Guntur, Tirupati, Vishakhapatnam Ph no:040-27671427/8500 21 8036 CONTENTS CARNATIC MUSIC CLASSICAL DANCE FORMS III. DRAMA, PAINTING AND VISUAL ART IV. Circle HINDUSTANI MUSIC V. IMPORTANT INSTITUTIONS VI. INDIAN ARCHITECTURE VII. INDIAN FAIRS AND FESTIVALSStudy VIII. INDIAN MUSIC IX. LANGUAGES OF INDIA IAS LITERATURE OF INDIA XI. MUSICAL INSTRUMENTS OF INDIA XII. PAINTINGS OF INDIA XIII. PERFORMING ARTS-DRAMA XIV. PUPPET FORMS OF INDIA XV. REGIONAL FOLKS DANCES XVI. RELIGIOUS ISSUES ASSOCIATED WITH CULTURE XVII. SANGAM SOCIETY AND OTHER STUFF Lakshmaiah Dr. 1 . CARNATIC MUSIC The Tamil classic of the 2nd Century AD titled the Silappadhikaram contains a vivid description of the music of that period. The Tolkappiyam, Kalladam & the contributions of the Shaivite and the Vaishnavite saints of the 7th & the 8th Centuries A.D. were also serve as resource material for studying musical history. It is said that South Indian Music, as known today, flourished in Deogiri the capital city of the Yadavas in the middle ages, and after the invasion & the plunder of the city by the Muslims, the entire cultural life of the city took shelter in the Carnatic Empire of Vijaynagar under the reign of Krishnadevaraya. Thereafter, the music of South India came to be known as Carnatic Music. In the field of practical music, South India had a succession of briliant & prolific composers who enriched the art with thousands of compositions. -
An Exam Oriented Guide on Indian Art and Culture
MyNotesAdda.Com An exam oriented guide on Indian Art and Culture 1 Specially designed for CSAT and IAS mains MyNotesAdda.Com INDEX • Puppet forms 3 • Painting Styles 16 • Dance forms 27 Classical 29 Folk 38 Tribal 54 • Theater forms 59 • Music 78 • Indian Architecture 83 2 MyNotesAdda.Com Puppet Forms of India 3 MyNotesAdda.Com Puppet Forms of India • A form of theatre or performance involving manipulation of puppets. • The process of animating inanimate performing objects. • Used both as entertainment – in performance – and ceremonially in rituals and celebrations such as carnivals. • Originating in India 4000 years ago, where the main character in Sanskrit plays was known as “Sutradhara”, “the holder of strings”. • Stories mainly from puranic literature, local myths and legends String Puppet Shadow Puppet Glove Puppet Rod Puppet 4 MyNotesAdda.Com Puppet Forms of India 1. String PuPPets • Jointed body and limbs that allow movement. • Made of wood, or wire, or cloth stuffed with cotton, rags or saw dust and are usually small. • Manipulated by operating the control as well as by loosening or pulling the relevant string • Regional variations: Andhra Pradesh (Koyya Bommalata), Assam (Putala Nach), Karnataka (Sutrada Gombeyata), Maharashtra (Kalasutri Bahulya), Rajasthan (Kathputli), Orissa (Gopalila), Tamil Nadu (Bommalatam) and West Bengal (Tarer or Sutor Putul). 5 MyNotesAdda.Com Puppet Forms of India 1. String PuPPets Kathputli, Rajasthan • Carved from a single piece of wood, • Large dolls that are colorfully dressed. • Costumes and headgears are designed in the medieval Rajasthani style • Uses highly dramatized version of the regional music. • Oval faces, large eyes, arched eyebrows and large lips. -
Follow the River of Stories: Comics, Folk Culture, and Social Justice in Delhi
FOLLOW THE RIVER OF STORIES: COMICS, FOLK CULTURE, AND SOCIAL JUSTICE IN DELHI Jeremy Stoll Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Folklore & Ethnomusicology, Indiana University December 2012 UMI Number: 3552640 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3552640 Published by ProQuest LLC (2013). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 ii Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _____________________________________________ Pravina Shukla, Ph.D. _____________________________________________ Henry Glassie _____________________________________________ Michael Dylan Foster _____________________________________________ Susan Seizer May 23rd, 2012 iii Copyright © 2012 Jeremy Stoll iv Acknowledgements Although my fieldwork only lasted four months, I feel responsible to the people that I met in Delhi in that time, and to the creators within India’s comics culture. While in the field, many of these artists brought me into their homes and studio spaces, into their creative process and into their own understanding of the world. -
Culture Research Paper Musical Instruments Draft
Musical instruments: the Forgotten Heritage of the Himalayas Nabila Siddiqui and Sejuti Basu Research & Advocacy Team, PRAGYA Introduction The human voice is believed to be the first medium of musical communication, the most natural and the most expressive instrument of all time. the primitive musical instruments appeared as the human beings started imitating sounds of nature, using sounds to protect themselves, sometimes, just for the sake of the harmony. Musical instruments evolved over the years from hollow reed or rattling of stones, to add nuances to musical expressions. Through study of these instruments, we can seek to understand music - a highly regarded and ever expanding body of knowledge. The Himalayan region is a composite of several cultural cosmoses rolled into one, each little valley or plateau with its distinctive cultural forms. Every mountain slope is, from the anthropo-geographical standpoint, a complex phenomenon displaying a whole range of cultural features/combinations. The Himalayan communities have a wealth of traditional art including the traditional music and dances. Music, an intangible art form is an integral component of the lives of the Himalayan way of life. The people possess a wealth of musical heritage comprising music and musical instruments, with a number of distinctive instruments and vocal styles. Folk music and musical instruments are intrinsic part of Himalayan culture. The music of the Himalayas reflects the unique cultural heritage of the region and the various ethnic groups across the Himalayan countries of India, Nepal and Bhutan. However, organologic study of musical instruments from the Himalayas is limited. An effort here is made to discuss and classify a precious few of the Himalayan musical instruments and understand their importance in the day-to-day life or the religious ceremonies that are interwined with the traditional social practices of the region. -
"Small Science" Curriculum
Innovation in Science Education Case of the “Small Science” Curriculum Short Course for Science Teachers and Officers of SriLanka Homi Bhabha Centre for Science Education Tata Institute of Fundamental Research November 16, 2015 Jayashree Ramadas Homi Bhabha Centre for Science Education HBCSE's goal is to bring about a positive change in science and maths education from primary school to undergraduate level in the country; to influence students, teachers and policy, and to build expertise, resources and opinion that are conducive to good education at all levels. HBCSE's work is premised on a close interaction between research, development of materials, and sustained outreach programs with teachers and students. HMB Minutes, March 21, 2012 2 Homi Bhabha Centre for Science Education Our Aim • To improve the quality of science and mathematics education in the country from primary school up to undergraduate level Research and Development of Innovation Materials and Methods A synergy Outreach & Advocacy 3 Specifically we aim to: • Generate new ideas Research and Innovation • Translate them to Development of useable forms materials and methods • Demonstrate or Outreach and Advocacy implement the ideas on a small or large scale 4 Knowledge-base for Innovation 1. Research in Science Education - Cognitive studies - Socio-cultural studies 2. Practice of Science / Science Education - - 5 Research areas at HBCSE Design and technology Students' conceptions Out-of-school learning Mathematical understanding Learner-centred practices, collaboration, diversity Concept mapping Socio-scientific, ethical, Concept Inventories moral issues Model-based reasoning Affective outcomes, student engagement Visuo-spatial and embodied modes of reasoning Testing and assessment 6 Knowledge-base for Innovation 2.