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Ph.D. Entrance Examination Subject: Music

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Ph.D. Entrance Examination Subject: Music Time : 2 Hrs. Max. M. 100 Mim. M. 50 u¨V % lÒh ç“u gy djsaA çR;sd ç“u 1 vad dk gSA çR;sd ç“u d¢ pkj fodYi gSa] lgh fodYi pqfu,A Note : Attempt all questions. Each question carries 1 mark. Each question has four opptions, Choose the correct option. 1- fuEu esa ls d©u lk Loj vpy gSa\ ¼~v½ eè;e ¼c½ fj’kÒ ¼l½ xkaèkkj ¼n½ ‘kM~t Which Swaras is Achal of following? (a) Madhayam (b) Rishabh (c) Gandhar (d) Shadaj 2- Xokfy;j Äjkus d¢ tUenkrk d©u Fks\ ¼~v½ m- vCnqy djhe [k+k¡ ¼c½ m- uRFku ihjc[+“k ¼l½ m- vYykmíhu [kk¡ ¼n½ ia- oklqnso cqvk t¨“kh Who was the founder of Gwalior Gharana? (a) Ustad Abdul Karim Khan (b) Ustad Nathanpeer baksh (c) Ustad Allauddin Khan (d) Pt. Vasudev Bua Joshi 3- fuEu esa ls d©u lqçfl) fgUnqLrkuh “kkL=h; laxhr xk;d@xkf;dk gSa\ ¼~v½ ia- gfjçlkn p©jfl;k ¼c½ ia- fd“ku egkjkt ¼l½ Jherh ,u- jkte~ ¼n½ Jherh xaxwckà gaxy Who amongst the following is renowned in Hindustani classical vocal singer? (a) Pt. Hariprasad Chaurasiya (b) Pt. Kishan Maharaj (c) Smt. N. Rajam (d) Smt. Gangubai Hangal 4- ia- vu¨[ks yky fdl {ks= dh fo“ks’kK ekus x;s\ ¼~v½ flrkj ¼c½ rcyk ¼l½ xk;u ¼n½ y¨dlaxhr In which field has Pt. Anokhelal distinguished? (a) Sitar (b) Tabla (c) Vocal (d) Folk Music 5- Äjkus ls vki D;k le>rs gSa\ ¼~v½ “kkL=h; fgUnqLrkuh laxhr dh y¨dfç; “kSyh ¼c½ laxhr {ks= d¢ laxhrK¨a dk lewg ¼l½ xk;u dh ijEijkxr “kSyh ¼n½ laxhr dh ijEijk t¨ oa“k ,oa f“k’; J`a[kyk ls lEcfUèkr g¨rh gSA What do you mean by Gharana? (a) A popular musical form of Hindustani classical music (b) A group of musicians in music field (c) Traditional style of singing (d) It relates to a long time teased tradition of musical style kept alive by inheritance and shishya parmpara 6- Òkjr dk çkphu LFkku t¨ laxhr f“k{k.k d¢ fy, çfl) Fkk& ¼~v½ iq.ks ¼c½ Xokfy;j ¼l½ csaxyq: ¼n½ gSnjkckn An Indian Place which was famous as a music learning place was - (a) Pune (b) Gwalior (c) Bangluru (d) Hydrabad 7- mÙkj Òkjr esa “kgukà ,d eaxy ok| gSA nf{k.k Òkjr esa bld¢ leku ok| d©u lk gS\ ¼~v½ Dysj¨usV ¼c½ ukxkLoje ¼l½ ekWjflax ¼n½ lsDl¨Q¨u Shahnai is the mangal vadya in North India. What is its equivalent in South India? (a) Clarionet (b) Nagaswaram (c) Morcing (d) Sexophone 8- dukZVd laxhr d¢ firk d¢ :i esa d©u tkus tkrs gS\ ¼~v½ R;kxjkt ¼c½ iqjanjnkl ¼l½ “;kek “kkL=h ¼n½ eqRFkqLokeh fnf{krj Who is known as father of Karnatak music? (a) Tyagraj (b) Purandardas (c) Shayma Shastri (d) Muthuswami Dixitar 9- ßÄVeÞ D;k gS\ ¼~v½ ,d Mªe t¨ f>Yyh ls <adk g¨rk gS] t¨ y; laxfr esa iz;qDr g¨rk gSA ¼c½ feV~Vh dk crZu t¨ dukZVd laxhr esa y; laxfr esa iz;qDr g¨rk gSA ¼l½ ok| laxhr dk Lo:i ¼n½ dukZVd laxhr dk vou) y;kRed ok| What is “Ghatam”? (a) A drum covered by membrane used for rhythmic accompaniment (b) Earthen pot used for rhythmic accompaniment for karnatak music. (c) Pattern of instrumental music (d) Percussion rhythmic instrument used in Karnatak music 10- ßelhr[kkuhÞ dk lEcUèk fdlls gS\ ¼~v½ rcyk ¼c½ i[kkot+ ¼l½ flrkj ¼n½ ck¡lqjh “Maseet Khani’ is related to which ? (a) Tabla (b) Pakhawaj (c) Sitar (d) Bansuri 11- fuEu esa ls d©u lk jkT; ßlarwjÞ d¢ fy, tkuk tkrk gS\ ¼~v½ jktLFkku ¼c½ mÙkjçns“k ¼l½ if“pe caxky ¼n½ tEew ,oa d“ehj Which of following states is known for “ Santoor”? (a) Rajasthan (b) Uttarpradesh (c) West Bengal (d) Jammu and Kashmir 12- ßijuÞ dk lEcUèk fuEu esa ls fdl ok| ls gS\ ¼~v½ oh.kk ¼c½ i[kkot ¼l½ okW;yhu ¼n½ lkjaxh “Paran” is related to which instrument? (a) Veena (b) Pakhawaj (c) Violin (d) Sarangi 13- vou) ok| D;k gS\ ¼~v½ peM+s ls e<+s ok| ¼c½ rkj okys ok| ¼l½ y©dh ls cuk ok| ¼n½ ok|] t¨ ok;q dh rjax¨a ls cts What is Avanadya Vadya? (a) An instrument with leather cover (b) String instrument (c) Made by gourds (d) Instrument which is played by blowing air 14- ßflrkjÞ d¨ ctkus d¢ fy, D;k mi;¨x g¨rk gS\ ¼~v½ ydM+h dk VqdM+k ¼c½ xt ¼l½ fet+jkc ¼n½ NM+h dh t¨M+h What is used to play Sitar instrument? (a) Piece of wood (b) Bow (c) Mizrab (d) A pair of sticks 15- dukZVd jkT; esa lcls y¨dfç; ok| gS & ¼~v½ okW;fyu ¼c½ oh.kk ¼l½ flrkj ¼n½ rcyk The most popular instrument in Karnatak state is : (a) Violin (b) Veena (c) Sitar (d) Tabla 16- mÙkj Òkjr d¢ “kkL=h; Fkkiokyk ok| gS & ¼~v½ <+¨yd ¼c½ rcyk ¼l½ uxkM+k ¼n½ e`nax The Percussion classical instrument of Northern India is? (a) Dholak (b) Tabla (c) Nagada (d) Mrudang 17- ßr¨M+kÞ lEcfUèkr gS& ¼~v½ flrkj ¼c½ [;ky ¼l½ rcyk ¼n½ èkzqoin “Toda” is related to - (a) Sitar (b) Khayal (c) Tabla (d) Dhrupad 18- mLrkn gkfQt+ vyh [k+k¡ dk lEcUèk fdlls Fkk\ ¼~v½ lj¨n ¼c½ i[kkot ¼l½ flrkj ¼n½ chu Ustad Hafiz Ali Khan was related to which - (a) Sarod (b) Pakhawaj (c) Sitar (d) Been 19- ia- ykyef.k feJ fdl ok| d¢ fy;s y¨dfç; Fks\ ¼~v½ bljkt ¼c½ chu ¼l½ fofp= oh.kk ¼n½ rcyk Pt. Lalmani Mishra was famous for which instrument? (a) Israj (b) Been (c) Vichitra Veena (d) Tabla 20- Òkjrh; “kkL=h; u`R; dk vkèkkj d©u lk xzaFk gS\ ¼~v½ ukjnh; f“k{kk ¼c½ laxhr ikfjtkr ¼l½ ukV~; “kkL= ¼n½ lkeosn Which book is the based of Indian classical dance : (a) Nardiya Shiksha (b) Sangeet Parijat (c) Natya Shastra (d) Samved 21- dqfpiqM+h “kkL=h; u`R; fdl jkT; dk gS\ ¼~v½ rfeyukMq ¼c½ vkaèkzçns“k ¼l½ dukZVd ¼n½ d¢jyk Kuchipudi classical dance is from which state? (a) Tamilnadu (b) Andhra Pradesh (c) Karnataka (d) Kerla 22- eè;çns“k esa jk;x<+ fdld¢ fy, çfl) gS\ ¼~v½ fp=dyk ¼c½ y¨dlaxhr ¼l½ jaxeap ¼n½ dRFkd u`R; Raigarh in Madhya Pradesh is famous for? (a) Painting (b) Folk Music (c) Theatre (d) Kathak Dance 23- #def.k nsoh v#aMsy fdl u`R; dh dykdkj ekuh x;h gSa\ ¼~v½ dqfpiqM+h ¼c½ e¨fguh vV~Ve ¼l½ v¨fMlh ¼n½ ÒjrukV~;e For which dance form Rakmani Devi Arundel known? (a) Kuchipudi (b) Mohiniattam (c) Odissi (d) Bharat Natyam 24- rrdkj D;k gS\ ¼~v½ rcyk oknu dk çdkj ¼c½ dRFkd dk inlapkyu ¼l½ v¨fMlh u`R; dk çdkj ¼n½ ef.kiqjh u`R; dk çdkj What is “Tatkaar”? (a) Type of Tabla playing (b) Footwork of Kathak (c) Type of Odissi dance (d) Type of Manipuri dance 25- ß>ud >ud ik;y cktsÞ fp=iV esa fdl u`R;dkj us çeq[k Òwfedk fuÒkà Fkh\ ¼~v½ fcjtw egkjkt ¼c½ mn; “kadj ¼l½ yPNw egkjkt ¼n½ x¨ihÑ’.k Which dancer played main role in film “Jhanak Jhanak Payal Baze”? (a) Birju Maharaj (b) Uday Shankar (c) Lachchu Maharaj (d) Gopi Krishna 26- ßvkenÞ D;k gS\ ¼~v½ vkxeu ¼c½ r¨M+k ¼l½ fuxZeu ¼n½ lapyu What is “Amad” ? (a) Entrance (b) Toda (c) Exit (d) Movement 27- ia- dkfrZdjke dRFkd d¢ fdl Äjkus ls gSa\ ¼~v½ t;iqj ¼c½ y[kuÅ ¼l½ okjk.klh ¼n½ jk;x<+ Pt. Kartic Ram is from which Gharana of Kathak? (a) Jaipur (b) Lucknow (c) Varanasi (d) Raigad 28- vUrjkZ’Vªh; dFkdyh d¢Uæ dgk¡ ij fLFkr gS\ ¼~v½ psUuà ¼c½ Vªkoud¨j ¼l½ uà fnYyh ¼n½ eqEcà The International Centre for “Kathakali” is situated at- (a) Channai (b) Travancore (c) New Delhi (d) Mumbai 29- ßxr&ÒkoÞ dk lEcUèk g¨rk gS & ¼~v½ dqfpiqM+h u`R; ¼c½ Bqejh xk;u ¼l½ dRFkd u`R; ¼n½ dhrZu Gat-Bhav is related to? (a) Kuchipudi Dance (b) Thumari Singing (c) Kathak Dance (d) Kirtana 30- ßdykleÞ dk lEcUèk g¨rk gS& ¼~v½ e¨fguh vV~Ve u`R; ¼c½ dFkdyh u`R; ¼l½ ÒjrukV~;e ¼n½ dqfpiqM+h “Kalasam” refers to - (a) Mohiniattam Dance (b) Kathkali Dance (c) Bharatnatyam (d) Kuchipudi 31- fuEu esa ls d©u lk rky rhu¨a y;¨a foyfEcr] eè; v©j nzqry; esa iz;qDr g¨rk gS\ ¼~v½ nhipanh ¼c½ fryokM+k ¼l½ vkMk p©rky ¼n½ ,drky Which among the following talas is used in all the three layas i.e. Vilambit, Madhya and Drut? (a) Deepchandi (b) Tilwada (c) Adachautaal (d) Ektal 32- p©rky dh ek=k,¡ g¨rh gSa\ ¼~v½ 12 ¼c½ 10 ¼l½ 11 ¼n½ 14 The Matras of chautaal are- (a) 12 (b) 10 (c) 11 (d) 14 33- fgUnqLrkuh laxhr d¢ rky¨a d¢ fy;s [kkyh g¨rh gS& ¼~v½ 1011 ¼c½ 0 ¼l½ 2 ¼n½ The Khali of Hindustani music is - (a) 1011 (b) 0 (c) 2 (d) 34- fuEu esa ls d©u ls rky dh 11 ek=k,¡] 11 foÒkx g¨rs gSa\ ¼~v½ #æ ¼c½ lwy ¼l½ iapelokjh ¼n½ :id Which of the following talas contains 11 beats and 11 division - (a) Rudra (b) Sool (c) Pancham Sawari (d) Roopak 35- fuEu esa ls fdl rky esa [kkyh ugÈ g¨rh\ ¼~v½ rhozk ¼c½ nknjk ¼l½ dgjok ¼n½ >irky Which of the following tala is not having Khali- (a) Teevra (b) Dadra (c) Keharwa (d) Jhaptal 36- “kCn ßfrgkÃÞ dk lEcUèk gS\ ¼~v½ fp=dyk ¼c½ lkfgR; ¼l½ jaxeap ¼n½ rcyk oknu The term “Tihai” is related to - (a) Painting (b) Literature (c) Theatre (d) Tabla Playing 37- ,drky v©j p©rky n¨u¨a dh g¨rh gS & ¼~v½ 10 ek=k,¡ ¼c½ 7 ek=k,¡ ¼l½ 14 ek=k,¡ ¼n½ 12 ek=k,¡ Ektal and Chautal both are contain - (a) 10 beats (b) 7 beats (c) 14 beats (d) 12 beats 38- tgk¡ ls rky dk Bsdk “kq: g¨rk gS ml fo“ks’k ek=k d¨ tkuk tkrk gS& ¼~v½ [kkyh ¼c½ Òjk ¼l½ le ¼n½ vkorZu First Matra from a Taal’s Theka starts, that particular matra known as- (a) Khali (b) Bhari (c) Sam (d) Awartan 39- rky dh Ãdkà gS & ¼~v½ foÒkx ¼c½ Jqfr ¼l½ c¨y ¼n½ ek=k The unit of Taal is - (a) Division (b) Shruti (c) Bol (d) Matra 40- dukZVd rky i)fr dh [kaM tkfr esa yÄq dh fdruh ek=k,¡ g¨rh gSa\ ¼~v½ 3 ¼c½ 7 ¼l½ 5 ¼n½ 9 How many matras in Khand Jatee of Karnatic Taal system? (a) 3 (b) 7 (c) 5 (d) 9 41- ß[kseVkÞ gS& ¼~v½ ,d ok| ¼c½ ,d jkx ¼l½ ,d rky ¼n½ ,d “kSyh “Khemata” is - (a) An instrument (b) A Raag (c) A Taal (d) A Form 42- ßtrÞ uke gS & ¼~v½ ,d jkx dk ¼c½ FkkV dk ¼l½ xk;u “kSyh dk ¼n½ ,d rky dk Jat is a name of - (a) One Raag (b) That (c) Vocal Style (d) A Taal 43- dukZVd laxhr d¢ vB rky d¢ fdrus foÒkx g¨rs gSa\ ¼~v½ 3 ¼c½ 4 ¼l½ 2 ¼n½ 1 How many divisions are there in Athtal of Karnatak music - (a) 3 (b) 4 (c) 2 (d) 1 44- czãrky dh fdruh ek=k,¡ g¨rh gSa\ ¼~v½ 18 ¼c½ 28 ¼l½ 21 ¼n½ 11 How many matras does Brahma Tala contain? (a) 18 (b) 28 (c) 21 (d) 11 45- >irky fdrus foÒkx¨a esa foÒkftr g¨rk gS\ ¼~v½ 2 ¼c½ 3 ¼l½ 4 ¼n½ 6 In how many divisions Jhap Tal is divided- (a) 2 (b) 3 (c) 4 (d) 6 46- n¨jkÃLokeh vk;axkj dk uke çfl) gS& ¼~v½ dukZVd okW;fyu ¼c½ dukZVd oh.kk ¼l½ e`naxe ¼n½ dukZVd xk;u Doraiswamy ayengar is famous for - (a) Karnatak Violin (b) Karnatak Veena (c) Mradungam (d) Karnatak Vocal 47- ia- jkeukjk;.k dk lEcUèk fdlls gS \ ¼~v½ flrkj ¼c½ okW;fyu ¼l½ lkjaxh ¼n½ lj¨n Pt.
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    HINDUSTANI CLASSIC MUSIC: Junior Grade or Prathamik : Syllabus : No theory exam in this grade Swarajnana Talajnana essential Ragajnana Practicals: 1. Beginning of swarabyasa - in three layas 2. 2 Swaramalikas 5 Lakshnageete Chotakyal Alap - 4 ragas Than - 4 Drupad - should be practiced 3. Bhajan - Vachana - Dasapadas 4. Theental, Dadara, Ektal (Dhruth), Chontal, Juptal, Kheruva Talu - Sam-Pet-Husi-Matras - should practice Tekav. 5. Swarajnana 6. Knowledge of the words - nada, shruthi, Aroha, Avaroha, Vadi - Samvedi, Komal - Theevra - Shuddha - Sasthak - Ganasamay - Thaat - Varjya. 7. Swaralipi - should be learnt. Senior Grade: (Madhyamik) Syllabus : Theory: 1. Paribhashika words 2. Sound & place of emergence of sound 3. The practice of different ragas out of “thaat” - based on Pandith Venkatamukhi Mela System 4. To practice ragalaskhanas of different ragas 5. Different Talas - 9 (Trital, Dadra, Jup, Kherva, Chantal, Tilawad, Roopak, Damar, Deepchandi) explanation of talas with Tekas. 6. Chotakhyal, Badakhyal, Bhajan, Tumari, Geethprakaras - Lakshanas. 7. Life history of Jayadev, Sarangdev, Surdas, Purandaradas, Tansen, Akkamahadevi, Sadarang, Kabeer, Meera, Haridas. 8. Knowledge of musical instrument Practicals: 1. Among 20 ragas - Chotakhyal in each 2. Badakhyal - for 10 ragas (Bhoopali, Yamani, Bheempalas, Bageshree, Malkonnse, Alhaiah Bilawal, Bahar, Kedar, Poorvi, Shankara. 3. Learn to sing one drupad in Tay, Dugun & Changun - one Damargeete. VIDHWAN PROFICIENCY Syllabus: Theory 1. Paribhashika Shabdas. 2. 7 types of Talas - their parts (angas) 3. Tabala bol - Tala Jnana, Vilambitha Ektal, Jumra, Adachontal, Savari, Panjabi, Tappa. 4. Raga lakshanas of Bhairav, Shuddha Sarang, Peelu, Multhani, Sindura, Adanna, Jogiya, Hamsadhwani, Gandamalhara, Ragashree, Darbari, Kannada, Basanthi, Ahirbhairav, Todi etc., Alap, Swaravisthara, Sama Prakruthi, Ragas criticism, Gana samay - should be known.
  • Raja Mansingh Tomar Music and Arts University

    Raja Mansingh Tomar Music and Arts University

    RAJA MANSINGH TOMAR MUSIC AND ARTS UNIVERSITY Mahadaji Chok, Achaleshwar Mandir Marg, Gwalior – 474009, Madhya Pradesh Tel : 0751-2452650, 2450241, 4011838, Fax : 0751-4031934 Email : [email protected]; [email protected] Website : http://www.rmtmusicandartsuniversity.com Raja Mansingh Tomar Music and Arts University has been established at Gwalior under the Madhya Pradesh Act No. 3 of 2009 vide Raja Mansingh Tomar Sangit Evam Kala Vishwavidyalaya Adhiniyam, 2009. Unity in diversity is the cultural characteristic of India. The statements is fully in consonant with reference to Madhya Pradesh. It is one of the most recognized cetnres of arts and music from ancient times. It was also a centre for the teaching of Lord Krishna during the period of the Mahabharata in Sandipani Ashram of Ujjain. During the period of the Ramayan it was Chitrakoot which became the witness of Lord Rama’s penances. So many rivers create the aesthetic beauty of Madhya Pradesh, Apart from the various rivers such as Narmada, Kshipra, Betava, Sone, Indravati, Tapti and Chambal. Madhya Pradesh has also given birth to many saints, poets, musicians and great persons. Ashoka the great, was associated with Ujjaini and Vidisha, Mahendra and Sanghamitra started spreading the teachings of Buddhism from here. Madhya Pradesh is the pious land of Kalidas, Bhavabhuti, Tansen, Munj, Raja Bhoj, Vikramaditya, Baiju Bawra, Isuri, Patanjali Padmakar, and the great Hindi poet Keshav. This is the province which always encouraged and motivated the artists. Raja Man Singh Tomar also nutured the arts of music, dance and fine arts here. From time immemorial Madhya Pradesh has been resonated with the waves of Music.
  • MUSIC MPA Syllabus Paper Code Course Category Credit Marks

    MUSIC MPA Syllabus Paper Code Course Category Credit Marks

    MUSIC MPA Syllabus Paper Code Course Category Credit Marks Semester I 12 300 MUS-PG-T101 Aesthetics Theory 4 100 MUS-PG-P102 Analytical Study of Raga-I Practical 4 100 MUS-PG-P103 Analytical Study of Tala-I Practical 4 100 MUS-PG-P104 Raga Studies I Practical 4 100 MUS-PG-P105 Tala Studies I Practical 4 100 Semester II 16 400 MUS-PG-T201 Folk Music Theory 4 100 MUS-PG-P202 Analytical Study of Raga-II Practical 4 100 MUS-PG-P203 Analytical Study of Tala-II Practical 4 100 MUS-PG-P204 Raga Studies II Practical 4 100 MUS-PG-P205 Tala Studies II Practical 4 100 MUS-PG-T206 Music and Media Theory 4 100 Semester III 20 500 MUS-PG-T301 Modern Traditions of Indian Music Theory 4 100 MUS-PG-P302 Analytical Study of Tala-III Practical 4 100 MUS-PG-P303 Raga Studies III Practical 4 100 MUS-PG-P303 Tala Studies III Practical 4 100 MUS-PG-P304 Stage Performance I Practical 4 100 MUS-PG-T305 Music and Management Theory 4 100 Semester IV 16 400 MUS-PG-T401 Ethnomusicology Theory 4 100 MUS-PG-T402 Dissertation Theory 4 100 MUS-PG-P403 Raga Studies IV Practical 4 100 MUS-PG-P404 Tala Studies IV Practical 4 100 MUS-PG-P405 Stage Performance II Practical 4 100 1 Semester I MUS-PG-CT101:- Aesthetic Course Detail- The course will primarily provide an overview of music and allied issues like Aesthetics. The discussions will range from Rasa and its varieties [According to Bharat, Abhinavagupta, and others], thoughts of Rabindranath Tagore and Abanindranath Tagore on music to aesthetics and general comparative.
  • List of Empanelled Artist

    List of Empanelled Artist

    INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ
  • Secondary Indian Culture and Heritage

    Secondary Indian Culture and Heritage

    Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture.
  • The Sixth String of Vilayat Khan

    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.