M.Music Bhart Natyam

Total Page:16

File Type:pdf, Size:1020Kb

M.Music Bhart Natyam M· M~~ ~~r~ ~t\t'l~1t\, Question Booklet No. 00004 IIP/278/1 (To be filled up by the candidate by bluelblack ball-point pen) RoD No. LI_-,-_-,-_-,-_-,-_-,-_-,-_..J...__ Roll No. (Write the digits in words) ................................................................................................ Serial No. of Answer Sheet ............................................ .. Day and Date .................................................................... ( Signature of Invigilator) INSTRUCTIONS TO CANDIDATES (Use only bluelblack ball-point pen in the space above and on both sides of the Answer Sheet) 1. Within 10 minutes of the issue of the Question Booklet, check the Question Booklet to ensure that it contains all the pages. in correct sequence and that no page/question is missing. In case of faulty Question Booklet bring it to the notice of the SuperintendentiInvigilators immediately to obtain a fresh Question Booklet. 2. Do not bring any loose paper, written or,blank, inside the Examination Hall except the Admit Card without its envelope, 3. A separate Answer Sheet is given. It should not be folded or mutilated. A second Answer Sheet shall not be provided. Only the Answer Sheet will be evaluated. 4. Write your Roll Number and Serial Number of the Answer Sheet by pen in the space prvided above. 5. On the front page ofthe Answer Sheet, write by pen your Roll Number in the space provided at the top and by darkening the circles at the bottom. Also, wherever applicable, write the Question Booklet Number and the Set Number in appropriate places. 6. No overwriting is allowed in the entries ofRoll No., Question Booklet no. and Set no. (if any) on , OMR sheet and Roll No. ipld OMR sheet no. on the Queston Booklet. 7. Any change in the aforesaid entries is to be verified by the invigilator, otherwise it will be taken as IIIffairmeans. 8. Each question in this Booklet isfollowed by four alternative answers. For each question, you are to record the correct option on the Answer Sheet by darkening the appropriate circle in the co"esponding row ofthe Answer Sheet, by pen' as mentioned in the guidelines given on the first page ofthe Answer SheeL 9. For each question, darken only one circle on the Answer Sheet. If you darken more than one circle or darken a circle partially, the answer will be treated as incorrect. 10. Note that the answer oncefilled in ink cannot be changed. Ifyou do not wish to attempt a question, leave all the circles in the corresponding row blank (such question will be awarded zero marks). 11. For rough work, use the inner back page of the title cover and the blank page at the end of this Booklet. 12. Deposit only OMR Answec Sheet at the 'end of the Test. 13. You are not permitted to leave the Examination Hall until the end of the Test. 14. Ifa candidate attempts to use any form of unfair means, he/she shall be liable to such punishment as the University may determine and impose on him/her. Total No. of Printed Page. :28 llP/278/1 No. of Questions : 100 ~ q:,'T 'fi <§lOll : 100 Time : 2 Hours Full Marks: 300 fT'W : 2 "EfIJ2" 'i.OIii; : 300 Note: (1) Attempt as many questions as you can. Each question carries 3 (Three) marks. One mark will be deducted/or each incorrect answer. Zero mark will be awarded for each unattempted question. 3If'<'!>lf'l'l> m 'fi\ ~ ~ 'liT WI<'! '!it I ~ WI'! 3 ( <iR ) at'!> 'liT tl lJr4'" 71Mif:rrrr c/; fc;n; ~ 3iII>" 'CI>7GT ",14'111 ~ 31i~R" WI'! 'liT QI'<Ii'h ~itrnl (2) If more than one alternative answers seem to be approximate to the correct answer, choose the closest one. -.m; ll!fiIf'l'l> ~ 'hf<"1'h ~ ~ ~ ~ ~ mftlr ll'1', <it A'h<!"~ ~ ~ ~I 01. Which veda is written in Prose & Poetry both? ( 1) Rigveda (2) Samveda (3) Yajurveda (4) Atharva veda .,,;R <IT ~ lID ~ <rn ~ i! qfiJfu t ? (1 ) ~ (2) lAl~~~ (3) ~ (4) 3l~ 02. What is the First vision of Shiva in Literature? (1) Yogi (2) Rudra (3) Pashu Pati (4) Kalyan Karta 3 P.T.O. UP/278/t fuq "" "5["'" <"'! Blr~fI1 if q<IT fll<'l<IT t ? (1) <iFl\ (2) "'" (3) q:nqRi (4) 'h<."llol q;uf 03. Famous Bronze image of the dancer is found from which place of Haddapa Civilization? (1) Haddappa (2) Mohan Jodaro (3) Kalibanga (4) Dhola Veera ~ <I'Rf<!T ~ ~ ~ "\l ~ ~ ~ <tl ~ = iRft t? (1) ~ (2) ~~ (3) "'hR'i\ -.trlT (4) ~ <.00 04. How many Tala are there in Sangeet Ratnakar.? (1) 121 (2) 110 (3) 98 (4) 264 05. How many dance style are described in Natya Shastra. ? 1Ibl~ll<> if f%<f.t "l!'hT{ <tl 'ifl1~r<.1~I· "" quA t ? (1) 2 (2) 4 (3) 6 (4) 8 06. Which Tala is used in LA VANI ? (1) Teen Tala (2) Kaharwa (3) EkTala (4) Tibra Tala <'I1<"lOn if ~ <IT<1 "" m mm t ? ( 1 ) <iR <IT<1 (2) 'h~{<"ll (3) 1l:<"li <IT<1 (4) <fur <IT<1 4 llP/278/1 07. What is called equal Gati of Samay ? (1) Shruti (2) Swar (3) Laya (4) Raga Wl'l 'I>l "WIT'! 7Jfu 'liT 'l<!T ~ t ? (1) ~ (2) "" (3) <'I'l (4) WT 08. Sam Veda is associated with one of the Following: (1) Sangeet (2) Kala (3) Manovigyan (4) Vigyan <"Ilq~ ~ 'fiT ~ f'I;m'I ~ ? (1) Wfur (2) ~ (4) fcr.IR 09. Bhava. Raga and Tala can be Shown with one way: (1) Vadhya (2) Nritya (3) Geet (4) Vigyan '1TCI. WT am <If<'[ "" <iR'f 'liT ~ mOf f'ImiI' rG@~1 "IT <f'Ii<I1 t ? ( 1) "1.00 (2) -:r<'l (3) lj\a (4) fcr.IR 10. Which is similar among music Poem and Chitrakala ? (1) Shabda (2) Chitra (3) Laya (4) Rang. Wfur, ~ am ril~"'<.11 if "'fiR <it 'ffi! "WIT'! t ? (1) ~ (2) fer?! (3) <'I'l (4) "M 11. How many Lait Kala are ? (1) 6 (2) 5 (3) 4 (4) 3 5 P.T.O. llP/278/1 12. Where is situated the First University of Sangeet and Arts? (1) Varanasi (2) Varodara (3) Khairagarh (4) Raigarh Wftij v:<i 'li<'l\an 'liT >!'lll fcr 'IJ fq I'll t1 ~ q;-ffi "t[{ ft>«r t ? (1) ClRl ul<11 (2) ~ilG{1 (3) ~{I'I" (4) (I~'I<I> 13. Which one of the following Purvi Style Kala Shetra of "Thhumari" ? (1) Bihar (2) Delhi (3) Bengal (4) Varanasi 'g;ffi' qij 'f'lf it<'i\ 'liT 'Ii<'I\ ~ ~ w t ? . (1) ~ (2)·~ (3) of1Trt1 (4) "I11{~ 14. In which Granth of Sanskrit Literature the Name of Mridang First time appear? (1) Natya Shashra (2) Mahabharat (3) Sam Veda (4) Ramayana ~ ~1fi;<"I i'j ~ 'l1l1 OO'lll f<RIlR" i'j fl:rt1<n t ? (1) 11""HII<'I (2) l'fOT'Il«! (3) ~I~~G (4) {I~I~UI 15. SWASTIk Instrument is described in Ramayana. It belong to which Category ? (1) Tat (2) Ghan (3) Avanadha (4) Sushir {IAI~ul i'j fClfoRl6fi 'l1l16fi <mr 'liT dii<!l~ t'lll" <mr f<RI Wrft ~ 3Rf1fu 31TffT t? (1) rnr. (2) hf'I (3) ~ (4) W'R 6 llP/278/1 16. Niyamit and Aniyamit is related to which one of the Following? (1) Swaar (2) Shruti (3) Kampan (4) Matra r"~r~<I <l'1T 31R~M<I "'ljj r<h<1a, WIiR t ? (1) "" ~ (2) '8f<r ~ (3) <i;q;f ~ (4) =~ 17. "The Song of Indian Song" is English Translation of which Granth? (1) Sangeet Parijat (2) Gitanjali (3) Natya Shastra (4) Geet Govind "The Song of Indian Song" ~ "If'OI '!iT a#t;;ft ~ t ? (1) Wfi<r QR"II<I (2) 'il<li"lr<'l (3) '11<5l~II"" (4) -.fur 'fir""" 18. Who wrote the book "Hindustan Ki Khoj" ? (1) G.H. Rashne (2) Pandit Nehru (3) Dr. Radha.Krishnan (4) Brihaspati "fi;~«I1'1 '1it ~ "~ ~ ~ ffici\ ? (1) ~o'<'f m (2) -qfu<r ~ (3) ~o <l'1Iq;"'1'1 (4) 'W'1r<1 19. How many parts belong to dance in Natyashastra ? (1) 7 (2) 9 (3) 4 (4) 6 20. How many parts of Sangeet Ratnakar ? (1) " (2) 6 (3) 7 (4) 8 7 P.T.O. llP/278/1 21. Classical dance was called by this name in olden days in Tamil Nadu: (1) Attam (2) Kali (3) Natyam (4) Sadir <1f~t1111 it:Iif.t Wl'1 it ~II<:o.fi~ 1<'< '!it f'R! 'IT'! "\'l ;;fR! omIT 'IT ? (1) 31Ff (2) "fiR'il (3) '1181'{ (4) ~ 22. Who is Composer of Tiruppugal ? (1) Appar Swamigal (2) Arunagirinalhar (3) Gopal Krishna Bharat (4) Pattinathar Rl"''1'I<.1 ~ {ilf~<11 ~ t 2 (1) 311'l1: (:q l<fl' 1<.1 (2) ¢1~Ollnl\l'1"'" (3) ~ ~ 'lffift (4) '!fr.nOR 23. Adi Talam is one of the varieties of : (1) Ata Talam (2) Chapu Talam (3) Eka Talam (4) Triputa Talam ~ 0fi.111 fq;t!'I>l fq~q<11 t ? ( 1 ) OR: 0fi.111 (2) <n;! 0fi.111 (3) 1I;'Ii 0fi.111 (4) r-w 0fi.111 24. Who is a Famous Guru of Bharat Natyam ? (1) Kelucharan Mahapatra (2) Krishnan Nair (3) Ravunni Menon (4) Vazhuvur Ramayya Pillai ''1<<1 '1181 H ~ >Ifu;;; :l'" m "\'l ~ t ? (1) ~'1-i1<OI Ail141~ (2) ~"'IT"'R (3) ~ it'R (4) ~ Wl'IT flIR1~ 8 UP/27S/! 25. Tell the Name of that instrument Which is used in Temple and Sangeet Programme both : (1) Flute (2) Santoor (3) Tabla (4) Veena o<! qf<I '"' 'IT'! ~ oil ~ ll:"i Wfta 'h14M <i'A\ if ~ m ~ ? (1) ~ (2) ~ (3) ifiI<'IT (4) murr 26.
Recommended publications
  • 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
    [Show full text]
  • And Joydeep Ghosh (Sarod)
    The Asian Indian Classical Music Society 51491 Norwich Drive Granger, IN 46530 Concert Announcement Vidushi Mita Nag (sitar) Pandit Joydeep Ghosh (sarod) with Pandit Subhen Chatterjee (Tabla) April 26, 2016, Tuesday, 7.00PM At: the Andrews Auditorium, Geddes Hall University of Notre Dame Cosponsored with the Liu Institute of Asia and Asian Studies Tickets available at gate. General Admission: $10, AICMS Members and ND/SMC faculty: $5, Students: FREE Mita Nag, daughter of the veteran sitarist, Pandit Manilal Nag and granddaughter of Sangeet Acharya Gokul Nag, belongs to the Vishnupur Gharana of Bengal, a school of music that is nearly 300 years old and which is known for its dhrupad style of playing. She was initiated into music at the age of four, and studied with her mother, grandfather and father. She appeared for her debut performance at the age of ten, when she also won the Government of India’s Junior National Talent Search Award. She has given many concert performances, both alone and with her father, in cities in the US, Canada, Japan and Europe as well as in India. Joydeep Ghosh is hailed as one of India’s leading sarod, surshringar and Mohanveena artists. He started his sarod training at the age of five, and has studied with the great masters the late Sangeetacharya Anil Roychoudhury , late Sangeetacharya Radhika Mohan Moitra and Padmabhusan Acharya Buddhadev Dasgupta all of the Shahajahanpur Gharana. He has won numerous awards and fellowships, including those from the Government of India, the title of “Suramani” from the Sur Singar Samsad (Mumbai) and “Swarshree” from Swarankur (Mumbai).
    [Show full text]
  • Music & Dance Session 2020-21
    1 FACULTY OF PERFORMING & VISUAL ARTS SYLLABUS Of MUSIC VOCAL For B.A. (Semester- I to VI ) (UnderContinuous Evaluation System) (12+3 System of Education) Session: 2020-21 The Heritage Institution KANYA MAHA VIDYALAYA JALANDHAR (Autonomous) B.A. (Semester- I) 1 2 Scheme of Studies and Examination Music Vocal SemesterI Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours) Music Vocal B.A BARM-1366 E 100 40 40 20 3 B.A. Semester-I (Session 2020-21) Music Vocal Course Code: BARM-1366 Theory & Practical Course Outcome Upon successful completion of this course student will be able to know the basic concepts of music , which are - CO1 . Proficiency in playing Alankar , which are helpful in further learning of ragas. CO2. To know the lives of great musician who are torch bearers of Indian classical music. CO3. To Know about Tanpura, its structure , its sound Producing system and tuning of the instrument. B.A. Semester-I (Session 2020-21) Music Vocal Course Code: BARM-1366 2 3 Theory Total Marks-100 Time-3Hours Theory: 40 Pr: 40 CA: 20 Instructions given to the examiners are as follows: The paper setter will set Eight questions of equal marks . Two in each of the four Sections (A- D). Questions of Sections A-D should be set from Units I-IV of the syllabus respectively. Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each section. The fifth question may be attempted from any Section.
    [Show full text]
  • 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.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across &amp; Beyond the Early Modern Coromandel Permalink https://escholarship.org/uc/item/90b9h1rs Author Sriram, Pallavi Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Pallavi Sriram 2017 Copyright by Pallavi Sriram 2017 ABSTRACT OF DISSERTATION Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel by Pallavi Sriram Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor Janet M. O’Shea, Chair This dissertation presents a critical examination of dance and multiple movements across the Coromandel in a pivotal period: the long eighteenth century. On the eve of British colonialism, this period was one of profound political and economic shifts; new princely states and ruling elite defined themselves in the wake of Mughal expansion and decline, weakening Nayak states in the south, the emergence of several European trading companies as political stakeholders and a series of fiscal crises. In the midst of this rapidly changing landscape, new performance paradigms emerged defined by hybrid repertoires, focus on structure and contingent relationships to space and place – giving rise to what we understand today as classical south Indian dance. Far from stable or isolated tradition fixed in space and place, I argue that dance as choreographic ii practice, theorization and representation were central to the negotiation of changing geopolitics, urban milieus and individual mobility.
    [Show full text]
  • 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
    [Show full text]
  • 1 Na Turk, Na Hindu: Shared Language, Accents and Located
    1 This is a draft of a chapter that has been accepted for publication by Oxford University Press in the forthcoming book ‘A Multilingual Nation: Translation and Language Dynamic in India’ edited by Rita Kothari due for publication in December 2017: https://global.oup.com/academic/product/a- multilingual-nation-9780199478774?cc=gb&lang=en& Draft Version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/24828/ Na Turk, na Hindu: Shared language, accents and located meanings Francesca Orsini (SOAS) ‘The words of a language belong to nobody, but still we hear those words only in particular individual utterances, we read them in particular individual works’ (Mikhail Bakhtin, Speech Genres and Other Late Essays, 1986, p. 88) ‘languages do not exclude each other, but rather intersect with each other in many different ways’ (Mikhail Bakhtin, The Dialogic Imagination, 1992, p. 291) 1. Bhakha and circulation Modern language ideologies firmly believe that languages “belong” to specific communities, be they ethnic, regional, or religious. These imagined communities, Benedict Anderson has taught us (1991), get simultaneously projected in the past, present, and future. In the late-nineteenth and early-twentieth centuries the slogan “Hindi-Hindu-Hindustan” projected Hindi (in the Nagari script) as the language of Hindus in north India “from the beginning”, urged contemporary north Indian Hindus to embrace it, and claimed that Hindi would become the national language of all Indians, explicitly coded as Hindus.1 This modern imagination forged
    [Show full text]
  • Use of Cinema to Teach Law
    MORPARIA’S PAGE E-mail: [email protected] Contents JULY 2014 VOL.17/12 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ THEME: Morparia’s page 2 Activism Hyper activism in rights 5 V Gangadhar Managing editor New age activism 6 Jyoti Punwani Mrs. Sucharita R. Hegde The rise of women 9 Sujata Gothoskar Editor Taking sides 11 Anuradha Dhareshwar Lina Mathias Lending voice to the mute 13 Sub editor Anuradha Sawhney Sonam Saigal Fighting lone battles for public good 15 Rishi Aggarwal Design Growth of judicial activism 17 H. V. Shiv Shankar 7 Kamayani Bali Mahabal Consumers today are more vocal, thanks to activists 19 Marketing Jehangir B. Gai Mahesh Kanojia Respecting the rights of one and all 21 Teesta Setalvad OIOP Clubs Know India Better Vaibhav Palkar Lakshadweep - Blue Lagoon 23 Dr. M. A. Haque Youth Voice: Suman Kalani 37 Subscription Face to Face: 38 Nagesh Bangera Naseeruddin Shah: Shoma Chatterji Features Advisory board 23 With and without Ray 42 M V Kamath Shoma Chatterji Sucharita Hegde Cultural Kaleidoscope 45 Justice S Radhakrishnan Kuchipudi dance : Dr. Kanak Rele Venkat R Chary Building women’s political presence 47 Women’s Feature Service Printed & Published by Mrs. Sucharita R. Hegde for Panini, the world’s greatest Grammarian 49 One India One People Foundation, Late B.M.N. Murthy Mahalaxmi Chambers, 4th floor, Columns 51 22, Bhulabhai Desai Road, Rural Concerns : Bharat Dogra Mumbai - 400 026 Economy : Anuradha Kalhan Tel: 022-2353 4400 38 Young India 54 Fax: 022-2351 7544 Great Indians 56 e-mail: [email protected] / Naseeruddin Shah [email protected] Printed at: Graphtone (India) Pvt.
    [Show full text]
  • Ph.D. Entrance Examination Subject: Music
    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
    [Show full text]
  • Rock to Raga: the Many Lives of the Indian Guitar
    Open Research Online The Open University’s repository of research publications and other research outputs Rock to Raga: the many lives of the Indian guitar Book Section How to cite: Clayton, Martin (2001). Rock to Raga: the many lives of the Indian guitar. In: Bennett, Andy and Dawe, Kevin eds. Guitar cultures. Oxford, UK: Berg Publishers Ltd, pp. 179–208. For guidance on citations see FAQs. c 2001 Berg Publishers Ltd Version: Accepted Manuscript Link(s) to article on publisher’s website: http://www.bergpublishers.com/?tabid=1499 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Rock to Raga: The many lives of the Indian guitar Martin Clayton Chapter for “Guitar Culture”, ed. Dawe/ Bennett, Berg. 2nd DRAFT 1. Introduction What roles does the guitar play, and what meanings does it convey in India? 1 These are not easy questions to answer, since the instrument has spread into many different musical genres, in various geographical regions of the subcontinent. This chapter is nonetheless an attempt, in response to those questions, to sketch out the main features of guitar culture in India. I see it as a kind of snapshot: partial, blurred and lacking fine definition perhaps, but offering a perspective that more focused and tightly-framed studies could not. My account is based on a few weeks’ travel in India, 2 concentrating on the main metropolitan cities of Chennai, Mumbai, Calcutta and Delhi – although it also draws on the reports of many inhabitants of these cities who have migrated from other regions, particularly those rich in guitar culture such as Goa and the north-eastern states.
    [Show full text]
  • The Journal the Music Academy
    ISSN. 0970-3101 THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LX 1989 *ra im rfra era faw ifa s i r ? ii ''I dwell not,in Vaikuntha, nor in the hearts of Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada!" Edited by: T. S. PARTHASARATHY The Music Academy Madras 306, T. T. K. Road, Madras-600014 Annual Subscription — Inland Rs. 20 : Foreign $ 3-00 OURSELVES This Journal is published as an Annual. All correspondence relating to the Journal should be addressed and all books etc., intended for it should be sent to The Editor, Journal of the Music Academy, 306, T. T. K. Road, Madras-600 014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, type­ written (double-spaced and on one side of the paper only) and should be signed by the writter (giving his or her address in full). The Editor of the Journal is not responsible for the views expressed by contributors in their articles. CONTENTS Pages The 62nd Madras Music Conference - Official Report 1-64 The Bhakta and External Worship (Sri Tyagaraja’s Utsava Sampradaya Songs) Dr. William J. Jackson 65-91 Rhythmic Analysis of Some Selected Tiruppugazh Songs Prof. Trichy Sankaran (Canada) 92-102 Saugita Lakshana Prachina Paddhati 7. S. Parthasarathy & P. K. Rajagopa/a Iyer 103-124 Indian Music on the March 7. S.
    [Show full text]
  • Download Full Text
    International Journal of Social Science and Economic Research ISSN: 2455-8834 Volume:05, Issue:07 "July 2020" MUSIC AND ARCHIVAL: ASSESSING THE CULTURAL CONSERVATION OF MUSIC IN INDIA BY PUBLIC INSTITUTIONS Namay Agarwal Step by Step School Noida DOI: 10.46609/IJSSER.2020.v05i07.030 URL: https://doi.org/10.46609/IJSSER.2020.v05i07.030 ABSTRACT Ethnomusicology is the study of music from cultural and social perspectives. This paper has determined that there is a coherent link between culture and music and that studying the music of different communities gives us valuable insights about their culture and engagement with other communities. Tracing these links between cultures and communities has been established as a useful means of promoting socio-cultural harmony both within and beyond national boundaries, which makes ethnomusicological research important in today’s hostile and populist geopolitical environment. This paper has also explored the efforts made by the Indian government to facilitate the culturala conservation of music and conduct research surrounding it. Whilst efforts made by India surpass those made by other developing countries, it has been found that academia in this sphere has been dominated by ‘upper caste’ narratives at the cost of subaltern ones. The solution to this lies in expanding accessibility and scope of research of these institutions and centers with an aim of making research reflective of indigenous and subaltern cultures. Keywords: Ethnomusicology, music, communities ,cultural, government. Introduction Culture is defined as the ideas, customs, and social behaviors specific to a set of people or a community. It is the manifestation of collective human intellectual achievement and is reflected in art, language, and social behavior.
    [Show full text]