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The Rich Heritage of Dhrupad Sangeet in Pushtimarg On
Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda ||Shree DwaDwarrrrkeshokesho Jayati|| || Shree Vallabhadhish Vijayate || The Rich Heritage Of Dhrupad Sangeet in Pushtimarg on www.vallabhkankroli.org Reference : 8th Year Text Book of Pushtimargiya Patrachaar by Shree Vakpati Foundation - Baroda Inspiration: PPG 108 Shree Vrajeshkumar Maharajshri - Kankroli PPG 108 Shree Vagishkumar Bawashri - Kankroli Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda Contents Meaning of Sangeet ........................................................................................................................... 4 Naad, Shruti and Swar ....................................................................................................................... 4 Definition of Raga.............................................................................................................................. 5 Rules for Defining Ragas................................................................................................................... 6 The Defining Elements in the Raga................................................................................................... 7 Vadi, Samvadi, Anuvadi, Vivadi [ Sonant, Consonant, Assonant, Dissonant] ................................ 8 Aroha, avaroha [Ascending, Descending] ......................................................................................... 8 Twelve Swaras of the Octave ........................................................................................................... -
Ragang Based Raga Identification System
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 16, Issue 3 (Sep. - Oct. 2013), PP 83-85 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.Iosrjournals.Org Ragang based Raga Identification system Awadhesh Pratap Singh Tomer Assistant Professor (Music-vocal), Department of Music Dr. H. S. G. Central University Sagar M.P. Gopal Sangeet Mahavidhyalaya Mahaveer Chowk Bina Distt. Sagar (M.P.) 470113 Abstract: The paper describes the importance of Ragang in the Raga classification system and its utility as being unique musical patterns; in raga identification. The idea behind the paper is to reinvestigate Ragang with a prospective to use it in digital classification and identification system. Previous works in this field are based on Swara sequence and patterns, Pakad and basic structure of Raga individually. To my best knowledge previous works doesn’t deal with the Ragang Patterns for identification and thus the paper approaches Raga identification with a Ragang (musical pattern group) base model. This work also reviews the Thaat-Raagang classification system. This describes scope in application for Automatic digital teaching of classical music by software program to analyze music (Classical vocal and instrumental). The Raag classification should be flawless and logically perfect for best ever results. Key words: Aadhar shadaj, Ati Komal Gandhar , Bahar, Bhairav, Dhanashri, Dhaivat, Gamak, Gandhar, Gitkarri, Graam, Jati Gayan, Kafi, Kanada, Kann, Komal Rishabh , Madhyam, Malhar, Meed, Nishad, Raga, Ragang, Ragini, Rishabh, Saarang, Saptak, Shruti, Shrutiantra, Swaras, Swar Prastar, Thaat, Tivra swar, UpRag, Vikrat Swar A Raga is a tonal frame work for composition and improvisation. It embodies a unique musical idea.(Balle and Joshi 2009, 1) Ragang is included in 10 point Raga classification of Saarang Dev, With Graam Raga, UpRaga and more. -
Mpa Music Syllabus (Unrevised)
MPA MUSIC SYLLABUS (UNREVISED) Subject Semester: Paper: Title: Credits: Hours/Week Hours/Semester Nature: 7 34 History and 3 (3 + Theory 3 60 Contemporary Issues in 0) Ethnomusicology. 7 35 Aesthetics in Music 3 (3 + Theory 3 60 0) 7 36 Hindustani Music Vocal 6 (0 + 12 240 OR 6) Practical Hindustani Music Instrumental Any one from the following – Violin, Flute and Tabla OR Western Music (Guitar) 7 37 Practical 4 (0 + Practical 8 160 Music/Instrumental 4) (Semi-Classical/Folk). Total: 520 Subject Semester: Paper: Title: Credits: Hours/Week Hours/Semester Nature: 8 38 Acoustics 3 (3 + Theory 3 48 0) 8 39 Music of Northeast India 3 (3 + Theory 3 48 0) 8 40 Hindustani Music Vocal 6 (0 + Practical 12 192 OR 6) Hindustani Music Instrumental Any one from the following – Violin, Flute and Tabla OR Western Music (Guitar) 8 41 Practical Music 4 (0 + Practical 8 128 Vocal/Instrumental 4) (Semi-Classical/Folk). Total 416 Subject Semester: Paper: Title: Credits: Hours/Week Hours/Semester Nature: 9 42 Music and Media 3 (3 + 0) Theory 3 60 9 43 Music in Dance and 3 (3 + 0) Theory 3 60 Theatre 9 44 Hindustani Music Vocal 6 (0 + 6) Practical 12 240 OR Hindustani Music Instrumental Any one from the following – Violin, Flute and Tabla OR Western Music (Guitar) 9 45 Practical Music 4 (0 + 4) Practical 8 160 Vocal/Instrumental (Semi-Classical/Folk) Total: 520 Subject Semester: Paper: Title: Credits: Hours/Week Hours/Semester Nature: 10 46 Music of Sikkim 3 (3 + 0) Theory 3 48 10 47 Fieldwork, Lab. -
The Thaat-Ragas of North Indian Classical Music: the Basic Atempt to Perform Dr
The Thaat-Ragas of North Indian Classical Music: The Basic Atempt to Perform Dr. Sujata Roy Manna ABSTRACT Indian classical music is divided into two streams, Hindustani music and Carnatic music. Though the rules and regulations of the Indian Shastras provide both bindings and liberties for the musicians, one can use one’s innovations while performing. As the Indian music requires to be learnt under the guidance of Master or Guru, scriptural guidelines are never sufficient for a learner. Keywords: Raga, Thaat, Music, Performing, Alapa. There are two streams of Classical music of India – the Ragas are to be performed with the basic help the North Indian i.e., Hindustani music and the of their Thaats. Hence, we may compare the Thaats South Indian i.e., Carnatic music. The vast area of with the skeleton of creature, whereas the body Indian Classical music consists upon the foremost can be compared with the Raga. The names of the criterion – the origin of the Ragas, named the 10 (ten) Thaats of North Indian Classical Music Thaats. In the Carnatic system, there are 10 system i.e., Hindustani music are as follows: Thaats. Let us look upon the origin of the 10 Thaats Sl. Thaats Ragas as well as their Thaat-ragas (i.e., the Ragas named 01. Vilabal Vilabal, Alhaiya–Vilaval, Bihag, according to their origin). The Indian Shastras Durga, Deshkar, Shankara etc. 02. Kalyan Yaman, Bhupali, Hameer, Kedar, throw light on the rules and regulations, the nature Kamod etc. of Ragas, process of performing these, and the 03. Khamaj Khamaj, Desh, Tilakkamod, Tilang, liberty and bindings of the Ragas while Jayjayanti / Jayjayvanti etc. -
Emotional Responses to Hindustani Raga Music: the Role of Musical Structure
Emotional responses to Hindustani raga music: the role of musical structure Article Published Version Creative Commons: Attribution 3.0 (CC-BY) Open Access Mathur, A., Vijayakumar, S. H., Chakrabarti, B. and Singh, N. C. (2015) Emotional responses to Hindustani raga music: the role of musical structure. Frontiers in Psychology, 6. ISSN 1664-1078 doi: https://doi.org/10.3389/fpsyg.2015.00513 Available at http://centaur.reading.ac.uk/40148/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://dx.doi.org/10.3389/fpsyg.2015.00513 To link to this article DOI: http://dx.doi.org/10.3389/fpsyg.2015.00513 Publisher: Frontiers Media All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ORIGINAL RESEARCH published: 30 April 2015 doi: 10.3389/fpsyg.2015.00513 Emotional responses to Hindustani raga music: the role of musical structure Avantika Mathur1, Suhas H. Vijayakumar1, Bhismadev Chakrabarti2 and Nandini C. Singh1* 1 Speech and Language Laboratory, Cognitive Neuroscience, National Brain Research Centre, Manesar, India, 2 Centre for Integrative Neuroscience and Neurodynamics, School of Psychology and Clinical Language Sciences, University of Reading, Reading, UK In Indian classical music, ragas constitute specific combinations of tonic intervals potentially capable of evoking distinct emotions. -
Music and Society in Late Colonial India: a Study of Esraj in Gaya LSE Research Online URL for This Paper: Version: Accepted Version
Music and society in late colonial India: a study of Esraj in Gaya LSE Research Online URL for this paper: http://eprints.lse.ac.uk/101477/ Version: Accepted Version Article: Roy, Tirthankar (2019) Music and society in late colonial India: a study of Esraj in Gaya. Journal of Asian Studies, 79 (1). pp. 25-49. ISSN 0021-9118 https://doi.org/10.1017/S0021911819000123 Reuse Items deposited in LSE Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the LSE Research Online record for the item. [email protected] https://eprints.lse.ac.uk/ Music and Society in Late Colonial India: A Study of Esraj in Gaya TIRTHANKAR ROY In the late nineteenth and early twentieth centuries, Indian classical music was in transition. Most readings of the transition stress the choices of the professional musicians, as these musicians and the institutions in which they functioned were caught up in political and economic movements such as nationalism and commercialization. This article studies a different type of transition: when a small-town professional group with a strong associational culture became musicians. This second process, standing in contrast to the received narratives, suggests novel lessons in the history of urban cultures during a time of change. Keywords: colonial India, esraj, Gaya, Gayawals, gharanas, harmonium, Indian classical music, nationalism, urban culture Tirthankar Roy ([email protected]) is Professor of Economic History at the London School of Economics and Political Science. -
Music Card: CLASSICAL INSTRUMENTALS (320 Kbps MP3 Audio)
Music Card: CLASSICAL INSTRUMENTALS (320 kbps MP3 Audio) 1) Raaga Madhuvanti Vilambit Ektaal, Madhya Drut Teentaal 2) Raga Madhuwanti - Dhun 3) Bhajan 4) Raga Basant Mukahari 5) Dhun Pahari 6) Raga Hemavati Aalap Vilambit Gat Drut Gat 7) Raga Bageshwari 8) Raga Durga Alaap Jod 9) Raga Durga Gat 10) Raag Chandra Kauns 11) Raag Mishra Shivranjani 12) Raga Darbari Kanhra 13) Raga Lalita Dhwani 14) Raga - Miyan Ki Malhar - Vilambit Jhoomra, Drut Teentaal 15) Raga - Lalit - Vilambit Jhoomra, Drut Teentaal 16) Raga - Deshi, Vilambit Ektaal, Drut Teentaal, Taraana Teentaal 17) Raga - Gunakri, Madhyalaya Rupak 18) Bhajan - Surdasji, Rupak Taal 19) Raga Ahir Bhairav - Alaap, Jor, Jhala, Vilambit Matta Taal, Drut Teen Taal 20) Raga Mishra Bhairavi - Dhun Addha Taal 21) Raga Mishra Pilu Bandish Rupak Taal 22) Raga Shree - Alaap, Jod and Gat in Jhaptaal 23) Raga Shree - Gat in Teental and Jhaala 24) Raga Bilaskhani Todi Alaap, Jor, Jhala Gat Teental 25) Raga Bhairavi Dhun Punjabi Keharva 26) Dhun (based on Raga Bhairavi) 27) Alap - Raag Hansdhwani 28) Jod - Raag Hansdhwani 29) Gat Drut Teen Taal - Raag Hansdhwani 30) Gat Teen Taal - Raag Hansdhwani 31) Raga Kaunsi Kanhra Alaap, Jor 32) Gat Matta Taal 33) Gat Madhyalaya Ektaal 34) Gat Madhyalaya Teentaal 35) Drut Gat Teentaal 36) Pahadi Dhun 37) Raag Lalita Gauri 38) Raag Tilak Kamod 39) Raag Bageshree - Alaap And Jod 40) Raag Bageshree - Gat In Roopak Taal, Teentaal 41) Dadara In Raag Mishra Piloo 42) Raga Shree Alap 43) Raga Shree Jor 44) Raga Shree Composition in Dhamar Taal 45) Raga Bhairavi Alap 46) Raga Bhairavi Composition in Sool Taal . -
Prem Tapasya Movie Full Hd Video Song Download
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Films 2018.Xlsx
List of feature films certified in 2018 Certified Type Of Film Certificate No. Title Language Certificate No. Certificate Date Duration/Le (Video/Digita Producer Name Production House Type ngth l/Celluloid) ARABIC ARABIC WITH 1 LITTLE GANDHI VFL/1/68/2018-MUM 13 June 2018 91.38 Video HOUSE OF FILM - U ENGLISH SUBTITLE Assamese SVF 1 AMAZON ADVENTURE Assamese DIL/2/5/2018-KOL 02 January 2018 140 Digital Ravi Sharma ENTERTAINMENT UA PVT. LTD. TRILOKINATH India Stories Media XHOIXOBOTE 2 Assamese DIL/2/20/2018-MUM 18 January 2018 93.04 Digital CHANDRABHAN & Entertainment Pvt UA DHEMALITE. MALHOTRA Ltd AM TELEVISION 3 LILAR PORA LEILALOI Assamese DIL/2/1/2018-GUW 30 January 2018 97.09 Digital Sanjive Narain UA PVT LTD. A.R. 4 NIJANOR GAAN Assamese DIL/1/1/2018-GUW 12 March 2018 155.1 Digital Haider Alam Azad U INTERNATIONAL Ravindra Singh ANHAD STUDIO 5 RAKTABEEZ Assamese DIL/2/3/2018-GUW 08 May 2018 127.23 Digital UA Rajawat PVT.LTD. ASSAMESE WITH Gopendra Mohan SHIVAM 6 KAANEEN DIL/1/3/2018-GUW 09 May 2018 135 Digital U ENGLISH SUBTITLES Das CREATION Ankita Das 7 TANDAB OF PANDAB Assamese DIL/1/4/2018-GUW 15 May 2018 150.41 Digital Arian Entertainment U Choudhury 8 KRODH Assamese DIL/3/1/2018-GUW 25 May 2018 100.36 Digital Manoj Baishya - A Ajay Vishnu Children's Film 9 HAPPY MOTHER'S DAY Assamese DIL/1/5/2018-GUW 08 June 2018 108.08 Digital U Chavan Society, India Ajay Vishnu Children's Film 10 GILLI GILLI ATTA Assamese DIL/1/6/2018-GUW 08 June 2018 85.17 Digital U Chavan Society, India SEEMA- THE UNTOLD ASSAMESE WITH AM TELEVISION 11 DIL/1/17/2018-GUW 25 June 2018 94.1 Digital Sanjive Narain U STORY ENGLISH SUBTITLES PVT LTD. -
No. SONG TITLE MOVIE/ALBUM SINGER 20001 AA AA BHI JA
No. SONG TITLE MOVIE/ALBUM SINGER 20001 AA AA BHI JA TEESRI KASAM LATA MANGESHKAR 20002 AA AB LAUT CHALE JIS DESH MEIN GANGA BEHTI HAI MUKESH, LATA 20003 AA CHAL KE TUJHE DOOR GAGAN KI CHHAON MEIN KISHOE KUMAR 20004 AA DIL SE DIL MILA LE NAVRANG ASHA BHOSLE 20005 AA GALE LAG JA APRIL FOOL MOHD. RAFI 20006 AA JAANEJAAN INTEQAM LATA MANGESHKAR 20007 AA JAO TADAPTE HAI AAWAARA LATA MANGESHKAR 20008 AA MERE HUMJOLI AA JEENE KI RAAH LATA, MOHD. RAFI 20009 AA MERI JAAN CHANDNI LATA MANGESHKAR 20010 AADAMI ZINDAGI VISHWATMA MOHD. AZIZ 20011 AADHA HAI CHANDRAMA NAVRANG MAHENDRA & ASHA BHOSLE 20012 AADMI MUSAFIR HAI APNAPAN LATA, MOHD. RAFI 20013 AAGE BHI JAANE NA TU WAQT ASHA BHOSLE 20014 AAH KO CHAHIYE MIRZA GAALIB JAGJEET SINGH 20015 AAHA AYEE MILAN KI BELA AYEE MILAN KI BELA ASHA, MOHD. RAFI 20016 AAI AAI YA SOOKU SOOKU JUNGLEE MOHD. RAFI 20017 AAINA BATA KAISE MOHABBAT SONU NIGAM, VINOD 20018 AAJ HAI DO OCTOBER KA DIN PARIVAR LATA MANGESHKAR 20019 AAJ KAL PAANV ZAMEEN PAR GHAR LATA MANGESHKAR 20020 AAJ KI RAAT PIYA BAAZI GEETA DUTT 20021 AAJ KI SHAAM TAWAIF ASHA BHOSLE 20022 AAJ MADAHOSH HUA JAAYE RE SHARMILEE LATA, KISHORE 20023 AAJ MAIN JAWAAN HO GAYI HOON MAIN SUNDAR HOON LATA MANGESHKAR 20024 AAJ MAUSAM BADA BEIMAAN HAI LOAFER MOHD. RAFI 20025 AAJ MERE MAAN MAIN SAKHI AAN LATA MANGESHKAR 20026 AAJ MERE YAAR KI SHAADI HAI AADMI SADAK KA MOHD.RAFI 20027 AAJ NA CHHODENGE KATI PATANG KISHORE KUMAR, LATA 20028 AAJ PHIR JEENE KI GUIDE LATA MANGESHKAR 20029 AAJ PURANI RAAHON SE AADMI MOHD. -
Hindi 1509 Song
NO. SONG TITLE MOVIE/ALBUM VERSION HINDI 1509 SONG NO. SONG TITLE MOVIE/ALBUM VERSION 03900 AA AA BHI JA TEESRI KASAM LATA MANGESHKAR JIS DESH MEIN 03901 AA AB LAUT CHALE GANGA BEHTI HAI MUKESH, LATA MANGESHKAR DOOR GAGAN KI 03002 AA CHAL KE TUJHE CHHAON MEIN KISHORE KUMAR 03902 AA DIL SE DIL MILA LE NAVRANG ASHA BHOSLE 03903 AA GALE LAG JA APRIL FOOL MOHD. RAFI 03904 AA JAANEJAAN INTEQAM LATA MANGESHKAR 03905 AA JAO TADAPTE HAI AAWAARA LATA MANGESHKAR 03906 AA MERE HUMJOLI AA JEENE KI RAAH LATA, MOHD. RAFI 03907 AA MERI JAAN CHANDNI LATA MANGESHKAR 03908 AADAMI ZINDAGI VISHWATMA MOHD. AZIZ 03005 AADHA HAI CHANDRAMA NAVRANG MAHENDRA, ASHA BHOSLE 03909 AADMI MUSAFIR HAI APNAPAN LATA, MOHD. RAFI 03910 AAGE BHI JAANE NA TU WAQT ASHA BHOSLE 03007 AAH KO CHAHIYE MIRZA GAALIB JAGJEET SINGH 03911 AAHA AYEE MILAN KI BELA AYEE MILAN KI BELA ASHA, MOHD. RAFI 03912 AAI AAI YA SOOKU SOOKU JUNGLEE MOHD. RAFI 03913 AAINA BATA KAISE MOHABBAT SONU NIGAM, VINOD 03914 AAJ HAI DO OCTOBER KA DIN PARIVAR LATA MANGESHKAR 03009 AAJ KAL PAANV ZAMEEN PAR GHAR LATA MANGESHKAR 03915 AAJ KI RAAT PIYA BAAZI GEETA DUTT 03916 AAJ KI SHAAM TAWAIF ASHA BHOSLE AAJ MADAHOSH HUA JAAYE RE LATA MANGESHKAR, 03917 SHARMILEE KISHORE KUMAR 03918 AAJ MAIN JAWAAN HO GAYI HOON MAIN SUNDAR HOON LATA MANGESHKAR 03012 AAJ MAUSAM BADA BEIMAAN HAI LOAFER MOHD. RAFI 03013 AAJ MERE MAAN MAIN SAKHI AAN LATA MANGESHKAR 03014 AAJ MERE YAAR KI SHAADI HAI AADMI SADAK KA MOHD. RAFI 03919 AAJ NA CHHODENGE KATI PATANG KISHORE KUMAR, LATA A HINDI 1509 SONGS | 01 VER.100 NO. -
ANNEXURE 5.8 (CHAPTER V , PARA 25) FORM 9 List of Applications For
ANNEXURE 5.8 (CHAPTER V , PARA 25) FORM 9 List of Applications for inclusion received in Form 6 Designated location identity (where Constituency (Assembly/£Parliamentary): Veerapandi Revision identity applications have been received) 1. List number@ 2. Period of applications (covered in this list) From date To date 16/11/2020 16/11/2020 3. Place of hearing * Serial number$ Date of receipt Name of claimant Name of Place of residence Date of Time of of application Father/Mother/ hearing* hearing* Husband and (Relationship)# 1 16/11/2020 Namasivayam Poovathi (W) 10/202, NP Saraswathy Nagar, Maaraamangalathupaty, , 2 16/11/2020 Poovathi Namasivayam (H) 10/202, N P Saraswathy Nagar, Maaraamangalathupaty, , 3 16/11/2020 naagavighnesh vinayagamoorthy (F) 2-2/5, k.p.veeri chetty street, elampillai, , 4 16/11/2020 SASIKUMAR R RAJA K (F) 2/15A, Arasamara pillaiyar kovil street, Velanatham, Attayampatti, , 5 16/11/2020 Udhayapriya N Namasivayam (F) 10/202, N P Saraswathy Nagar, Maaraamangalathupaty, , 6 16/11/2020 MADHU PRIYA N Namasivayam (F) 10/202, N P Saraswathy Nagar, Maaraamangalathupaty, , 7 16/11/2020 HEMAMALINI S KANAGAVALLI S (M) NEW NO 13/73 O N 1-1/99A, GANAPATHYNAGAR WEST, GANAPATHYPALAYAM, MARAMANGALATHUPATTI, , £ In case of Union territories having no Legislative Assembly and the State of Jammu and Kashmir Date of exhibition at @ For this revision for this designated location designated location under Date of exhibition at Electoral * Place, time and date of hearings as fixed by electoral registration officer rule 15(b) Registration Officer¶s Office under $ Running serial number is to be maintained for each revision for each designated rule 16(b) location # Give relationship as F-Father, M=Mother, and H=Husband within brackets i.e.