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  • Rank List for Allotment
    Page 1 of 85 GOVERNMENT OF KERALA DEPARTMENT OF TECHNICAL EDUCATION DRAFT RANK LIST FOR ADMISSION TO M.Tech. DEGREE COURSES, 2020 - 2021 Rank Apln No. Name Gate Qualifying Caste Reser Remark Score Mark % vation 1 201300 AJITH MATHEW 610.00 68.400000 General SM 2 204614 Abdul Salam S 590.00 77.200000 Muslims/Mappila MU 3 202850 Anand T P 569.00 91.000000 Thiyyas EZ 4 205502 AKHIL K B 563.00 76.860000 Kudumbi KU OEC 5 201419 RESHMA JOSHY P 558.00 94.483333 General SM 6 202316 Jithin M S 555.00 86.566667 General SM 7 202009 KURUVILLA T MANI 551.00 85.050000 General SM 8 204720 TINA THOMAS 546.00 80.360000 Latin Catholics LA 9 204358 GOKUL DAS 545.00 84.166667 Ezhavas EZ 10 201636 MD ASJAD RAZA 539.00 85.666667 General SM 11 204590 ANJANA M J 537.00 90.733333 Vaniyan SM 12 204728 JISHMA ALEX 537.00 78.260000 General SM 13 200813 ADIL MUHAMMED 534.00 72.075000 Muslims/Mappila SM 14 201710 SREEHARI M B 533.00 91.383333 Ezhavas EZ 15 206498 AARABHI NAMBIAR 530.00 88.500000 General SM 16 200489 MUHAMMED HASEEB E 527.00 84.383333 Muslims/Mappila MU 17 200277 ZIZA . F 526.00 85.400000 Muslims/Mappila MU 18 203456 SURYA S 523.00 84.750000 Vaniyan BH 19 204486 GOKUL B 522.00 81.750000 General SM 20 201945 ANJALI M 520.00 95.240000 General SM 21 203393 ARJUN R NAIR 520.00 84.116667 General SM 22 204595 BLOOMY TREESA CHIRAMEL 519.00 78.180000 General SM 23 205374 RONY REJI PAUL 511.00 79.680000 General SM 24 203391 ANJANA C P 510.00 86.383333 General SM 25 205475 AKHILESH A R 508.00 86.583333 Ezhavas EZ 26 201450 JITHIN T 507.00 68.160000 General SM
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  • Rajasthan Public Service Commission 2016
    Rajasthan Public Service Commission ­ 2016 Ques: 150 Paper : Music­Vocal­I Time: 3 Hours Ques # :1 a 'saptak' where in the 'shruties' are assigned to ' swaras' in order of 4,3,2,4,4,3,2 is known as­ 1) 'sankirna swar saptak' 2) 'chayalag swara saptak' 3) 'shudha swara saptak' 4) 'vikrit swara saptak' वर म यĬद ु1तय का म 4, 3, 2, 4, 4, 3, 2 हो तो उस वर ­ सतक को या कहगे ? 1) संकण वर सतक 2) छायालग वर सतक 3) शŋु वर सतक 4) ␀$वकृ त वर सतक Ques # :2 as per the 'time­theory'of hindustani music, the time period from 12:00 mid night to 12:00 noon is prescribed for­ 1) poorvang vadi ragas 2) uttarang vadi ragas 3) audav jati ragas 4) sampurna jati rugas Ĭहदं ु तानी संगीत के 'समय ḷसŋांत' के अनुसार 12:00 मय राį से 12:00 मयाह तक, 띂कन राग के गाये जाने का 1नदश है ? 1) पवू ाग वाद राग 2) उतरांग वाद राग 3) औढ़व जा1त राग 4) सपणू जा1त राग Ques # :3 how many 'swaras' are inherent in 'archik ', 'gathik and 'samik­gayan', respectively ? 1) 1, 2, 3 2) 2, 1, 3 3) 2, 2, 3 4) 2, 4, 3 'आ낌°चक ', 'गा낌°थक' और 'साḷमक ­ गायन' म मशः 띂कतने वर 1नĬहत है ? 1) 1, 2, 3 2) 2, 1, 3 3) 2, 2, 3 4) 2, 4, 3 Ques # :4 'upang ­ ragas' are the combination of ­ 1) gram raga, uprag, raga 2) raga, uprag, bhasha 3) bhasha, vibhasha, upraag 4) ragang, bhashang, kriyang 'उपांग राग' 띂कसका ḷमण है ? 1) ाम राग, उपराग, राग 2) राग, उपराग, भाषा 3) भाषा, ␀$वभाषा, उपराग 4) रागांग, भाषांग, 띂यांग Ques # :5 'rag­ragini' classification is firstly mentioned in ­ 1) sangeet makrand 2) nagmate asfi 3) rag­tatva­vibodh 4) raga­lakshan 'राग ­ रा낌°गनी वगकरण' का सवथम उलेख ḷमलता है ­ 1) संगीत मकरंद म 2) नमात े आस띂फ म 3) राग ­ तव ­ ␀$वबोध म 4) राग ­ लण म Ques # :6 the term used as a synonym of 'swara' in 'samveda' is­ 1) sam 2) brahm 3) yam 4) layam 'सामवेद' म वर के समानाथ यु त 띂कया गया शद है ­ 1) सम 2) म 3) यम 4) लयम ् Ques # :7 the first classical metaphysics of 'shruti' mentioned in the treatise of­ 1) matang 2) narad 3) sharang dev 4) bharat 'ु1त' क शाीय मीमांसा, सवथम 띂कसके ंथ म व셮णत है | 1) मतंग 2) नारद 3) शारंग देव 4) भरत Ques # :8 the seventh 'swara' of 'sam­sangeet' in the following options is­ i.
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  • Life Members
    LIFE MEMBER of BBS LM no. Name & Address LM no. Name & Address L001 Prof. A. K. M. Nurul Islam L012. Prof. Khurshida Banu Fattah Deceased University of Dhaka Flat # B-3, House # 27 Dhaka-1000 Road # 5, Dhanmondi-R/A Dhaka-1205 L002 Dr. K.M. Sultanul Aziz Mob: 01711330019 House # 109, Road # 13A, Block C, Banani, Dhaka-1213 L013. Dr. Kazi Moslehuddin Ahmed Mob: 01819410315 Additional Director, Email: [email protected] Seed Certificate Agency L003 Dr. G. Panigrahi BARI, Joydebpur, Gazipur Deceased. A-13/3 Kalindi Housing Estate Kolkata 700 089 L014. Dr. Mohsin Ullah Patwary India Dean of Science and Professor of Biology, School of Science, Health & L004. Dr. Shrish C. Gupta Technology, Medgar Evers College of Professor the City University of New York Department of Botany 1638 Bedford Ave, Brooklyn, NY University of Delhi 11225, USA New Delhi, India Email:[email protected] L005. Dr. Lalita Sehgal L015 Prof. Dr. M. A. Malek Chowdhury Department of Botany Flat # 801, Rose Valley Gargi College 45 Kalabagan (1st Lane) New Delhi, India Dhanmondi, Dhaka-1205 L006. Ms. Kanan Nanda Mob: 01819025188, 01819642225 Department of Botany Email: [email protected] University of Delhi New Delhi, India L16 Prof. Dr. Tahsina Rahim House-9, Road-105 L007. Prof. Priyadarshan Sen Sarma Flat-B-4, Gulshan-2, Dhaka 8/P, Chandra Mondal Lane Mob: 01715067116 Kolkata 26, Indiaatique Email: [email protected] L008. Dr. Pranjit Sarma D-1, University Teachers Quarters L017 Dr. Shamsul Huda Chowdhury Tarabagh, P.O. & Dist. Burdwan Deceased House No. 4, Road No. 14 West Bengal, India Sector No.
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  • University of Mumbai Department of Music Sample of MCQ Question Paper for Students M.Mus Part 2 Paper -V Course Name – Music
    University of Mumbai Department of Music Sample of MCQ Question Paper for Students M.mus part 2 paper -V Course Name – Music Education Paper/Subject Code_________ Student’s Seat No._____ Instrructions; 1. All the Questions are Compulsory Total Marks – 50 2. All Questions Carry Equal Marks 1. Name the artist from Kirana Gharana among the following a. Sangmeshwar Gurav b. Mallikarjun Mansoor c. Krishnarao Shankar Pandit d. Faiyyaz Khan 2. Name the student of Ustad Allauddin Khan a. Ust. Aliakbar Khan b. Kishore Kumar c. Gayatri Chitre d. MAnik Varma 3. Name disciple of Ust. Alladiya Khan among the following a. Kesarbai b. Hirabai c. Begam Akhtar d. Parveen Sultana 4. Where the Indira Kala Vishwavidyalay is Located? a. Pune b. Mumbai c. Khairagadh d. Nagpur 5. Among following who is awarded with Padmavibhushan? a. Pt. Rakesh Chaurasia b. Pt. Jasraj c. Pt. Mukund Lath d. Sumitra Guha 6. Who was the Guru of Kumar Gandharva? a. Saraswati Rane b. B.R. Deodhar c. Kagalkar buwa d. Bhaskarbuwa Bakhale 7. Who had written book on Aesthetics of Indian Music? a. Sudheer Nayak b. Manjiri Sinha c. Rama Deodhar d. Ashok D. Ranade 8. Among the following which is a performing art? a. Natya b. Pottery c. Poetry d. Sculpture 9. Who was titled as Swarbhaskar ? a. Prabhakar Karekar b. Vinay Mishra c. Rajan Sajan Mishra d. Bhimsen Joshi 10. Who was the only direct disciple of Kesarbai Kerkar? a. Dhondutai Kulkarni b. Parmeshwar Hegade c. Pahadi Sanyal d. Jaimala Shiledar 11. Name the famous stage actor-singer a. Saleel Choudhari b.
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  • Sandesh Sandesh Issue 3 “The Message” a Newsletter from Indus of Fox Valley
    October 2007 Volume 5 Sandesh Sandesh Issue 3 “The Message” A Newsletter from IndUS of Fox Valley From Editors’ Desk Indian Classical Music and Dances: A Brief Introduction Dear Readers, By B. S. Sridhar Each year the October issue of Sandesh is dedicated to the theme Classical Indian Music raga is a projection of artist’s inner spirit. of upcoming annual IndUS ban- The origin of Indian music is said to be The current classification of ragas can be quet. The theme of IndUS-2007 is rooted in the Vedas (1000-1700 B.C.). traced to two seminal works by great Music & Dances of India and the Over the centuries classical music has musicologists: Svaramelakalanidhi by articles in this issue are a prelude evolved into two distinct schools, namely, Raamamaatya (c. 1550 AD) and to such a rich and diverse compo- Hindustani (the North Indian) and Carnatic Caturdandi Prakaasikaa by Venkatamakhi nent of Indian culture. (the South Indian). (1660 A.D.). The ten principal families of ragas in Hindustani are: Asavari, Bhairav, The lack of space prevents us to Carnatic music is devotional in nature, with Bhairavi, Bilawal, Kafi, Kalyan, Khamaj, cover many other interesting attention on melody and rhythm, heavy Marwa, Purvi and Todi. Carnatic labels for forms and important aspects of emphasis is placed on sahitya or lyrics. The ragas generally differ but there are Indian music and dance. We are music is often in praise of the Hindu equivalent ragas in both systems. sure that at the banquet you will pantheon and often the poets are known to discover interesting and informa- express other emotions such as love, anger, Tala refers to rhythmic cycles.
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  • Track Name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt
    Track name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt. Bhimsen Joshi 3 HINDOLIKA Pt. Bhimsen Joshi 4 Thumri-Bhairavi Pt. Bhimsen Joshi 5 SHANKARA MANIK VERMA 6 NAT MALHAR MANIK VERMA 7 POORIYA MANIK VERMA 8 PILOO MANIK VERMA 9 BIHAGADA PANDIT JASRAJ 10 MULTANI PANDIT JASRAJ 11 NAYAKI KANADA PANDIT JASRAJ 12 DIN KI PURIYA PANDIT JASRAJ 13 BHOOPALI MALINI RAJURKAR 14 SHANKARA MALINI RAJURKAR 15 SOHONI MALINI RAJURKAR 16 CHHAYANAT MALINI RAJURKAR 17 HAMEER MALINI RAJURKAR 18 ADANA MALINI RAJURKAR 19 YAMAN MALINI RAJURKAR 20 DURGA MALINI RAJURKAR 21 KHAMAJ MALINI RAJURKAR 22 TILAK-KAMOD MALINI RAJURKAR 23 BHAIRAVI MALINI RAJURKAR 24 ANAND BHAIRAV PANDIT JITENDRA ABHISHEKI 25 RAAG MALA PANDIT JITENDRA ABHISHEKI 26 KABIR BHAJAN PANDIT JITENDRA ABHISHEKI 27 SHIVMAT BHAIRAV PANDIT JITENDRA ABHISHEKI 28 LALIT BEGUM PARVEEN SULTANA 29 JOG BEGUM PARVEEN SULTANA 30 GUJRI JODI BEGUM PARVEEN SULTANA 31 KOMAL BHAIRAV BEGUM PARVEEN SULTANA 32 MARUBIHAG PANDIT VASANTRAO DESHPANDE 33 THUMRI MISHRA KHAMAJ PANDIT VASANTRAO DESHPANDE 34 JEEVANPURI PANDIT KUMAR GANDHARVA 35 BAHAR PANDIT KUMAR GANDHARVA 36 DHANBASANTI PANDIT KUMAR GANDHARVA 37 DESHKAR PANDIT KUMAR GANDHARVA 38 GUNAKALI PANDIT KUMAR GANDHARVA 39 BILASKHANI-TODI PANDIT KUMAR GANDHARVA 40 KAMOD PANDIT KUMAR GANDHARVA 41 MIYA KI TODI USTAD RASHID KHAN 42 BHATIYAR USTAD RASHID KHAN 43 MIYA KI TODI USTAD RASHID KHAN 44 BHATIYAR USTAD RASHID KHAN 45 BIHAG ASHWINI BHIDE-DESHPANDE 46 BHINNA SHADAJ ASHWINI BHIDE-DESHPANDE 47 JHINJHOTI ASHWINI BHIDE-DESHPANDE 48 NAYAKI KANADA ASHWINI
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  • Music/Singers
    DESIZN CIRCLE , DELHI I NOIDA WWW.DESIZNCIRCLE.COM Music/Singers There are two major styles of classical music unique to India- 1. The Hindustani style popular in North India and 2. The Carnatic style popular in South India. BhaKti/devotion to God is the main purpose of classical music and hence the theme and content of the songs sung/played are heavily religious or spiritual. The songs/kritis/kirtans are set to melodious tunes called ‘ragas’ and time beats/rhythms called taal/taalas’. • Great poets and holy men liKe Tulsidas, Surdas, Meera Bhai, Namdev, Ek Nath, Kabir have contributed the lyrics of the songs in the Hindustani style. • Thyagaraja, Muthuswamy Dikshitar, and Shyma Sastrigal are considered the big three among composers (lyrics and music) in the carnatic style. • Some of the other composers are Purandara dasa, Annamacharya, Narayana Tirthar and Swati Thirunal. • In the Hindustani style, Pandit Bhimsen Joshi, Pt. Jasraj, Rajan Mishra and Sajan Mishra, Kishori Amolkar, Prabha Apte, Girija devi, Parveen Sultana, Shubha Mudgal are some of the vocalists famous for their vocal recitals both within our country and abroad. • In the Carnatic Style, Dr. Bal Murali Krishna Madurai Shesha Gopalan are two of the many veterans who inspire the youth to learn classical music and Keep the tradition alive. • Late M. S Subbulakshmi’s voice had the power to mesmerize any number of listeners during her recitals. • Vocalists who are now popular are Sudha Raghunathan, Aruna Sairam, Sowmya, Nithyasree Mahadevan, Unnikrishnan, T.N. Krishna. Hyderabad bothers, Sanjay Subramanian, Neyveli Santanam Hyderabad bothers, Jesudas. • Here is a list of exponents of some of the Indian musical instruments.
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  • CLK Dir 2017
    NAME OF ORGANISATION : PUNJAB & SIND BANK POST BASED RECRUITMENT ROSTER : AS ON 31-12-2017 FOR THE STATE OF : ANDHRA PRADESH DIRECT RECRUITEMENT : CLERICAL CADRE Name of Post : CLERKS CLERICAL CADRECategory : GEN Grade Rs. Method of Recruitment : Direct Recuitment No.of Posts in the Cadre: Percentage of Reservation rescribed for : SC = 16 % ST= 7% OBC= 27 % Year of Rec./ No.of Cycle Unreserved Name/Particulars of the Person appointed Whether Date of Filled as UR No.of reserved vacancies carried Signature: Remarks (if any) backlog reserved vac./ No. / or reserved Kum/Smt/Shri the person Appoint or Reserved forward as backlog vacancies/ Appointing reservation carried Point for SCs/ is SC/ ST/ ment for reservation carried forward (+) (-) i.e. Authy or forward (+) (-) from prev. STs/ OBCs Other Auth. year No. OBC SC/ST/OBC sub-event / recruitment Officer 1-2-3-45 6 7 8 9 10 11 12 13 14 15 ADJST AT CARRIED FORWAD YEAR SC/ST OBC VAC TYP PFCOD NAME DES. Cat VAC. DETAILSROSTER PT. Vac Emp SC ST OBC by Agmst 1984 1 1 S15715 SUDHANSHU SEKHAR PATRO CLK GEN 13-11-1984 GEN S15715 1990 2 2 K08826 VENKATA RAMADAS KATRAGADD CLK GEN 27-01-1990 GEN K08826 1991 3 3 K09211 K M C KHANNA CLK GEN 02-11-1991 GEN K09211 2013 5 2 5 A19489 ANIL KUMAR PEDDI CLK GEN 24-06-2013 GEN 1 A19489 2013 6 3 6 A20248 ANUMALASETTY MAHA LAKSHUM CLK GEN 25-09-2013 GEN 1 A20248 2015 8 5 8 OBC-1 R22468 R D KRISHNA TRINATH CLK GEN 15-07-2015 GEN -1 1 #N/A 2017 9 6 9 G15542 GUGGILAM KUMAR CHAITANYA CLK GEN 06-11-2017 GEN -1 1 #N/A MANAGER [HRD] SR.MANAGER [HRD] NAME OF ORGANISATION : PUNJAB & SIND BANK POST BASED RECRUITMENT ROSTER : AS ON 31-12-2017 FOR THE STATE OF : ARUNACHAL PRADESH DIRECT RECRUITEMENT : CLERICAL CADRE Name of Post : CLERKS CLERICAL CADRECategory : GEN Grade Rs.
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  • PROFILE Besides Saniya Has Been Showered with Blessings And
    PROFILE Born in the family of Music lovers, Saniya's talent was discovered by her parents at the tender age of 3, when she started playing songs on harmonium by herself. As an inborn Artist, since childhood, she had good understanding towards Swar and Laya. Her father is a violin player, mother is a good connoisseur of Music and brother, Sameep Kulkarni is disciple of Sitar Maestro Ustad Shahid Parvez. Education is also given utmost importance in her family and all family members are Merit rank holders. Saniya was fortunate to receive blessings from Ganasaraswati Kishoritai Amonkar at the age of 6 and she started learning classical music from Smt. Lilatai Gharpure (senior disciple of Smt. Hirabai Badodekar). Saniya's first debut was her performance in front of legendary Pt.Jitendra Abhisheki at the age of 12 and that time she created long lasting impression on the audience. Saniya had a privilege to learn under able guidance of renowned senior vocalist Dr.Ashwini Bhide- Deshpande of Jaipur-Atrauli Gharana. She was trained under Ashwiniji with a comprehensive gharana talim for 12 years and frequent Pune-Mumbai travels Saniya is a “Sangeet Visharad” with distinction and a gold medalist in M.COM. Further she also completed the intricate C.S. (Company Secretary) Course. Her hard work, perseverance, and love for music contributed to prove herself on both musical as well as academic fronts. Besides Saniya has been showered with blessings and appreciation by musicologists, music critics and stalwarts of Hindustani Classical Music like Pt. Bhimsen Joshi, Bharatratna LATA MANGESHKAR, Late Pt.
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  • University of Alberta 'Indo-Jazz Fusion'
    University of Alberta ‘Indo-Jazz Fusion’: Jazz and Karnatak Music in Contact by Tanya Kalmanovitch A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music Edmonton, Alberta Spring 2008 Abstract An inherently intercultural music, jazz presents a unique entry in the catalog of interactions between Indian music and the west. This dissertation is situated in a line of recent accounts that reappraise the period of Western colonial hegemony in India by tracing a complex continuum of historical and musical events over three centuries. It charts the historical routes by which jazz and Karnatak music have come into contact in the twentieth and twenty-first centuries, both in India and abroad. It presents a detailed account of the history of jazz in India, and Indian music in jazz, and examines jazz’s contact with Karnatak music in three contexts—jazz pedagogy, intercultural collaboration, and the Indian diaspora in the United States—illustrating the musical, social and performative spaces in which these musics come into contact, and describing the specific musical and social practices, and political and social institutions that support this activity. Case studies in this dissertation include an educational exchange between the Jazz and Contemporary Music Program of the New School University (New York, NY) and the Brhaddhvani Research and Training Centre for Musics of the World (Chennai, India), directed by the author in December 2003 – January 2004; a 2001 collaboration between Irish jazz/traditional band Khanda and the Karnataka College of Percussion; and analyses of recent recordings by pianist Vijay Iyer, saxophonist Rudresh Mahanthappa and drummer Ravish Momin.
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  • Volume 11 Number 7 July 2020
    Volume 11 Number 7 July 2020 Indian Journal of Public Health Research & Development EXECUTIVE EDITOR Vidya Surwade Associate Professor, Dr Baba Saheb Ambedkar, Medical College & Hospital, Rohinee, Delhi INTERNATIONAL EDITORIAL ADVISORY BOARD NATIONAL EDITORIAL ADVISORY BOARD 1. Dr. Abdul Rashid Khan B. Md Jagar Din, (Associate Professor) 5. Prof. Samarendra Mahapatro (Pediatrician) Department of Public Health Medicine, Penang Medical College, Penang, Malaysia Hi-Tech Medical College, Bhubaneswar, Orissa 2. Dr. V Kumar (Consulting Physician) 6. Dr. Abhiruchi Galhotra (Additional Professor) Community and Family Mount View Hospital, Las Vegas, USA Medicine, AII India Institute of Medical Sciences, Raipur 3. Basheer A. Al-Sum, 7. Prof. Deepti Pruthvi (Pathologist) SS Institute of Medical Sciences & Botany and Microbiology Deptt, College of Science, King Saud University, Research Center, Davangere, Karnataka Riyadh, Saudi Arabia 8. Prof. G S Meena (Director Professor) 4. Dr. Ch Vijay Kumar (Associate Professor) Maulana Azad Medical College, New Delhi Public Health and Community Medicine, University of Buraimi, Oman 9. Prof. Pradeep Khanna (Community Medicine) 5. Dr. VMC Ramaswamy (Senior Lecturer) Post Graduate Institute of Medical Sciences, Rohtak, Haryana Department of Pathology, International Medical University, Bukit Jalil, Kuala Lumpur 10. Dr. Sunil Mehra (Paediatrician & Executive Director) 6. Kartavya J. Vyas (Clinical Researcher) MAMTA Health Institute of Mother & Child, New Delhi Department of Deployment Health Research, Naval Health Research Center, San Diego, CA (USA) 11. Dr Shailendra Handu, Associate Professor, Phrma, DM (Pharma, PGI 7. Prof. PK Pokharel (Community Medicine) Chandigarh) BP Koirala Institute of Health Sciences, Nepal 12. Dr. A.C. Dhariwal: Directorate of National Vector Borne Disease Control Programme, Dte.
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  • Quick Reference Guide for SBI PO Online Exam 2014 Powered By
    Quick Reference Guide for SBI PO Online Exam 2014 Powered by www.Gr8AmbitionZ.com your A to Z competitive exam guide CURRENT AFFAIRS QUICK REFERENCE GUIDE FOR SBI PO ONLINE EXAM 2014 www.Gr8AmbitionZ.com Important Points you should know about State Bank of India State Bank of India o SBI is the largest banking and financial services company in India by assets. The bank traces its ancestry to British India, through the Imperial Bank of India, to the founding in 1806 of the Bank of Calcutta, making it the oldest commercial bank in the Indian Subcontinent. Bank of Madras merged into the other two presidency banks Bank of Calcutta and Bank of Bombay to form the Imperial Bank of India, which in turn became the State Bank of India. Government of India nationalized the Imperial Bank of India in 1956, with Reserve Bank of India taking a 60% stake, and renamed it the State Bank of India. In 2008, the government took over the stake held by the Reserve Bank of India. o CMD : Smt. Arundathi Bhattacharya (first woman to be appointed Chairperson of the bank) o Headquarters : Mumbai o Associate Banks : SBI has five associate banks; all use the State Bank of India logo, which is a blue circle, and all use the "State Bank of" name, followed by the regional headquarters' name: . State Bank of Bikaner & Jaipur . State Bank of Hyderabad . State Bank of Mysore . State Bank of Patiala . State Bank of Travancore . Note : Earlier SBI had seven associate banks. State Bank of Saurashtra and State Bank of Indore merged with SBI on 13 August 2008 and 19 June 2009 respectively.
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