August 2019 CONTENTS
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Newsletter July 2018 | Issue 25 | Half Yearly
NEWSLETTER JULY 2018 | ISSUE 25 | HALF YEARLY Celebrating 35 Years of Excellence in Mental Health Care CEO’s Message I am pleased to present the Newsletter of Karwan- free of cost treatment, has set an example for many to follow. e-Hayat with great happiness. This year, we are The last six months have been very busy, crowded as they were with celebrating Karwan’s 35 years of excellence in a number of events, workshops, fundraisers, awareness sessions, mental health care. Karwan-e-Hayat has been at the zakat campaign and most of all the 1st International Conference on forefront in redefining and introducing innovative Psychosocial & Psychiatric Rehabilitation, which was a huge success. practices through which mental healthcare is I am thankful to all the supporters, employees and friends of Karwan provided to the people of Pakistan. Our successful without whom this success would not have been possible. I wish you all model of being a network of paperless hospitals, providing happy reading and a prosperous year ahead and hope for your continued indiscriminate quality mental healthcare and above all providing 90% support. Thank you Zaheeruddin Babar Yadain Karwan’s Annual Fundraising Event This year Karwan’s annual Fundraiser was on 17th & 18th February 2018, at The Indus Valley School of Art and Architecture, where renowned artist, Humaira Channa, performed on two magical musical evenings of songs and ghazal. She sang ghazals of legends like Madam Noor Jehan, Mehdi Hasan, Farida Khanum, Ahmed Rushdi and many more. The show was hosted by well-known music composer, artist and friend of Karwan, Mr. -
Grade 5 Result 2013 Punjab Examination Commission
Grade 5 Result 2013 Punjab Examination Commission Roll No Candidate Name Total Roll No Candidate Name Total Roll No Candidate Name Total MIANWALI 31-101-137 Muhammad Arshad 296 31-101-180 Mozam Din 313 Center Name : GHS KHAGLAN WALA 31-101-138 Muhammad Anwar Ul Hassan 380 31-101-181 Binyamin *282 School Name : FIVE STAR PUBLIC GIRLS 31-101-139 Muhammad Sajid Iqbal 332 ELEMENTARY SCHOOL SHEIKH 31-101-140 Tamoor *271 School Name : GHS SHEIKH MEHMOOD WALA MU 31-101-141 Zeeshan Ahmed 327 31-101-182 Zahid Nawaz *262 31-101-101 Adil Hassan 384 31-101-142 Muhammad Tuqeer 348 31-101-183 Saddam Hussain Khan 376 31-101-102 Abdullah Khan 301 31-101-143 Gul Zaman 31-101-184 Muhammad Afzal *238 31-101-103 Sheraz Ali Khan *265 31-101-144 Rashid Bilal 274 31-101-185 Shoaib Akhtar *265 31-101-104 Dilawar Khan 284 31-101-145 Zika Ullah 309 31-101-186 Muhammad Zeeshan 357 31-101-105 Mohammad Sajawal Khan *255 31-101-146 Muhammad Haneef 288 31-101-187 Muhammad Shehr Yar Khan 319 31-101-106 Mohammad Siraj Ul Haq 379 31-101-147 Muhammad Ramzan *235 31-101-188 Nouman Akram *298 31-101-107 Mohammad Shahzad Khan 348 31-101-148 Naweed Ahmed 291 31-101-189 Muhammad Alyas *297 31-101-108 Mohammad Shamroz Khan 366 31-101-149 Muhammad Ramzan FAIL 31-101-190 Muhammad Waqas *273 31-101-109 Rafi Ullah Khan *224 31-101-150 Farman Ullah Khan *196 31-101-191 Muhammad Nasir 290 31-101-110 Muhammad Sami Ullah Khan *312 31-101-151 Muhammad Imran *207 31-101-192 Muhammad Fayyaz 313 31-101-152 Abdul Waheed *232 31-101-193 Muhammad Naeem *238 School Name : GES BHORE SHARIF 31-101-153 -
RESULT GAZETTE PSDF PROGRAMME (Skills for Job 2018)
RESULT GAZETTE PSDF PROGRAMME (Skills For Job 2018) PUNJAB BOARD OF TECHNICAL EDUCATION, LAHORE. BATCH 2 (01 JANUARY 2019 TO 30 MARCH 2019) ROLL# NAME OF CANDIDATE TRADE MARKS STATUS ROLL# NAME OF CANDIDATE TRADE MARKS STATUS YOUNG SCHOLARS COMPUTER ACADEMY, WARD NO. 7 MADINA BASTI 191480 SADIA DRESS DESIGN & 78 PASS FAQIRWALA, BAHAWALNAGAR TAILORING 191456 IQRA JAMIL DRESS DESIGN & 90 PASS FASHION INSTITUTE OF TECHNOLOGY, 13/G ROAD, CHISHTIAN TAILORING 191481 KISHWAR BIBI DRESS DESIGN & 84 PASS 191457 MISBAH KHURSHEED DRESS DESIGN & 89 PASS TAILORING TAILORING 191482 AYESHA IQBAL DRESS DESIGN & 83 PASS 191458 TASLEEM SHOUKAT DRESS DESIGN & 93 PASS TAILORING TAILORING 191483 HINA AKRAM DRESS DESIGN & 93 PASS 191459 IRAM MEHNAZ DRESS DESIGN & 89 PASS TAILORING TAILORING 191484 SALMA BIBI DRESS DESIGN & 92 PASS 191460 TAYYABA SARWAR DRESS DESIGN & 87 PASS TAILORING TAILORING 191485 NAILA RASHEED DRESS DESIGN & 91 PASS 191461 HAIQA TAHIR DRESS DESIGN & 87 PASS TAILORING TAILORING 191486 GHULSHAN AFZAL DRESS DESIGN & 90 PASS 191462 SHAZIA PARVEEN DRESS DESIGN & 82 PASS TAILORING TAILORING 191487 SONIA MANZOOR DRESS DESIGN & 91 PASS 191463 SOBIA PARVEEN DRESS DESIGN & 85 PASS TAILORING TAILORING 191488 BUSHRA AMEEN DRESS DESIGN & 92 PASS 191464 RAZIA TUBASSAM DRESS DESIGN & 83 PASS TAILORING TAILORING 191489 NABILA RANI DRESS DESIGN & 92 PASS 191465 MEHVISH JABEEN DRESS DESIGN & 84 PASS TAILORING TAILORING 191490 SHAKILA MUSHTAQ DRESS DESIGN & 92 PASS 191466 UZMA BIBI DRESS DESIGN & 87 PASS TAILORING TAILORING 191491 IQRA SHARIF DRESS DESIGN -
Volume-1, Issue-2 . ISSN 2456-6187 December , 2017
Volume-1, Issue-2 . ISSN 2456-6187 December , 2017 CONTRIBUTION OF USTAD SHARAFAT HUSSAIN KHAN SAHEB: IN THE FIELD OF DEVELOPMENT OF SANGEET KALA IN THE BACK DROP OF GHARANA Page | 1 -Alok Acharjee Abstract From the very beginning of civilization art and music started walking on the course of gradual development. With the gradual advancement of civilization this art also kept and advancing keeping its own trend. In ancient India monotype of music was exercised. But this art experienced an amalgamation with foreign culture as a consequence of foreign attack (specially South Asian foreign force). As a result this mono music art got by individual form between North and South India .In spite of that , some contemporary music practitioners endeavoured to keep up the spirit of monotype music. Thus to protect the music art trend „music school „ or „Gharanas„ originated .Through these „Gharana s „ subtle creativity of music art is protected till date. In this regard Ustad Sharafat Hussain Khan of Agra Gharana is specially noteworthy. The strengthened and popularised Agra Gharana across the Country found a place In the posterity. According to Pt. Ajoy Chakrabarty “those who made Agra Gharana the best are Ustad Fiyaz Khan , Ustad Vilayet Hussain khan ,Ustad Sharafat Hussain Khan. In one word Saharafat Hussain Khan was the Torchbearer of this Gharana.”1 Thus Agra Gharana has become an eternal source of Music inspiration for music learners and lovers . Keyword : - Gharana, Gayaki , Rangile Style, Alapchari ,Bol Bant Introduction: From the very beginning of Sangeet Kala two different aspects in this regard into two different flow and transformed in different times and flowed in to the present day form. -
Old-City Lahore: Popular Culture, Arts and Crafts
Bāzyāft-31 (Jul-Dec 2017) Urdu Department, Punjab University, Lahore 21 Old-city Lahore: Popular Culture, Arts and Crafts Amjad Parvez ABSTRACT: Lahore has been known as a crucible of diversified cultures owing to its nature of being a trade center, as well as being situated on the path to the capital city Delhi. Both consumers and invaders, played their part in the acculturation of this city from ancient times to the modern era.This research paperinvestigates the existing as well as the vanishing popular culture of the Old-city Lahore. The cuisine, crafts, kites, music, painting and couture of Lahore advocate the assimilation of varied tastes, patterns and colours, with dissimilar origins, within the narrow streets of the Old- city. This document will cover the food, vendors, artisans, artists and the red-light area, not only according to their locations and existence, butin terms of cultural relations too.The paper also covers the distinct standing of Lahore in the South Asia and its popularity among, not only its inhabitants, but also those who ever visited Lahore. Introduction The Old City of Lahore is characterized by the diversity of cultures that is due tovarious invaders and ruling dynasties over the centuries. The narrow streets, dabbed patches of light andunmatched cuisine add to the colours, fragrance and panorama of this unique place. 22 Old-city Lahore: Popular Culture, Arts and Crafts Figure 1. “Old-city Lahore Street” (2015) By Amjad Parvez Digital Photograph Personal Collection Inside the Old-city Lahore, one may come the steadiness and stationary quality of time, or even one could feel to have been travelled backward in the two or three centuries when things were hand-made, and the culture was non-metropolitan. -
A Nonlinear Study on Time Evolution in Gharana
Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC Archi Banerjee1,2*, Shankha Sanyal1,2*, Ranjan Sengupta2 and Dipak Ghosh2 1 Department of Physics, Jadavpur University 2 Sir C.V. Raman Centre for Physics and Music Jadavpur University, Kolkata: 700032 India *[email protected] * Corresponding author Archi Banerjee: [email protected] Shankha Sanyal: [email protected]* Ranjan Sengupta: [email protected] Dipak Ghosh: [email protected] © 2019 by the author(s). Distributed under a Creative Commons CC BY license. Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC ABSTRACT Indian classical music is entirely based on the “Raga” structures. In Indian classical music, a “Gharana” or school refers to the adherence of a group of musicians to a particular musical style of performing a raga. The objective of this work was to find out if any characteristic acoustic cues exist which discriminates a particular gharana from the other. Another intriguing fact is if the artists of the same gharana keep their singing style unchanged over generations or evolution of music takes place like everything else in nature. In this work, we chose to study the similarities and differences in singing style of some artists from at least four consecutive generations representing four different gharanas using robust non-linear methods. For this, alap parts of a particular raga sung by all the artists were analyzed with the help of non linear multifractal analysis (MFDFA and MFDXA) technique. -
Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan
Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan By Zainub Beg A Thesis Submitted to Saint Mary’s University, K’jipuktuk/Halifax, Nova Scotia in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Theology and Religious Studies. December 2020, Halifax, Nova Scotia Copyright Zainub Beg, 2020 Approved: Dr. Syed Adnan Hussain Supervisor Approved: Dr. Reem Meshal Examiner Approved: Dr. Sailaja Krishnamurti Reader Date: December 21, 2020 1 Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan by Zainub Beg Abstract Abida Parveen, often referred to as the Queen of Sufi music, is one of the only female qawwals in a male-dominated genre. This thesis will explore her performances for Coke Studio Pakistan through the lens of gender theory. I seek to examine Parveen’s blurring of gender, Sufism’s disruptive nature, and how Coke Studio plays into the two. I think through the categories of Islam, Sufism, Pakistan, and their relationship to each other to lead into my analysis on Parveen’s disruption in each category. I argue that Parveen holds a unique position in Pakistan and Sufism that cannot be explained in binary terms. December 21, 2020 2 Table of Contents Abstract ................................................................................................................... 1 Acknowledgements ................................................................................................ 3 Chapter One: Introduction .................................................................................. -
The Gwalior Gharana of Khayal
THE GWALIOR GHARANA OF KHAYAL SusheeJa Misra The different gharanas in Khayal-singing have not only helped to preserve and perpetuate the older traditions through an unbroken lineage of Guru shishya-paratnpara, but also added much colour and infinite variety to Hindustani Music. In an article on "A spects of Karnatic Music", the late Sri G.N. Balasubramaniam (a famous performing artiste and scholar) wrote almost longingly:- "Unlike the Karnatak system, the Hindustani system is more elastic and flexible and comparatively free from inhibitions and restrictions. For instance, in the North there are several Gharanas--each one handling one and the same raga differently. In the South everywhere, every raga is ren dered alike". It is this scope for variety, choice of suitable style, and flights of fancy that have maintained the popul arity of the Khayal up till now. The precursors of the Khayal also used to be rendered in different styles. In ancient granthas, we come across mention of different types of "Geetis" such as "Shudhdha", "Bhinna", "Goudi", "Vesari", and "Saadhaarant", When the golden age of the Dhrupad began (during the Middle Ages), Dhrupad-gayan also had developed four "Baants" (meaning styles, or schools) namely, :-"Goudi" or "Gobarhari", "Daggur", "Khandar", and "Nowhar". When the majestic and ponderous Dhrupad had to give place to the .classico-romantic Khayal-form, the latter was developed and perfected into various styles which came to be known as "Gharanas", These "gharanas" gave an attractive variety to Khayal-singing,-each "gharana" developing its own distinctive features, although all of them were deeply rooted in a common underlying tradition or "Susampradaaya". -
THE RECORD NEWS ======The Journal of the ‘Society of Indian Record Collectors’, Mumbai ------ISSN 0971-7942 Volume – Annual: TRN 2008 ------S.I.R.C
THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’, Mumbai ------------------------------------------------------------------------ ISSN 0971-7942 Volume – Annual: TRN 2008 ------------------------------------------------------------------------ S.I.R.C. Branches: Mumbai, Pune, Solapur, Nanded, Tuljapur, Baroda, Amravati ============================================================= Feature Article: Gramophone Celebrities-III 1 ‘The Record News’ - Annual magazine of ‘Society of Indian Record Collectors’ [SIRC] {Established: 1990} -------------------------------------------------------------------------------------------- President Narayan Mulani Hon. Secretary Suresh Chandvankar Hon. Treasurer Krishnaraj Merchant ==================================================== Patron Member: Mr. Michael S. Kinnear, Australia -------------------------------------------------------------------------------------------- Honorary Members V. A. K. Ranga Rao, Chennai Harmandir Singh Hamraz, Kanpur -------------------------------------------------------------------------------------------- Membership Fee: [Inclusive of the journal subscription] Annual Membership Rs. 1000 Overseas US $ 100 Life Membership Rs. 10000 Overseas US $ 1000 Annual term: July to June Members joining anytime during the year [July-June] pay the full membership fee and get a copy of ‘The Record News’ published in that year. Life members are entitled to receive all the back issues in five bound volumes -
District KHUSHAB CRITERIA for RESULT of GRADE 5
WWW.SEDiNFO.NET District KHUSHAB CRITERIA FOR RESULT OF GRADE 5 Criteria KHUSHAB Punjab Status Minimum 33% marks in all subjects 88.93% 88.32% PASS Pass + Minimum 33% marks in four subjects and 28 to 32 marksWWW.SEDiNFO.NET in one subject 90.81% 89.91% Pass + Pass with Grace Marks Pass + Pass with grace marks + Minimum 33% marks in four subjects and 10 to 27 marks in Pass + Pass with Grace Marks + Promoted 97.14% 96.72% one subject to Next Class Candidate scoring minimum 33% marks in all subjects will be considered "Pass" One star (*) on total marks indicates that the candidate has passed with grace marks. Two stars (**) on total marks indicate that the candidate is promoted to next class. WWW.StudyNowPK.COM WWW.SEDiNFO.NET PUNJAB EXAMINATION COMMISSION, RESULT INFORMATION GRADE 5 EXAMINATION, 2019 DISTRICT: KHUSHAB Students Students Students Gender Pass % with 33% marks Pass + Promoted Students Pass + Promoted % Registered Appeared Pass Male 7798 7685 6869 89.38 7479 97.32 Public School WWW.SEDiNFO.NET Female 6636 6564 5896 89.82 6410 97.65 Male 3722 3658 3176 86.82 3527 96.42 Private School Female 3219 3167 2927 92.42 3123 98.61 Male 514 487 343 70.43 430 88.30 Private Candidate Female 345 327 255 77.98 293 89.60 22234 21888 19466 WWW.StudyNowPK.COM WWW.SEDiNFO.NET PUNJAB EXAMINATION COMMISSION, GRADE 5 EXAMINATION, 2019 DISTRICT: KHUSHAB Overall Position Holders Roll NO Name Marks Position 26-145-239 Wasif Ali 491 1st 26-138-339 Horrian 489 2nd 26-145-169 Moeez Ahmed WWW.SEDiNFO.NET 486 3rd WWW.StudyNowPK.COM WWW.SEDiNFO.NET PUNJAB -
Notes on Classical Music Hindustani and Carnatic for Competitive Exams- Examrace
9/17/2021 Notes on Classical Music Hindustani and Carnatic for Competitive Exams- Examrace Examrace Notes on Classical Music Hindustani and Carnatic for Competitive Exams Doorsteptutor material for competitive exams is prepared by world's top subject experts: get questions, notes, tests, video lectures and more- for all subjects of your exam. Classical Music ©Examrace. Report ©violations @https://tips.fbi.gov/ Sub Styles under Hindustani Classical Dhrupada Khayal 1 of 4 9/17/2021 Notes on Classical Music Hindustani and Carnatic for Competitive Exams- Examrace Dhammar Thumri Tarana tappa (1) Dhrupad Mother of all sub styles. Vedic origin Developed in temples Pronouncing mantras in proper tone Performance of dhrupad-aalap and Bandish Systematic arrangements of musical parts Theme Religion, philosophy, devotion, celebration of seasons Promoted by Rja Mansingh Tomar of Gwalior Akbar also made it popular through Haridas, Tansen and Baiju Bawra 4 Gharanas under Dhrupad Style Dagar Gharana Also known as Jaipur gharana Related to Dagri Bani Gundecha brothers, Haridas, Behram Khan Darbhanga Gharana Bihar Related to gauhar bani Founder-kartaram Malik family Betiah Gharana bihar Related to Khandar bani Hyder khan Talwandi gharana 2 of 4 9/17/2021 Notes on Classical Music Hindustani and Carnatic for Competitive Exams- Examrace Punjab Related to Nauhari bani (2) Khayal Khayal means an idea, thought or imagination More free and flowery Theme divine love, separation of lovers, pranks of lord Krishna Lyrics ornamental More words are used Use of taan tempo Performance of khayal on the base of tempo Bada khayal Chhota khayal 4 Ghranas under Khayal Style Gwalior gharana Oldest Vishnu palushkar-famous song-raghupati raghav raja ram Kirana gharana Kurukshetra, Haryana Pt. -
Classical Music (Vocal) (Honours)
Proposed Syllabus For Bachelor of Performing Arts (BPA) IN Hindustani Classical Music (Vocal) (Honours) Choice Based Credit System 2018 Department of Performing Arts Assam University, Silchar, Assam-7800 1 Details Course Structure Bachelor of Performing Arts (B.P.A) IN Hindustani Classical Music (Vocal) (Honours) Semester Core course Ability Skill Discipline Generic (14) Enhancement Enhancement Specific Elective Compulsory Course (SEC) Elective (DSE) (GE) (4) Course (AECC) (2) (4) (2) BPA-102, CC (Theory) BPA-101 BPA-104 SEM-I AECC-I GE-I BPA-103, CC (Practical) General (Practical) English/Mil BPA-202, CC (Theory) BPA-201 BPA-204 AE GE-II (Practical) SEM-II BPA-203, CC (Practical) CC-II Environmental Studies BPA-301, CC (Theory) BPA-305 BPA-304 SEM SEC-I GE-III III BPA-302, CC (Practical) (Practical) (Practical) BPA-303, CC (Theory) SEM BPA-401, CC (Theory) BPA-405 BPA-404 IV SEC-II GE-IV BPA-402, CC (Practical) (Practical) (Practical) BPA-403, CC (Theory) SEM BPA-501, CC (Theory) BPA-503 V DSE-I (Theory) BPA-502, CC (Practical) BPA-504 DSE-II (Practical) SEM BPA-601,CC (Theory) BPA-603 VI DSE-III (Theory) BPA-602,CC (Practical) BPA-604 DSE-IV (Practical) 2 Course Structure Semester Course Code Course Type Total External Internal Total Credit Marks Marks Marks I BPA-101,AECC-I English/MIL 2 70 30 100 BPA-102,CC Theory 6 70 30 100 BPA-103,CC Practical 6 70 30 100 BPA-104, GE-I Practical 6 70 30 100 II BPA-201,AECC-II Environmental Science 2 70 30 100 BPA-202, CC Theory 6 70 30 100 BPA-203, CC Practical 6 70 30 100 BPA-204, GE-II Theory