DOCSLIB.ORG

Navodaya Vidyalaya Samiti

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Navodaya Vidyalaya Samiti PERSPECTIVE ACADEMIC PLANNING 2017-18 NVS NOIDA PERSPECTIVE ACADEMIC PLANNING-2017-18 1.BRAND EQUITY: The uniqueness of Navodaya Vidyalayas has assured that they have been enjoying this strong brand equity over a period of time due to the consistent and top performance in CBSE. Navodaya Vidyalayas are well recognized as focal points of learning and all round development. The currency of the Navodaya Brand, derived from the academic performance, and success of the Alumni, has ensured that NAVODAYAS are one of the foremost and successful institutions in the country. The shortcoming faced by many Govt. Institutions, that they are almost unheard of, is no longer relevant in the context of Navodayas. Brand equity is nothing but the association made by people when they hear the name ‘Navodaya’ or ‘JNV’. Today the Navodaya Brand enjoys an unprecedented level of acknowledgement from the society in the field of Secondary and Higher Secondary Education. The teachers and students associated with the Navodaya Brand have been successful in creating significant and noticeable changes in the quality of human lives in the Indian Society. Thus the Navodaya Brand has become synonymous with exemplary education and all round development. However, to ensure continued brand equity, we need to move with the times and keep our skills updated with the modern innovations and latest developments in the field of imparting modern quality education. The Vision of the Navodaya Vidyalaya Samiti Headquarters, coupled with the efforts of the Officers, Principals, Vice-Principals, Teachers and non-teaching staff has assumed proportions of a healthy coalition, thus enabling Navodayas to continually churn out young and aspirant citizens possessing not just the requisite knowledge to succeed in various spheres, but also to develop a responsible, compassionate, dedicated and devoted attitude towards the society. Navodaya citizens definitely will be the ones most suited to lead the country in future since they are mentally alert, physically fit, psychologically balanced, emotionally mature and spiritually sound. They will be multi tasking, creative, innovative and eco friendly which are the most desirable attributes for the ‘Knowledge Society’ into which the world is marching. NVS headquarters is also on the move to establish Centres of Excellence for Science and Sports, which would be another jewel in the Crown of NVS. Steps to establish/Sustain Brand Equity: 1. Performance speaks – JNV must be much better than the rest in all areas. 2. Uphold values – Inculcate values through value embedded education. 3. Develop a tradition of excellence in all areas. 4. The top brands always are the best –be the best in your field 5. Pursue high ideals and standards 6. Team work and smart work always lead to better productivity. 7. Everyone with similar taste would try to emulate, thus be a pace setter. 8. Reaching the top is easier than staying there. Continue efforts with zeal and vigour to stay at the top. 9. Consistent improvement and innovation at every step. In other words, aspire for the best all the time 10. Striving for common identity and empowering Navodayans to be lifelong learners and productive members of ever changing global society. 1 PERSPECTIVE ACADEMIC PLANNING 2017-18 NVS NOIDA 2. INSTITUTIONAL PLANNING: Institutional planning is a complex idea, is to be worked out scientifically. It is a cooperative affair, undertaken by all the staff members of the school, who realize their full responsibilities and duties. It success depends on the attitude, training, a well to face realities and a cooperative spirit among the planners at each level of educational hierarchy. The plans should be drawn in such way that the development is maximum and the chance of returns to the investment made are the greatest within the resources available. Institutional planning is an organized way of doing things in an institution. It leads to the attainment of objectives through intelligent utilization of the resources of the institution. MAJOR AREAS (SCOPE) OF INSTITUTIONAL PLANNING As the Institutional plan seeks improvement in all directions it must touch varied aspects of the organization of schools. It must take the shape of an over-all scheme for the improvement of the school in respect of following: 1. IMPROVEMENT OF THE SCHOOL CAMPUS (i) Provision of facilities to the pupils like the supply of drinking water, sanitary facilities, meals, medical facilities etc. (ii) Collection of library books, Magazines, journals, Instructional materials and audiovisual aids for the school. (iii) Construction, maintenance and repair of school building. 2. IMPROVEMENT OF ACADEMIC FACILITIES (i) Division of the curriculum in each subject into monthly and weekly units and sub units. (ii) Organization of remedial teaching for slow-learners. (iii) Organization of extension lectures, conferences, etc. in the institution. (iv) Support of teacher-improvement programmers like in-service training, refresher courses, and orientation courses etc. for teachers. 3. IMPROVEMENT OF CO-CURRICULAR ACTIVITIES (i) Organization of physical activities in the school. (ii) Organization of literary activities like preparation of bulletin boards, wall magazine, improved teaching aids and equipments. (iii) Organization of social service projects. 4. SCHOOL IMPROVEMENT PROJECTS (i) Organization of S.U.P.W Activities (ii) Maintenance of and love for ecological equilibrium. 5. INVESTIGATION AND RESEARCH (i) Action Research and Evaluation 3. SCHOOL ASSEMBLY: Morning Assembly is the time when the entire school community assembles at an appropriate place to affirm the school’s identity and aspirations. The school assembly is the best forum to inspire and motivate students. It serves as a platform to develop self confidence, acquiring knowledge and information, creativity and aesthetic sense among students. We must ensure that monotony does not set in. It is mandatory on the part of the Principals, Vice Principals, all the teachers and students to attend the morning assembly on time. HMs/AHMs are to ensure the participation of all their house students in the morning assembly activities by turn. 2 PERSPECTIVE ACADEMIC PLANNING 2017-18 NVS NOIDA The Vidyalaya prayer should be recited with dedication and emotion. Music teacher should ensure proper pronunciation, rhythm and melody in prayer and community song. Other activities are to be properly worded and modulated with variety. As far as possible the content of the speech to be day’s specific and edited properly.MOD should invariably address the morning assembly. It is to be conducted in all the three languages by turn. The P.E.Ts, Music Teacher and Duty Master will ensure that all activities are performed within the time limit and students leave the assembly to their respective classrooms in an orderly manner. The school band may be used at the time of conduct of the prayer and during the dispersal of the students. ASSEMBLY ACTIVITIES Sl. TIME IN ACTIVITIES No. MINUTES 1 Roll call House wise/Class Wise 2 2 Navodaya Prayer 3 3 Meditation 1 4 Pledge 1 5 Thought for the Day 1 6 News Reading (International, National, Regional, Local & Sports 3 News to be incorporated) Students Talk/Vocabulary Enrichment/Quiz/Book Review/ 7 3 Recitation/Conversation 8 Community Song 3 9 Address by the MOD/Principal 2 10 National Anthem 1 TOTAL DURATION 20 Note: All the members concerned have to ensure that there is effectiveness in planning, preparation and presentation of assembly activities to achieve its intended and specified goals. 4. SCHOOL CALENDAR: School calendar plans for more productive students and therefore greater learning. Such a schedule sets the stage for teachers to communicate to students exactly what is expected of them and allows the teacher to identify behaviors that must be directly taught to one or more students, which, in turn, help them to develop greater student autonomy, responsibility, and self-control. In this connection, the School calendar is the most important document and hence the Vidyalayas have to prepare an effective working calendar for the year 2017-18, well before the beginning of the academic session by incorporating the areas such as Scholastic, Co- Scholastic, along with important days / functions / activities etc. 5. VIDYALAYA TIME TABLE AND ALLOTMENT OF PERIODS: The following points are to be taken care while preparing the time table : 1. The services of Art Teacher, SUPW Teacher, Music Teacher, Librarian, and teachers of Language-III are to be taken for running supervised study periods in the afternoon. 2. The concerned subject teachers only are to be put on duty for remedial teaching. 3 PERSPECTIVE ACADEMIC PLANNING 2017-18 NVS NOIDA 3. All staff members including PETs will be put on duty during supervised study as per the requirement on rotation basis. The daily routine details of total no. of periods to be given to the teachers & no. of periods to be allotted to each subject/ class wise is given as under: SUBJECT WISE CLASS WISE ALLOTMENT OF PERIODS: (40 MINUTES DURATION) Class VI Class Class VIII Class X Class XI&XII TO VII IX Periods Periods Periods Periods Periods Periods Periods ENG. 8 ENG. 8 English 7 English 8 English 7 HINDI. 8 HINDI. 8 Hindi/ R.L. 6 R.L./ Hindi 6 Hindi/Maths/I.P./C.S. 7 MATHS 5+1* MATHS 5+1* Maths 7 Maths 8 Elective-1 9 SCIENCE 5+1* SCIENCE 5+1* Science 9 Science 9 Elective-2 9 SOCIAL 5 SOCIAL 5 Social 8 Social 9 Elective-3 9 LIBRARY 2 LIBRARY 2 Library 2 Library 2 Phy.Edn. 1 Phy.Edn./ Phy.Edn./ G.S./G.F.C/ AEP (XI COMPUTER 2 COMPUTER 2 1 1 1 AEP AEP ONLY) ART 2 ART 2 Computer 2 Computer 2 Computer 2 Art 1 Art 1 SUPW 1 SUPW 1 Library 2 Music 1 Music 1 MUSIC 2 MUSIC 1 Supw 1 PHE 1 PHE 1 1 Supw 1 Work Exp.
Load more

Recommended publications
  • Anoushka Shankar: Breathing Under Water – ‘Burn’, ‘Breathing Under Water’ and ‘Easy’ (For Component 3: Appraising)
    Anoushka Shankar: Breathing Under Water – ‘Burn’, ‘Breathing Under Water’ and ‘Easy’ (For component 3: Appraising) Background information and performance circumstances The composer Anoushka Shankar was born in 1981, in London, and is the daughter of the famous sitar player Ravi Shankar. She was brought up in London, Delhi and California, where she attended high school. She studied sitar with her father from the age of 7, began playing tampura in his concerts at 10, and gave her first solo sitar performances at 13. She signed her first recording contract at 16 and her first three album releases were of Indian Classical performances. Her first cross-over/fusion album – Rise – was released in 2005 and was nominated for a Grammy, in the Contemporary World Music category. Her albums since Breathing Under Water have continued to explore the connections between Indian music and other styles. She has collaborated with some major artists – Sting, Nithin Sawhney, Joshua Bell and George Harrison, as well as with her father, Ravi Shankar, and her half-sister, Norah Jones. She has also performed around the world as a Classical sitar player – playing her father’s sitar concertos with major orchestras. The piece Breathing Under Water was Anoushka Shankar’s fifth album, and her second of original fusion music. Her main collaborator was Utkarsha (Karsh) Kale, an Indian musician and composer and co-founder of Tabla Beat Science – an Indian band exploring ambient, drum & bass and electronica in a Hindustani music setting. Kale contributes dance music textures and technical expertise, as well as playing tabla, drums and guitar on the album.
    [Show full text]
  • Nawang Khechog the Great Arya Tara Tibetan Meditation Music 5:11
    Playlists by David Ruekberg Dance to Awaken the Heart, Rochester, NY #27: January 28, 2017 Artist Song Title Album Length Nawang Khechog The Great Arya Tara Tibetan Meditation Music 5:11 Maneesh de Moor Morning Praise Om Deeksha 8:54 Ernst Reijseger Homo Spiritualis Cave Of Forgotten Dreams (Original Motion Picture Soundtrack) 2:21 Hukwe Zawose Nhongolo The Essential Guide To Africa 8:54 Dead Can Dance Nierika Memento 5:46 Deva Premal Guru Rinpoche Mantra Deva Lounge 7:23 Balligomingo Purify Absolute More Relaxed [Disc 2] 4:13 Manu Dibango Bessoka (Version Courte) The Essential Guide To Africa 3:28 Miriam Makeba Pata Pata 2000 Homeland 3:49 Thievery Corporation The Lagos Communique African Groove 3:55 Christina Aguilera featuring Steve Winwood Makes Me Wanna Pray Back To Basics 4:11 The Beatles Tomorrow Never Knows (Remastered) Revolver (Remastered) 2:59 Brian Eno & Rick Holland Glitch Drums Between The Bells 2:58 Sean Dinsmore Mangalam (Chillums at Dawn Remix) Dakini Lounge: Prem Joshua Remixed 6:00 India.Arie Slow Down Voyage To India 3:53 Jai Uttal Guru Bramha Shiva Station (Bonus Edition) 4:24 Bon Iver Lisbon, OH Bon Iver 1:34 Ulrich Schnauss Amaris Passage 5:20 David Ruekberg Silence_5s.mp3 Silence 0:05 Itzhak Perlman Bach: Violin Partita #2 In D Minor, BWV 1004 - 3. Sarabanda Bach: Sonatas & Partitas For Solo Violin [Disc 2] 3:52 Anoushka Shankar Ancient Love Rise 11:08 Ray Lynch Her Knees Deep In Your Mind Conversations With God 6:19 Soloists of the Ensemble Nipponia [Shakuhachi, Shamisen, Biwa, EsashiKoto] Oiwake ("Esashi Pack-horseman's
    [Show full text]
  • Music a Level Handbook Name: Teacher
    Music A Level Handbook Name: Teacher: Congratulations! You have completed your GCSE’s and now you’re embarking on an even more exciting and challenging journey into the depths of A level Music! Your teachers will be: You’ll find yourselves stuck at some times when composing, listening, performing or writing your essays – but do not worry! Ask your teachers for help when you need it- don’t struggle alone! If you use this book as instructed, research and read around your set works and other units, listen carefully to your teachers’ advice, you will hit your target grade or above. We hope you enjoy the course as much as we do – we’re looking forward to teaching you for two years. Good luck! 2 Contents Content Sub sections Page number 1. What exams to expect 4 2. Important Dates 5 3. Feedback from Tests 6-9 4. Specification Content 11-22 Component 1: Appraisal 11-13 Component 2: Performance 14-19 inc. Performing log Component 3 : Composition 20-22 5. Theory Content 24-56 Pre- A level theory 24-30 1: Texture 31-34 2: Instruments and the score 35-42 3: Rhythm 43 4: Harmony 44-47 5: Tonality 48-50 6: Melody 51-54 7: Form and structure 55-56 6. Marking criteria for Also including specimen questions and sample 57-86 component One answers, command words, music vocabulary and suggested further listening 7. Reading list/ Useful websites 87 8. Resources 87 9. Music Expectations at A level 88 10. Homework monitoring 89-92 11. Personal statement log 93 Minimum Target Grade Challenge Target Grade 1 2 3 3 1.
    [Show full text]
  • Split up Syllabus of All Classes for the Year 2015-16
    SPLIT UP SYLLABUS 2015-16(HINDI ‘A’ VI) 184 SPLIT UP SYLLABUS 2015-16(HINDI ‘A’ VI) 185 SPLIT UP SYLLABUS 2015-16(HINDI ‘A’ VI) 1. 2. 3. ***** 186 SPLIT UP SYLLABUS 2015-16(HINDI ‘B LEVEL’ VI) ¢üqÉ MüÉrÉï mÉÉPû MüÉ lÉÉqÉ/ÌlÉkÉÉïËUiÉ ÌuÉwÉrÉ uÉxiÉÑ qÉÉWû AÇMü pÉÉU ÌOûmmÉhÉÏ xÉÇZrÉÉ ÌSuÉxÉ (CMüÉD) 1 eÉÑsÉÉD 27 mÉëjÉqÉ - xÉ§É 2015 1. mÉËUrÉÉåeÉlÉÉ MüÉrÉï uÉhÉïqÉÉsÉÉ , oÉÉUWûZÉÄQûÏ , (15) xÉÇrÉÑY¨ÉɤÉU , LTü L- 1 2. uÉÉiÉÉïsÉÉmÉ SÕuÉÉï pÉÉaÉ -1: FA-1 (15) 1. zÉoS oÉlÉÉlÉå MüÐ ÌuÉÍkÉ (ESÉ:MüsÉqÉ 3. mÉëS¨É MüÉrÉï ,ÌMüiÉÉoÉ, bÉU , mÉiÉÇaÉ, pÉÉsÉÔ, fÉUlÉÉ, (10) kÉlÉÑwÉ , AÉÌS) 4. aÉ×Wû MüÉrÉï 2. SåuÉlÉÉaÉUÏ qÉåÇ xÉÇZrÉÉ sÉåZÉlÉ (10) urÉÉMüUhÉ: 1. xuÉU AÉæU urÉÇeÉlÉ 2. ÍsÉÇaÉ 3. uÉcÉlÉ 2 AaÉxiÉ 25 SÕuÉÉï pÉÉaÉ -1: 2015 1. ÃqÉÉsÉ , 2.Mü¤ÉÉ 3. aÉÑooÉÉUÉ 4. mÉuÉïiÉ 5. WûqÉÉUÉ bÉU, 6. MümÉÄQåû MüÐ SÒMüÉlÉ qÉåÇ 7. eÉÏ WûÉð, eÉÏ lÉWûÏÇ, MüÉ mÉërÉÉåaÉ urÉÉMüUhÉ: 1.ÌuÉsÉÉåqÉ zÉoS 2. AlÉåMü zÉoSÉåÇ Måü ÍsÉL LMü zÉoS , 3. ‘U’ Måü ÌuÉÍpÉ³É ÃmÉ | 3 ÍxÉiÉÇoÉU 24 SÕuÉÉï pÉÉaÉ -1: LTü L-2 2015 1. mÉËUrÉÉåeÉlÉÉ MüÉrÉï 1. TÔüsÉ (MüÌuÉiÉÉ ) - ÌSlÉåzÉMÑüqÉÉU (̲iÉÏrÉ (15) 2. oÉÉiÉcÉÏiÉ xÉmiÉÉWû qÉåÇ) 2. uÉÉiÉÉïsÉÉmÉ urÉÉMüUhÉ: FA-2 (15) 1. xÉqÉÉlÉÉjÉïMü zÉoS 3. mÉëS¨É MüÉrÉï 2. xÉÇ¥ÉÉ , 3. mÉrÉÉïrÉuÉÉcÉÏ zÉoS (10) 4. aÉ×Wû MüÉrÉï (10) 187 SPLIT UP SYLLABUS 2015-16(HINDI ‘B LEVEL’ VI) ¢üqÉ qÉÉWû MüÉrÉï AÇMü pÉÉU mÉÉPû MüÉ lÉÉqÉ/ÌlÉkÉÉïËUiÉ ÌuÉwÉrÉ uÉxiÉÑ ÌOûmmÉhÉÏ xÉÇZrÉÉ ÌSuÉxÉ (CMüÉD) 4 ÍxÉiÉÇoÉU 09 1. AmÉÌPûiÉ SÕuÉÉï pÉÉaÉ -1: 201 5 aɱÉÇvÉ/mɱÉÇvÉ urÉÉMüUhÉ: (10) mÉÔuÉï mÉÌPûiÉ mÉPèrÉ¢üqÉ MüÐ mÉÑlÉUÉuÉ×ꬃ 2.
    [Show full text]
  • A Level Music
    Preparation for A-level Music In order to help you make the best possible start to your studies, we have put together some bridging work that you will need to complete before September. Performing: 1. Prepare for a solo performance in September. You will need to perform for at least 2-3- minute on your instrument that shows off your performance ability. The piece can be on any instrument, in any style, with or without a backing track. Please make sure you bring a copy of the music with you. 2. Record yourself performing a piece you are familiar with. Analyse it critically with what you did well and what you need to improve Appraising: 3. Set works Keywords Checklist - Look at the keywords for each set work and decide how confident you feel about defining the keyword. For any words you rate R (not at all confident) or A (somewhat confident) look up the definition and write onto the sheet. 4. Create a Spotify or YouTube play list of all the set works. See below for details of all the set works. 5. Argue the following question: “What’s the point of having music in a film?” Provide relevant musical examples of film music and come to some conclusion at the end of your writing. Aim to write a side of A4. 6. ‘Popular music deserves more recognition and is equal to Classical music’. Discuss and provide relevant musical examples. Composing: 7. Read the following blog: https://manwaringmusic.blog/2020/04/02/composing-at-home-1/ 8. Compose a piece of music lasting at least two minutes in response to one of the briefs provided below.
    [Show full text]
  • Ravi Shankar Symphony
    RAVI SHANKAR SYMPHONY DAVID MURPHY conductor ANOUSHKA SHANKAR sitar LONDON PHILHARMONIC ORCHESTRA RAVI SHANKAR SYMPHONY 1 Allegro – Kafi Zila 2 Lento – Ahir Bhairav 3 Scherzo – DoGa Kalyan 4 Finale – Banjārā Ravi Shankar travelled a great deal in the West as a child dancer Thus in later years, Ravi Shankar became the first Indian in his elder brother Uday Shankar’s troupe of Indian musicians musician to explain these concepts to his audiences. Through and dancers. During a long sojourn in Paris in the early 1930s Ravi Shankar, Indian music began to have an influence on he met many of the legends of Western classical music: his most genres of Western music: Yehudi Menuhin became a duo brother was a friend of George Enescu, the great Romanian partner and George Harrison was another Western musician violinist and composer who was then teaching the teenage for whom the music of India resonated deeply. Harrison Menuhin in Paris. Toscanini, Heifetz, Paderewski, Casals, Kreisler became a devoted student and lifelong friend, thus the and the great Russian bass Chaliapin were some of the musical influence of Indian music reached out to a whole generation. legends who made an impact on the young Ravi Shankar. Other musicians profoundly influenced included the great Simultaneously he also experienced the reaction of Westerners jazz saxophonist John Coltrane and in 1965, Philip Glass, then to hearing Indian music for the first time: although many a student of Nadia Boulanger in Paris, first encountered Ravi found it exciting he realised that it needed to be presented Shankar when assisting him on the soundtrack for the Conrad very carefully for the untrained Western ear to realise its Rooks film Chappaqua.
    [Show full text]
  • The Australian
    qqa0310_RaviShankar.indda0310_RaviShankar.indd 111515 111/02/20101/02/2010 66:10:43:10:43 PPMM ARTS WORLD MUSIC Ravi Shankar’s daughter Norah Jones in concert “He has certain standards,” Anoushka says. “No-one is forcing you to play, but if you’re playing, this is a tradition that needs to be respected, that you need to give yourself to, and so that wasn’t really negotiable. He was strict but, unlike his guru, he was sweet about it.” Although Anoushka has clearly benefited from her father’s teaching, Norah Jones’ success suggests nature is as important as nurture. Ravi separated from Sue Jones when their daugh- ter was eight and he didn’t see Norah for 10 years after that. “I wish I had not lost out on those years with her, but by God’s grace all is well and I am so happy to have got her back,” Ravi says. “I had no chance to teach her Indian music, but with her tremendous talent and unique voice, she is what she is today.” Today she is the most successful female artist of the past decade, having sold more than 36 million records. In 2007, Jones collaborated with her half-sister on a song for Anoushka’s album Breathing Under Water. Anoushka says her father, who has been criticised for straying outside Indian classical traditions to collaborate with Menuhin, Glass and Harrison, has been supportive of such experiments. “I think traditional music isn’t necessarily frozen and static,” she says. “I’m always very curious and fascinated by experi- menting within traditions because to me that is a valid way to keep it alive, if it keeps moving and keeps growing.” But Anoushka is also aware of the burden of being her father’s daughter.
    [Show full text]
  • KARSH KALE Cinema
    KARSH KALE Cinema Karsh Kale (pronounced Kursh Kah-lay) is widely regarded as a pioneer of global fusion and electronica as his music has inspired and defined the worldwide club phenomenon known as “Asian Massive” or “Asian Underground” in the early part of the decade. Today Karsh’s music has travelled far past the underground club scene and has been featured on stages from Lincoln Center to the Burning Man Festival, and from the Barbican Center to the Hollywood Bowl. Karsh’s diverse musical talents – whether as a world-class tabla player/drummer, producer, composer, songwriter, remixer or DJ – have led him to working with some of the world’s leading artists such as Pandit Ravi Shankar, Sting, Zakir Hussain, Herbie Hancock, Lenny Kravitz, Anoushka Shankar, Yoko Ono. Bill Laswell, DJ Spooky, Shujaat Khan, Vijay Iyer, Chaka Khan, Paul Oakenfold and many others. As if his existing list of accomplishments and talents were not enough, Karsh has established himself as a cutting edge film composer in India’s fast paced “Bollywood” film industry while continuing to score independent and crossover films in the West. Kale and his production partners (MPKK) have also recently composed original music for a musical directed by Academy Award-nominated director Shekhar Kapur (Elizabeth: The Golden Age). In the past ten years, Karsh released 4 critically acclaimed solo albums and has toured the world with various ensembles including Cinema Live, Timeline, Realize Live, Tabla Beat Science (w/ Zakir Hussain), Breathing Under Water (w/ Anoushka Shankar) and live with the Midival Punditz. Describing the effect of having so many platforms at his disposal, Karsh states, “Having many outlets for my sound has opened up the possibilities of what that sound can actually be for me.
    [Show full text]
  • With Its Open-Arms and Open-Heart Mantra, Delhi Is the Pulse of the New India
    title title RisingDelhi With its open-arms and open-heart mantra, Delhi is the pulse of the new India. And its beat echoes with a magnetic subcontinental frequency text_ANICÉE GADDIS photography_ANUSHKA NaDIA MENON photography assistant_ADNAN KHAN production_ANJA mattHES 104 TRACE TRACE 105 lmost any local will tell you that Delhi is the “City of Hearts” – Dilli is the original Hindi spelling and “Dil” literally translates as “heart.” After Aspending time in the sprawling epicenter of the Indian subcontinent you begin to experience a certain cardiovascular pull. The combined forces of mother nature, human nature and a noticeably higher level of non-western consciousness, become like daily gifts and lessons in cultural amalgamation. The lush expansiveness and seemingly innate codes of welcome – “guest is god,” and “work is worship” are the mantras – make it difficult not to fall in love upon arrival. If India is the diamond, then the northern metropolis of Delhi is not merely the city of hearts, it is the heart-center, the pulse and the crossroads of the fabled jewel in the crown. Delhi is also the capital – it shifted from Kolkata in 1911. The current population is approximately 13 million. Some five million migrant workers commute every day to make up the majority of the service industry. Although Delhi is one of the oldest continually inhabited cities in the world, the enclave of New Delhi – built as an administrative quarter during the British Raj - is less than 100 years old. Perhaps because of the mass migration, the spiraling spaciousness (as opposed to the more compressed confines of Mumbai) and the progressive attitude of the local Dilliwallahs, the city’s essence is strikingly cosmopolitan, with a vast ethnic melting pot offset by a large expatriate population.
    [Show full text]
  • Music Curriculum
    MUSIC BIG IDEAS 6 7 8 9 10 11 12 Play and perform BACH TO THE FUTURE AOS – RHYTHMS OF JUNK PERCUSSION INDIAN MUSIC AOS – RHYTHMS OF THE (REMIXING) THE WORLD FUSIONS in solo and Indian Classical music WORLD Changing textures Debussy - Estampes ensemble Tocatta and Fugue in India India Layering rhythms Raga and melody Dmin (looking at rhythm Familia Valera Miranda - contexts, using Central and South Central and South Caña Quema Cuban beats Bhangra and and melody) Fusions America America Anoushka Shankar - voice and playing Bollywood – fusion of Orchestra v organ Eastern Mediterranean Breathing Under Water musical instruments raga and pulse (timbre) Eastern Mediterranean and the Middle East and the Middle East with increasing Sampling and looping Africa Africa accuracy, fluency, Creating a 21st century control and version of Tocatta and Fugue in D min (pulse) expression. THE BEATLES MINIMALISM ELECTRONIC MUSICAL GIANTS MUSICAL GIANTS NEW DIRECTIONS How 4 lads from Polyrhythmic music INNOVATORS John Cage - Three Game- Liverpool changed the Bach Bach Dances for Two course of music forever Exploring texture Kraftwerk Changers Mozart Mozart Prepared Pianos, Dance The role of repetition and Black Box Looking at the Beethoven Beethoven no. 1 ingredients of song and phase shift 90s explosion Brahms Brahms Kaija Saariaho - Petals the development Cycles Naughties women for Violoncello and Live through the Beatles’ Little Richard Little Richard Compose and Minimalist composers Exploration of traditional Electronics career. Elton John Elton John improvise music and their impact song structure v music Stravinsky - The Rite of Use of the recording tecnology Michael Jackson Michael Jackson Spring for a range of studio and its impact audiences and AOS – CONVENTIONS OF purposes using COVER VERSIONS IN AT THE DEEP END .
    [Show full text]
  • Pedro Eustache CV
    Pedro Eustache pedroflute.com [email protected] Main Activity I am a creative solo flautist, reed player, world-woodwinds, wind synthesist, and composer with a unique, eclectic, multi-dimensional voice. My musical language is the result of many years of extensive study and professional experience in Western European classical, African- American, world (from a wide range of cultures), popular, folk, and computer/electronic musics. Although I have been careful to learn the traditional techniques and styles of these musics, in order to be able to perform them in an authentic, traditional manner to the best of my ability when it is appropriate to do so, I have also experimented extensively with melding techniques and styles in numerous new ways. Education JAZZ B.F.A. and M.F.A. in Jazz Performance, California Institute of the Arts (Valencia, California), 1988-1991, under the direction of James Newton, Paul Novros, David Roitstein, and Charlie Haden WESTERN EUROPEAN CLASSICAL MUSIC Flute, Music Theory, Music History, and Aesthetics Studies, Juan Manuel Olivares Music School, Juan José Landaeta Music Conservatory (Caracas, Venezuela), 1972-1976 Choral Conducting, Musical Analysis, and Musical Arrangement Studies, Lino Gallardo Music School (Caracas, Venezuela), 1975-1977 Flute and Piccolo Studies, Diploma, Venezuelan National Youth Symphony Orchestra Music Academy (Caracas, Venezuela), under the direction of J. A. Naranjo and G. Egner, 1977-1980 Héctor Berlioz Conservatoire, Double Diploma in Classical Flute Performance (Paris, France),
    [Show full text]
  • Anoushka Shankar Traces of You Mp3, Flac, Wma
    Anoushka Shankar Traces Of You mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical / Folk, World, & Country Album: Traces Of You Country: Europe Released: 2013 Style: Folk, Indian Classical, Ambient MP3 version RAR size: 1443 mb FLAC version RAR size: 1813 mb WMA version RAR size: 1781 mb Rating: 4.6 Votes: 704 Other Formats: AAC VQF AC3 AU TTA VOC DXD Tracklist Hide Credits The Sun Won't Set A1 Ghatam – Pirashanna ThevarajahGuitar – Nitin SawhneySitar – Anoushka ShankarVocals – 3:35 Norah Jones Flight A2 Cello – Ian BurdgeProgrammed By, Arranged By [Strings] – Nitin SawhneySitar – Anoushka 3:38 ShankarSteel Drums [Hang] – Manu Delago Indian Summer A3 4:54 Piano, Programmed By – Nitin SawhneySitar – Anoushka Shankar Maya A4 Cello – Ian BurdgeProgrammed By – Nitin SawhneySitar – Anoushka ShankarSteel Drums 5:05 [Hang] – Manu Delago Lasya Mridangam, Jew's Harp [Moorsing], Vocals – Pirashanna ThevarajahSitar – Anoushka A5 4:39 ShankarSteel Drums [Hang] – Manu DelagoTambura [Tanpura] – Kenji OtaUdu – Bernhard Schimpelsberger Fathers A6 2:30 Piano – Nitin SawhneySitar – Anoushka Shankar Metamorphosis Bass Guitar, Programmed By – Nitin SawhneyShenai – Sanjeev ShankarSitar, Vocals – A7 4:47 Anoushka ShankarTabla – Tanmoy BoseTambura [Tanpura] – Kenji OtaVocals – Anil Narasimha, Sandhya Chandrachood In Jyoti's Name B1 Mridangam, Ghatam – Pirashanna ThevarajahSitar – Anoushka ShankarTambura [Tanpura] 3:33 – Kenji Ota Monsoon B2 3:40 Programmed By – Nitin SawhneySitar – Anoushka ShankarTambura [Tanpura] – Kenji Ota Traces Of You B3 Glockenspiel
    [Show full text]