September 2021 0 1 - 0 9 - 2 0 2 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Cast and Baradri System and Voting Behavior in Pakistan (Elections 2018): a Case Study of Hafizabad District
Cast and Baradri System and Voting Behavior in Pakistan (Elections 2018): A Case Study of Hafizabad District Karim Haider Muhammad Arshad Ali This study scrutinizes the impact of caste and Baradri system on voting behavior evolving from Pakistan’s general elections of 2018. Traditionally, the caste and Baradari system have been playing a substantial role in the elections of Pakistan since its birth especially in the region of Punjab. After the partition the evolution and modernization of electoral system and introduction of democratic institution in Pakistan never fully changed the customary value-system of the society of Punjab which is largely based on caste and Baradari system. With specific reference to caste and Baradari system in Punjab, an analytical research has been made to understand profound origins of Caste and Baradari System and its impact on the voting behavior of four selected constituencies, one of National Assembly and three of Provincial Assembly of Punjab in one of the districts of province of Punjab in general elections of 2018. Further, this study explains that the Punjab is based on social divergence with national political culture; therefore, the people of Punjab always look standing with the authoritarian rule which begins from family system and ends at national politics of Pakistan. Having majority seats in National Assembly the role of Punjab is very important and study about the voting behavior of the people of Punjab has special reference to national politics. Introduction Baradari defined as “brotherhood” initiated by the Persian language word Baradar meaning “brother”. Muslims of south Asian region especially in India and Pakistan, a large number of socialclasses are separated on the origin of Biradaris. -
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 -
A Salute to the Music Maestro Cherished Are Those Whose Creativity Adds Melody to the World
A Salute to the Music Maestro Cherished are those whose creativity adds melody to the world It were madness to paint the lily, count the stars, sweeten honey or to fathom Balmurali’s colossal genius These words have been dedicated to the musical genius, Palghat Mani Iyer, but today they apprise the multifaceted Carnatic vocalist, composer, and music guru, Mangalampalli Balamurali Krishna who passed away in Chennai at the age of 86, leaving an irreplaceable void in the realm of Indian Classical Music. The rich imprint of his magnificently rich voice, verses and innovated ragas & taalas live on. M Balamurali Krishna An insignia of illimitable creativity, Balamurali (6 July 1930 – 22 November 2016) Krishna kept the Indian classical tradition alive while modernizing the whole Carnatic music system to make it relatable to the common man. He was a disciple of Parupalli Ramakrishnayya Pantulu, a “I breathe music, think music, talk direct inheritor of the shishya parampara of Tyagaraja, music and music is my energy and I and performed the first full-fledged concert at a am an instrument of music” Thyagaraja Aradhana in Vijayawada at the age of eight. He also gave his first radio concert at the "I like to sing my own creations. tender age of nine and the astounding performance There is a different level of innovation placed him on the list of A-grade artists at the All that one can do with one's own India Radio (AIR), Chennai. A born experimentalist, he bequeathed a new horizon to the two rivulets of compositions. That's exciting. -
Entrance Exaff Ination '?Otz PG Diploma in Health Communication Y -36
inl:. .'::i:-j].. " :,.a_.;;::..:a, . ',. :: -a ',i'-. ir: 'r - I ' :i '::: - t,; .t Entrance Exaff inatiOn '?Otz PG Diploma in Health Communication Y -36 Max, Martrrs: 75 Time:Z'Hours ,: GENERAL INSTRUCTIONS o Please read the instructions for each section carefully. o Enter your hall ticket nurnber on the guestion paper. OMe sheet and answif booklet without fail. o Please return the oMR sheet, Question Booklet and the Answer Book to the invigilator. o Read the instructions on the oMR sheet carefrrlly before proceeding.t. Answer all the 75 questions in PART A of"the question paper in the OUn rnu.t - All questions of PTART A carry equal negative marks. 0.33 marks will be subtracted for every wrong answer. o PART B fstatement of Purposel tt"r to" be *rio.n in the answer booklet. The questiin und.. PART B is mandatory and does not carry *"tl<s. Howe"u., y*r p"ffiffioi be evaluated if you "nydo not answer the question. TorAt NUMBER oF PAcEs ExctuDING THIS pAGE: 14 (FOURTEEN) PART A \ --z{ SECTION 1: GENERAL AWARENESS AND MEDIA AWARENESS (20 x 1= marks) 1. Who was recipient of the 59tr National Award in the BestActress category? (A) Priyanka Chopra (B)Vidya Balan (C) Rani Mukherjee (D) Kangana Ranaut 2. Which sports personality recently went through treatment for a life- threatening disease? (A)YuwajSingh (B) Baichung Bhutia (C) Gagan Narang (D) None ofthe above 3. The world's billionth baby was named (AJAfreen (B)famila (C) Falak (D) Nupur 4. What isthe capital offharkand? [A) Ranchi [B) lamshedpur (CJ Raipur (D) Dhantevada 5. -
Gangubai Hangal's Primary Guru in Music Was Sawai Gandharva. She Has Also Acknowledged the Inspiration and Influence of Her
Gangubai Hangal's primary guru in music was Sawai Gandharva. She has also acknowledged the inspiration and influence of her mother Ambabai and Zohrabai Agrewali on her musical development. Her singing embodies an extraordinary grasp of the essence of raga, keen sensitivity of swara, and an acute feeling for aesthetic design. She lives in Hubli and ********* Excerpts of an interview from C.S. Lakshmi's The Singer and the Song - Conversations with Women Musicians Vol 1 (2000). On her Padma Bhushan award: Gangubai: It is normally announced to the D.C. (District Collector) here. Then they come to ask to check who the person is, whether they want to receive the award or not. "You have got it, do you want to accept it?" My uncle was sitting outside, I wasn't there. "What is it? If it is Padma Bhushan she will take it," he said. "If you come tomorrow she will be back." I came back. He said, "Look, you have got the Padma Bhushan." They came and took my signature from the Tehsildar's office. After they took it, I thought, 'These are announced on January 26th, maybe on the 25th night. I must listen to the radio before I sleep. Both of us must sit together before the radio, listen to the announcement and then sleep'. We sat for a long time. Nothing was announced. So I said, "Look, they asked me for my signature just like that. It's not there. Nothing has come." It did not occur to me that nobody's name was announced. -
What They Say
WHAT THEY SAY What THEY SAY Mrs. Kishori Amonkar 27-02-1999 “It was great performing in the new reconstructed Shanmukhananda Hall. It has improved much from the old one, but still I’ve a few suggestions to improve which I’ll write to the authorities later” Pandit Jasraj 26-03-1999 “My first concert here after the renovation. Beautiful auditorium, excellent acoustics, great atmosphere - what more could I ask for a memorable concert here for me to be remembered for a long long time” Guru Kelucharan Mohapatra 26-03-1999 “It is a great privilege & honour to perform here at Shanmukhananda Auditorium. Seeing the surroundings here, an artiste feeling comes from inside which makes a performer to bring out his best for the art lovers & the audience.” Pandit Birju Maharaj 26-03-1999 “ yengle mece³e kesÀ yeeo Fme ceW efHeÀj DeekeÀj GmekeÀe ve³ee ©He osKekeÀj yengle Deevevo ngDee~ Deeies Yeer Deeles jnW ³en keÀecevee keÀjles ngS~ μegYe keÀecevee meefnle~” Ustad Vilayat Khan 31-03-1999 “It is indeed my pleasure and privilege to play in the beautiful, unique and extremely musical hall - which reconstructed - renovated is almost like a palace for musicians. I am so pleased to be able to play today before such an appreciative audience.” § 34 § Shanmukhananda culture redefined2A-Original.indd 34 02/05/19 9:02 AM Sant Morari Bapu 04-05-1999 “ cesjer ÒemeVelee Deewj ÒeYeg ÒeeLe&vee” Shri L. K. Advani 18-07-1999 “I have come to this Auditorium after 10 years, for the first time after it has been reconstructed. -
To Download the Advance Information Sheet
NEW TITLE AUGUST 2015 MUSIC ISBN: 978-93-83098-98-9 `595/£14.99/$20 PB Published by Fine publishing within reach D-78, Okhla Industrial Area, Phase-I, New Delhi-110 020, INDIA Tel: 91-11-26816301, 49327000; Fax: 91-11-26810483, 26813830 email: [email protected]; website: www.niyogibooksindia.com MUSIC `595/£14.99/$20 PB ISBN: 978-93-83098-98-9 Size:229 x 152mm, 324pp, 26 b/w photographs Interviewers Black and white, 80gsm bookprint Geeta Sahai & Shrinkhla Sahai Paperback Ever wondered how late Pandit Ravi Shankar went beyond cultural boundaries to Geeta Sahai is a writer, propagate Hindustani classical music and impact the global music scene? How did broadcaster and documentary Ustad Amjad Ali Khan fight emotional and financial setbacks to settle into musical filmmaker. Her short stories harmony with destiny? How did Begum Akhtar’s soulful voice inspire a reluctant have won international awards percussionist to dedicate his life to vocal music and emerge as the legendary Pandit and have been included in Jasraj? How did late Dr Gangubai Hangal break away from the shackles of social an international anthology– ostracism to emerge as a legend of her times? Undiscovered Gems. She was associated with Worldspace Satellite Radio for nearly ten years Beyond Music – Maestros in Conversation delves into candid opinions on issues, as Programme Director - Radio Gandharv-24X7 revealing thoughts on music-making and emotional sagas of some of the most Hindustani Classical Music Station. She has made accomplished, revered classical musicians—Dr Prabha Atre, Pandit Vishwa Mohan many introspective documentary films. Currently, Bhatt, Dr N. -
Our Past Concert Tours
Our Past Concert Tours: 2015 : Pandit Sanjeev Abhyankar (Vocal), Ustad Taufique Qureshi (Djembe) , Pt. Ramdas Palsule (Tabla) and Pt.Milind Tulankar (Jalatarang and Harmonium), Bhuvanesh Komkali (Vocal), Hindol Deb (Sitar) & Deepak Kshirsagar (slide guitar) 2014 : Smt. Ashwini Bhide-Deshpande (Vocal), Abhijit Pohankar (Keyboards), Ninad Mulaokar (Flute), Ojas Adhiya (Percussion), Meeta Pandit (Vocal) Classical, Semi-classical and devotional Music 2013 : Smt.Arati Ankalikar Tikekar (Vocal), Pushkar Lele (Vocal), Shubhendru Rao (Sitar) Mrs. Saskia Rao-de Haas (Cello), Sumedha Desai (Vocal) 2012 : Pt. Jayateerth Mevundi (Vocal), Pt. Atulkumar Upadhye (Violin), Kumud Diwan (Vocal), Pt. Purbayan Chatterji (Sitar), Kalapini Komkali (Vocal) 2011 : Sanjeev Abhyankar (Vocal), Ken Zuckerman (Sarod), Raghunandan Panshikar (Vocal) 2010 : Smt Ashwini Bhide Deshpande (Vocal), Pt. Ronu Majumdar (Flute), Dr. M. Manjunath (Violin), Pt. Uday Bhawalkar (Vocal), Smt. Yogini Gandhi (Indian Classical Dance) 2009 : Padma Talwalkar (Vocal), Pt Partho Sarothy (Sarod), Yogini Gandhi (Indian Classical dance), Sangeeta Katti-Kulkarni (Vocal), Pravin Ghodkhindi (Flute) 2008 : Devaki Pandit (Vocal), Kaveri Agashe, Sheetal Kolwalkar and Ketaki Shah (Kathak), Taalyogi Pt. Suresh Talwalkar (Tabla), Smt. Manjusha Kulkarni-Patil (Vocal), Pt. Ronu Majumdar & Ramdas Palsule (Flute, Tabla) 2007 : Sanjeev Abhyankar (Vocal), Pt Satish Vyas (Santoor), Bharatnatya- Kathak Jugalbandi by Shambhavi Vaze & Parimal Phadke, Meeta Pandit (Vocal), Kaivalya Kumar Gurav (Vocal). 2006 : -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
Secondary Indian Culture and Heritage
Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture. -
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. -
The Amalgamation of Indo-Islamic Architecture of the Deccan
Islamic Heritage Architecture and Art II 255 THE AMALGAMATION OF INDO-ISLAMIC ARCHITECTURE OF THE DECCAN SHARMILA DURAI Department of Architecture, School of Planning & Architecture, Jawaharlal Nehru Architecture & Fine Arts University, India ABSTRACT A fundamental proportion of this work is to introduce the Islamic Civilization, which was dominant from the seventh century in its influence over political, social, economic and cultural traits in the Indian subcontinent. This paper presents a discussion on the Sultanate period, the Monarchs and Mughal emperors who patronized many arts and skills such as textiles, carpet weaving, tent covering, regal costume design, metallic and decorative work, jewellery, ornamentation, painting, calligraphy, illustrated manuscripts and architecture with their excellence. It lays emphasis on the spread of Islamic Architecture across India, embracing an ever-increasing variety of climates for the better flow of air which is essential for comfort in the various climatic zones. The Indian subcontinent has produced some of the finest expressions of Islamic Art known to the intellectual and artistic vigour. The aim here lies in evaluating the numerous subtleties of forms, spaces, massing and architectural character which were developed during Muslim Civilization (with special reference to Hyderabad). Keywords: climatic zones, architectural character, forms and spaces, cultural traits, calligraphic designs. 1 INTRODUCTION India, a land enriched with its unique cultural traits, traditional values, religious beliefs and heritage has always surprised historians with an amalgamation of varying influences of new civilizations that have adapted foreign cultures. The advent of Islam in India was at the beginning of 11th century [1]. Islam, the third great monotheistic religion, sprung from the Semitic people and flourished in most parts of the world.