Notification No. 28/2017-Union Territory Tax (Rate)
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Tesi Di Laurea Floriana Frida Asperti
UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà di Studi Umanistici Corso di Laurea Magistrale in Musicologia SUONO E PAROLA: L’EQUILIBRIO PERFETTO L’ESPERIENZA DI SAHAJ PRESSO LA COMUNITÀ SIKH DI LISBONA Relatore: Chiar.mo Prof. Nicola Scaldaferri 2° Relatore: Chiar.mo Prof. Filippo Bonini Baraldi Correlatore: Chiar.mo Prof. Emilio Sala 2° Correlatore: Chiar.mo Prof. Giovanni Cospito Tesi di Laurea di: Floriana Frida Asperti Matr. n. 826824 Anno Accademico 2016/2017 1 A Viola, alle corde dell’oceano. 2 INDICE INDICE DELLE IMMAGINI 5 RINGRAZIAMENTI 8 NOTE PER LA TRASLITTERAZIONE E LE TRADUZIONI 9 INTRODUZIONE 10 CAPITOLO 1 La sottigliezza del linguaggio 21 1.1 Sikhismo o Sikhismo: l’importanza delle parole 21 1.2 !r" Gur# Granth S$hib: la parola scritta 25 1.3 Sahaj: l’equilibrio perfetto 32 CAPITOLO 2: !abad k"rtan, la performance musicale 43 2.1 Poesia e musica: i versi cantati nella tradizione sikh 43 2.2 !abad k"rtan /Gurb#n" k"rtan e Gurmat sang"t/Gurb#n" sang"t: ancora una questione di termini 45 2.3 Repertorio poetico: $abad, inni 46 2.4 Repertorio musicale: r#ga-t#la, strutture melodiche-cicli ritmici 49 2.5 Le performances di !abad K"rtan 58 2.6 Sunia-gavia, ascoltare-cantare 64 2.7 L’esperienza estetica di Amrit rasa 69 CAPITOLO 3: Seva, il servizio disinteressato 75 3.1 Il binomio io-l’altro 75 3.2 La vita al gurdw$r$: l’individuo e la comunità una simbiosi attiva 76 3.3 Azioni cantate 80 3.4 Analisi di wahegur% 81 3.4.1 Analisi testuale 82 3 3.4.2 Analisi musicale 83 3.4.3 Analisi acustica 85 3.4.4 Analisi gestuale 85 3.5 Il ruolo -
EQUITY DIVIDEND for the YEAR 2012-2013 Details of Unclaimed Dividend Amount As on Date of Annual General Meeting (AGM Date - 4Th August, 2018) SI
WOCKHARDT LIMITED - EQUITY DIVIDEND FOR THE YEAR 2012-2013 Details of unclaimed dividend amount as on date of Annual General Meeting (AGM Date - 4th August, 2018) SI. Name of Shareholders Address State Pin code Folio No. / DP ID Dividend Proposed Date no. Client ID No. Amount of Transfer to unclaimed IEPF in ( Rs.) 1 A D RAMYA 6/25 SUN SANDS APTS 4TH SEAWAR D TIRUVANMIYUR Tamil Nadu 600041 1207650000003316 50.00 07-Oct-2020 CHENNAI 2 A K GARG C/O M/S ANAND SWAROOP FATEHGANJ [MANDI] Uttar Pradesh 203001 W0000966 1500.00 07-Oct-2020 BULUNDSHAHAR 3 A M LAZAR ALAMIPALLY KANHANGAD Kerala 671315 W0029284 3000.00 07-Oct-2020 4 A M NARASIMMABHARATHI NO 140/3 BAZAAR STREET AMMIYARKUPPAM PALLIPET-TK Tamil Nadu 631301 1203320004114751 125.00 07-Oct-2020 THIRUVALLUR DT THIRUVALLUR 5 A MALLIKARJUNA RAO DOOR NO 1/1814 Y M PALLI KADAPA Andhra Pradesh 516004 IN30232410966260 250.00 07-Oct-2020 6 A RAJASEKHAR REDDY MIG NO 29 APHB COLONY KORRAPADU ROAD KADAPA DIST Andhra Pradesh 516360 1204470003205849 10.00 07-Oct-2020 PRODDATUR 7 A SATHISH KUMAR W 6, NORTH MAIN ROAD, ANNANAGAR WEST, CHENNAI Tamil Nadu 600101 1203500000082702 25.00 07-Oct-2020 8 A SELVAKUMARI W/O R AMARNATH 52 APPU ST SALEM Tamil Nadu 636002 W0033114 1000.00 07-Oct-2020 9 A SUNILA B 301 GULMOHAR CHS SECTOR 42 NERUL WEST NAVI Maharashtra 400070 IN30021411886342 50.00 07-Oct-2020 MUMBAI 10 A T MRANGARAMANUJAM ADVOCATE 3-6-369/A/10 STREET NO 1 HIMAYATNAGAR Andhra Pradesh 500029 W0013258 2000.00 07-Oct-2020 HYDERABAD 11 AARADHANA GUPTA H NO -1968, INDIRA NAGAR, ORAI Uttar Pradesh 285001 1205460000168915 -
Cpmg / Ka / Bg-Gpo/13/2003-2005
The Karnataka Value Added Tax Act, 2003 Act 32 of 2004 Keyword(s): Assessment, Business, Capital Goods, To Cultivate Personally, Dealer, Export, Goods Vehicle, Import, Input Tax, Maximum Retail Price, Output Tax, Place of Business, Published, Registered Dealer, Return, Sale, State Representative, Taxable Sale, Tax Invoice, Tax Period, Taxable Turnover, Total Turnover, Works Contract Amendments appended; 5 of 2009, 32 of 2013, 54 of 2013, 5 of 2015 DISCLAIMER: This document is being furnished to you for your information by PRS Legislative Research (PRS). The contents of this document have been obtained from sources PRS believes to be reliable. These contents have not been independently verified, and PRS makes no representation or warranty as to the accuracy, completeness or correctness. In some cases the Principal Act and/or Amendment Act may not be available. Principal Acts may or may not include subsequent amendments. For authoritative text, please contact the relevant state department concerned or refer to the latest government publication or the gazette notification. Any person using this material should take their own professional and legal advice before acting on any information contained in this document. PRS or any persons connected with it do not accept any liability arising from the use of this document. PRS or any persons connected with it shall not be in any way responsible for any loss, damage, or distress to any person on account of any action taken or not taken on the basis of this document. 301 KARNATAKA ACT NO. 32 OF 2004 THE KARNATAKA VALUE ADDED TAX ACT, 2003 Arrangement of Sections Sections: Chapter I Introduction 1. -
The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
Numbers in Bengali Language
NUMBERS IN BENGALI LANGUAGE A dissertation submitted to Assam University, Silchar in partial fulfilment of the requirement for the degree of Masters of Arts in Department of Linguistics. Roll - 011818 No - 2083100012 Registration No 03-120032252 DEPARTMENT OF LINGUISTICS SCHOOL OF LANGUAGE ASSAM UNIVERSITY SILCHAR 788011, INDIA YEAR OF SUBMISSION : 2020 CONTENTS Title Page no. Certificate 1 Declaration by the candidate 2 Acknowledgement 3 Chapter 1: INTRODUCTION 1.1.0 A rapid sketch on Assam 4 1.2.0 Etymology of “Assam” 4 Geographical Location 4-5 State symbols 5 Bengali language and scripts 5-6 Religion 6-9 Culture 9 Festival 9 Food havits 10 Dresses and Ornaments 10-12 Music and Instruments 12-14 Chapter 2: REVIEW OF LITERATURE 15-16 Chapter 3: OBJECTIVES AND METHODOLOGY Objectives 16 Methodology and Sources of Data 16 Chapter 4: NUMBERS 18-20 Chapter 5: CONCLUSION 21 BIBLIOGRAPHY 22 CERTIFICATE DEPARTMENT OF LINGUISTICS SCHOOL OF LANGUAGES ASSAM UNIVERSITY SILCHAR DATE: 15-05-2020 Certified that the dissertation/project entitled “Numbers in Bengali Language” submitted by Roll - 011818 No - 2083100012 Registration No 03-120032252 of 2018-2019 for Master degree in Linguistics in Assam University, Silchar. It is further certified that the candidate has complied with all the formalities as per the requirements of Assam University . I recommend that the dissertation may be placed before examiners for consideration of award of the degree of this university. 5.10.2020 (Asst. Professor Paramita Purkait) Name & Signature of the Supervisor Department of Linguistics Assam University, Silchar 1 DECLARATION I hereby Roll - 011818 No - 2083100012 Registration No – 03-120032252 hereby declare that the subject matter of the dissertation entitled ‘Numbers in Bengali language’ is the record of the work done by me. -
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
Assam - a Study on Bihugeet in Guwahati (GMA), Assam
International Journal of Science and Research (IJSR) ISSN: 2319-7064 Impact Factor (2018): 7.426 Female Participation in Folk Music of Assam - A Study on Bihugeet in Guwahati (GMA), Assam Palme Borthakur1, Bhaben Ch. Kalita2 1Department of Earth Science, University of Science and Technology, Meghalaya, India 2Professor, Department of Earth Science, University of Science and Technology, Meghalaya, India Abstract: Songs, instruments and dance- the collaboration of these three ingredients makes the music of any region or society. Folk music is one of the integral facet of culture which also poses all the essentials of music. The instruments used in folk music are divided into four halves-taat (string instruments), aanodha(instruments covered with membrane), Ghana (solid or the musical instruments which struck against one another) and sushir(wind instruments)(Sharma,1996). Out of these four, Ghana and sushirvadyas are being preferred to be played by female artists. Ghana vadyas include instruments like taal,junuka etc. and sushirvadyas include instruments that can be played by blowing air from the mouth like flute,gogona, hkhutuli etc. Women being the most essential part of the society are also involved in the process of shaping up the culture of a region. In the society of Assam since ancient times till date women plays a vital role in the folk music that is bihugeet. At times Assamese women in groups used to celebrate bihu in open spaces or within forest areas or under big trees where entry of men was totally prohibited and during this exclusive celebration the women used to play aforesaid instruments and sing bihu songs describing their life,youth and relation with the environment. -
Indian Dance Drama Tradition
Imperial Journal of Interdisciplinary Research (IJIR) Vol-3, Issue-4, 2017 (Special Issue), ISSN: 2454-1362, http://www.onlinejournal.in Proceedings of 5th International Conference on Recent Trends in Science Technology, Management and Society Indian Dance Drama Tradition Dr. Geetha B V Post-Doctoral research fellow, Women Studies Department, Kuvempu University, Shankarghatta, Shimoga. Abstract: In the cultures of the Indian subcontinent, for its large, elaborate make up and costumes. The drama and ritual have been integral parts of a elaborate costumes of Kathakalli become the most single whole from earliest recorded history. The recognized icon of Kerala. The themes of the first evidences of ritual dance drama performances Kathakali are religious in nature. The typically occur in the rock painting of Mirzapur, Bhimbetka, deal with the Mahabarat, the Ramayana and the and in other sites, which are various dated 20,000- ancient Scriptures known as the puranas. 5000 bce. The ancient remains of Mohenjo-Daro Kuchipudi dance drama traditions hails from and the Harappa (2500-2000 bce) are more Andhrapradesh. BhamaKalapam is the most definitive. Here archeological remains clearly popular Dance-Drama in Kuchipudi repertoire point to the prevalence of ritual performance ascribed to Siddhendra Yogi. The story revolves involving populace and patrons. The Mohenjo – round the quarrel between satyabhama and Daro seals, bronze fegurines, and images of priest Krishna. and broken torsos are all clear indications of dance In this paper I am dealing with Yakshagana dance as ritual. The aspects of vedic ritual tradition drama tradition. I would like to discuss this art closest to dance and drama was a rigorous system form’s present scenario. -
Onam Onam-Harvest Festival of Kerala • Onam Is the Biggest and the Most Important Festival of the State of Kerala, India
Onam Onam-Harvest Festival of Kerala • Onam is the biggest and the most important festival of the state of Kerala, India. • It is a harvest festival and is celebrated with joy and enthusiasm by Malayalis (Malayalam speaking people) all over the world. It celebrates rice harvest. • Onam is celebrated in the beginning of the month of Chingam, the first month of Malayalam Calendar (Kollavarsham), which in Gregorian Calendar corresponds to August-September. Chingam 1 is the New Year day for Malayali Hindus. • It celebrates the Vamana (fifth avatar of god Vishnu) avatar of Vishnu (principal deity of Hinduism). • It is celebrated to welcome King Mahabali, whose spirit is said to visit Kerala at the time of Onam. • The festival goes on for ten days. • Onam celebrations include Vallamkali (boat race), Pulikali (tiger dance), Pookkalam (floral carpet), Onathappan (worship), Vadamvali (Tug of War), Thumbi Thullal (women's dance), Kummattikali (mask dance), Onathallu (martial arts), Onavillu (music), Kazhchakkula (plantain offerings), Onapottan (costumes), Atthachamayam (folk songs and dance), and other celebrations. Vallamkali Pulikali Pookkalam Onathappan Vadamvali Thumbi Thullal Onathallu Kummattikali Onavillu Atthachamayam Onapottan Kazhchakkula Significance • King Mahabali was also known as Maveli and Onathappan. Mahabali was the great great grandson of a Brahmin sage named Kashyapa , the great grandson of demonic dictator Hiranyakashipu, and the grandson of Vishnu devotee Prahlada. Prahlada, was born to a demonic Asura father who hated Vishnu. Despite this, Prahlada rebelled against his father's ill-treatment of people and worshipped Vishnu. • Hiranyakashipu tried to kill his son Prahlada, but was slained by Vishnu in his Narasimha avatar, Prahlada was saved. -
Cultures of Instrument Making in Assam Upatyaka Dutta
Cultures of Instrument Making in Assam Upatyaka Dutta As Assam slowly recovers from the double whammy of COVID-19 pandemic and floods, I utilized every little opportunity to visit instrument makers living in the interior villages of Assam. My first visit was made to a Satra (Neo-vaishnavite monastery) by the name of Balipukhuri Satra on the outskirts of Tezpur (Sonitpur district), the cultural capital of Assam. There in the Satra, the family introduced me to three hundred years old folk instruments. A Sarinda, which is an archaic bowed string instrument, turns out to be one of their most prized possessions. Nobody in the family is an instrument maker, however, their ancestors had received the musical instruments from an Ahom king almost three hundred years back. The Sarinda remains in a dilapidated condition, with not much interest given to its restoration. Thus, the sole purpose that the instrument is serving is ornamentation. Fig 1: The remains of a Sarinda at Balipukhuri Satra The week after that was my visit to a village in Puranigudam, situated in Nagaon district of Assam. Two worshippers of Lord Shiva, Mr. Golap Bora and Mr. Prafulla Das, told tales of Assamese folk instruments they make and serenaded me with folk songs of Assam. Just before lunchtime, I visited Mr. Kaliram Bora and he helped me explore a range of Assamese instruments, the most interesting among which is the Kali. The Kali is a brass musical instrument. In addition to making instruments, Kaliram Bora is a well-known teacher of the Kali and has been working with the National Academy of Music, Dance and Drama’s Guru-shishya Parampara system of schools to imbibe education in Kali to select students of Assam. -
Music Under Graduation – 3 Year Programme
DRAFT TAMIL NADU STATE COUNCIL FOR HIGHER EDUCATION CHENNAI – 600 005. State Integrated Board of Studies Music Under Graduation – 3 Year Programme Tamilnadu State Council for Higher Education Index A Mandatory Areas I. Music Theory 1. Introduction to theory 2. Tamil Prosody and 3. Advanced Theory 4. History of Music II. Practical music 1. Foundation Exercises 2. Higher Level Musical Forms 3. Kirtanai-s 4. Advanced Musical Forms 5. Songs from Sangam and Bhakti Literature B Suggested Optional Areas 1. Subsidiary vocal / instrument 2. Music in Other Arts 3. Physics of Music 1 State Integrated Board of Studies – Music UG Mandatory Areas I. Music Theory 1. Introduction to Theory Greatness and Power of Music. Basic technical terms in music. Isai-Oli (Nada), Mandilam (Sthayi), Kovai (Svara), Kovai-nilai (Svarasthana), Alagu (Sruti), Inai, Kilai, Pagai, Natpu Names of Isai-kovai Distinctive features of South Indian Music. 72 mela scheme Classification of Raga-s - Pann (Sampurnam), Panniyam (Shadavam), Tiram (Audavam), Tirattiram (Svarantaram) Uriya- kovaippann(Upangam), Kalappu-Kovaipann(Bhashangam), Tara- irudippann (Nishadantya), Vilari-irudippann (Dhaivatantya), Ili- irudippann (Panchamantya) Kuraikkovaippann (Varja-raga-s) Pirazchikkovaippann (Vakra-raga-s) Pani (Tala), Technical terms – Mattirai (Matra), Ennikkai (Akshara), Ceykai (Kriya), Layam, Vattam (Avartha), Nadai (Gati), Eduppu (Graha), Seven Pani-s and Thirty-five Pani-s, Varieties of Saippu Pani, Aimmai alavu (Khanda-Capu), Ezumai alavu (Misra-Capu) Onpanmai-alavu (Sankirna-Capu), Desadi and Madhyadi tala-s Knowledge of the various Illakkanam-s underlying a Pann. Ilakkanam-s of the following Pann-s 1. Mohanam 2. Mayamalavagaula 3. Kalyani 4. Bilahari Method of writing Musical Notation. Nattupura Isai – Folk Music Nattupura Isai Karuvigal - Folk Instruments –Magudi, Ekthar, Tuntina, Nedunguzhal, Parai, Kombu, Tappu Palagai Classification of Musical Insturments 2 Tamilnadu State Council for Higher Education Knowledge of the construction and playing technique of 1. -
(Published in the Journal of Sangeet Natak Akademi, New Delhi, 133-134 (1999) Pages 16-24
(Published in the Journal of Sangeet Natak Akademi, New Delhi, 133-134 (1999) pages 16-24. ) Synthesizing Carnatic Music with a Computer M.Subramanian 1. Introduction. The term Computer Music is generally applied to producing music from notation or data, using a Computer Sound Card installed in a Computer or a Synthesizer. It thus implies that the music is synthesized or created artificially approximating as closely as possible the tones of musical instruments. Although the advent of multimedia (simultaneous use of text, pictures and sound on a computer) has led to publication of large number of CD Titles relating to music, these mostly have music recorded from a performer (though occasionally there may be some synthetic music in such titles) and are not considered as generating 'Computer Music'. Again artificial music produced using analog devices are not considered as Computer Music, the essential requirement being that the music is generated from digital data. This article describes the present situation in synthesizing Carnatic Music with the computer, the problems and possible solutions. 1.1. Western musicians and composers have been extensively using the computer in the field of music for the past decade or so. The synthesizer in the computer, similar to the synthesizer of electronic keyboard instruments can play simultaneously more than one 'voice' i.e. more than one instrument (melodic or percussion) playing its own notes. Computer Music greatly assists composers of Western Music with its emphasis on orchestration and harmony. A composer can immediately listen to his ideas without waiting for it to be played by an orchestra.