APPENDIX – 3 (R) UNIVERSITY of MADRAS MASTER of MUSIC (M.MUS.) (CHOICE BASED CREDIT SYSTEM) REVISED REGULATION (W.E.F 2012-2013) 1
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The Music Academy, Madras 115-E, Mowbray’S Road
Tyagaraja Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXIX 1968 Parts MV srri erarfa i “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada l ” EDITBD BY V. RAGHAVAN, M.A., p h .d . 1968 THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. iI i & ADVERTISEMENT CHARGES ►j COVER PAGES: Full Page Half Page Back (outside) Rs. 25 Rs. 13 Front (inside) 20 11 Back (Do.) „ 30 „ 16 INSIDE PAGES: 1st page (after cover) „ 18 „ io Other pages (each) „ 15 „ 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. e iX NOTICE All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal Of the Music Academy, Madras-14. « Articles on subjects of music and dance are accepted for mblication on the understanding that they are contributed solely o the Journal of the Music Academy. All manuscripts should be legibly written or preferably type written (double spaced—on one side of the paper only) and should >e signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan Editor. Pages. -
Syllabus for Post Graduate Programme in Music
1 Appendix to U.O.No.Acad/C1/13058/2020, dated 10.12.2020 KANNUR UNIVERSITY SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: MA MUSIC DEPARTMENT OF MUSIC KANNUR UNIVERSITY SWAMI ANANDA THEERTHA CAMPUS EDAT PO, PAYYANUR PIN: 670327 2 SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: M A (MUSIC) ABOUT THE DEPARTMENT. The Department of Music, Kannur University was established in 2002. Department offers MA Music programme and PhD. So far 17 batches of students have passed out from this Department. This Department is the only institution offering PG programme in Music in Malabar area of Kerala. The Department is functioning at Swami Ananda Theertha Campus, Kannur University, Edat, Payyanur. The Department has a well-equipped library with more than 1800 books and subscription to over 10 Journals on Music. We have gooddigital collection of recordings of well-known musicians. The Department also possesses variety of musical instruments such as Tambura, Veena, Violin, Mridangam, Key board, Harmonium etc. The Department is active in the research of various facets of music. So far 7 scholars have been awarded Ph D and two Ph D thesis are under evaluation. Department of Music conducts Seminars, Lecture programmes and Music concerts. Department of Music has conducted seminars and workshops in collaboration with Indira Gandhi National Centre for the Arts-New Delhi, All India Radio, Zonal Cultural Centre under the Ministry of Culture, Government of India, and Folklore Academy, Kannur. -
1 ; Mahatma Gandhi University B. A. Music Programme(Vocal
1 ; MAHATMA GANDHI UNIVERSITY B. A. MUSIC PROGRAMME(VOCAL) COURSE DETAILS Sem Course Title Hrs/ Cred Exam Hrs. Total Week it Practical 30 mts Credit Theory 3 hrs. Common Course – 1 5 4 3 Common Course – 2 4 3 3 I Common Course – 3 4 4 3 20 Core Course – 1 (Practical) 7 4 30 mts 1st Complementary – 1 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 1 (Theory) 2 2 3 Common Course – 4 5 4 3 Common Course – 5 4 3 3 II Common Course – 6 4 4 3 20 Core Course – 2 (Practical) 7 4 30 mts 1st Complementary – 2 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 2 (Theory) 2 2 3 Common Course – 7 5 4 3 Common Course – 8 5 4 3 III Core Course – 3 (Theory) 3 4 3 19 Core Course – 4 (Practical) 7 3 30 mts 1st Complementary – 3 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 3 (Theory) 2 2 3 Common Course – 9 5 4 3 Common Course – 10 5 4 3 IV Core Course – 5 (Theory) 3 4 3 19 Core Course – 6 (Practical) 7 3 30 mts 1st Complementary – 4 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 4 (Theory) 2 2 3 Core Course – 7 (Theory) 4 4 3 Core Course – 8 (Practical) 6 4 30 mts V Core Course – 9 (Practical) 5 4 30 mts 21 Core Course – 10 (Practical) 5 4 30 mts Open Course – 1 (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 1 2 1 Core Course – 11 (Theory) 4 4 3 Core Course – 12 (Practical) 6 4 30 mts VI Core Course – 13 (Practical) 5 4 30 mts 21 Core Course – 14 (Practical) 5 4 30 mts Elective (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 2 2 1 Total 150 120 120 Core & Complementary 104 hrs 82 credits Common Course 46 hrs 38 credits Practical examination will be conducted at the end of each semester 2 MAHATMA GANDHI UNIVERSITY B. -
Carnatic Music (Melodic Instrumental) (Code No
(B) CARNATIC MUSIC (MELODIC INSTRUMENTAL) (CODE NO. 032) CLASS–XI: (THEORY)(2019-20) One theory paper Total Marks: 100 2 Hours Marks : 30 Theory: A. History and Theory of Indian Music 1. (a) An outline knowledge of the following Lakshana Grandhas Silappadikaram, Natyasastra, Sangita Ratnakara and Chaturdandi Prakasika. (b) Short life sketch and contributions of the following:- Veena Dhanammal, flute Saraba Sastry, Rajamanikkam Pillai, Tirukkodi Kaval Krishna lyer (violin) Rajaratnam Pillai (Nagasvaram), Thyagaraja, Syamasastry, Muthuswamy Deekshitar, Veena Seshanna. (c) Brief study of the musical forms: Geetam and its varieties; Varnam – Padavarnam – Daruvarna Svarajati, Kriti/Kirtana and Padam 2. Definition and explanation of the following terms: Nada, Sruti, Svara, Vadi, Vivadi:, Samvadi, Anuvadi, Amsa & Nyasa, Jaati, Raga, Tala, Jati, Yati, Suladisapta talas, Nadai, Arohana, Avarohana. 3. Candidates should be able to write in notation the Varnam in the prescribed ragas. 4. Lakshanas of the ragas prescribed. 5. Talas Prescribed: Adi, Roopaka, Misra Chapu and Khanda Chapu. A brief study of Suladi Saptatalas. 6. A brief introduction to Manodhama Sangitam CLASS–XI (PRACTICAL) One Practical Paper Marks: 70 B. Practical Activities 1. Ragas Prescribed: Mayamalavagowla, Sankarabharana, Kharaharapriya, Kalyani, Kambhoji, Madhyamavati, Arabhi, Pantuvarali Kedaragaula, Vasanta, Anandabharavi, Kanada, Dhanyasi. 2. Varnams (atleast three) in Aditala in two degree of speed. 3. Kriti/Kirtana in each of the prescribed ragas, covering the main Talas Adi, Rupakam and Chapu. 4. Brief alapana of the ragas prescribed. 5. Technique of playing niraval and kalpana svaras in Adi, and Rupaka talas in two degrees of speed. 6. The candidate should be able to produce all the gamakas pertaining to the chosen instrument. -
Evaluation of the Effects of Music Therapy Using Todi Raga of Hindustani Classical Music on Blood Pressure, Pulse Rate and Respiratory Rate of Healthy Elderly Men
Volume 64, Issue 1, 2020 Journal of Scientific Research Institute of Science, Banaras Hindu University, Varanasi, India. Evaluation of the Effects of Music Therapy Using Todi Raga of Hindustani Classical Music on Blood Pressure, Pulse Rate and Respiratory Rate of Healthy Elderly Men Samarpita Chatterjee (Mukherjee) 1, and Roan Mukherjee2* 1 Department of Hindustani Classical Music (Vocal), Sangit-Bhavana, Visva-Bharati (A Central University), Santiniketan, Birbhum-731235,West Bengal, India 2 Department of Human Physiology, Hazaribag College of Dental Sciences and Hospital, Demotand, Hazaribag 825301, Jharkhand, India. [email protected] Abstract Several studies have indicated that music therapy may affect I. INTRODUCTION cardiovascular health; in particular, it may bring positive changes Music may be regarded as the projection of ideas as well as in blood pressure levels and heart rate, thereby improving the emotions through significant sounds produced by an instrument, overall quality of life. Hence, to regulate blood pressure, music voices, or both by taking into consideration different elements of therapy may be regarded as a significant complementary and alternative medicine (CAM). The respiratory rate, if maintained melody, rhythm, and harmony. Music plays an important role in within the normal range, may promote good cardiac health. The everyone’s life. Music has the power to make one experience aim of the present study was to evaluate the changes in blood harmony, emotional ecstasy, spiritual uplifting, positive pressure, pulse rate and respiratory rate in healthy and disease-free behavioral changes, and absolute tranquility. The annoyance in males (age 50-60 years), at the completion of 30 days of music life may increase in lack of melody and harmony. -
Andhra University 1 Year Diploma in (Music) Syllabus
SCHOOL OF DISTANCE EDUCATIN – ANDHRA UNIVERSITY 1st YEAR DIPLOMA IN (MUSIC) SYLLABUS (BOS approved and modified syllabus to be implemented from the admitted Batch 2012-13) Theory 100 Marks Paper I : Technical aspects of South Indian Classical Music 1. Technical Terms: a) Nada b) Sruti c) Swaras d) Swarasthanas e) Sathayi 2. Tala System: Sapta Talas, 35 Talas, Tala Dasa Prans, Chapu Tala Varieties Desadi and Madhyadi Talas 3. Musical Forms and their Lakshnas: Gitam, Varnam, Kritis, Kirtana, Padam, Ragamalika, Jasti Swaram, Swarajati, Tillana and Javali. 4. Lakshanas and Sancharas of the following Ragas: A a) Todi, b) Mayamalavagoula, c) Bhairavi, d) Kambhoji, e) Sankarabharanam f) Kalyani, g) Kharaharapriya, h) Mohana, i) Madhyamavathi j) Bilahari B. a) Dhanyasi, b) Saveri e)Vasanta d) HIndola e) Ananda Bhairavi f) Mukhari g) Kanada h) Khamas i) Begada j) Poorikalyani Paper II : Theoretical Aspects of South Indian Classical Music 100 Marks 1. Raaga and raga Lakshanam: a) Definition and Classification of ragas. b) Study of 13 Lakshanas c) ragalapana Padhathi 2. Musical Instruments and their classification 3. Special study of Tambura, Veena, Violin, Flute, Nagaswaram and Mridangam. 4. Characteristics of a composer. 5. Short biographical sketches of the following: a) Jayadeva b) Annamayya, c) Purandhara Dasa d) Narayana Tirtha e) Ramadasa f) Kshetrayya. Practical (First year) 100 Marks Paper III (Practical I) Fundamentals of Classical Music 1. a. Saraliswaras 6 b. Janta swaras 8 c. Alankaras 7 2. Gitas - 7 (Two Pillari Gitas, Two Ghanaraga Gitas, one Dhruva and one Lakshana gitam) 3. One Swarapallavi and one Swarajati 4. Five Adi Tala Varnas. -
Dr. Padma Sugavanam AIR A-Graded Carnatic Musician – Vocalist
Dr. Padma Sugavanam AIR A-graded Carnatic Musician – Vocalist, Academic and Researcher New No 14, First floor, 3rd Avenue, Besant Nagar, Chennai – 600090 E-mail : [email protected]; Ph: +91-9949121122, 044-24910306 Experience and Credentials - Performance A-Grade artiste (AIR) specially double promoted (from B-grade, skipping B-high), since 2002 Most outstanding vocalist (junior) award from the Music Academy, Chennai in 2014, followed by promotion to the sub-senior category in 2015 Sought-after vocalist, gave 60 performances in 2016 across India, US, Canada, Singapore, Malaysia Performances in leading Sabhas (Music Academy, Krishna Gana Sabha, Parthasarathy Swami Sabha, Mylapore Fine Arts etc.) during December Margazhi music festival in Chennai Lecture-demonstrations at prestigious forums such as the Madras Music Academy, and the Ivy League institution, University of Pennsylvania (Philadelphia, USA) Six international concert tours, including an 18 concerts tour of USA and Canada (including the Cleveland Tyagaraja Aradhana), and a tour of Singapore and Malaysia, in 2016 “Pallavi Darbar” concert on advanced Pallavis (Dvinadai, Dviraga, Ettu-kalai, Chanda-taalam pallavis), with Gayathri Girish, Amritha Murali, Nisha Rajagopal, for Carnatica and Parthasarathy Swamy Sabha Performance in the Akashvani Sangeet Sammelan 2012 Regular performances in Nada Nirajanam of Sri Venkateswara Bhakti Channel (SVBC), Tirupati Performances in various TV channels such as Podhigai TV, Jaya TV, Pudu Yugam etc. Thematic programs and lecture-demonstrations such as Prahlada Bhakti Vijayam, Nauka Charitram, Sri Krishna Leela Tarangini, Raganubhava series (Carnatica Archival Centre) etc. Musical Tutelage Intensive training in gurukula style, from Sangita Kala Acharya Smt. Seetha Rajan from 1994 – 2014 Presently undergoing advanced training, under Sangita Kalanidhi Smt. -
June 2018 (Special Edition on Ganakaladhara Madurai Mani Iyer)
Lalitha Kala Tarangini Premier Quarterly Music Magazine from Sri Rama Lalitha Kala Mandira Volume 2018, Issue 2 June 2018 Sangeetha Kalarathna Titte Krishna Iyengar RR Keshavamurthy - The Lion of Karnataka DK Pattammal the Immortal legend Indian Music Experience (IME) Special Edition on Madurai Mani Iyer Raga Laya Prabha award felicitation Sri Rama Lalitha Kala Mandira awarded “Raaga Laya Prabha” on 13th May 2018 to Aditi B Prahalad (Vocal), BK Raghu (Violin) and Akshay Anand (Mridangam) who are the upcoming youngsters from Bangalore. This award is to commemorate the memory of the Founder-Director, Karnataka Kalashree GV Ranganayakamma, Vidushi GV Neela and her Sister, Founder-patron and Veena artiste Dr. GV Vijayalakshmi. The award carries a cash prize of Rs. Twenty Five Thousand and a citation. The award function was followed by a concert of Abhishek Raghuram (Vocal). B Vittal Rangan (Violin), NC Bharadwaj (Mridanga) and Guruprasanna (Kanjra) in presence of a capacity crowd. Left to Right Standing - Sri DR Srikantaiah - President, Akshay Anand, Sri GV Krishna Prasad - Hon. Secretary, Vidushi Neela Ramgopal,Vidwan Abhishek Raghuram, Aditi B Prahalad, BK Raghu June 2018 Titte Krishna Iyengar and RR Keshavamurthy. I am sure they will be an inspiration to the youngsters. Ganakaladhara Madurai Mani Iyer (MMI) shone like a jewel during the golden period of Karnatak music. He, Music world celebrated the centenary year of DK Pattam- along with GN Balasubramaniam (GN Sir) revolutionised mal a doyen in her own right on March 19, 2019. Vice karnatak music so much so that we talk about music in President of India, Shri M Venkaiah Naidu inaugurated the terms of before MMI, GN Sir and after MMI and GN Sir. -
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. -
Paper - Iii Music
SF,T 2016 PAPER - III MUSIC Signature ofthe Invigilator Question. Booklet No . ..........27001................4 .......... 1. OMR Sheet No .. ................................ .... Subject Code [;;] ROLL No. Time Allowed : 150 Minutes Max. Marks: 150 l No. of pages in this Booklet : 16 No. of Questions: 75 INSTRUCTIONS FOR CANDIDATES 1. Write your Roll No. and the OMR Sheet No. in the spaces provided on top oft his page. 2. Fill in the necessary information in the spaces provided on the OMR response sheet. 3. This booklet consists of seventy five (7 5) compulsory questions each carrying 2 marks. 4. Examine the question booklet carefully and tally the number ofpages /questions in the booklet with the information printed above. Do not accept a damaged or open booklet. Damaged or faulty boo !<Jet may be got replaced within the first 5 minutes. Afterwards, neither the Question Booklet will be replaced nor any extra エゥュセ@ given. 5. Each Question has four alternative responses marked (A), (B), (C) and (D) in the OMR sheet. You have to completely darken the circle indicating the most appropriate response against each item as in the illustration : 6. All entries in the OMR.response sheet are to be recorded in the original copy only. 7. Use only Blue/Black Ball point pen. l 8. Rough Work is to be done on the blank pages provided at the end of this booklet. 9. Ifyou write your Name, Roll Number, Phone Number or put any mark on any part of the OMR Sheet, except in the spaces allotted for the relevant entries, which may disclose your identity, or use abusive language or employ any other unfair means, you will render yourselfliable todisq ualification. -
51337-001: Tamil Nadu Industrial Connectivity Project
Resettlement Plan Document Stage: Draft January 2021 IND: Tamil Nadu Industrial Connectivity Project Kumbakonam to Mannargudi (SH 66) Prepared by Project Implementation Unit (PIU), Chennai Kanyakumari Industrial Corridor, Highways Department, Government of Tamil Nadu for the Asian Development Bank (ADB). CURRENCY EQUIVALENTS (as of 7 January 2021) Currency unit – Indian rupee/s (₹) ₹1.00 = $0. 01367 $1.00 = ₹73.1347 ABBREVIATIONS ADB – Asian Development Bank AH – Affected Household AP – Affected Person BPL – Below Poverty Line CKICP – Chennai Kanyakumari Industrial Corridor Project DC – District Collector DE – Divisional Engineer (Highways) DH – Displaced Household DP – Displaced Person DRO – District Revenue Officer (Competent Authority for Land Acquisition) GOI – Government of India GRC – Grievance Redressal Committee IAY – Indira Awaas Yojana LA – Land Acquisition LARRU – Land Acquisition, Rehabilitation and Resettlement Unit LARRIC – Land Acquisition Rehabilitation and Resettlement Implementation Consultant PD – Project Director PIU – Project implementation Unit PRoW – Proposed Right-of-Way RFCTLARR – The Right to Fair Compensation and Transparency in Land Acquisition, Rehabilitation and Resettlement Act, 2013 R&R – Rehabilitation and Resettlement RF – Resettlement Framework RSO – Resettlement Officer RoW – Right-of-Way RP – Resettlement Plan SC – Scheduled Caste SH – State Highway SPS – Safeguard Policy Statement SoR – Schedule of Rate ST – Scheduled Tribe NOTE (i) The fiscal year (FY) of the Government of India ends on 31 March. FY before a calendar year denotes the year in which the fiscal year ends, e.g., FY2021 ends on 31 March 2021. (ii) In this report, "$" refers to US dollars. This draft resettlement plan is a document of the borrower. The views expressed herein do not necessarily represent those of ADB's Board of Directors, Management, or staff, and may be preliminary in nature. -
RADHA KUMAR Department of History, Syracuse University
RADHA KUMAR Department of History, Syracuse University 145, Eggers Hall, 401 S Salina Street, #513 Syracuse, NY 13244 Syracuse, NY 13202 [email protected] 609-613-6572 Employment 2014-present Assistant Professor, Department of History, Syracuse University. Education 2008-2014 Ph.D., History (Jan. 2015), Princeton University. Dissertation: “Police Matters: Law and Everyday Life in Rural Madras, c.1900-1960.” Committee Members: Profs. Gyan Prakash (Advisor), Bhavani Raman, Anson Rabinbach, Sumathi Ramaswamy. M.A., History (2010), Princeton University. Fields: Modern South Asia, Urban History, Caste in India. 2003-2005 Post Graduate Diploma in Management, Indian Institute of Management Ahmedabad, India. 2001-2003 M.A., History (specialization in Modern India), Hindu College, Delhi University, India. 1998-2001 B.A., History, Stella Maris College, Madras University, India. Publications 2017 (forthcoming) “Seeing Like a Policeman: Everyday Violence in British India, c. 1900- 1950,” in Dwyer, Nettelbeck and Ryan eds Violence, Colonialism and Empire in the Modern World, Cambridge Imperial and Post-colonial Studies, Palgrave Macmillan. 2017 “Policing Everyday Life: The FIR in the Tamil Countryside, c. 1900-1950,” Indian Economic and Social History Review, 54, 3, pp. 1-27. 2015 Review of Power, Perversion and Panic: Eunuchs, Colonialism and Modernity in North India by Jessica Hinchy in Dissertation Reviews, Nov. 2, 2015. http://dissertationreviews.org/archives/12673 2011 “India’s Spectacular Criminals,” Awaaz: the voice of South Asia, Spring 2011, vol. 3, pp. 17-21. 2007 “Conditions in which Microfinance has emerged in certain Regions.” Co-authored with M.S. Sriram, Indian Institute of Management Ahmedabad. Economic and Political Weekly, Vol. 42 No.