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cover next page > title: Indian Music and the West : Gerry Farrell author: Farrell, Gerry. publisher: Oxford University Press isbn10 | asin: 0198167172 print isbn13: 9780198167174 ebook isbn13: 9780585163727 language: English subject Music--India--History and criticism, Music--Indic influences, Civilization, Western--Indic influences, Ethnomusicology. publication date: 1999 lcc: ML338.F37 1999eb ddc: 780.954 subject: Music--India--History and criticism, Music--Indic influences, Civilization, Western--Indic influences, Ethnomusicology. cover next page > < previous page page_i next page > Page i Indian Music and the West < previous page page_i next page > < previous page page_ii next page > Page ii To Jane < previous page page_ii next page > < previous page page_iii next page > Page iii Indian Music and the West Gerry Farrell OXFORD UNIVERSITY PRESS < previous page page_iii next page > < previous page page_iv next page > Page iv OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford OX2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Gerry Farrell 1997 First published 1997 New as paperback edition 1999 The moral rights of the author have been asserted Database right Oxford University Press (maker) All rights reserved. -
Anxiety in William Shakespeare's Hamlet: A
CHAPTER I INTRODUCTION A. Background of the Study Mission is a task or strategy of person or organization to reach the goal. People have different dreams, hopes, desire, ambition, needs and the way to make their attendances to be useful and their missions come true. Every people have different mission in their life. They also have different problem that face in their life. It means that every person must have needs from the basic needs to the higher needs. They have to decide what needs must be fulfilled first so that they can reach their mission to fulfill their highest needs. In humanistic psychological approach, mission is focused on individual. Humanistic psychology was instead focused on each individual‟s potential and stressed the importance of growth and self-actualization. The fundamental belief of humanistic psychology was that people are innately good, with mental and social problems resulting from deviations from this natural tendency. For example, there is a person who wants to be the president. He wants his rules can be accepted by his people, so he must have some missions to reach the goal. One of the movies that are related to the humanistic psychology is My Name is Khan directed by Karan Johar. Karan Johar was born on 25 May 1972. He is an Indian film director, producer, and TV celebrity. He is the son of Hiroo Johar and the late Yash Johar. He is one of the most successful young filmmakers 1 2 in Bollywood. Dharma production is Johar's production company. Johar made his directorial debut with Kuch Kuch Hota Hai in 1998. -
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Gr8ambitionz Team
Quick Reference Guide for IBPS Clerks CWE III Powered by www.Gr8AmbitionZ.com your A to Z competitive exam guide CURRENT AFFAIRS QUICK REFERENCE GUIDE FOR IBPS CLERKS III ONLINE EXAM www.Gr8AmbitionZ.com Important Points you should know about Public Sector Banks RBI (Reserve Bank of India) : o The Reserve Bank of India (RBI) is India's central banking institution, which controls the monetary policy of the Indian rupee. It was established on 1st April 1935 during the British Raj in accordance with the provisions of the Reserve Bank of India Act, 1934 o Governor : Raghuram Rajan o Headquarters : Mumbai State Bank of India o It the largest banking and financial services company in India by assets. The bank traces its ancestry to British India, through the Imperial Bank of India, to the founding in 1806 of the Bank of Calcutta, making it the oldest commercial bank in the Indian Subcontinent. Bank of Madras merged into the other two presidency banks Bank of Calcutta and Bank of Bombay to form the Imperial Bank of India, which in turn became the State Bank of India. Government of India nationalized the Imperial Bank of India in 1956, with Reserve Bank of India taking a 60% stake, and renamed it the State Bank of India. In 2008, the government took over the stake held by the Reserve Bank of India. o CMD : Smt. Arundathi Bhattacharya o Headquarters : Mumbai o Associate Banks : SBI has five associate banks; all use the State Bank of India logo, which is a blue circle, and all use the "State Bank of" name, followed by the regional headquarters' name: . -
Criteria - Iii
CRITERIA - III RESEARCH, CONSULTANCY AND EXTENSION RESEARCH, CONSULTANCY AND EXTENSION 3.1 Promotion of Research 3.1.1 Does the institution have recognized research centers of the affiliating University or any other agency/ organization? The institution does not have a research centre of the affiliating university or any other agency/organization. 3.1.2 Does the institution have a research committee to monitor and address the issues of research? If so, what is its composition? Mention a few recommendations made by the committee for the implementation and their impact. Research cell addresses the concerns related to faculty research and makes suitable recommendations It consists of Principal as the Chairperson, Vice Principals of all faculties, coordinators of the post graduate departments, librarian, and other senior staff members having research experience. The activities of the cell are as follows: Organizing seminars and workshops Motivating teaching staff to take up research activity like writing research or review papers, etc. Orienting staff members towards making good research proposals. Table 3.1: Recommendations made by Research Cell Recommendations Impact Frame guidelines for Faculty has become aware about the concessions time concessions available, which has enabled them to schedule their activities accordingly. Conduct workshop Three minor, one major and one post-doctoral on writing research research proposals are submitted to UGC. Out of proposals which two minor and one major research projects have been approved. Arrange workshop in Awareness created regarding applications of SPSS SPSS package in statistical analysis. Apply for ISSN for We received ISSN 2278-4268 in the year 2012- Research Journal 2013 and subsequently ‘Research Imprints’ is and also to make it being published as a refereed multidisciplinary refereed research journal, Create a corpus of ` 25 lakhs for An amount of ` 6 lakhs have been collected as supporting research donation so far. -
Dynamics of Melodic Discourse in Indian Music: Budhaditya Mukherjee’S Ālāp in Rāg Pūriyā-Kalyān
Dynamics of melodic discourse in Indian music: Budhaditya Mukherjee’s ālāp in rāg Pūriyā-Kalyān Richard Widdess 1. Introduction This chapter presents an analysis of a performance of ālāp, with reference to the compositional principles that it demonstrates. Following a long succession of ethnomusicological and musicological studies, including Nettl (1974), Lortat-Jacob (1987), Nettl and Russell (1998), Treitler (1974, 2003), Nooshin (2003) and many other contributions, it is clear that compositional principles are no less important in music that is unwritten and “improvised” than in music that is written and “composed”; and that indeed, one can no longer speak of “improvisation” and “composition” in any oppositional sense. It also seems clear that the importance of compositional principles in unwritten music, such as ālāp, is related both to the performer’s need to recall memorised material and invent new material that is grammatical, and at the same time to the listener’s need to engage with, comprehend, and be stimulated by an auditory experience that, for him, happens in real time, whether a written score exists or not, and whether he is listening to a live performance or a recording. In this essay I will consider primarily the listener’s perspective; how far the cognitive processes involved in performing and listening to ālāp are equivalent remains an open question, but that they are closely related seems likely. 1.1. Ālāp and rāga The Sanskrit word ālāpa signifies speaking to, addressing, hence speech, conversation, or communication (Monier-Williams 1899: 153); it overlaps in meaning with the English word discourse. Ālāp in Indian classical music is a process rather than a genre, but it typically occurs in the form of a non-metrical “improvised” prelude, often quite extended, preceding a composed metrical piece. -
Filmography Dilip Kumar – the Substance and the Shadow
DILIP KUMAR: THE SUBSTANCE AND THE SHADOW Filmography Year Film Heroine Music Director 1944 Jwar Bhata Mridula Anil Biswas 1945 Pratima Swarnlata Arun Kumar 1946 Milan Meera Mishra Anil Biswas 1947 Jugnu Noor Jehan Feroz Nizami 1948 Anokha Pyar Nargis Anil Biswas 1948 Ghar Ki Izzat Mumtaz Shanti Gobindram 1948 Mela Nargis Naushad 1948 Nadiya Ke Par Kamini Kaushal C Ramchandra 1948 Shaheed Kamini Kaushal Ghulam Haider 1949 Andaz Nargis Naushad 1949 Shabnam Kamini Kaushal S D Burman 1950 Arzoo Kamini Kaushal Anil Biswas 1950 Babul Nargis Naushad 1950 Jogan Nargis Bulo C Rani 1951 Deedar Nargis Naushad 1951 Hulchul Nargis Mohd. Shafi and Sajjad Hussain 1951 Tarana Madhubala Anil Biswas 1952 Aan Nimmi and Nadira Naushad 1952 Daag Usha Kiran and Nimmi Shankar Jaikishan 1952 Sangdil Madhubala Sajjad Hussain 1953 Footpath Meena Kumari Khayyam 1953 Shikast Nalini Jaywant Shankar Jaikishan 1954 Amar Madhubala Naushad 1955 Azaad Meena Kumari C Ramchandra 1955 Insaniyat Bina Rai C Ramchandra 1955 Uran Khatola Nimmi Naushad 1955 Devdas Suchitra Sen, Vyjayanti S D Burman Mala 1957 Naya Daur Vyjayantimala O P Nayyar 1957 Musafir Usha Kiran, Suchitra Salil Chaudhury Sen 1 DILIP KUMAR: THE SUBSTANCE AND THE SHADOW 1958 Madhumati Vyjayantimala Salil Chaudhury 1958 Uahudi Meena Kumari Shankar Jaikishan 1959 Paigam Vyjayantimala, B Saroja C Ramchandra Devi 1960 Kohinoor Meena Kumari Naushad 1960 Mughal-e-Azam Madhubala Naushad 1960 Kala Bazaar (Guest Appearance) 1961 Gunga Jumna Vyjayantimala Naushad 1964 Leader Vyjayantimala Naushad 1966 Dil Diya Dara Liya -
Lions Film Awards 01/01/1993 at Gd Birla Sabhagarh
1ST YEAR - LIONS FILM AWARDS 01/01/1993 AT G. D. BIRLA SABHAGARH LIST OF AWARDEES FILM BEST ACTOR TAPAS PAUL for RUPBAN BEST ACTRESS DEBASREE ROY for PREM BEST RISING ACTOR ABHISEKH CHATTERJEE for PURUSOTAM BEST RISING ACTRESS CHUMKI CHOUDHARY for ABHAGINI BEST FILM INDRAJIT BEST DIRECTOR BABLU SAMADDAR for ABHAGINI BEST UPCOMING DIRECTOR PRASENJIT for PURUSOTAM BEST MUSIC DIRECTOR MRINAL BANERJEE for CHETNA BEST PLAYBACK SINGER USHA UTHUP BEST PLAYBACK SINGER AMIT KUMAR BEST FILM NEWSPAPER CINE ADVANCE BEST P.R.O. NITA SARKAR for BAHADUR BEST PUBLICATION SUCHITRA FILM DIRECTORY SPECIAL AWARD FOR BEST FILM PREM TELEVISION BEST SERIAL NAGAR PARAY RUP NAGAR BEST DIRECTOR RAJA SEN for SUBARNALATA BEST ACTOR BHASKAR BANERJEE for STEPPING OUT BEST ACTRESS RUPA GANGULI for MUKTA BANDHA BEST NEWS READER RITA KAYRAL STAGE BEST ACTOR SOUMITRA CHATTERHEE for GHATAK BIDAI BEST ACTRESS APARNA SEN for BHALO KHARAB MAYE BEST DIRECTOR USHA GANGULI for COURT MARSHALL BEST DRAMA BECHARE JIJA JI BEST DANCER MAMATA SHANKER 2ND YEAR - LIONS FILM AWARDS 24/12/1993 AT G. D. BIRLA SABHAGARH LIST OF AWARDEES FILM BEST ACTOR CHIRANJEET for GHAR SANSAR BEST ACTRESS INDRANI HALDER for TAPASHYA BEST RISING ACTOR SANKAR CHAKRABORTY for ANUBHAV BEST RISING ACTRESS SOMA SREE for SONAM RAJA BEST SUPPORTING ACTRESS RITUPARNA SENGUPTA for SHWET PATHARER THALA BEST FILM AGANTUK OF SATYAJIT ROY BEST DIRECTOR PRABHAT ROY for SHWET PATHARER THALA BEST MUSIC DIRECTOR BABUL BOSE for MON MANE NA BEST PLAYBACK SINGER INDRANI SEN for SHWET PATHARER THALA BEST PLAYBACK SINGER SAIKAT MITRA for MISTI MADHUR BEST CINEMA NEWSPAPER SCREEN BEST FILM CRITIC CHANDI MUKHERJEE for AAJKAAL BEST P.R.O. -
Magazine1-4 Final.Qxd (Page 3)
SUNDAY, MARCH 19, 2017 (PAGE 4) MOVIE-REVIEW HERITAGE Royals and Ruins Not much about Machine Aruditya Jasrotia Eberhard Fischer have written a book “Nainsukh of A concerted effort to preserve our heritage is a Guler: A Great Indian Painter from a Small Hill-State”. MACHINE is essentially a love story (written which mars the film in a big way. The film’s screenplay This book glorifies the importance and magnificence of by Sanjeev Kaul) which happens amidst the does not offer anything new and lands up following the vital link to our cultural legacies and it literally the Nainsukh painting style. same path which had been adopted by many films till date. At this time hardly anyone goes to see the beautiful greed for money and mysterious circum- makes us who we are. People tend to believe The weak script also lands up making the film all style and that to be modern you have to disengage from fort which is holding a number of beautiful artworks on stances. The film starts off in picturesque no substance. There’s no denying the fact that the film’s its walls. The condition of the fort is pitiful and brings the North India, with the introduction of the writing could have been notches higher. The film’s dia- your heritage, but it’s not true. feeling of hollowness to the visitors. The walls are falling logues besides being devoid of one liners, are very average one by one, roofs have collapsed, vegetation has taken extremely helpful Saira Thapar (Kiara One of the important heritages of Jammu which is and fail to leave an impression. -
Université De Montréal /7 //F Ç /1 L7iq/5-( Dancing Heroines: Sexual Respectability in the Hindi Cinema Ofthe 1990S Par Tania
/7 //f Ç /1 l7Iq/5-( Université de Montréal Dancing Heroines: Sexual Respectability in the Hindi Cinema ofthe 1990s par Tania Ahmad Département d’anthropologie Faculté des arts et sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de M.Sc. en programme de la maîtrise août 2003 © Tania Ahrnad 2003 n q Université (1111 de Montréal Direction des bibliothèques AVIS L’auteur a autorisé l’Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y a aucun contenu manquant. NOTICE The author of this thesis or dissertation has granted a nonexclusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes. The author and co-authors if applicable retain copyright ownership and moral rights in this document. -
Türkġye Cumhurġyetġ Ankara Ünġversġtesġ Sosyal Bġlġmler Enstġtüsü Doğu Dġllerġ Ve Edebġyatlari Anabġlġmdali
TÜRKĠYE CUMHURĠYETĠ ANKARA ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ DOĞU DĠLLERĠ VE EDEBĠYATLARI ANABĠLĠMDALI HĠNDOLOJĠ BĠLĠM DALI HĠNT SĠNEMASININ EDEBĠ KAYNAKLARI: KATHĀSARĠTSĀGARA ÖRNEĞĠ Yüksek Lisans Tezi Hatice Ġlay Karaoğlu ANKARA-2019 TÜRKĠYE CUMHURĠYETĠ ANKARA ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ DOĞU DĠLLERĠ VE EDEBĠYATLARI ANABĠLĠMDALI HĠNDOLOJĠ BĠLĠM DALI HĠNT SĠNEMASININ EDEBĠ KAYNAKLARI: KATHĀSARĠTSĀGARA ÖRNEĞĠ Yüksek Lisans Tezi Hazırlayan Hatice Ġlay Karaoğlu Tez DanıĢmanı Prof. Dr. Korhan Kaya ANKARA-2019 TÜRKĠYE CUMHURĠYETĠ ANKARA ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ DOĞU DĠLLERĠ VE EDEBĠYATLARI ANABĠLĠMDALI HĠNDOLOJĠ BĠLĠM DALI HĠNT SĠNEMASININ EDEBĠ KAYNAKLARI: KATHĀSARĠTSĀGARA ÖRNEĞĠ Yüksek Lisans Tezi Tez DanıĢmanı: Prof. Dr. Korhan Kaya Tez Jüri Üyerileri: Adı Soyadı Ġmzası ………………………… ..…………………………. …………………………. …………………………… …………………………. …………………………… …………………………. ……………………………. …………………………. ……………………………. Tez Sınav Tarihi………………… TÜRKĠYE CUMHURĠYETĠ ANKARA ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ MÜDÜRLÜĞÜNE Bu belge ile bu tezdeki bütün bilgilerin akademik kurallara ve etik davranıĢ ilkelerine uygun olarak toplanıp sunulduğunu beyan ederim. Bu kural ve ilkelerin gereği olarak, çalıĢmada bana ait olmayan tüm veri, düĢünce ve sonuçları andığımı ve kaynağını gösterdiğimi ayrıca beyan ederim. (24/06/2019) Tezi Hazırlayan Öğrencinin Adı ve Soyadı Hatice Ġlay Karaoğlu Ġmzası ÖNSÖZ Bir sinema filmi, yazılı bir eserin konusundan yararlanabildiği gibi konunun eserdeki sunumundan da yararlanabilmektedir. Burada bahsi geçen sunum, hikâyenin -
Watch Taarak Mehta Ka Ooltah Chashmah Latest Episodes
Watch taarak mehta ka ooltah chashmah latest episodes Continue 2008 Indian comedy TV series Taarak Mehta Ka Ooltah ChashmahGenreSitcomLuonutAsit Kumarr ModiBased onDuniya Ne Ooltha Chashmah by Taarak MehtaDirected by Abhishek Sharma Dheeraj Palshetkar Harshad Joshi Malav Suresh Rajda StarringDilip JoshiDisha VakaniShailesh LodhaAmit BhattNarrated byShailesh LodhaOpening themeTaarak Mehta Ka Ooltah ChashmahComposer(s)Sunil PatniMaa originIndiaOriginal language(s)HindiNo. seasons1Ei. episodes3021ProductionProducer(s) Asit Kumarr Modi Neela Asit Modi Camera setupMulti-cameraRunning timeapprox. 20 minutesProduction company(s)Neela Tele FilmsDistributorNeela Tele Films[1]ReleaseOriginal networkSAB TVPicture format 576i HDTV 1080i Original release28 Jul 2008 (2008-07-07-2008-07-07-2008 228) – presentExternal linksTarak Mehta Ka Ooltah ChashmahNeela Telefilms Taarak Mehta Ka Ooltah Chashmah (transl. Taarak Mehta's Inverted Spectacles) is an Indian Television Comedy in Hindi, India; based on Taarak Mehta's weekly column called Duniya Ne Undha Chasma in Chitralekha. One of India's longest-running television shows, it is produced by Neela Tele Films. [2] It premiered on 28 November 2005. Summary The series takes place at the Gokuldham Co- operative Housing Society, an apartment complex in Powder Gal, Goregaon East, Mumbai (also known as Mini India) and centers around members of the Gokuldahm Society. The Gada family consists of successful businessman Jethalal Champaklal Gada, his father Champaklali, wife Daya Gada and their naughty son Tipendra Tapu Gada, the leader of his circle of friends named Tapu Sena. Fed up hearing regular complaints from members of society about the threat his son created, Jethalal decides to call his father Champaklal to keep an eye on Tapua, but the opposite happens, and he joins hands with Tanu.