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1
Ryu, Eunjoo. „The Study on the Identity of Contemporary Indian Film Music Portrayed by Lata Mangeshkar’s Singing: Focused on Analysis of Ornamentation Used in “Luka Chuppi”“. Korean Society of Human and Nature 3, Nr. 1 (30.06.2022): 139–56. http://dx.doi.org/10.54913/hn.2022.3.1.139.
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Lata Mangeshkar has a unrivaled position in numerous works and musical influence within the Indian film and music industry. Overseas researches that have studied her voice have been discussing femininity mainly in terms of slender tone and high-pitched tone. However, her unique tone technique that moves the compositional melody from left to right and up and down from her voice timbre itself and the vocal style that reproduces the melody based on above things which are distinctive feature in the style of Indian music that has been highly westernized. The purpose of this study is to analyze the musical ornamentation, gamaka, which is the key element that contemporary Indian music becomes more like western popular music. And I would like to point out this as an example and a countermeasure.
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Manuel, Peter. „The regional North Indian popular music industry in 2014: from cassette culture to cyberculture“. Popular Music 33, Nr. 3 (28.08.2014): 389–412. http://dx.doi.org/10.1017/s0261143014000592.
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AbstractThis article explores the current state of the regional vernacular popular music industry in North India, assessing the changes that have occurred since around 2000 with the advent of digital technologies, including DVD format, and especially the Internet, cellphones and ‘pen-drives’. It provides a cursory overview of the regional music scene as a whole, and then focuses, as a case study, on a particular genre, namely the languriya songs of the Braj region, south of Delhi. It discusses how commercial music production is adapting, or failing to adapt, to recent technological developments, and it notes the vigorous and persistent flowering of regional music scenes such as that in the Braj region.
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Kaur, Rupinder. „The Role of Private FM Radio Channels in Popularizing Indian Music“. ECS Transactions 107, Nr. 1 (24.04.2022): 10159–70. http://dx.doi.org/10.1149/10701.10159ecst.
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The radio industry has grown impressively as music is the backbone, which caters to 83 percent of the airtime. The present study assesses the intensity of preferring broadcasting music over content by private radio stations in Tricity and how it caught the youth imagination is examined. To keep the objectives in mind, the researcher analysed the data of aired music by two prominent private radio stations in the city. In the present paper, various genres of music, whether they are current or popular, old and latest, station royalty, and dependency on film music, have been analyzed. The study concluded that the majority of commercial radio’s schedule only hit numbers during prime time by keeping in mind their moving listeners. This study adds the peculiar finding that if a station does not make a playlist according to a listener’s preference, and then there is a constant risk of channel swapping by them.
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B., Killa,, und Upadhyay, A.K. „Business Models in the Music Streaming Industry: A Critical Review of Literature on the Role of Audio Advertising“. CARDIOMETRY, Nr. 24 (30.11.2022): 887–95. http://dx.doi.org/10.18137/cardiometry.2022.24.887895.
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This paper aims to explore advertising on music streaming platforms as an opportunity for brands to advertise in India by studying users’ attitudes towards advertisements while listening to music on these platforms. The paper is an outcome of reviewing several published journals and articles referring to music streaming services, their revenue models, and their impact on consumer listening behaviors. The paper presents an overview of the music industry’s evolution, the piracy issues involved, and revenue models of music streaming platforms; free streaming and paid/premium models. It discusses the music consumption behavior of users and the effect of audio advertising on the platform. Finally, the paper emphasizes the targeting and personalization of ads. The research only concentrates on the Indian consumer of music streaming platforms and is limited to advertising on India’s streaming platforms. The paper critically examines India’s potentially growing industry – the audio streaming industry, which has not been previously reviewed. It studies the users of music streaming platforms in India to conclude their listening patterns and behavior towards ads on the platform and further research.
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Kale, Appa M., Sunil S. Pimplikar und Shubham Nankar. „Development of Conceptual Sustainable Project Planning Model (SPPM) for Indian Roads“. Journal of Law and Sustainable Development 11, Nr. 8 (29.09.2023): e1446. http://dx.doi.org/10.55908/sdgs.v11i8.1446.
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Objective: This research aims to develop the conceptual sustainable project planning model for Indian roads using Sustainable Development Goals (SDGs) applicable to roads, Project Definition Rating Index (PDRI), Multi-Unit Selective Inventory Control- 3- Dimensional (MUSIC-3D) Approach, Project Evaluation and Review Technique (PERT), Three Point Cost Estimation & Life Cycle Cost Analysis (LCCA) for achieving Sustainability in Indian Roads.
Theorotical Framework: The study is based on international scientific studies, articles, and publications. Additionally, actual materials relevant to the study subject were utilized for a more thorough and objective presentation of the issue at hand.
Method: For development of Conceptual Sustainable Project Planning Model (SPPM) various research tools such as PDRI, MUSIC-3D, PERT & 3- Point Costing as well as LCCA were used incorporation of Sustainable Development Goals applicable to roads.
Results & Conclusion: The development of a sustainable project planning model (SPPM) using tools like the Construction Industry Institute's Project Definition Rating Index (PDRI), the Multi Unit Selective Inventory Control- 3-Dimensional (MUSIC-3D) analysis, the Life Cycle Cost Analysis (LCCA) by IS 13147 (Part-2):1984, PERT, and Three Point Cost Estimation using MSP can help Indian roads become more sustainable.
Originality/ Value: The sustainable project planning model can benefit the road infrastructure in several ways. By incorporating sustainable design principles, environmental assessment, and social impact assessment, the model ensures that construction projects are environmentally responsible and socially inclusive. This helps road infrastructure to minimize its negative impact on the environment and society. The model also emphasizes the importance of resource efficiency and waste reduction. By efficiently managing project resources, including materials, the model promotes sustainable procurement practices and minimizes harmful impacts on environment. This can lead to cost savings for the construction industry by reducing waste and optimizing resource utilization.
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Hughes, Stephen Putnam. „Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema“. Journal of Asian Studies 66, Nr. 1 (Februar 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.
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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Beaster-Jones, Jayson. „Re-tuning the past, selling the future: Tata-AIG and the Tree of Love“. Popular Music 30, Nr. 3 (21.09.2011): 351–70. http://dx.doi.org/10.1017/s0261143011000183.
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AbstractThis article explores the mobilisation of Indian popular music in the Tata-AIG life insurance company television advertisement ‘Tree of Love’ (2004). I address ways in which music representing different periods of Hindi film, along with visual representations of Indian material culture, have been integrated into an advertising narrative that alludes to India's technological and economic development. I suggest that a range of aural and visual signs subtly complement each other in creating a narrative that not only marks the passage of time, but reframes past social and economic debates into contemporary terms. I contextualise this advertisement – and the signs that it uses – within the field of the Indian insurance industry, as well as within the social-historical context of modern India. Then, utilising elements of Peircean semiotic theory, I closely analyse the aural representations of the passage of time and different eras of Indian musical culture. The analysis ties together the interactions of musical and non-musical signs with the cultural memories that the commercial is designed to evoke. Ultimately, I argue that musical meaning in this advertising context emerges from the complex interaction of these aural and visual signs, and produces memory as much as it reflects it.
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Sridhar, B., und R. Jaggi. „Content Consumption Patterns of Korean Pop Fans in India“. CARDIOMETRY, Nr. 25 (14.02.2023): 315–24. http://dx.doi.org/10.18137/cardiometry.2022.25.315324.
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Digitization and pop culture has come a long way. Making and taking experiences online has given new spectrums for fans to participate and integrate. The Hallyu wave, one of the recent flagbearers of the pop culture phenomenon, facilitating the global rise of K-pop, has brought in new lessons for the music industry. With cultural similarity and fascination that draws audiences to K-pop, the Korean music industry relies on a solid audience presence for fans to interact, consumer, and garner intimacy from them as a two-way exchange. India is one of the Asian countries that has caught on to this wave through rapid digitization, giving the country a strong base of consumers. Content consumption through videos and articles is one way that fans learn more about Korea’s music, culture, and people. The following paper examines the nature of content consumption amongst Indian K-pop fans based on three parameters, the quantity of consumption, the preference of platform, and the perceived intimacy, given between the fans and K-pop by these platforms.
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Qureshi, Regula Burckhardt. „His Master's Voice? Exploring Qawwali and ‘Gramophone Culture’ in South Asia“. Popular Music 18, Nr. 1 (Januar 1999): 63–98. http://dx.doi.org/10.1017/s0261143000008734.
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‘No modern communications medium is more intrusive in modern Indian life than recorded and electronically amplified sound’ (Babb 1995, p. 10). In South Asia, even the most exclusive student of unmediated music-making cannot avoid a mediated public soundscape that may well transmit the music being studied over loudspeakers, radios, televisions, and cassette players. This is certainly the case for qawwali, a musical genre which is firmly embedded in Sufi practice, but is also widely recorded and media-disseminated for as long as the life of the Indian record industry itself. Acknowledging this musical reality after years of live study has prompted me first to situate the study of recorded qawwali vis-à-vis my own scholarly conventions and vis-à-vis the pioneering work on sound recording done in the very region of my own study. The aim is to address the problematic of an ethnographic approach to recorded qawwali, and to present preliminary findings, including some culturally meaningful examples from the repertoire.
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Arya, Suchivrat, und Gunjan Sharma. „Generative AI Images and Indian Media Industry: An Overview of Opportunities and Challenges“. Journal of Communication and Management 2, Nr. 04 (18.12.2023): 271–74. http://dx.doi.org/10.58966/jcm2023249.
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Artificial Intelligence (AI) has gained initial momentum in the past few years. Another side of this is Generative AI, which is growing and has the capacity to transform journalism and media content. There are speculations about the consequences of AI from creating warfare to the making of movies. This article considers notable platforms like Shutterstock, providers of stock photographs, music and editing tools and secondly, DALL.E 2-Open AI, a generative AI platform of Chat GPT.The proposed research article aims to find out the effects of generative AI images in the media industry, the opportunities of AI generative visuals and the challenges faced by the industry due to the innovative technology. This article will also try to demonstrate the capacity and the limitations of generative AI content and reflect on the implications of generative AI for media education and journalism.
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DESAI-STEPHENS, ANAAR. „The Infrastructure of Engagement: Musical Aesthetics and the Rise of YouTube in India“. Twentieth-Century Music 19, Nr. 3 (Oktober 2022): 444–71. http://dx.doi.org/10.1017/s1478572222000299.
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AbstractThis article analyses the rise of YouTube in India between 2008 and 2018 by focusing on two central themes: first, shifts in digital infrastructure that enabled the widespread consumption of streaming media; and second, the importance of music-media aesthetics in supporting the platform's predominance. Drawing on ethnographic fieldwork and close readings of videos by significant early Indian YouTube performers, I trace how an ‘aesthetics of intimacy’ facilitated the practices of ‘engagement’ that drove YouTube's expansion and monetization. The article thus highlights the infrastructuralizing capacities of musical aesthetics as they have allowed YouTube to become the predominant online platform for the circulation of videos and attention in India and beyond. Ultimately, I suggest that scholars of digital music cultures must attend to the intertwining of aesthetics and infrastructure to gain insight into the corporate industry imaginaries that guide platform expansion in emerging digital markets.
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Sannapu, Suresh, Akshat Singh Parihar, Gaurav Kandwal und Karan Kakkar. „Importance of Web Based Tools for Promotion of Movies“. International Journal of Online Marketing 4, Nr. 2 (April 2014): 62–73. http://dx.doi.org/10.4018/ijom.2014040105.
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This paper gives a description of the empirical study investigating the impact of promotions using Web based tools by Indian Movie production houses. Evolution of movie promotion starting with use of traditional methods for the first movie to the near dependence on social media to promote the latest movies produced in India has been chronologically presented. Critical role of web based tools and their synchronization with other media tools in contemporary movie promotion has also been elaborated. As Indian film industry is witnessing impeccable advancements in areas like technology and marketing digitalization, this research shows the use of online tools for attracting consumers. The key research objective is to find out the ability of the production houses to attain maximum customer attraction through various online tools like Facebook, Twitter, Blogs and YouTube. Data has been collected both from primary and secondary sources. Regression analysis has been used to depict the relationship between likes, comments and shares with the number of campaigns. Given the huge contribution of movies to Indian economy, ever increasing competition in this industry and increasing popularity of Web based tools; this study aims to benefit multiple stakeholders including movie producers, individual investors and all other entities related to movie making business such as music companies, distributors, exhibitors and single screen owners.
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Agarwal, Satish, und Priyanka Bhagoliwal. „Mobile Phone Handsets Industry Greatly Influence the Teenagers: The Positive Aspects“. IRA-International Journal of Management & Social Sciences (ISSN 2455-2267) 4, Nr. 3 (28.09.2016): 556. http://dx.doi.org/10.21013/jmss.v4.n3.p5.
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<div><p><em>The mobile phone handset industry is growing at a fast pace in the world and is dominating the Indian market with Hi-Tech products and innovation. This industry offers products and services with advanced technology and innovation making it an important gadget for survival among the people. It is hard to imagine a life without mobile phones. The study describes the various features of mobile phone handsets which are valued by the teenagers so as to place and promote the products perfectly. The study found that teenagers frequently use mobile phones mainly for games, social networking, chatting on Whatsapp, listening to music, browsing the internet, and feels that mobile phone handset is a style statement and it exhibits their status, standard, esteem etc. </em><strong></strong></p></div>
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Ahmad, Rizwan, Abbas Rashid Butt und Khalid Rashid. „Structural Changes in Radio and Impacts on Music Listeners“. International Journal for Innovation Education and Research 10, Nr. 3 (22.02.2022): 1–21. http://dx.doi.org/10.31686/ijier.vol10.iss3.3641.
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The current study explores structural changes in radio and assesses their impact on music listeners in Pakistan utilizing the theoretical underpinnings of the political economy of communication. A mixed-method approach was used to answer research questions and evaluate hypotheses. A contextual analysis was utilized to evaluate the qualitative analysis after the interviews with 14 experts in the Pakistani radio industry were transcribed. Cross-tabulation with chi-square test, Independent Sample T-test, and AVOVA with Tukey tests were used to analyze survey responses from 200 respondents in order to determine the correlations between variables. The findings show that structural trends in the radio industry's deregulation and commercialization have curtailed access to a varied range of listeners in Pakistan. According to the research, deregulation, licensing fees, new license fees, and the restriction of Indian music, revenue generation, and licensing to nonprofit FM radio have all limited access to a diverse spectrum of radio music listeners in Pakistan. This trend also leads broadcast media in Pakistan to produce and disseminate more entertainment programming rather than information and education programs.
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Rao, Preeti, Hema A. Murthy und Ajay Srinivasamurthy. „Report on the 23rd International Society for Music Information Retrieval Conference (ISMIR 2022)“. ACM SIGIR Forum 57, Nr. 1 (Juni 2023): 1–15. http://dx.doi.org/10.1145/3636341.3636350.
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The annual International Society for Music Information Retrieval (ISMIR) conference is the world's leading research forum on processing, searching, organizing and accessing music-related data. The 23rd International Society for Music Information Retrieval Conference (ISMIR 2022) was held from 04--08 December, 2022 at the National Science Seminar Complex, Indian Institute of Science, Bengaluru, India. ISMIR 2022 is the first ever ISMIR conference to take place in India. Due to the changing global landscape as a result of the COVID-19 pandemic, the 23rd ISMIR conference became the first hybrid ISMIR conference, with both in-person and remote participants. The scientific program of the single-track conference comprised two keynotes, 113 research papers, six tutorials, 13 music pieces and five special sessions. The conference also included a Women in MIR (WiMIR) plenary session, industry presentations, a late-breaking/demo session, five satellite events, and multiple social events that showcased the rich musical and cultural heritage of India. In this report, we present a summary of the event, highlighting some unique challenges we faced organizing the hybrid conference and reflecting on the event for future improvements. Date: 04--08 December 2022. Website: https://ismir2022.ismir.net.
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Kartik, T. K., und M. Mishra. „Artists on Social Media: an Analysis of Personal Branding Strategies employed by Indian Independent Artists on Social Media Platforms“. CARDIOMETRY, Nr. 23 (20.08.2022): 509–18. http://dx.doi.org/10.18137/cardiometry.2022.23.509518.
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The main objective of this paper is to understand the different tactics and platforms used by independent artists successfully to promote themselves as a brand and garner attention to their music, building a fan base. The platforms include social media and other platforms and also understand the most favorable platform for promoting oneself as an artist. This paper also deals with the different strategies they use to promote themselves. The first part of the paper includes the evolution of the music industry, the rise of streaming services, and independent artists. The revenue models of famous streaming platforms and how much they earn through streaming. The second part deals with the definition of personal branding, the different subsections involved in branding, and the strategies in general used by independent music artists on different social media platforms. Organizations’ expenditure on online promotional activities is constantly and dynamically increasing in tandem with the increasing level of digital media consumption. Simultaneously, with increasing expenditures on digital promotion, it is clear that the effectiveness of activities carried out in the electronic space in its current form is decreasing. As a result, when promoting products and services has never been more difficult in the new market situation, organizations have begun to seek alternative methods of influencing consumers.
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Li, Xiying, und hyuntai Kim. „A Study on John Cage’s Eastern Philosophical Thought Appearing in His Music: Focusing on <4' 33">“. Korean Society of Culture and Convergence 45, Nr. 4 (30.04.2023): 709–19. http://dx.doi.org/10.33645/cnc.2023.04.45.04.709.
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In the context of the times to rebuild a better world after World War II, Eastern philosophy became the driving force for the Western world to seek new directions. John Cage was a leader in Western art after World War II, one of the most influential avant-garde composers in the United States in the 20th century. Composed under the influence of Eastern philosophy, <4' 33”> showed completely different characteristics from existing Western music in the structure and directing process, and brought innovation to the music industry through unprecedented bold attempts. This study is meaningful in examining how Eastern philosophical ideas such as Zen, Taoism, Indian philosophy, and <I Ching> in <4' 33”> influenced the creation of this work, and exploring the intrinsic meaning John Cage intends to express through the Eastern philosophical ideas reflected in the work.
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Chatterjee, Sebanti. „Performing Bollywood Broadway: Shillong Chamber Choir as Bollywood’s Other“. Society and Culture in South Asia 6, Nr. 2 (Juli 2020): 304–27. http://dx.doi.org/10.1177/2393861720923812.
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This article attempts to explore the performativity that surrounds choral music in contemporary India. 1 1 Choral music was discovered in Western civilization and Christianity. As a starting point, it had the Gregorian reforms of the 6th century. Choir primarily refers to a vocal ensemble practising sacred music inside church settings as opposed to chorus which indicates vocal ensembles performing in secular environments. Multiple singers rendered sacred polyphony 1430 onwards. By the end of the century a standardized four-part range of three octaves or more became a feature. The vocal parts were called superius (later, soprano), altus, tenor (from its function of ‘holding’ the cantus-firmus) and bassus (Unger 2010, 2–3). Moving beyond its religious functions, the Shillong Chamber Choir locates itself within various sounds. Hailing from Meghalaya in the north- eastern part of India, the Shillong Chamber Choir has many folksy and original compositions in languages such as Khasi, Nagamese, Assamese and Malayalam. However, what brought them national fame was the Bollywoodisation 2 2 Bollywood refers to the South Asian film industry situated in Mumbai. The term also includes its film music and scores. of the choir. With its win in the reality TV Show, India’s Got Talent 3 3 India’s Got Talent is a reality TV series on Colors television network founded by Sakib Zakir Ahmed, part of Global British Got Talent franchise. in 2010, the Shillong Chamber Choir introduced two things to the Indian sound-scape—reproducing and inhabiting the Bollywood sound within a choral structure, and introducing to the Indian audience a medley of songs that could be termed ‘popular’, but which ultimately acquired a more eclectic framework. Medley is explored as a genre. The purpose of this article is to understand how ‘Bollywood Broadway’ is the mode through which choral renditions and more mainstream forms of entertainment are coming together.
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SARRAZIN, NATALIE. „Celluloid love songs: musical modus operandi and the dramatic aesthetics of romantic Hindi film“. Popular Music 27, Nr. 3 (Oktober 2008): 393–411. http://dx.doi.org/10.1017/s0261143008102197.
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AbstractIn Hindi cinema, love songs comprise the vast majority in an industry in which almost every film contains song and dance numbers. Often incorrectly characterised as narrative interruptions, these celluloid creations contain indigenous aesthetics and self-identifying cultural values, and employ contemporary cinematic techniques which impact film song content and context. How do these cinematic techniques intensify the viewing experience and allow traditional aesthetic ideals to coexist with contemporary codes relevant to a burgeoning Indian middle class and diaspora?Beginning with an examination of traditional sources and contemporary values regarding music and emotion, I address the particularly important notion of displaying heart, often the centrepiece of thematic and dramatic tension as well as the love song soundtrack. As the primary emotional genre, I analyse the use of heart in romantic films and suggest a general typology of romantic film songs and their aesthetics, including commonly used musical motifs and codes.Finally, I compare musical, cinematic and narrative components of the Indian romantic genre with those aspects of the American film musical, particularly in relation to cultural values and ideological differences. The iconic use of a couple-centric narrative is examined in relation to Indian displays of emotion, and love song duets are contextualised through description of several pervasive cinematic techniques used to heighten the emotional impact of songs on the audience. I conclude with a focus on the relationship between the song sequence and the narrative structure, particularly how this serves to intensify the narrative flow rather than interrupt it.
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Arjun, R., und Shreekanth Jadhav. „Labour, industry and production in megalithic period (South Indian Iron Age): Nomadic, semi settled group or settled group?“ Acta Ethnographica Hungarica 59, Nr. 2 (Dezember 2014): 417–27. http://dx.doi.org/10.1556/aethn.59.2014.2.11.
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Kumar, Keval Joseph. „The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective“. tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, Nr. 1 (21.03.2014): 277–85. http://dx.doi.org/10.31269/triplec.v12i1.511.
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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.
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Kumar, Keval Joseph. „The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective“. tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, Nr. 1 (21.03.2014): 277–85. http://dx.doi.org/10.31269/vol12iss1pp277-285.
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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.
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Jana, Moon, und Rick Sarkar. „BTS And Its Musical Impact: A Study of Urban Youth of Metro Cities of India“. Journal of Communication and Management 2, Nr. 02 (26.06.2023): 88–94. http://dx.doi.org/10.58966/jcm2023222.
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The BTS phenomena is known to all and the impact that they have created over the last few years cannot be neglected. The goal of this research is to explain the story of BTS from the perspective of an urban teenager in India, as well as how BTS is influencing the Indian music industry. The study used online survey method and studied 125 young urban youth from five metro cities of India as a sample to analyse the musical impact of BTS among the urban youth of India and how it is helping them in dealing with their mental health. The music of BTS is truly special as it has affected the minds of millions of young people from all around the world. The research study's overall aim is that BTS is forming a new community of urban youth who are stronger, better, and more optimistic toward the world, and who are ready to accept change.
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Sharma, Anil, und Hiren Harsora. „A STUDY ON PREFERENCES OF CONSUMERS TOWARDS INTERNATIONAL OTT PLATFORMS AND SUSTAINABILITY STRATEGY IN INDIAN MARKET“. International Journal of Management, Public Policy and Research 2, SpecialIssue (29.01.2023): 32–40. http://dx.doi.org/10.55829/ijmpr.v2ispecialissue.114.
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There are several social benefits generated by digital platforms, including facilitating inclusion. Communication services have been critical in accelerating the inclusion of marginalized users into formal systems, particularly for financial, health, and education services that are enabled by OTT providers. Using OTT platforms places a significant strain on energy resources, services providing music and video streaming have a far lower carbon footprint than traditional physical formats.
Over The Top (OTT) industry is one of the fastest growing industries in the world. The usageofOTTplatformsinIndiahastremendouslyincreasedafterCOVID19.ThereasonsforthisismobilefriendlyandtheoriginalcontentthattheseOTTplatformsprovide.In India, big international players like Netflix entered and changed the entertainment industry making platform for more international as well as Indian OTT platforms. This study focuses on various international OTT platforms in India and their performance in Indian Market. The study attempts to identify current international OTT platform trends with reference to type of shows preferred by customers & investigate OTT platform success factors in India. The research concluded that majority of the people preferred Netflix, followed by Disney+ HotStar and Amazon Prime Video. The respondent’s shows liking towards OTT which focus more on Original Shows and Web Series which gets frequently updating list just like Netflix. It was also observed that Disney+ HotStaris more preferred as they of digital broadcasting partner for big cricket events like IPL and World Cup. The research concludes that localization of content, affordable pricing, high quality picture quality, strong distributorship partnership, good user experience and better after sales services are the major factor for success of international OTT in Indian Market.
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Joncheere, Ayla. „Intangible Inventions“. Archiv orientální 83, Nr. 1 (15.05.2015): 71–93. http://dx.doi.org/10.47979/aror.j.83.1.71-93.
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Despite the creation of the Kalbeliya (Kālbeliyā) dance form in the 1980s, it was recognized as a UNESCO intangible cultural heritage in 2010. Rajasthani “Gypsy” performances, featuring a dance designed by the nomadic Kalbeliya community, have quickly become popular among tourists in India as well as on Western world music stages. The state of Rajasthan, where the Kalbeliyas hail from, is celebrated as “India’s heritage state” by the Indian government as it seeks to promote tourism and the international dissemination of Indian culture through performances and festivals. In this paper, I sketch the history of the Kalbeliya dance form from its origins in the 1980s through to the UNESCO nomination in 2010. Moreover, I discuss the effects of its recognition as a world heritage dance tradition. The official approval of the Kalbeliya dance form as a heritage activity further highlights the challenges to UNESCO’s candidate selection process. This paper aims to explain the reasons for the nomination of the Kalbeliya dance form (how and why UNESCO was persuaded to recognize it as a suitable candidate) by connecting this to the continued processes of nationalism and romanticism, the economic strategies adopted by the cultural tourism industry and the commodification and commercialization of Indian folk arts.
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Dahiya, Rekha, und Gayatri. „Investigating Indian Car Buyers’ Decision to Use Digital Marketing Communication: An Empirical Application of Decomposed TPB“. Vision: The Journal of Business Perspective 21, Nr. 4 (10.11.2017): 385–96. http://dx.doi.org/10.1177/0972262917733175.
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Digital marketing communication has affected consumer behaviour across product categories like books, music, fashion accessories, clothing, banking, online gaming, and so on. However, the automobile industry, despite being one of the largest digital spenders in India for past many years, has faced a dearth of academic studies. The objective of the research is to investigate the Indian car buyers’ decision to use digital marketing communication while buying a car using Decomposed Theory of Planned Behaviour model (DTPB). Data was collected from 801 actual and potential car buyers from Delhi. Structural equation modelling was used to assess the overall fit and explanatory power of the model. The DTPB model successfully explained 63 per cent of the variation in usage intentions. Attitude, subjective norms and perceived behavioural control were found to be the significant determinants affecting usage intentions and actual usage of digital marketing communication.
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Hussain, Sharafat, und Mohammed Abdul Azeem. „Sensory Triggers to Drive Sales- Creating Competitive Advantage Through Multisensory Consumption Experience in Restaurants“. Restaurant Business 118, Nr. 11 (15.11.2019): 167–78. http://dx.doi.org/10.26643/rb.v118i11.9943.
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When foreign fast food restaurants enter the Indian market, their sensory marketing strategies change based on language, culture and taste preferences. Southern India is known for cultural diversity, different languages, spicy taste preferences and varied music; these components directly impact sensory strategies and consumer behaviour. The objective of this paper is to analyse the relationship between time spent in the restaurant and sensory strategies used, leading more consumption. The purpose of the study is to find out whether the sensory cues (colour, music, smell, touch and taste) have any significant role in having customers spend more time at the restaurant leading more consumption. Data was gathered from consumers of Four international fast-food chain restaurants (KFC, McDonald, Domino’s and Subway) across four cities (Mumbai, Chennai, Bangalore and Hyderabad) of India. Chi Square test rejected the null hypotheses; there was statistically significant evidence of an association between time spent in the restaurant leading to more consumption and sensory strategies (the colour used, music played and variety of cuisine offered). However, for scent and touch cues, the results were statically insignificant. This study result has important implications for the fast-food industry in understanding how to create and manage their sensory marketing strategies to attract people who love sitting and spending quality time at the restaurant which ultimately leads to more sales.
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Appadurai, Arjun. „The Ready-Made Pleasures of Déjà Vu: Repeat Viewing of Bollywood Films“. Cambridge Journal of Postcolonial Literary Inquiry 6, Nr. 1 (Januar 2019): 140–52. http://dx.doi.org/10.1017/pli.2018.38.
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This essay argues that the phenomenon of repeat viewing of films by Bollywood audiences is worthy of being treated as an unusual cultural practice in which repetition and difference support and reinforce each other in the manner suggested by Gilles Deleuze. This relationship is particularly enabled by the relationship of music to plot in these films, in which song sequences provide a repetitive or percussive element that deepens the melodic and innovative element provided by the story. Not all films are able to attract repeat viewers, which raises a question about the role of the “formula” in the Hindi film industry. Further, the pleasures of repetition in this domain offer a suggestive perspective on India’s larger political dilemma, which is to combine the repetition of Western modernity with the unique developmental signature of Indian culture.
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Williams, Gavin. „Shellac as Musical Plastic“. Journal of the American Musicological Society 74, Nr. 3 (2021): 463–500. http://dx.doi.org/10.1525/jams.2021.74.3.463.
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Abstract Shellac was essential to the gramophone industry throughout the first half of the twentieth century, yet the material has long kept a low profile. At once inaudible and urgently required, shellac was a plastic and colonial commodity with wide-ranging applications. Building on recent scholarship that explores its ecological imbrication, this article additionally presents a case for understanding it as a musical thing. First, it shows how lac—the resinous encrustation of the lac insect, and a South Asian technique for preserving things over time—became a global commodity, shellac, aiding the development of sound reproduction. Second, it investigates a scientific bureaucracy promoting the study of the lac insect, which emerged in Indian forests during the 1920s. Third, it tracks how musical demand intensified a system of migrant, indentured, and technical labor involved in processing lac into shellac. In reconstructing shellac’s economic and scientific networks, the article argues that the material was a multiplicity, which entailed both the entangled knowledge systems of its production and a decisive switch: from bodily techniques of production into those of mediated musical listening. Through a focus on shellac, it decenters North American narratives about the development of sound reproduction technology, showing how South Asian knowledge, labor, and environments were profoundly involved, even if they were only rarely acknowledged in mediated musical experiences. Indeed, in an age before synthetic hydrocarbon polymers, shellac fulfilled the role of musical plastic through its inconspicuousness: its capacity to hold and harmonize multiple disc ingredients, while disappearing into the background it supplied.
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WIMALARATANA, WIJITAPURE. „Promotion of Cultural Tourism in Sri Lanka with Special Reference to the North Central Province“. Journal of Asian Business and Economic Studies 217 (01.07.2013): 15–41. http://dx.doi.org/10.24311/jabes/2013.217.01.
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Sri Lanka is an island in the Indian Ocean located to the south of India and separated from Indian subcontinent by a small straight. The island has been one of the major tourist attractions since antiquity. End of the protracted civil war is a blessing for the recent surge of tourist arrival and the rapid expansion of tourism facilities on the island. Although small, the island is rich in religious and cultural diversity with an immense attraction to the tourist. Buddhism is the main religion of the overwhelming majority of people even though Hinduism, Christianity and Islam are practiced side by side by several followers. The rich cultural heritage rotating around the religious practices, tolerance and beliefs ranges from historical monuments and ancient cities through meditation, yoga, folk music and dances, festivities, ceremonies and rituals. Special sites with multi-religious attractions reflect the diversity and uniqueness of a rich culture. North Central province is rich in religious and cultural resources than any other province in Sri Lanka. Only a small fraction of these vast resources has been utilized by the tourism industry so far. The promotion of the religious and cultural tourism products in the province will open new avenues for tourists as well as many people of the province.
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Mehmood, Sohail. „PRIORITIES, CONCERNS AND EXPECTATIONS OF LOCAL YOUNG SPECTATORS REGARDING 21ST CENTURY FILM AND CINEMA.“ Advanced Humanities & Social Sciences 5 (2020): 5.8. http://dx.doi.org/10.21065/25205986.5.8.
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This paper investigates the impulses, motives and conditions that are positively associated and problems, hurdles and concerns that are the obstacles in the resurgence of 21st century Pakistani film industry. It also gauges the priorities and concerns of young moviegoers and compares with the priorities and concerns of our young generation of filmmakers. To achieve this end we employed both qualitative and quantitative research methodologies and came up with following results that Pakistan’s screen to film production ratio is one of the best in the world. It is vehemently in search of its distinctive identity and plays, sometimes immaturely, with different genres are evidence to it. We see a visible drift from conventional Indo Pak Masala genre to social drama, physical reality, war movies and Wuxia. Production facilities of Pakistani film industry have been significantly improved and in terms of equipment Pakistani film industry is no more far behind Bollywood and Hollywood as it used to be even in the times of Khuda Kay Leay (KKL). Different production processes are gradually becoming worthier; cinematography, sound design and post production effects have been admired whereas viewers are critical about the standard of music, choreography, production budget, code switching, acting, script writing and screen playwright. Researchers found that most of the filmmakers complain about dearth and substandard script and screen play. Moreover, film viewers also complain about lack of originality in the script. Young filmmakers also complain about the dearth of trained human resources, who may use the modern equipment to its optimum level of output. Young viewers more or less face a paradox, they claim that they aspire to see their local culture and local social issues in Pakistani movies, they yearn to see local culture in Pakistani movies but when they are exposed to the choice to select either Pakistani film or Indian, they choose Indian movie hoping to get better entertainment value in terms of visual pleasure; a fact that requires separate in depth research about the psychology of young Pakistani film spectatorship.
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Tahir, Azwar. „In response to crisis: the use of songs to respond to multiple crises in Yusuf Islam (Cat Stevens)' post-conversion lyrical compositions“. International Journal of Humanities and Innovation (IJHI) 5, Nr. 3 (30.09.2022): 90–96. http://dx.doi.org/10.33750/ijhi.v5i3.156.
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Yusuf Islam, also known as Cat Stevens, is a well-known singer and songwriter. He had decided to avoid the music industry for many years. He focused more on humanitarian activism as well as building educational institutions in London. In 2006, through the release of the album entitled "An Other Cup", Stevens marked his return to popular music with a strong intention to carry his Islamic vision. Furthermore, he connected his humanitarian activism with his lyrical compositions. The artist has shown very intense participation in crises that happened across countries. In dealing with these crises, the use of a single seemed very rational since such crises need a fast response and a single song is easier to compose than an album. The result of those circumstances is Stevens' releasing several songs in response to multiple crises across different countries. He released "The Little Ones" to voice the misery of the genocide in Bosnia. Similarly, Islam released "Indian Ocean" for the victims of the tsunami in Indonesia, "My People" to support people's freedom regarding political turmoil in the Arab world, such as Egypt and Tunisia, and "He Was Alone" to show sympathy for children's refugees at the Syrian-Turkish border. These responses were all released in his post-conversion phase. This essay argues that Islam, also known as has used his post-conversion lyrics, particularly his singles, to help voice the misery of the victims of multiple crises.
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Brauer-Benke, József. „Afrikai beszélő dobok“. Afrika Tanulmányok / Hungarian Journal of African Studies 14, Nr. 1-2. (24.06.2020): 85–98. http://dx.doi.org/10.15170/at.2020.14.1-2.5.
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An overview of the available historical data regarding the so-called “talking drums” leads to the general conclusion that their most prominent shared feature is their original use for communication. On the grounds of the migrations of various ethnic groups and the comparison of the different types of drums, a likely explanation for the distribution over West Africa of these drums must be sought in the phenomenon of the so-called stimulus diffusion, and the basic idea behind such instruments must originate in the region north of the Sahara; it is also possible that the origin of such instruments can be traced back to an Indian drum type. A comparison of the relevant data with the slitdrums, which also serve for communicative purposes, allows one to conclude that the membranophonic talking drums of West Africa mimicked the sounds of spoken language, while the idiophonic slitdrums of East and Central Africa must have originally been used for a concept-based coding of messages. It is the interaction of the two systems of communication that must have led to the diffusion of drum languages imitating the spoken languages among the ethnic groups using slitdrums. Unlike slitdrums, the various types of talking drums have proven quite resilient. Their survival is due to the tendency of the authentic musical traditions of the West African region to be transformed into popular music styles and thereby perpetuate themselves not only within the region but also at musical events and the music industry of the West, where they find an appreciative audience. Having lost their communicative function and acquired a new role as musical accompaniment, they survive in their natural environment as well as in the role of exotic instruments at various world music festivals.
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Dandekar, Dr Niteen Vasant. „The Semiotics of the Visuals, Songs, Dances and Music: Analysing Aesthetics of Indian Cinema with Reference to 3 Idiots, An Adaptation of Chetan Bhagat’s Fiction Five Point Someone“. Psychology and Education Journal 58, Nr. 2 (10.02.2021): 5579–90. http://dx.doi.org/10.17762/pae.v58i2.2977.
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The present paper is in the form of a humble attempt, on the part of the researcher, to explore the possibility of analyzing the Aesthetics of Bollywood Cinema by looking at the selected film adaptation with Semiotic perspective. After defining the terms ‘Semiotics’, and ‘Mise-en-Scene Analysis’, he aims at deciphering Aesthetics of Indian Cinema. Here the terms ‘visual design’, ‘signs and codes’, ‘symbols’, ‘metaphors’, ‘discourse-words and phrases’ and other compositional elements in the film are discussed elaborately. Great care has been taken, here, to avoid the film jargon. He refers to the established conventions as socio-cultural norms prevalent in the film industry in India. This is followed by the in-depth analysis of the selected film. Here the researcher takes into consideration the use of images, video intake of the song, the linguistic connotations of the song, melody element, the get up of the character, dresses and costumes, musical scores, and their linkage with the narration in the film
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Khan, Shahab Yar. „Shakespeare i Orijent / Shakespeare and the Orient“. Context: Journal of Interdisciplinary Studies 3, Nr. 2 (21.03.2022): 77–83. http://dx.doi.org/10.55425/23036966.2016.3.2.77.
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The history of drama in Asia is as old as the history of the world itself. In India however, according to the popular belief, the tradition of drama dates back to the prehistoric times. Due to this unique approach towards drama, that makes it a valuable divine gift for humanity, the esoteric significance of this art form has never seen decline in the cultural history of India. Drama, thus, acquires in Indian context a religious significance and represents as an art form the union of the celestial and the terrestrial. Drama (in Sanskrit Natak), in the Indian Subcontinent, has distinctive characteristic features. Essentially, as reflection of human existence, it is a combination of all the known art forms and, therefore, becomes the deepest expression of the human soul. The rise of Islamic culture and civilization in the twelfth and thirteenth centuries contributed to the amalgamation of the two great civilizations. The impact of the Muslim culture in transforming the classical features of Indian music, architecture, science, literature, etc. can by no means be undermined. By the end of the sixteenth century, the century of liberal humanism and coincidently the era of the rise of the Mughal Empire, the theatrical art had gained enormous significance in India. There is enough evidence to believe that Shakespeare’s plays were first performed in India during the reign of the Mughals (1526-1857). Later, the newly emerging colonial power, the English, in its first stronghold in India, Calcutta, established alongside other bureaucratic, political and educational institutions, the Garrison Theater. The earliest performances at this theater date back to 1770s and the first ever documented English play on the Indian soil happens to be Shakespeare’s Othello. Shakespeare’s unique dramatic structure smoothly found its place of prominence in the cultural life of India, offering new dimensions to the already existing rich local tradition and at the same time enriching its own dramatic expression. Today, all the major educational institutions of the Subcontinent cherish the tradition of mounting on stage the annual performances of Shakespeare’s plays and the cinematographic tradition has incorporated his works into its popular tradition from the very beginning of the history of the film industry in India.
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Akhil Bali und Deepak Thakur. „The Effect of Revamping of Punjabi Culture on Punjab Tourism“. International Journal for Multidimensional Research Perspectives 2, Nr. 4 (21.04.2024): 91–96. http://dx.doi.org/10.61877/ijmrp.v2i4.136.
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Effect of Revamping of Punjabi culture on Tourism represents the effect of different cultures in Punjab.The culture is called as the background of every living being. Punjabis are known as soft hearted people who live their lives with great enthusiasm and who celebrates every festival and event with utmost zest. The current research paper presents the survey on satisfaction level of Punjabi youth on the Modernization of traditional Punjabi culture, it will also identify the area of its effect whether it is positive or in negative way in Indian tourism industry. The lesser the youth will satisfy the more will be the need to eliminate modernization from culture. This entitled research paper also represents the effect of western culture on Punjabi culture. Punjabi culture is one of the oldest in the world history. People of Punjab are very warm hearted and are also famous for their hospitality. They take active part in happiness and grieve of everyone and pay special attention to their culture, norms and live their lives according to their set of traditions. This paper will give detailed information about revamping of various cultures of Punjab like folk dances, folk music, rituals, costumes, places, cuisines and religion in Punjabi region. It will help to find out the exposure of Tourism in Punjab. This title clearly justifies the westernization of Punjabi culture.
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Kumalasari, N. R., Sunardi, Lilis Khotijah und Luki Abdullah. „Evaluasi Potensi Produksi dan Kualitas Tumbuhan Penutup Tanah sebagai Hijauan Pakan di Bawah Naungan Perkebunan di Jawa Barat“. Jurnal Ilmu Nutrisi dan Teknologi Pakan 18, Nr. 1 (30.04.2020): 7–10. http://dx.doi.org/10.29244/jintp.18.1.7-10.
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Cover crop diversity under plantation area has potency to supply forage for animal farming. The research aim was to evaluate cover crop vegetation and to estimate plant production and quality under plantation at West Java. This research was conducted from May 2018 to April 2019 at public and private company around Bogor, Banten, Kuningan and Garut. In each area, there were selected 10 plots for plant identification with sample size was 50 cm x 50 cm. Biomass production and nutrient quality was sampled through 3 plots with sample size was 100 cm x 100 cm, forage was harvested and weighed then analyzed by proximate analysis. Diversity and biomass production were analyzed by R 3.6.2 software through Analysis of Variance(ANOVA) based on environment differences, then the significant results analyzed by LSD Test. The results showed that the highest biomass was sampled in Bogor i.e. 359 g m‑2 ±164.08 g m‑2 fresh weight and 71.22 g m‑2 ±45.91 g m-2 dry weight. Cover crop diversity varied around two to 32 species with percentage of area cover around 10-90%. Potential plants as forage were Panicum repens (lempuyangan), Paspalum conjugatum (jukut pahit) and Asystasia gangetica (ara sungsang). Dry matter content of composite forage was 18.3%-31.6%, crude protein was 4.57%-10.8%, crude fiber was 21.3%-25.7% and ashreached 11.2%-15.9%. It can be concluded that cover crop under plantation have potency to supply forage, especially in Bogor, however concentrate addition is needed to fulfil nutrient animal requirement due to the low quality forage.
Key words: biomass, cover drop, diversity, nutrient, plantation
DAFTAR PUSTAKA
Adriadi A, Chairul & Solfiyeni. 2012. Analisis vegetasi gulma pada perkebunan kelapa sawit (Elais quineensis Jacq.) di Kilangan, Muaro Bulian, Batang Hari. Jurnal Biologi Universitas Andalas. 1(2): 108-115
Adigun OS, Okeke EN, Makinde OJ & Umunna MO. 2014. Effect of replacing wheat offal with Asystasia gangetica Leaf Meal (ALM) on growth performance and haematological parameters of weaner rabbits. Greener Journal of Agricultural Sciences. 4 (1): 009-014
Alviyani. 2013. Analisis potensi dan pemanfaatan hijauan pakan pada peternakan domba rakyat Desa Randobawa Ilir, Kecamatan Mandirancan, Kabupaten Kuningan, Jawa Barat. [Skripsi]. Bogor (ID): Institut Pertanian Bogor
Asbur Y, Yahya S, Murtilaksono K, Sudradjat & Sutarta ES. 2015. Study of Asystasia gangetica (L.) Anderson utilization as cover crop under mature oil palm with different ages. International Journal of Sciences: Basic and Applied Research. 19 (2): 137-148
Darmijati S & Syarifuddin AK. 2002. Pengaruh musim tanam terhadap hasil kacang tanah di tipe agroklimat B dan C. Jurnal Agromet. 16 (1-2): 37-48
Daru TP, Yulianti A & Widodo E. 2014. Potensi hijauan di perkebunan kelapa sawit sebagai pakan sapi potong di Kabupaten Kutai Kartanegara. Pastura. 3: 94-98.
Hamdan MA. 2012. Potensi hijauan lokal pesisir pantai bagi ternak ruminansia di Desa Mangunlegi Kecamatan Batangan Kabupaten Pati [Tesis]. Bogor (ID): Institut Pertanian Bogor
Herilimiansyah, Kumalasari NR & Abdullah L. 2019. Evaluasi sistem budidaya tanaman Asystasia gangetica T. Anderson yang ditanam dengan jarak berbeda di bawah naungan kelapa sawit. Jurnal Ilmu Nutrisi dan Teknologi Pakan. 17(1): 6-10.
Jiju V, Gorantla M & Chamundeeswari D. 2013. Evaluation of anthelmintic activity of methanolic extract of Asystasia gangeticum. International Journal of Pharmacyand Life Science. 4 (6): 2727-2730
Mildaerizanti. 2014. Integrasi sapi sawit dan potensinya dalam mendukung pertanian berkelanjutan di Muaro Jambi. Palembang (ID): Prosiding Seminar Nasional. Badan Litbang Pertanian.
Naidu VSGR. 2012. Handbook on Weed Identification. Directorate of Weed Science Research. Jabalpur (IN): Indian Council of Agricultural Research.
[NRC] National Research Council. 2000. Nutrient Requirements of Beef Cattle. Seventh Revised Edition: Update 2000. Washington (US): The National Academies Press
Norlindawati AP, Haryani H, Sabariah B, Noor MI, Samijah A, Supie MJ & Edham ZW. 2019. Chemical composition of weeds as potential forage in integrated farming. Malaysian Journal of Veterinary Research. 10 (2): 19–24
Prasetyo H & Zaman S. 2016. Pengendalian gulma perkebunan kelapa sawit (Elaeis guineensis Jacq.) di Perkebunan Padang Halaban, Sumatera Utara. Buletin Agrohorti. 4 (1): 87-93
Ramdani D, Abdullah L & Kumalasari NR. 2017. Analisis potensi hijauan lokal pada sistem integrasi sawit dengan ternak ruminansia di Kecamatan Mandau Kabupaten Bengkalis Provinsi Riau. Buletin Makanan Ternak. 104 (1): 1-8
Sari HFM & Rahayu SSB. 2013. Jenis-Jenis gulma yang ditemukan di perkebunan karet (Hevea brasiliensis Roxb.) Desa Rimbo Datar Kabupaten 50 Kota Sumatera Barat. Jurnal Ilmiah Biologi: BIOGENESIS. 1(1): 28-32
Setiawan E. 2009. Kajian hubungan unsur iklim terhadap produktivitas cabe jamu (Piper retrofractum Vahl) di Kabupaten Sumenep. AGROVIGOR: Jurnal Agroekoteknologi. 2(1): 1-7
Sisriyeni D & Soetopo D. 2005. Potensi, peluang dan tantangan pengembangan integrasi sapi-sawit di Provinsi Riau. Pekanbaru (ID): Lokakarya Pengembangan Sistem Integrasi Kelapa Sawit-Sapi. Balai Pengkajian Teknologi Pertanian Riau.
Syahputra E, Sarbino & Dian S. 2011. Weeds assessment di perkebunan kelapa sawit lahan gambut. Jurnal Perkebunan & Lahan Tropika. 1: 37-42
Tilloo SK, Pande VB, RasalaTM, & Kale VV. 2012. Asystasia gangetica: Review on multipotential application. International Research Journal of Pharmacy. 3 (4): 18-20
Utomo BN & Widjaja E. 2012. Pengembangan sapi potong berbasis industri perkebunan kelapa sawit. Jurnal Penelitian dan Pengembangan Pertanian. 31 (4) : 153-161
Wiyono DB, Affandhy L, Rasyid A. 2003. Integrasi Ternak dengan Perkebunan Kelapa Sawit. Bogor (ID): Prosiding Lokakarya Nasional Sistem Integrasi Kelapa Sawit-Sapi. Pusat Penelitian dan Pengembangan Peternakan
Wigati S, Maksudi & Wiyanto E. 2016. The use of rubber leaves (Hevea brasiliensis) as forage in supporting the development of goats. Bogor (ID): Proceeding of International Seminar on Livestock Production and Veterinary Technology. Pusat Penelitian dan Pengembangan Pertanian
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Kumalasari, N. R., Sunardi, Lilis Khotijah und Luki Abdullah. „Evaluasi Potensi Produksi dan Kualitas Tumbuhan Penutup Tanah sebagai Hijauan Pakan di Bawah Naungan Perkebunan di Jawa Barat“. Jurnal Ilmu Nutrisi dan Teknologi Pakan 18, Nr. 1 (05.07.2020): 7–10. http://dx.doi.org/10.29244/jintp.v18i1.30283.
Der volle Inhalt der QuelleAnnotation:
Cover crop diversity under plantation area has potency to supply forage for animal farming. The research aim was to evaluate cover crop vegetation and to estimate plant production and quality under plantation at West Java. This research was conducted from May 2018 to April 2019 at public and private company around Bogor, Banten, Kuningan and Garut. In each area, there were selected 10 plots for plant identification with sample size was 50 cm x 50 cm. Biomass production and nutrient quality was sampled through 3 plots with sample size was 100 cm x 100 cm, forage was harvested and weighed then analyzed by proximate analysis. Diversity and biomass production were analyzed by R 3.6.2 software through Analysis of Variance(ANOVA) based on environment differences, then the significant results analyzed by LSD Test. The results showed that the highest biomass was sampled in Bogor i.e. 359 g m‑2 ±164.08 g m‑2 fresh weight and 71.22 g m‑2 ±45.91 g m-2 dry weight. Cover crop diversity varied around two to 32 species with percentage of area cover around 10-90%. Potential plants as forage were Panicum repens (lempuyangan), Paspalum conjugatum (jukut pahit) and Asystasia gangetica (ara sungsang). Dry matter content of composite forage was 18.3%-31.6%, crude protein was 4.57%-10.8%, crude fiber was 21.3%-25.7% and ashreached 11.2%-15.9%. It can be concluded that cover crop under plantation have potency to supply forage, especially in Bogor, however concentrate addition is needed to fulfil nutrient animal requirement due to the low quality forage.
Key words: biomass, cover drop, diversity, nutrient, plantation
DAFTAR PUSTAKA
Adriadi A, Chairul & Solfiyeni. 2012. Analisis vegetasi gulma pada perkebunan kelapa sawit (Elais quineensis Jacq.) di Kilangan, Muaro Bulian, Batang Hari. Jurnal Biologi Universitas Andalas. 1(2): 108-115
Adigun OS, Okeke EN, Makinde OJ & Umunna MO. 2014. Effect of replacing wheat offal with Asystasia gangetica Leaf Meal (ALM) on growth performance and haematological parameters of weaner rabbits. Greener Journal of Agricultural Sciences. 4 (1): 009-014
Alviyani. 2013. Analisis potensi dan pemanfaatan hijauan pakan pada peternakan domba rakyat Desa Randobawa Ilir, Kecamatan Mandirancan, Kabupaten Kuningan, Jawa Barat. [Skripsi]. Bogor (ID): Institut Pertanian Bogor
Asbur Y, Yahya S, Murtilaksono K, Sudradjat & Sutarta ES. 2015. Study of Asystasia gangetica (L.) Anderson utilization as cover crop under mature oil palm with different ages. International Journal of Sciences: Basic and Applied Research. 19 (2): 137-148
Darmijati S & Syarifuddin AK. 2002. Pengaruh musim tanam terhadap hasil kacang tanah di tipe agroklimat B dan C. Jurnal Agromet. 16 (1-2): 37-48
Daru TP, Yulianti A & Widodo E. 2014. Potensi hijauan di perkebunan kelapa sawit sebagai pakan sapi potong di Kabupaten Kutai Kartanegara. Pastura. 3: 94-98.
Hamdan MA. 2012. Potensi hijauan lokal pesisir pantai bagi ternak ruminansia di Desa Mangunlegi Kecamatan Batangan Kabupaten Pati [Tesis]. Bogor (ID): Institut Pertanian Bogor
Herilimiansyah, Kumalasari NR & Abdullah L. 2019. Evaluasi sistem budidaya tanaman Asystasia gangetica T. Anderson yang ditanam dengan jarak berbeda di bawah naungan kelapa sawit. Jurnal Ilmu Nutrisi dan Teknologi Pakan. 17(1): 6-10.
Jiju V, Gorantla M & Chamundeeswari D. 2013. Evaluation of anthelmintic activity of methanolic extract of Asystasia gangeticum. International Journal of Pharmacyand Life Science. 4 (6): 2727-2730
Mildaerizanti. 2014. Integrasi sapi sawit dan potensinya dalam mendukung pertanian berkelanjutan di Muaro Jambi. Palembang (ID): Prosiding Seminar Nasional. Badan Litbang Pertanian.
Naidu VSGR. 2012. Handbook on Weed Identification. Directorate of Weed Science Research. Jabalpur (IN): Indian Council of Agricultural Research.
[NRC] National Research Council. 2000. Nutrient Requirements of Beef Cattle. Seventh Revised Edition: Update 2000. Washington (US): The National Academies Press
Norlindawati AP, Haryani H, Sabariah B, Noor MI, Samijah A, Supie MJ & Edham ZW. 2019. Chemical composition of weeds as potential forage in integrated farming. Malaysian Journal of Veterinary Research. 10 (2): 19–24
Prasetyo H & Zaman S. 2016. Pengendalian gulma perkebunan kelapa sawit (Elaeis guineensis Jacq.) di Perkebunan Padang Halaban, Sumatera Utara. Buletin Agrohorti. 4 (1): 87-93
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-, Nestor Norris. „An Analysis of the Dwindling Seriousness in Perceiving and Listening to Bollywood Music: from Blockbuster to Lackluster“. International Journal For Multidisciplinary Research 6, Nr. 1 (27.01.2024). http://dx.doi.org/10.36948/ijfmr.2024.v06i01.12524.
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Music in Indian era ranging from 70s to 90s previously was perceived as a medium that united our diversified Indian society using Bollywood as ‘projected motion pictures medium established in a commercial theatrical setting’, however with passing ages, the art form has not been credited enough in influencing and mending habitual realities as an equipollent democratic medium of social interaction, recreation, and evolution. While India and Indians have respected and celebrated all genres of music since ages dating back from being musical maestro gems in the Mughal durbars to making music from movies as Mother India (1957) ever-perennial milestones in Indian music industry. The spread of music in between the 20 and 21 centuries shared a parallel realm of pragmatism altering the seriousness with which music was created and listened to in the past and the concerning western music streaming influence that it is consumed in currently.
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-, Aishani M. Nanda. „The Commercialisation and Commodification of Bollywood Music“. International Journal For Multidisciplinary Research 6, Nr. 2 (18.03.2024). http://dx.doi.org/10.36948/ijfmr.2024.v06i02.14562.
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This study explores the evolution of Bollywood music. Shifts in consumer preferences and consequently commercialisation, the cultural impact of this shift and its larged commodification of Indian elements for mass consumption. The study analyses the changes in song structure and composition in Bollywood which is owed to westernisation of the film industry as well as consumer preferences. It also takes into account the origin of classical Indian compositions while providing context for general changes in Indian classical music over time- which is what Bollywood music stems from. Furthermore, it examines the commodification of songs due to the dilution of the industry and digitisation making music production easily accessible. It also explains the commercialisation of Bollywood music as a reaction- a response to consumer preferences as compared to an independent evolution caused by digitisation.
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Shrivastava, Madhusri. „Music for the Migrant’s Soul: Blending the Traditional with the Topical…“. Networking Knowledge: Journal of the MeCCSA Postgraduate Network 8, Nr. 1 (01.02.2015). http://dx.doi.org/10.31165/nk.2015.81.361.
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This paper explores how the Bhojpuri music industry is catering to the needs of north Indian migrants in Mumbai, India. Bhojpuri is the dialect spoken by large numbers in the Indian states of Uttar Pradesh and Bihar. The influx of Bhojpuri speaking migrants to different parts of India has led to a demand for music that helps them remain anchored to their region. This study examines the content of music videos, CDs and cassettes, to show how tropes from the collective memory of migrants are embossed in the lyrics, while their aspirations are interwoven with an idyllic image of the home states. Ribaldry, folk music and topical issues are melded to create a familiar world. The result is a distillate of the region’s socio-cultural values. Meanwhile, the industry is creating a global identity for the migrants, connecting them to Bhojpuri diaspora across the world.
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Vedabala, Samidha. „FEMINISM IN THE MUSICAL LANDSCAPE OF NORTH- EAST INDIA: AN IN-DEPTH ANALYSIS“. ShodhKosh: Journal of Visual and Performing Arts 5, Nr. 1 (20.02.2024). http://dx.doi.org/10.29121/shodhkosh.v5.i1.2024.869.
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This research explores the intricate interplay between feminism and the musical landscape of North-east India, focusing on the state of Assam, Sikkim, and Meghalaya, delving into both traditional and contemporary expressions. In the region known for its diverse cultures, the study aims to elucidate the place of women in traditional music, analyze the representation of women in contemporary genres, and the feminist that are prevalent in the North-east Indian music tradition and industry. Through ethnographic fieldwork, interviews, and a comparative analysis of gender dynamics in the industry, the research seeks to uncover the ways in which music acts as a conduit for challenging and reshaping societal perceptions of gender roles. The findings aim to contribute to the global discourse on feminism in music while providing nuanced insights into the unique cultural context of North-east India. This research not only adds to academic knowledge but also holds practical implications for fostering gender equality and empowerment within the regional music scene.
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Zeiler, Xenia, und Souvik Mukherjee. „Video Game Development in India: A Cultural and Creative Industry Embracing Regional Cultural Heritage(s)“. Games and Culture, 24.09.2021, 155541202110451. http://dx.doi.org/10.1177/15554120211045143.
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Game development and production practices are complex and highly reflected processes—worldwide. This explorative article discusses video game development as a cultural and creative industry in India, including the industry’s history and introducing recent trends which indicate profound transformations—the use and implementation of Indian cultural heritage in game settings. In the rather short history of Indian game development as compared to other countries—a significant number of games made in India first were produced around 2010—the industry has already lived through big changes and challenges. This article aims at introducing Indian game development and argues that especially independent (so-called indie) game studios in their search for their own, region-specific game development and stand-alone characteristics for Indian games increasingly turn to what they perceive as their own cultural heritage, including, for example, elements from history, art (music, dance, dress styles, and others), and architecture.
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Lal, Aditya, David Hesmondhalgh und Charles Umney. „The changing shape of the Indian recorded music industry in the age of platformisation“. Contemporary South Asia, 07.05.2023, 1–20. http://dx.doi.org/10.1080/09584935.2023.2206998.
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Ghadage, Avinash Hanmant, Shardha Thakur und Harshal Raje. „ROLE OF INDIAN BANKING SECTOR TO BOOST MUSIC AND PERFORMANCE ARTS INDUSTRY IN INDIA“. ShodhKosh: Journal of Visual and Performing Arts 5, Nr. 1 (11.03.2024). http://dx.doi.org/10.29121/shodhkosh.v5.i1.2024.851.
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This research paper investigates the pivotal role of the Indian banking sector in catalyzing the growth and development of the music and performance arts industry in India. Through a quantitative methodology, this study examines the perceptions of managers within these creative domains regarding the banking sector's contributions and the challenges encountered in securing adequate financial support. Findings reveal a significant recognition of the banking sector's role in enhancing financial viability, international recognition, and innovation within the creative industries. Simultaneously, it identifies challenges related to the complexity of financial procedures, limited accessibility to diverse resources, and uncertainties in funding continuity. These findings underscore the imperative for tailored financial solutions and increased collaboration between banking entities and the creative sectors for a more robust and sustainable ecosystem.
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SHIRODKAR, Preeti. „THE ‘CAST’ING CONVENTION: IMPACT OF INDIAN FILM MUSIC ON REINFORCING GENDER STEREOTYPES“. SYNERGY 1, Nr. 19 (25.05.2023). http://dx.doi.org/10.24818//syn/2023/19/1.07.
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The impact of Bollywood (the Indian Hindi film industry) on the national psyche as well as its international popularity cannot be overrated. So is the music that is an integral part of it. It outlives the movie and then becomes a part of the everyday life of people, being played in public places, at religious festivals, in personal and professional functions and interestingly being even adapted to other forms of expression (like bhajans/devotional music). At a more dangerous level, it surreptitiously births, embeds and reinforces stereotypes becoming the palimpsest that serves to define standards expected and exacted from women. This not only thus shapes the approach towards women but also significantly impacts women’s approach towards themselves. By referring to some of the popular and oft recalled Bollywood Hindi songs across the decades, this researcher would like to unearth the palimpsest and decode how it results in the ‘cast’ing convention and becomes the kaleidoscope through which Indian womanhood is viewed.
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Lobo, Velita Sibon, und K. Shivshankar Bhat. „An Analysis of Indian Entertainment Industry – Past, Present, and Future“. International Journal of Management, Technology, and Social Sciences, 16.09.2021, 88–99. http://dx.doi.org/10.47992/ijmts.2581.6012.0155.
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Purpose: The entertainment industry (casually known as Show Business) is included in the tertiary sector of the economy and embraces fields so theater, films, fine arts, dance, music, television, radio, media, sports, cultural events, etc. This industry is continuously evolving with innovations and ideas for the industry. It is developing dynamically in terms of revenue and volumes employing creative and technical people. It witnessed explosive growth during post liberalization that led to internationalization and expansion of the market. This study explores the evolution, growth, threats, challenges, future trends, and impact of FDI on the Indian entertainment industry. This study uncovers the impact of internationalization and its potential for providing employment. Methodology: This study is based on secondary data including Google, online journals, reports, and news articles. Findings: Initially, the entertainment started with storytelling, a way to pass on their culture, traditions, values, and history. The introduction of television brought a big change in entertainment and now online entertainment is on-trend and this way the method of delivering entertainment has expanded progressively. The Indian government has increased the percent of FDI’s and many international collaborations have helped the Indian entertainment industry to grow nationally and internationally There is a lot of employment opportunity in the entertainment industry from the people who work on screen and behind the screen. But due to the pandemic, few classes of workers in the industry are suffering but others are surviving in the online platforms. Television has retained its position as the largest entertainment segment, while digital media overtook the print entertainment sector, and online gaming overtook a filmed entertainment segment. In the future, the online form of entertainment will overpower and the OTT platform will boom. Research limitations/implications: Very few sources are available for references, few concepts are not highlighted and most of the information is outdated hence the collection of relevant information was a challenge. Originality/value: This paper brings to focus the imperative of due consideration by the Government and other regulating bodies to adopt some incentive measures to boost the Indian entertainment industry, being a sunrise industry, and also try to work on the personal and financial safety and stability of all the stakeholders of the entertainment industry, especially during abnormalities like the present pandemic-. Paper type: This industry analysis is an exploratory study.
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Sarraf, Ishika. „REMIX CULTURE AND ASSOCIATEDCOPYRIGHT LAW IN INDIA“. JOURNAL OF UNIQUE LAWS AND STUDENTS, 15.07.2021. http://dx.doi.org/10.59126/v1i2a3.
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The human brain, or intellect, is regarded as one of mankind's most gifted contributions, as are the works and ideas that arise from or are the product of his mind's development. One such development is, Composition of music, which is an example of a person's growth or formation that necessitates a great deal of dedication and hard work. However, in this age of technology, where people prefer smart work to hard work, there has been a rise in the number of remix songs, which are a transformation of old classic songs that were a major hit in their respective eras. When the popularity of remix songs grew, so did conflicts over the copyrights of musical works and songs between original authors and remix makers. Thus, this paper discusses a number of problems that have arisen in recent years concerning copyright on musical works and songs, as well as it focuses on the legal status of creating remix songs, the rights and obligations of the copyright owner and the maker of remix songs, and associated copyright laws that govern the remix songs in Indian music industry.
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Thomas, Renny. „Mis-selling Issues and Factors Responsible for Mis-selling in the Financial Services Industry with Special Reference to Insurance Industry: A Theoretical Study“. MDIM Journal of Management Review and Practice, 27.10.2023. http://dx.doi.org/10.1177/mjmrp.221145276.
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Over the years, since the financial opening up of the Indian economy in the early 1990s, under the previous government, there has been an overselling of a lot of financial products. This over selling has led to huge problems to the consumers in the form of mis-selling or overselling. There have also been issues with relation to lack of proper financial education to the consumers by the financial bodies. The present study looks into the problem of mis-selling and how different consumer factors lead to this problem. A conceptual framework to this problem is given and based on that, information is analysed.
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Mohapatra, Dr Atnu, und K. G. Suresh. „Emerging Trends in Political Ownership of Media“. IMS Manthan (The Journal of Innovations) 8, Nr. 2 (15.09.2015). http://dx.doi.org/10.18701/imsmanthan.v8i2.5140.
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Media and politics have a symbiotic relationship. Politicians need media to get the oxygen of publicity and the exposure they need to woo electorate and mould public opinion. With many a media house turning indifferent to their needs an ever increasing number of political parties and leaders are setting up their own small and big media shops to propagate their views, cover up their shortcomings, or to settle scores with their rivals. The Entertainment and Media (E&M) industry broadly consists of four segments i.e. Television, Print, Radio and other media platforms (such as Internets, Film, Out of Home Advertising (OOH), Music, Gaming and Internet Advertising).In today‘s technologically fast moving environment, media plays a significant role. Its inherent ability to reach the masses implies that it has a crucial role in building public opinion and creating awareness among the masses. It also plays a very important role in delineating the economic, political, social and cultural characteristics of a country. Thus, media pluralism is a cornerstone of democracy and this fact should be reflected in the plurality of an independent and autonomous media and in diversity of media content. Print, television, radio and new media such as Internet are the most popular media. The Indian media landscape is witnessing several changes that may have far reaching consequences. Major players are looking for expansion of their business interests in various segments of the print and broadcasting sectors. Many of the Indian media houses are either owned or controlled by political leaders or parties. This paper is an attempt to highlight and understand the political ownership of media in India, its implications for the readers. viewers, listeners and other media users as also the society and polity at large.