Journal articles on the topic 'Indian classical instrument'
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V. Chitre, Abhijit, Ketan J. Raut, Tushar Jadhav, Minal S. Deshmukh, and Kirti Wanjale. "Hybrid Feature Based Classifier Performance Evaluation of Monophonic and Polyphonic Indian Classical Instruments Recognition." Journal of University of Shanghai for Science and Technology 23, no. 11 (November 2, 2021): 879–90. http://dx.doi.org/10.51201/jusst/21/11969.
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Instrument recognition in computer music is an important research area that deals with sound modelling. Musical sounds comprises of five prominent constituents which are Pitch, timber, loudness, duration, and spatialization. The tonal sound is function of all these components playing critical role in deciding quality. The first four parameters can be modified, but timbre remains a challenge [6]. Then, inevitably, timbre became the focus of this piece. It is a sound quality that distinguishes one musical instrument from another, regardless of pitch or volume, and it is critical. Monophonic and polyphonic recordings of musical instruments can be identified using this method. To evaluate the proposed approach, three Indian instruments were experimented to generate training data set. Flutes, harmoniums, and sitars are among the instruments used. Indian musical instruments classify sounds using statistical and spectral parameters. The hybrid features from different domains extracting important characteristics from musical sounds are extracted. An Indian Musical Instrument SVM and GMM classifier demonstrate their ability to classify accurately. Using monophonic sounds, SVM and Polyphonic produce an average accuracy of 89.88% and 91.10%, respectively. According to the results of the experiments, GMM outperforms SVM in monophonic recordings by a factor of 96.33 and polyphonic recordings by a factor of 93.33.
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Noone, Matthew James. "The North Indian Sarode and Questions Concerning Technology." Organised Sound 25, no. 1 (March 4, 2020): 116–25. http://dx.doi.org/10.1017/s1355771819000517.
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In three previous issues of OS (10/1, 2005, 13/3, 2008 and 19/2, 2014) a range of scholars explored non-Western instrumentation in electroacoustic music. These issues addressed concerns about sensitive cultural issues within electroacoustic music. This article builds upon this discussion through an examination of a number of electroacoustic composer-performers using non-Western instrumentation. This discussion will include the voices of ‘Western’ electroacoustic composers using non-Western instruments or sounds sources. It will also document some of the work of non-Western electroacoustic composers who incorporate traditional material or indigenous instruments in their music. Special attention will be given to the complexity of being in-between musical cultures through a critical engagement with theories relating to hybridity, orientalism and self-identity. In particular, this article will focus on my own practice of composing and performing electroacoustic music with the North Indian lute known as the sarode. It will discuss both cultural and artistic concerns about using the sarode outside the framework of Indian classical music and question whether Indian classical music can ever be ‘appropriately appropriated’ in an electroacoustic context. Two of my recent compositions will be explored and I will outline the development of my practice leading to the creation of a new ‘hybrid’ instrument especially for playing electroacoustic music.
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Kanaeva, Nataliya. "Analysis of Terms as an Instrument of Comparative Philosophy." Ideas and Ideals 13, no. 4-1 (December 27, 2021): 139–53. http://dx.doi.org/10.17212/2075-0862-2021-13.4.1-139-153.
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The article continues the polemics on the problems of interaction of philosophical cultures in the era of globalization, which was started at the meetings of the Round Table "Geography of Rationality". The author gives answers to critical questions, explains the methodology and principles of her work with Indian philosophical texts. A short research of the meta-term "cognitive subject" is an example of her methods. The analysis of cognitive subject aimed to justify the absence of the concepts of reason and rationality in Indian epistemic culture, the cornerstones of Western epistemic culture, since Modern times. The justification was carried out by comparing the generalized model of the cognitive subject, abstracted from the writings of empiricists and rationalists of the XVII–XVIII centuries, with the generalized models of the cognitive subject, reconstructed on the basis of authoritative writings of three variants of Indian epistemological teachings: Advaita Vedānta, Jainism and Buddhism. From the author's point of view, the absence of the concepts of reason and rationality in India leads to the non-classical problem of pluralism of epistemic cultures, and the exploration of the meta-term "cognitive subject" allows us to find, on the one hand, intersections in the contents of epistemologies in Indian philosophy and Western metaphysics of Modern times, and on the other, their incompatible contents, which are specific manifestations of pluralism of epistemic cultures. For her reconstruction of the cognitive subject models the author takes the principle of "double perspective" in combination with the methods of hermeneutical and logical analysis of philosophical terms. The principle determinates the consideration of the theoretical object from two sides: European and Indian. Having appeared in the Western epistemic culture, these methods effectively work to objectify the results of socio-humanitarian research, thanks to which they are becoming increasingly widespread among non-Western cross-cultural philosophers. When the author applies the method of logical analysis to justify the absence of the concepts of reason and rationality in India, she is guided by the rules of logical semantics and the principles of semiotics. The compared terms, Western and Indian, are considered as signs with their own meanings and senses. The senses are understood as sets of predicates important for solving the author’s task. The author of the article, taking into account the experience of famous philosophers, negatively assesses the possibility of solving the problem of unambiguously correct translation.
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., Saurabh H. Deshmukh. "AUDIO DESCRIPTIVE ANALYSIS OF SINGER AND MUSICAL INSTRUMENT IDENTIFICATION IN NORTH INDIAN CLASSICAL MUSIC." International Journal of Research in Engineering and Technology 04, no. 06 (June 25, 2015): 505–8. http://dx.doi.org/10.15623/ijret.2015.0406087.
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Blume, Gernot. "Blurred affinities: tracing the influence of North Indian classical music in Keith Jarrett's solo piano improvisations." Popular Music 22, no. 2 (May 2003): 117–42. http://dx.doi.org/10.1017/s0261143003003088.
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In the first forty years of his career, American pianist Keith Jarrett has established a reputation in multiple stylistic directions. Jarrett has typically incorporated influences as varied as bebop, country, rock, gospel, minimalism, baroque and classical styles into his often lengthy improvisations. Vital to his musical persona, but less obvious, is the influence North Indian classical music has had in shaping Jarrett's improvisatory strategies. Although he never formally studied Indian music, and although his instrument – the piano – is far removed from the conceptual backdrop of North Indian raga performance, Indian music was a central component in the artistic climate out of which his improvised solo recitals grew.A cultural climate of global influences was the backdrop to the development of Jarrett's solo concerts. Therein, perhaps, lies one key to understanding the spell that this music has cast on large and international audiences. With this format, Jarrett tapped into the ambiance of a particular historic moment, which combined a desire for change with the discovery of spiritual and musical traditions outside the Western world.In this paper I will demonstrate how explicit and implicit references to classical Indian principles of music making helped shape Jarrett's unique free solo concerts.
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Ram, S. Sai. "A STUDY OF STRUGGLE IN VERSATILITY IN TABLA PERFORMANCE." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (May 7, 2022): 218–23. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.77.
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Tabla is the most versatile among percussion instruments today. The challenge that it meets till date is the recognition that Tabla has in terms of a Solo instrument. Although acclaimed worldwide for its versatility, yet the role of Tabla as a Solo instrument remains undefined at large. The tabla player today occupies a decent place on stage during accompaniment and exhibits the art, at times with his repertoire, especially when he accompanies to instrumental music. The rich repertoire of Tabla, which is learnt through life finds its expression only through solo performances, but this is confined only to the elite artists. There is no denial to the fact that Tabla is basically an accompanying instrument. Accompaniment is a beautiful art and every tabla artist should be an able accompanist. In fact, the art of accompaniment does need a better craftsmanship and a greater aesthetic sense than the art of tabla solo presentation. Given to these facts, the repertoire of tabla finds complete expression only during a solo performance. The collection of compositions of tabla from the masters of yesteryears is huge, and how many tabla players are able to put it across the listeners, even a meagre part of what they have learnt in the lineage? And the truth is that the Tabla is the primary accompanying instrument in North Indian classical, fusion and light music today. This is the struggle in its versatility. The music fraternity and the organizers need to ponder over this and improve their endeavors to promote Tabla more, as a solo instrument also.
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Hancher, Michael. "COLLEGE ENGLISH IN INDIA: THE FIRST TEXTBOOK." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 553–72. http://dx.doi.org/10.1017/s106015031400014x.
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In her groundbreaking bookMasks of Conquest: Literary Study and British Rule in India (1989), Guari Viswanathan established that “the discipline of English came into its own” not in England but in India, as an instrument of cultural colonization: “As early as the 1820s, when the classical curriculum reigned supreme in England despite the strenuous efforts of some concerned critics to loosen its hold, English as the study of culture and not simply the study of language had already found a secure place in the British Indian curriculum” (2, 3). Pausing to summarize the English literary curriculum fostered by “government schools in midcentury India,” she lists the following poetical works, gleaned from a report reprinted for the House of Lords in 1853: “Richardson's Poetical Selections (Goldsmith, Gray, Addison, Pope, and Shakespeare), Otway's Venice Preserved, Shakespeare's Hamlet, Othello, and Macbeth, Pope's Iliad by Homer, [and] Milton's Paradise Lost (the first four books)” (54). Although Viswanathan does not identify Richardson or his Poetical Selections, she is right to head the list with that textbook, which is mentioned in many other government reports of the period, and which was instrumental in establishing a classroom canon of British poetry in India before any such curriculum had been determined in Great Britain.
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Sable, Neha A., and Nisha Shinde. "Prevalence of Wrist Pain in Young Tabla Players: Observational Study." International Journal of Health Sciences and Research 12, no. 5 (May 10, 2022): 10–14. http://dx.doi.org/10.52403/ijhsr.20220502.
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Background: The most popularly used percussion instruments in Indian classical music is Tabla. Playing a percussion instrument demands great force & effort, which may make percussionists prone to playing-related musculo skeletal disorders (PRMDs). Method: A Prevalence study using convenience sampling technique was done from the music schools of Pune-Godse & Madhumati Sangeet Vidyalay with 104 subjects. The subjects aged between 11 to 25 yr old Both males & females who plays table atleast from1 yr. Wrist pain was assessed by using Numeric pain rating scale (NPRS) Subjects rated the pain in the scale of 0 No pain to 10 Worst pain at rest and after playing tabla. Result : Prevalence of pain at Rest the average percentage of person experience pain are 28.84% 74 persons out of 104 are not experiencing any pain, the % of no pain is 71.15%. Prevalence of pain after playing tabala. The average % of person experiencing pain after playing is 66.34%. 35 Person out of 104 are not experiencing any pain. The % of no pain after playing table is 33.65%. Conclusion: The prevalence of wrist pain is more in table players after playing table than compared to pain at rest. Key words: Playing related musculoskeletal disorders (PRMDs), NPRS-Numeric pain rating scale, Percussion instrument, Ergonomics, Musculoskeletal.
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Komangoda, Lahiru Gimhana. "Vinay Mishra and the Artistry of the Harmonium." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 39–46. http://dx.doi.org/10.30819/aemr.8-5.
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Vinay Mishra is an accomplished Indian solo and accompanying harmonium player born and brought up in Benaras and currently residing in Delhi serving as a faculty member of the Department of Music, Faculty of Music and Fine Arts, University of Delhi. The rigorous training of both vocal and instrumental music under veteran Hindustani Music virtuosos, the academic and scholarly scope built up till the degree of PhD in Music, the realizations, and understandings on music must have conspicuously made an impact of his practice and artistry as a harmonium player. Harmonium was originated in the west and adopted by Indian musicians in the colonial era which was brought up to the present day through many artistic, cultural and political controversies, and obstacles. This work focuses on discovering the insights of the harmonium art of Vinay Mishra. Hence, his academic background, musical training, musical career, his playing style as a soloist, general techniques and techniques of accompaniment, sense of machinery, perspectives on raga Taal, and thoroughly the tuning methods were studied in-depth through personal conversations and literature resources where it was observed that modern Hindustani harmonium artists favor a typical natural tuning method over the 12 equal temperaments of the common keyboard instruments. According to him, the stable sound of the harmonium was the reason to be vocal music- friendly in classical and light vocal music accompaniment which was only interrupted by the equal temperament earlier and was later overcome by the artists and harmonium makers. The idea was also raised that apart from gaining the basic command of an instrument, a Hindustani instrumentalist may learn and practice all other aspects of Hindustani music from the teachers of other forms too. Vinay Mishra’s thoughts of machinery, musical forms, compositions, applying Hindustani vocal, and plucking string instrumental ornamentations on the Harmonium were also reviewed.
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Bhushan, Shashi, Shobhit Piplani, and Bheemsain V. Tekkalaki. "Internet addiction and performance of health science students." International Journal Of Community Medicine And Public Health 5, no. 9 (August 24, 2018): 3824. http://dx.doi.org/10.18203/2394-6040.ijcmph20183465.
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Background: The unmonitored surge in the usage of Internet recently has led to Internet Addiction. Internet is a classical instrument known to stimulate addictive behaviour which is on the verge of developing into a considerable public health emergency in the future in a densely populated country like India. Adolescents are more susceptible to this as they spend more time browsing the web. This cross sectional study intends to find out the co-morbidities associated with Internet Addiction in students of health sciences in India.Methods: The study was conducted in an Indian Medical and Dental College. 900 students were randomly selected to fill up the questionnaire. 618 students fulfilled the selection criteria. Young’s Internet Addiction Test was used for assessing the prevalence of Internet Addiction. The Rosenberg self-esteem scale was used to measure the self-esteem.Results: 19.5% students were not addicted to Internet. 61% of students were mildly addicted while 19.5% students were moderately addicted. Significant association was found between academic performance and Internet Addiction. Also, Internet Addiction had no significant association with Self- Esteem and Obesity.Conclusions: Proper screening methods should be used for prompt detection and management of Internet Addiction and awareness should be made about the same. It should be given more attention and students should be made to understand about healthy and safe practices to use internet. There is a need of an improved questionnaire which can provide us better understanding of internet usage by people in terms of amount of time and purpose of using the internet.
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HAMADUN, FAIRULADILAN, NASIRIN ABDILLAH, NORMAN YUSOFF, and NUR SYAHIRAH ANANI NOR ADZLI. "REPRESENTASI STAILISTIK FILEM HANG TUAH (1956)." International Journal of Creative Future and Heritage (TENIAT) 9, no. 1 (March 31, 2021): 1–17. http://dx.doi.org/10.47252/teniat.v9i1.387.
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Abstrak Hang Tuah (1956) merupakan salah satu filem adaptasi Melayu yang terkenal dalam sejarah perfileman tanah air. Filem ini dikatakan cuba mengangkat karya kesusasteraan Melayu klasik melalui Hikayat Hang Tuah dan Sejarah Melayu. Memandangkan filem ini bersifat adaptasi, maka sering menjadi perhatian dalam kalangan sarjana. Antara aspek yang sering menjadi daya tarikan mereka adalah soal kesetiaan dalam aspek naratif seperti plot, lakonan, gaya bahasa, latar dan tema. Namun demikian, artikel ini hadir dengan melihat kepada aspek lain iaitu stailistik yang mana merupakan salah satu elemen penting dalam pembuatan filem seperti sinematografi, mise en scene dan penyuntingan. Aspek stailistik filem Hang Tuah (1956) cuba diselami dengan mengaplikasikan teori historical poetic of cinema oleh David Bordwell (1989). Sebagai kerangka analisis utama dalam artikel ini, maka historical poetic of cinema cuba menjawab persoalan kajian; bagaimanakah aspek sejarah mampu memberi kesan terhadap stailistik filem Hang Tuah (1956)? Analisis kandungan turut dipilih sebagai instrumen kajian utama untuk memperolehi data daripada buku, artikel jurnal dan filem. Hasil analisis mendapati bahawa filem Hang Tuah (1956) cenderung kepada stailistik model pembuatan Hollywood. Walau bagaimanapun, keadaan persekitaran industri perfileman Melayu era 1950-an cuba mengubah stailistik filem Hang Tuah (1956) kepada acuan filem India. AbstractHang Tuah (1956) is one of the famous adaptation films in Malay cinema. The film endeavours to uplift the classical Malay literature through the Hikayat Hang Tuah and Sejarah Melayu. Since Hang Tuah (1956) is an adaptation film, it has always attracted the scholars’ attention. Among the main attractions is the matter of loyalty in the narrative aspects such as plot, acting, language style, background and theme. However, this article looks at other aspect namely stylistics. This important element of stylistics in film production includes cinematography, mise en scene and editing. The stylistics aspect of Hang Tuah (1956) was investigated by applying the historical poetic theory of cinema by David Bordwell (1989). As the main analytical framework in this article, historical poetic of cinema attempts to answer the research question of how the historical aspects can affect the style of Hang Tuah (1956) film? Content analysis was chosen as the main instrument for obtaining data from books, journal articles and films. The analysis found that Hang Tuah (1956) tends to resemble Hollywood production model. However, the environment of Malay film industry around 1950’s had influenced the stylistics of Hang Tuah (1956) film to be shaped by an Indian mould.
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Tripathy, Swagata, Upendra Hansda, Newfight Seth, Satyajit Rath, PB Rao, TS Mishra, SH Subba, Rekha Das, Sukdev Nayak, and Nilamadhab Kar. "Validation of the euroqol five-dimensions - three-level quality of life instrument in a classical Indian language (Odia) and its use to assess quality of life and health status of cancer patients in Eastern India." Indian Journal of Palliative Care 21, no. 3 (2015): 282. http://dx.doi.org/10.4103/0973-1075.164896.
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Basu, Medha, SHANKHA SANYAL, Archi Banerjee, Kumardeb Banerjee, and Dipak Ghosh. "Does musical training affect neuro-cognition of emotions? An EEG study with instrumental Indian classical music." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A60. http://dx.doi.org/10.1121/10.0010655.
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Music across all genres evokes a variety of emotions, irrespective of its timbre and tempo. Indian classical music (ICM) is no exception. Although being biased towards vocal musical styles, instrumental music forms one broad section of ICM. In this study, we have tried to compare the neural responses of music practitioners and non-musicians towards different emotions using audio clips from two popular plucked string instruments used in ICM, Sitar and Sarod. From pre-recorded performances of two eminent maestros, 20 clips of approximately 30 s duration were selected from the Alaap sections (initial introductory section without any rhythmic accompaniment) of different Raagas played in the two instruments. From an audience response assessment of 100 participants, a total of eight clips having maximum arousal for happy and sad emotions were identified from the 20 clips, using which EEG (Electroencephalography) recordings were collected from five musicians and five non-musicians. Robust nonlinear Multifractal Detrended Fluctuation Analysis technique (MFDFA) was applied to quantitatively measure the brain-state changes in different lobes for both categories of participants. In essence, this study attempts to encapsulate if and how prior musical training influences the brain responses towards two basic musical emotions in ICM using two instruments of same family.
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Balan, Rajiv, Sandeep B. Bavdekar, and Sandhya Jadhav. "Can Indian classical instrumental music reduce pain felt during venepuncture?" Indian Journal of Pediatrics 76, no. 5 (April 23, 2009): 469–73. http://dx.doi.org/10.1007/s12098-009-0089-y.
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Govindaraj, Geeta M., Rajiv Balan, Sandhya M. Jadhav, and S. B. Bavdekar. "Can Indian classical instrumental music reduce pain felt during venepuncture?" Indian Journal of Pediatrics 77, no. 7 (June 29, 2010): 823–24. http://dx.doi.org/10.1007/s12098-010-0111-4.
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Tamhankar, Parag M., Vasundhara S. Chennuri, Rajiv Balan, Nithya Gogtay, and S. B. Bavdekar. "Can indian classical instrumental music reduce pain felt during venepuncture?" Indian Journal of Pediatrics 77, no. 7 (June 29, 2010): 821–23. http://dx.doi.org/10.1007/s12098-010-0112-3.
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K P, Deshmukh. "A Standard Reference Audio Tone Generator for Tuning Indian Classical Musical Instruments." International Research Journal on Advanced Science Hub 2, no. 10 (October 1, 2020): 1–3. http://dx.doi.org/10.47392/irjash.2020.180.
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Ashwini, N. A., Vishal Mahesh, A. Vijaya Krishna, and G. K. Karrthik. "Tone detection for Indian classical polyphonic instrumental audio using DNN model." International Journal of Forensic Engineering 4, no. 4 (2020): 310. http://dx.doi.org/10.1504/ijfe.2020.10037779.
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Ashwini, N. A., A. Vijaya Krishna, Vishal Mahesh, and G. K. Karrthik. "Tone detection for Indian classical polyphonic instrumental audio using DNN model." International Journal of Forensic Engineering 4, no. 4 (2020): 310. http://dx.doi.org/10.1504/ijfe.2020.115030.
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Banawat, Chetna, and Anjali Gilotra. "IMPACT OF VARIOUS SCIENTIFIC DIMENSIONS IN INDIAN CLASSICAL MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3481.
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The tradition of Indian classical music has been ancient and continuous developing in the world. It is like a tree in which, as a result of the seasonal effect, sometimes the autumn and sometimes the Navakopal kept coming, but the root has remained the same. This long-standing tradition of classical music takes place in the Vedic period itself, but various contemporary changes have changed its condition and direction, resulting in considerable qualitative progress in the field of music. Today's era is receiving the gift of new innovators of science, with which we are all practically familiar. Our musical arts side could not remain untouched by these new scientific designs. Today, with the development of technology and technology, the music world has got a strong foundation. This technology has proved to be helpful in the preservation, promotion and continuous propagation of classical music etc. Various electronic musical instruments, scientific instruments and information technology have also influenced classical music by providing new possibilities like teaching, listening and collecting of classical music, and playing an important role in promoting its conservation and making special contribution in making it sustainable. Huh.
भारतीय शास्त्रीय संगीत की परम्परा विष्व में प्राचीनतम् तथा अनवरत् विकासशील रही है। यह उस वृक्ष की भांति है, जिसमें ऋतुकालीन प्रभाव के फलस्वरूप कभी पतझड़ तो कभी नवकोपल आते रहे, किन्तु मूल यथावत् ही रहा है। शास्त्रीय संगीत की इस सुदीर्घ परम्परा के दर्शन वैदिक काल में ही हो जाते हैं, किन्तु विभिन्न समकालीन परिवर्तनों ने इसकी दशा व दिशा में परिवर्तन ला दिया है, फलतः संगीत के क्षेत्र में काफी गुणात्मक प्रगति हुई है। आज के युग को विज्ञान के नित नवीन आविष्कारों की देन प्राप्त हो रही है, जिससे हम सभी व्यवहारिक रूप से परिचित ही हैं। इन नवीन वैज्ञानिक सर्जनाओं से हमारा सांगीतिक कला पक्ष भी अछूता नहीं रह सका। आज तकनीकी व प्रौद्योगिकी के विकास से संगीत जगत् को सुदृढ़ आधार मिला है। संगीत की आदि शाखा शास्त्रीय संगीत के संरक्षण, संवर्धन एवं निरन्तर प्रचार-प्रसार में यह तकनीकी जगत् सहायक सिद्ध हुआ है। विभिन्न इलेक्ट्राॅनिक सांगीतिक वाद्यों, वैज्ञानिक उपकरणों एवं सूचना प्रौद्योगिकी ने शास्त्रीय संगीत के शिक्षण, श्रवण एवं संग्रहण जैसी नवीन सम्भावनाएं भी प्रदान कर शास्त्रीय संगीत को प्रभावित किया एवं इसके संरक्षण-संवर्धन में अहम् भूमिका निभाते हुए इसे चिरस्थायी बनाने में अपना विशेष योगदान भी दे रहे हैं।
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Ramteke, Prerna S. "Knitting the Future Story of Indian Women: Preventing Violence, Fostering Development, and Accelerating Empowerment." Udayana Journal of Law and Culture 1, no. 2 (July 31, 2017): 98. http://dx.doi.org/10.24843/ujlc.2017.v01.i02.p02.
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A number of cases of women’s exploitation in India reflects serious problem in viewing and treating women. This article highlights the issues of women in India that are aimed to describe the violence against women in India that degrades their dignity as a human being, to analyze both conceptual and practical aspects of women, particularly with regards to their role in development and also to discuss the need for accelerating the empowerment of women in India. Some concepts such as the three classical approaches on the relationship between women and development are discussed in this writing. Besides this it also analyzes the present situation faced by Indian women that can potentially become obstacles for their development. In addition, this paper looks at some legal instruments and cases that relates to the legal protection of women in India. It is as a research in the field of Sociology that will be enriched by legal, cultural and economic approaches. It will also highlight about the dreams on the better situation for women in India that are expected to become true and will also encourage women in India to involve in any efforts to knit their future story.
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Sinith, M. S., Rahul M. Rajan, and Rajeev Rajan. "Tonic Pitch Estimation in South Indian Classical Music using DSP Processor." WSEAS TRANSACTIONS ON ACOUSTICS AND MUSIC 9 (May 7, 2022): 11–17. http://dx.doi.org/10.37394/232019.2022.9.3.
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In South Indian Classical Music, a performer chooses the tonic pitch as the reference note throughout the performance. The tonic pitch is the swara Sa in the middle octave range of a performance. Automatic tonic identification is essential in South Indian Classical Music to perform computational melodic analysis based on data. The identification of the tonic in real time is often required to judge the quality of the singer or instrumentalist. In this era of a musical reality shows, an autonomous electronic system for tonic identification is very relevant in which the system accurately judges the competitor in terms of tonic perfection. In this proposed method, a tonic identification is performed by using the characteristics extracted from the pitch histogram through frequency ratio method. A mathematical model is proposed based on the parameters of the tonal histogram for tonic identification. In this context, a Tonic identification system also implemented in a Texas Instruments TMS320C6713 Digital signal processor.
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Kotwal, M. Raj, C. Z. Rinchhen, and Vishwajeet V. Ringe. "Stress Reduction Through Listening to Indian Classical Music During Gastroscopy." Diagnostic and Therapeutic Endoscopy 4, no. 4 (January 1, 1998): 191–97. http://dx.doi.org/10.1155/dte.4.191.
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The purpose of this study was to examine the effects of music on elevated state of anxiety as many patients become stressed and anxious during diagnostic procedures. The study was conducted on 104 consecutive patients undergoing GI endoscopy for various reasons. Patients were randomly assigned to two groups regardless of sex, age and underlying disease. One group of 54 patients were made to listen to a recorded Indian classical instrumental music before and during the procedure, while the other group of 50 patients did not. Blood pressure, heart rate and respiratory rate were recorded at the beginning of consultation and end of procedure. Perception of procedure using a three point attitude scale was assessed. Our results indicate that the background Indian classical music is efficacious in reducing psychological distress during a gastroscopic examination. We suggest that music could be applied to other medical situations as well, which tend to generate undue psychological stress and anxiety. Music, as a familiar personal and culture medium, can be used to ease anxiety, to act as distractor, to increase discomfort and pain threshold.
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Pettan, Svanibor, and Lasanthi Manaranjanie Kalinga Dona. "Ethnomusicology of the Individual: Vishnuchittan Balaji between Tradition and Innovativeness." Musicological Annual 54, no. 1 (June 29, 2018): 107–22. http://dx.doi.org/10.4312/mz.54.1.107-122.
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The article presents the case of a creative Indian classical music artist respectful of tradition and open towards experimentation. Based on the interviews and participant observation, it presents the artist‘s views and his four innovative musical instruments. The article fits in the theoretical frame of ethnomusicology of the individual.
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Nag, Sayan, Medha Basu, Shankha Sanyal, Archi Banerjee, and Dipak Ghosh. "On the application of deep learning and multifractal techniques to classify emotions and instruments using Indian Classical Music." Physica A: Statistical Mechanics and its Applications 597 (July 2022): 127261. http://dx.doi.org/10.1016/j.physa.2022.127261.
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Zekang, Chen. "JIA DAQUN CONCERTO ″FUSION II″: INTERPRETATION OF CHINESE PERCUSSION INSTRUMENTS." Arts education and science 1, no. 2 (2021): 136–43. http://dx.doi.org/10.36871/hon.202102017.
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The article introduces Jia Daqun's Concerto for Percussion and Symphony Orchestra "Fusion II" into Russian musicology for the first time. The work is considered as one of the illustrative examples of the inclusion of traditional Chinese percussion instruments in symphony orchestra. Following modern trends in unconventional ways of playing the tanggu solo drum, the composer achieves a timbre transformation which, along with rhythmic and dynamic qualities, allows to imitate the sound of Indian drums and African tambourines. The new sound created in this way becomes one of the indicators of the cross-cultural integration, which is accomplished not by mechanical borrowing of authentic musical material, but by developing a distinctive rhythmic pattern and sound production techniques. The combination of the timbres of Chinese gong and the vibrato of stringed instruments in Fusion II creates slowdowns and an "echo" effect typical for electronic music. In the Concerto all the features of the genre are observed, but the classical constant received a refraction in the light of modern processes, which required the composer to use new and sometimes harsh methods, almost completely eliminating the lyrical expression.
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Pragyan Paramita Rout, Rageshree swain, and Sanhita Padhi. "Effect of synchronized sound waves in the form of Indian Classical Ragas on Phytochemical analysis of Chamaecostus cuspidatus (Nees & Mart.) C. Specht & D. W. Stev." International Journal of Frontiers in Biology and Pharmacy Research 3, no. 1 (July 30, 2022): 018–29. http://dx.doi.org/10.53294/ijfbpr.2022.3.1.0049.
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Synchronized sound waves in the form of Indian classical ragas have a remarkable impact on the living beings. According to various studies, Indian Classical music has been confirmed to encourage plant growth positively and it is observed that the sounds from metal-rock, rock, rap, pop, and monotonous sounds have a negative impact on plant growth. The present research work was aimed at finding the impact and effect of the synchronized sound waves and their frequencies in different strings and closed-pipe Indian classical instrumental music displayed through various Ragas, viz: Raga- Kedar (flute), Raga- Kedar (santoor), Raga-Rageshree (sitar), Raga-Bhairavi (flute), Raga- Shree (Sarangi), Raga- Milan kiTodi (Sarod), Raga- Ramkali (Sitar) on phytochemical analysis in the leaves of Insulin (Chamaecostus cuspidatus). The standard deviation values in all of the pure solvents indicates that the data were spread over a wider range of values, which further showed that the treated plants have higher concentration phytochemicals when compared to that of the untreated samples. The total phenol content was found to be 207.66±0.33 mg/GAE per gram extract and 113.33±3.33 mg/GAE per gram extract in case of treated and untreated plant samples of Chamaecostus cuspidatus respectively. Similarly, the total flavonoid content was found to be 37.66±0.33 mg QE/g extract and 26.66±0.33 mg QE/g extract in case of treated and untreated plant samples respectively and the total tannin content was found to be 843±1.99 mg TAE/g extract and 503±0.57 mg TAE/g extract in case of treated and untreated plant samples respectively.
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Rout, Pragyan P., Rageshree Swain, and Sanhita Padhi. "Effect of Synchronized Sound Waves in the form of Indian Classical Ragaas on Phytohormonal Analysis of Medicinal Plant Species." Scholars Academic Journal of Biosciences 10, no. 3 (March 9, 2022): 26–32. http://dx.doi.org/10.36347/sajb.2022.v10i03.001.
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Music, based on the synchronized sound waves has a tremendous impact on the living beings. Different frequencies of synchronized sound are now-a-days used in therapy (being popularly called as music therapy). However, the impact of music on physical and physiological processes of the living beings has been acknowledged since ages. Rhythmic and comforting music has an influence on behavior of all living organisms such as humans, plants and animals. According to various studies, Indian Classical music has been confirmed to encourage plant growth positively and it is observed to dominate the other important genres of music such as metal-rock, rock, rap, pop, and monotonous sounds. The present research work was aimed at finding the exclusive impact and effect of the synchronized sound waves and their frequencies in different strings and closed-pipe Indian classical instrumental music displayed through various Ragaas, viz: Raga Kedar (flute), Raga Kedar (santoor), Raga-Rageshree (sitar), Raga-Bhairavi (flute), Raga- Shree (Sarangi), Raga- Milan ki Todi (Sarod), Raga- Ramkali (Sitar) on phytohormonal analysis in Insulin (Chamaecostus cuspidatus) and stevia (Stevia rebaudiana). Enhanced phytohormonal levels were observed in the plant species treated with different Indian classical Ragaas. In both Chamaecostus cuspidatus and Stevia rebaudiana the total concentration of GA3 was found to be 37.33mg/ml and 96.77mg/ml in treated plants respectively. Similarly in Chamaecostus cuspidatus and Stevia rebaudiana the concentration of IAA at 222nm was found to be 2.33 and 7.71mg/ml and at 280nm was found to be 8.45mg/ml and 41.90mg/ml in treated plants respectively.
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Carterette, Edward C., Kathryn Vaughn, and Nazir A. Jairazbhoy. "Perceptual, Acoustical, and Musical Aspects of the Tambūrā Drone." Music Perception 7, no. 2 (1989): 75–108. http://dx.doi.org/10.2307/40285453.
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The basso continuo principle, as embodied in Rameau's theory of functional harmony, was paralleled by the introduction of drone instruments in the classical music of India. In order to understand how these two systems are tied together in human music perception, we studied the role of tambūrā interactions with North Indian rags played on the sitār. Raman (1914-1922) had applied his theory of discontinuous wave motion to mechanical and musical properties of the strings of the violin. He noted the remarkable, powerful harmonic series that arose from the nonlinear interaction of the tambürã string and grazing contact with its curved bridge. We analyzed the waveforms of the most common drone tunings. Each of the four strings was played with and without juari ("life-giving" threads). The upward transfer and spread of energy into higher partials imparts richness to tambūrā tones and underlies the use of different drone tunings for different rags. Specific notes of rāg scales are selectively and dynamically enhanced by different drone tunings. Based on coincident features of spectral and musical scale degrees, we computed an index of spectral complexity of the interactions of tambūrā tunings with rãg scales. We speculate that the use of juari contributes to stable pitch centers, implied scale modulation, and an improvisational flexibility.
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Sharma, Neetu, Anita Padam, O. S. K. S. Sastri, Shivani Mahajan, Rajesh Sharma, and Deepak Sharma. "Effect of listening to Vedic chants and Indian classical instrumental music on patients undergoing upper gastrointestinal endoscopy: A randomized control trial." Indian Journal of Psychiatry 59, no. 2 (2017): 214. http://dx.doi.org/10.4103/psychiatry.indianjpsychiatry_314_16.
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Clayton, Martin, Kelly Jakubowski, and Tuomas Eerola. "Interpersonal entrainment in Indian instrumental music performance: Synchronization and movement coordination relate to tempo, dynamics, metrical and cadential structure." Musicae Scientiae 23, no. 3 (July 20, 2019): 304–31. http://dx.doi.org/10.1177/1029864919844809.
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Two complementary aspects of interpersonal entrainment – synchronization and movement coordination – are explored in North Indian classical instrumental music, in the auditory and visual domains respectively. Sensorimotor synchronization (SMS) is explored by analysing pairwise asynchronies between the event onsets of instrumental soloists and their tabla accompanists, and the variability of asynchrony by factors including tempo, dynamic level and metrical position is explored. Movement coordination is quantified using cross wavelet transform (CWT) analysis of upper body movement data, and differences in CWT Energy are investigated in relation to the metrical and cadential structures of the music. The analysis demonstrates that SMS within this corpus varies significantly with tempo, event density, peak levels and leadership. Effects of metrical position on pairwise asynchrony are small and offer little support for the hypothesis of lower variability in synchronization on strong metrical positions; a larger difference was found at cadential downbeats, which show increased melody lead. Movement coordination is greater at metrical boundaries than elsewhere, and most strikingly is greater at cadential than at other metrical downbeats. The implications of these findings for understanding performer coordination are discussed in relation to ethnographic research on the genre.
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Morcom, Anna. "Following the People, Refracting Hindustani Music, and Critiquing Genre-Based Research." Ethnomusicology 66, no. 3 (October 1, 2022): 470–96. http://dx.doi.org/10.5406/21567417.66.3.07.
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Abstract Ethnomusicologists and Indian musicologists have overwhelmingly studied Hindustani music as classical music, focusing on khyal, dhrupad, and instrumental solo, and its transmission in lineages. In my research, rather than following genre, I followed people, a ground-up method that equates to basic principles of practice theory. Focusing on the extended family of the Rampur-Sahaswan gharana, known for khyal, I looked for musicians regardless of the kind of music they were doing. This brought numerous “hidden musicians” (Finnegan 1989) and genres into view as an integral part of a “classical” lineage: singers of ghazal, qawwali, fusion, or commercial music. The greatest musicians of the past were in fact not “classical” ones, but versatile or chaumukhi artistes who sang “all genres.” My approach is also historical and political-economic, focusing on the lives and livelihoods of musicians and mobility. This enables me to map Hindustani music not just in the famous centers where classical music flourishes today, but in smaller cities and towns. Inspired in particular by Erik Wolf's (1982) history of capitalism, which revealed cultures and societies as interrelated and unbounded, I explore the shifts in and connections of centers and peripheries of Hindustani music—for example, the key role played by semi-classical and light genres in sustaining classical music. I critique genre as a frame for research, showing it as contributing to an ongoing process of classicizing Hindustani music. I show Hindustani music, rather, to be a sprawling, unbounded, but organically interconnected phenomenon created by people and their navigation of life's opportunities, resources, and structures.
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Kour, Dr Harpreet. "An experimental study to evaluate the effect of instrumental Indian classical and western music therapy on learning and memory in stress induced young rats." IOSR Journal of Pharmacy (IOSRPHR) 2, no. 4 (January 2012): 29–32. http://dx.doi.org/10.9790/3013-24302932.
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Raveendran, Amrita, Sangeeta Rao, and Vikram S. "Pharmaceutico analytical study of Ashwagandha Ghrita." Journal of Ayurveda and Integrated Medical Sciences (JAIMS) 5, no. 05 (October 25, 2020): 220–32. http://dx.doi.org/10.21760/jaims.5.5.31.
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Ashwagandha (Withania somnifera (L) Family - Solanaceae) known as Indian ginseng is an effective immunomodulator, aphrodisiac, sedative and adaptogen. Ashwagandha Ghrita is a ghee based Ayurvedic formulation which is available in the market, but Ashwagandha Ghrita containing Rasasindura and Tamra Bhasma along with Ashwagandha and Musta Churna is also mentioned in classical text which many of us are not aware of. As we all know that the action of Rasaushadhis are quick and require very less dose the one mentioned by Vagbhatacharya (author of Rasaratnasamuchaya) is the need of the hour for the immunomodulation. The current trend in applied instrumental medical research encourages good medical practice, clinical and research based drug analysis. The main aim of analytical study is to find out working standards for the formulations and safe use of therapeutics.
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SENGUPTA, R., N. DEY, A. K. DATTA, and D. GHOSH. "ASSESSMENT OF MUSICAL QUALITY OF TANPURA BY FRACTAL-DIMENSIONAL ANALYSIS." Fractals 13, no. 03 (September 2005): 245–52. http://dx.doi.org/10.1142/s0218348x05002891.
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Tanpura is a multi-stringed accompanying drone instrument extensively used in classical music in India. The instrument is plucked by finger. We know that jitter, shimmer and complexity perturbations (CP) are found also in tanpura signals. The source of origin of these perturbations was reported to be related to some sort of nonlinearity associated with the strings and their mode of attachment. The objective of the present study is to see in what way fractal-dimensional analysis may be helpful to relate the apparent nonlinearity and also if there is any relation of these dimensions with different part of the signals like attack time, quasi-steady state and the decay. In the paper fractal dimension, D0 and generalized dimensions, D2 to D10 and their dynamic behavior over time are studied for 15 tanpuras having four strings each, tuned to Pa (5th note), Sa (tonic), Sa (tonic) and Sa′ (lower octave tonic). The obeying of power law indicates nonlinearity in the production source system. The presence of multifractality is studied through an examination of relationship between q and Dq and the functional relationship between Dqs.
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Lyulina, Anastasiya G. "Этимология иероглифа 佛 и рецепция буддизма в Китае." Oriental studies 15, no. 1 (April 15, 2022): 158–68. http://dx.doi.org/10.22162/2619-0990-2022-59-1-158-168.
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ntroduction. The etymology of the Chinese character 佛 (fó) shows that not only phonetics but also morphology of the character proper, as well as its interpretation in ancient Chinese texts, serve important factors of its use to translate the concept of ‘Buddha’ from Sanskrit Indian sutras. Goals. Etymological analysis of the hieroglyph 佛 with identification of early meanings based on citations from classical philosophical writings will reveal reasons for the primary use of the character 佛 in translations, in contrast to other assonant lexemes (e.g., 浮). Insights into historical and cultural backgrounds, peculiarities of the dissemination of Buddha’s teachings and beginnings of Chinese translation studies prove instrumental in emphasizing the influence of these processes on subsequent development of the new meaning. Materials. The study analyzes Chinese etymological and explanatory dictionaries, language databases and Chinese historical texts, as well as materials presented in works of linguists and historians. Results. The sign 佛 had been used in Taoist and Confucian literature long before the arrival of Buddhism in China. Its etymological and semantic analyses, interpretations of main meanings discovered in philosophical texts make it possible to show origins of the new meaning of the hieroglyph 佛 ‘Buddha’ and its use in translations. The history of development of the pictophonetic 佛 involves a cognitive aspect of linguoregional studies and reflects the complex process of Buddhist teachings adaptation in China, as well as the formation of Chinese translation studies in the context of interaction between India, China and domains of Tokharistan (Xiyu states) in the earliest centuries AD.
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Sharma, Priyanka, and K. Shankar Rao. "PHARMACEUTICO-ANALYTICAL STUDY AND QUALITY STANDARD DETEC-TION OF JATYADI GHRITA BY HPTLC METHOD." August - September 2020 p4, no. 06 (September 30, 2020): 2462–68. http://dx.doi.org/10.46607/iamj02p4062020.
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In the era of commercialization quality control and standardization of herbal formulation is essential in or-der to assess the quality of drugs for therapeutic value. Jatyadi Ghrita is a ghee based Ayurvedic formula-tion useful for treatment of all kind of wounds by external application found in classical texts of Ayurveda. In this study an attempt has been made to develop standard for Jatyadi Ghrita by HPTLC method. It was prepared by standard laboratory reference of Ayurvedic formulary of India in three batches in RS & BK Laboratory NIA, Jaipur. The physicochemical tests performed on different samples of Jatyadi Ghrita such as acid value, saponification value, Total fatty matter, melting point, viscosity etc. Further standardization and comparative evaluation of laboratory sample and marketed sample done by instrument analysis per-formed on HPTLC finger printing profile. Data has been provided to demonstrate applicability of the methods to standardization of Jatyadi Ghrita.
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Taylor, Sharmila, and Kamna Sisodia. "HISTORY OF INNOVATION IN MUSIC, WITH REFERENCE TO DHRUPAD SINGING STYLE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3406.
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Changing the tradition of history is a natural process of nature. In the context of the Dhrupad singing style in the Indian classical music world, if we take a historical view, the practice of singing Dhruva and Prabandha songs before this style was prevalent. The ritual form of Dhruva songs is found in Sanskrit drama texts from pre- to late India. Dhruva has an important place in terms of song composition.Even in the exorcisms used in the puvarang before the Natyarambha, the Dhruvas have special importance due to the use of musical instruments. Originally, the verses of songs which are used within the play are called Dhruva to make those situations intensified or to intensify the character of the characters in various situations of the play. They are also related to the lyricists due to their use of various parts of the lyricists.
इतिहास की परम्परा में परिवर्तन होना प्रकृति की स्वाभाविक प्रक्रिया है। भारतीय शास्त्रीय संगीत जगत में ध्रुपद गायन शैली के सन्दर्भ मं हम ऐतिहासिक दृष्टि डालें तो इस शैली के पूर्व ध्रुवा एवं प्रबन्ध गीतों को गाने का प्रचलन था। ध्रुवा गीतों की परम्परा का क्रियात्मक रूप भरत के पूर्व से लेकर परवर्ती संस्कृत नाटक ग्रंथों में पाया जाता है। गीत रचना की दृष्टि से ध्रुवा का महत्त्वपूर्ण स्थान है।नाट्यारम्भ से पहले पूर्वरंग में प्रयुक्त बहिर्गीतों में भी ध्रुवाएं वाद्यप्रयोग की उपरंजक होने के कारण विशेष महत्व रखती हैं। मूलतः नाट्य की विभिन्न परिस्थितियों में रसानुभूति करा कर उन परिस्थितियों को तीव्र बनाने अथवा पात्रों के चरित्र को उभारने के लिए जिन छन्दोबद्ध गीतों का प्रयोग नाट्य के भीतर किया जाता है वे ध्रुवा कहलताी है। गीतकों के विभिन्न अंगों का इनमें प्रयोग होने के कारण ये गीतकों से भी सम्बन्ध है।
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Furani, Khaled. "Said and the Religious Other." Comparative Studies in Society and History 52, no. 3 (June 18, 2010): 604–25. http://dx.doi.org/10.1017/s0010417510000320.
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Whether observed in French laïcité, Kemalist Turkey, Kantian political theory, Western Christian theology, or North Indian classical music, the presence of modern secularity has been demonstrably complex (Asad 2003; Bakhle 2008; Blumenberg 1985; Connolly 1999; Navaro-Yashin 2002). My purpose in this essay is to further examine the intricacies of the modern secular, specifically its relation with what it deems “religious.” My focus will be Edward Said, whose paradigmatic engagement in secular, critical, and comparative inquiry makes his work an ideal place to investigate the modern apparition of the secular. It is widely acknowledged that Orientalism (1979) led to a profound transformation of entire fields of inquiry in the humanities and social sciences, and even the creation of new ones. Said's work as a practice of criticism has been instrumental in addressing the affinities between forms of knowledge and domination, especially in their colonial variety. However, studies of his writings have only recently begun to address the topic of modern secularism in his work, which will be at the center of this paper (e.g., Mufti 2004; Hart 2000; Anidjar 2006; Apter 2004; Robbins 1994; Gourgouris 2004).
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Sriraam, N., Nikitha Deepak, Pratibha Ashok Kumar, Priyanka Gopakumar, Shreya Sridhar, Ashwini B. Setlur, Megha Rani, Pooja R., and Eepsa. "Clinical Engineering in India." International Journal of Biomedical and Clinical Engineering 3, no. 1 (January 2014): 52–62. http://dx.doi.org/10.4018/ijbce.2014010105.
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Clinical Engineering (CE), an interdisciplinary field derived from classical engineering emphasize on the importance of two important domains, medical and engineering. The field comprises of major themes that include medical terminology, clinical measurement and instruments, human factor engineering, medical ethics. As a clinical engineer, he/she makes sure on safety aspects in the hospital, ensures regular preventive maintenance procedures, evaluates new technologies, and develops a close relationship with clinicians. All this process ensures effective patient care and successful outcome of treatment. If clinical engineering procedures are incorporated in a larger scale in greater number of hospital and healthcare centers, a better patient-care outcome can be expected. The proposed work reports on the case study on need for clinical engineering and clinical engineers in India to bridge the crucial gap between engineering and medical domains. A survey was conducted to know from the public on initiating a new post graduate program on clinical electronics engineering. The outcome of the survey clearly shows an indication on the need for initiating the course in the post graduate level engineering program.
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N, Sabari Girija, Sakthimanipriya L, Sinekha MA, Prithiviraj K, Shanmugapriya P, and Madhavan R. "Physico-chemical characterization of Annapavala Chenduram - A Siddha herbo marine formulation." International Journal of Ayurvedic Medicine 13, no. 3 (October 9, 2022): 754–58. http://dx.doi.org/10.47552/ijam.v13i3.2862.
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Annapavala Chendhuram (APC) is the herbo – marine formulation in Siddha. Annabedhi (Green vitriol) is one of the Uparasam (Hydro chemicals) and Kodipavalam (Coral) is one of the Navamanigal (Nine gems). These both are the main ingredients of APC. Present day demand of Siddha formulations has been raised globally due to increased response towards Siddha system of medicine. Therefore, certain things like standardization, quality control, and safety became essential requirements for Siddha formulations. The test drug APC was prepared at Gunapadam (Pharmacology) lab of National Institute of Siddha, Chennai as per traditional method (incineration) mentioned in the classical texts. Physico‑chemical and instrumental analysis including Scanning Electron Microscopy (SEM), X-Ray Diffraction (XRD), Fourier Transform Infrared Spectroscopy (FTIR) was performed as per PLIM (Pharmacopeia Laboratory of Indian Medicine) guidelines. The pH of test drug APC was 8.34. It contains 0.56% acid insoluble ash and Solubility in the water was 6.75%. Quantitative measures of chloride, sulphate, carbonate, iron, calcium, sodium and potassium was 0.63%, 1.21%, 11.84%, 19.56%, 14.85%, 2.2%, 3.5% respectively. Scanning Electron Microscopy analysis revealed that particle size of APC about 200nm. This study suggests that quality specifications of APC can be developed using parameters described in Siddha along with analytical tools available today.Text
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Al Dahdah, Marine. "From Evidence-based to Market-based mHealth: Itinerary of a Mobile (for) Development Project." Science, Technology, & Human Values 44, no. 6 (January 21, 2019): 1048–67. http://dx.doi.org/10.1177/0162243918824657.
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Information and communication technologies are increasingly used for development in the Global South, and mHealth (health assisted by mobile technologies) plays key role. This paper analyzes the particular relationship to science that characterizes a global maternal mHealth program deployed in Ghana and India. Using science and technology studies (STS), this research relies on qualitative interviews conducted between 2014 and 2016 with funders, implementers, and beneficiaries of this mHealth program. This story begins with a randomized controlled trial, a biomedical experiment with a strong positioning regarding science and the production of evidence. But rapidly the scientific stance disappears to give way to the testing and marketing of a product for the digital economy. From science to market, this paper offers to revisit a classical STS topic through the lens of mHealth. It shows how the various experimental forms taken by this project fundamentally diverge from scientific methods and evidence production and at the same time how it nurtures an ongoing instrumental relationship with science. Thus, from clinical research to product marketing, this paper highlights the tenuous link between evidence-based and market-based mHealth in the Global South.
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Nayak, Monalisha, T. G. Sitharam, and Sreevalasa Kolathayar. "A Revisit to Seismic Hazard at Uttarakhand." International Journal of Geotechnical Earthquake Engineering 6, no. 2 (July 2015): 56–73. http://dx.doi.org/10.4018/ijgee.2015070104.
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This paper presents the seismic hazard of the state of Uttarakhand in India, located at the foothills of the seismically active Himalayan mountain ranges. In the present study, an updated catalog of earthquakes has been prepared for Uttarakhand which was homogenized into a unified moment magnitude scale after declustering of the catalog to remove aftershocks and foreshocks. Various source zones were identified in the study area to account for local variability in seismicity characteristics. The seismicity parameters were estimated for each of these source zones, which are necessary inputs into seismic hazard estimation of a region. The seismic hazard evaluation of the region based on a state-of-the art PSHA study was performed using the classical Cornell–McGuire approach with different source models and attenuation relations. The most recent knowledge of seismic activity in the region was used to evaluate the hazard, incorporating uncertainty associated with different modeling parameters as well as spatial and temporal uncertainties. The PSHA was performed with currently available data and their best possible scientific interpretation using an appropriate instrument such as the logic tree to explicitly account for epistemic uncertainty by considering alternative models. The hazard maps were produced for horizontal ground motion at the bedrock level and an attempt was done to bring the hazard at surface level using appropriate amplification factors. The maximum PHA value at bedrock level for 10% Probability of exceedance (PE) in 50 years is 0.34g and same for 2% PE in 50 years is 0.54g.
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Valipour, Mohammad, Rodney Briscoe, Luigi Falletti, Petri S. Juuti, Tapio S. Katko, Riikka P. Rajala, Rohitashw Kumar, Saifullah Khan, Maria Chnaraki, and Andreas Angelakis. "Water-Driven Music Technologies through Centuries." J 4, no. 1 (December 22, 2020): 1–21. http://dx.doi.org/10.3390/j4010001.
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Water-driven music technology has been one of the primary sources of human leisure from prehistoric times up until the present. Water powered, along with air pressure organs, have been used throughout history. One of them was an organ of fountains located inside a formal garden. Throughout ancient mythology, several different gods have been linked to music in many civilizations, in particular, Minoa, Mehrgarh, and Gandhara. Water deities were usually significant amid civilizations located next to a sea or an ocean, or even a great river like the Indus River in Pakistan, the Nile River in the Middle East or the Ganga River in India. These fountains performed a wide range of songs from Classical to contemporary Arabic, and even included other worldly music. The study of water-driven music technology demonstrates the diachronic evolution and the revelation that ancient people had impressive knowledge of the engineering needed for water exploitation and manipulation. This revelation is still both fascinating and intriguing for today’s water engineers. This paper also shows the relationship between water in nature and music, and furthermore, how nature has inspired composers throughout history. This research shows the sustainability of different kinds of water-driven musical instruments, not only through their use in past centuries, but their relevance in music therapy and other purposes of today. This study is useful for researchers in the fields of history, music, engineering and sustainable development.
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Ahisheva, Kseniia. "Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 449–65. http://dx.doi.org/10.34064/khnum2-19.26.
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Background. George Gershwin is often considered as a composer who wrote mainly songs and musicals, but this is a misconception: beside the pieces of so-called “light” genres, among the composer’ works – two operas, as well as a number of outstanding instrumental compositions (“Cuban Overture” for a symphony orchestra, two Rhapsodies, Variations for piano and orchestra and Piano Concerto etc.). Gershwin had a natural pianistic talent, and there was almost not a single piece of his own that he did not perform on the piano, and most of them were born in improvisation (Ewen, 1989). The basis for the creation of this study was the desire to increase interest in the work of Gershwin as a “serious” composer and to draw the attention of domestic academic pianists to the value of his piano works, presented not only the “Rhapsody in Blue”, which has been mostly played lately. The purpose of our research is to prove the relevance of the performance of Gershwin’s instrumental works in the academic concert environment as the music of the classical tradition, tracing the formation of specific features of the composer’s instrumental creativity and their reflection in the cycle of “Three Preludes for Piano” in 1926. Studies of the life and work of G. Gershwin, illuminating a special path in music and the unusual genius of an outstanding musician, were created mainly in the 50–70s of the XX century. D. Ewen – the author of the most detailed biography of the composer (first published in 1956, the Russian translation – in 1989) – was personally acquainted with the great musician and his family, took numerous interviews from the composer’s relatives, friends and teachers, had access to his archives (Ewen, 1989: 3–4). The author of the book enters into the details of the life and creative work of the genius and creates a portrait of the composer as a person “in relationships” – as a son, brother, friend. A separate chapter devoted to the music of Gershwin is in the fundamental work of V. Konen (1965) “The Ways of American Music”, an extremely useful study of the folklore origins and musical foundations of jazz. Cognitive is the “popular monograph” by V. Volynskiy (1988) about Gershwin, carefully structured chronologically and thematically. The Internet-pages of A. Tikhomirov (2006–2020) on the resource “Classic Music News.ru” are also very valuable, in particular, thanks to retrospective photographs and audio recordings posted there. From the point of view we have chosen, the piano Preludes by G. Gershwin have not yet been considered by domestic researchers. Research methodology is based on comparative analysis and then synthesizing, generalization and abstraction when using data from biographical literature, and tested musicological approaches when considering musical samples and audio recordings of various versions of the Preludes (including the author’s playing). The results of reseaching. G. Gershwin, despite his Jewish-Slavic family roots (his parents emigrated to America from the Russian Empire at the end of the 19th century), is undoubtedly a representative of American culture. Outstanding artists have almost always turned to the folklore of their country. In Gershwin, this trait manifested itself in a special way, since American folklore, due to historical and political circumstances, is a very motley phenomenon. Indian, English, German, French, Jewish, African, Latin American melodies surrounded Gershwin everywhere. Their rhythms and intonations, compositional schemes were melted, transformed in professional music (Konen, 1965: 231–246). The first musical teacher of Gershwin was the sound atmosphere of New York streets. This is the main reason that the style of his musical works is inextricably linked with jazz: Gershwin did not encounter this purely American phenomenon, he grew up in it. Among the numerous other teachers of Gershwin who significantly influenced on the formation of his music style, one should definitely name the pianist and composer Charles Hambitzer, who introduced his student to the music of Bach, Beethoven, Chopin, Liszt, Debussy, Ravel (Ewen, 1989: 30–32). The most part of Gershwin’s creativity consisted of working on musicals, a typically American genre. The work with the musicals gave the composer the basis for writing his first jazz opera “Blue Monday“, 1922 (other name – “135th Street”), which became the predecessor of the famous pearl of the new genre, “Porgy and Bess” (1935). Following the production of “Blue Monday”, Gershwin began collaborating with the Paul Whiteman Orchestra, who was impressed by the piece. On the initiative of the latter, Gershwin created his masterpiece, “Rhapsody in Blue” (1924), which still remains a unique musical phenomenon, since the composer brought jazz to the big stage, giving it the status of professional music (Ewen, 1989: 79–85; Volynskiy, 1988: part 4). V. Konen (1965: 264–265) believes that Gershwin is a representative of symphonic Europeanized jazz, since he uses it in musical forms and genres of the European tradition. However, we cannot agree that Gershwin “used” jazz. For him, jazz was organic, inseparable from the author’s style, and this is what makes his music so attractive to representatives of both classical and pop traditions. For Gershwin, due to life circumstances, turning to jazz is not an attempt at stylization, but a natural way of expression. “Three Preludes for Piano” are significant in the composer’s work, because it is the only known concertо work for solo piano published during his lifetime. At first, Gershwin planned to create a cycle of 24 Preludes, but only seven were created in the manuscript, then the author reduced the number of works to five. A year after the creation of the Piano Concerto, in 1926, Gershwin presented this new opus. The pieces performed by the author himself sound impeccably technically and even austerely-strictly (audio recording has been preserved, see ‘Gershvin plays Gershvin 3 Preludes’, video on You Tube, published on 2 Aug. 2011). It can be noted that Gershwin is close to the European pianistic style with its attention to the accuracy of each note. The cycle is built on the principle of contrasting comparison: the first and third Preludes are performed at a fast pace, the second – at a slow pace (blues-like). The analysis of the cycle, carried out by the author of the article, proves that “Three Preludes” for piano reflect the main features of Gershwin’s creative manner: capriciousness of syncopated rhythms, subtle modulation play, improvisational development. Breathing breadth, volumetric texture, effective highlighting of climaxes bring the cycle closer to the composer’s symphonic works. Jazz themes are laid out at a high professional level, using traditional European notation and terminology. Thus, although Gershwin was a brilliant improviser, he made it possible for both jazz pianists and academic performers to master his works. Conclusions. The peculiarities of Gershwin’s development as an artist determined the combination of the jazz basis of his works with the compositional technique of European academic music. The versatility and musical appeal of the Preludes are the key to their long stage life. Plays are well received both in cycles and singly. Their perception is also improved by the fact that the original musical speech is combined in them with the established forms of academic music. The mastery of the Preludes by pianists stimulates the development of technical skill, acquaints with jazz style, sets interesting rhythmic problems. The pieces are bright and winning for concert performance. Thus, the presence of the composer’s piano pieces and other his instrumental works in the programs of classical concerts seems appropriate, useful and desirable.
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Otgonbaatar, Soronzonbold, and Mihai Datcu. "Assembly of a Coreset of Earth Observation Images on a Small Quantum Computer." Electronics 10, no. 20 (October 12, 2021): 2482. http://dx.doi.org/10.3390/electronics10202482.
Full textAbstract:
Satellite instruments monitor the Earth’s surface day and night, and, as a result, the size of Earth observation (EO) data is dramatically increasing. Machine Learning (ML) techniques are employed routinely to analyze and process these big EO data, and one well-known ML technique is a Support Vector Machine (SVM). An SVM poses a quadratic programming problem, and quantum computers including quantum annealers (QA) as well as gate-based quantum computers promise to solve an SVM more efficiently than a conventional computer; training the SVM by employing a quantum computer/conventional computer represents a quantum SVM (qSVM)/classical SVM (cSVM) application. However, quantum computers cannot tackle many practical EO problems by using a qSVM due to their very low number of input qubits. Hence, we assembled a coreset (“core of a dataset”) of given EO data for training a weighted SVM on a small quantum computer, a D-Wave quantum annealer with around 5000 input quantum bits. The coreset is a small, representative weighted subset of an original dataset, and its performance can be analyzed by using the proposed weighted SVM on a small quantum computer in contrast to the original dataset. As practical data, we use synthetic data, Iris data, a Hyperspectral Image (HSI) of Indian Pine, and a Polarimetric Synthetic Aperture Radar (PolSAR) image of San Francisco. We measured the closeness between an original dataset and its coreset by employing a Kullback–Leibler (KL) divergence test, and, in addition, we trained a weighted SVM on our coreset data by using both a D-Wave quantum annealer (D-Wave QA) and a conventional computer. Our findings show that the coreset approximates the original dataset with very small KL divergence (smaller is better), and the weighted qSVM even outperforms the weighted cSVM on the coresets for a few instances of our experiments. As a side result (or a by-product result), we also present our KL divergence findings for demonstrating the closeness between our original data (i.e., our synthetic data, Iris data, hyperspectral image, and PolSAR image) and the assembled coreset.
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Asif Khan, Mohammad, Mehjabeen Fatimah, and Saiyad Shah Alam. "Nephrolithiasis (Hisat-E-Kulyah) and Its Management: An Overview." Research in Pharmacy and Health Sciences in Volume 4, Issue 3: July 2018- September 2018 4, no. 3 (September 30, 2018): 507–11. http://dx.doi.org/10.32463/rphs.2018.v04i03.19.
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Nephrolithiasis is one of the most common health problems that affect approximately 15 % population worldwide and about 2.3% population of India. Most (75% to 80%) kidney stones are calcium stones, composed of calcium oxalate and/or calcium phosphate. These stones are generally associated with high concentration of calcium in the blood or urine. The classical features of renal colic are sudden severe pain. It is usually caused by the stones in the kidney, renal pelvis or ureter, causing dilatation, stretching and spasm of the ureter. Pain starts in the loin about the level of the costovertebral angle. Typical symptoms of acute renal colic are intermittent colicky flank pain that may radiate to the lower abdomen or groin, often associated with nausea and vomiting. Many stones are asymptomatic and discovered during investigations for other conditions. Small urinary calculi pass out of the body without any clinical intervention. According to Jaleenoos (Galen) renal stones are formed when rooh (gaseous matter) is trapped in the spaces of the kidney and consolidates to form hard substances. Another cause of renal calculi is ulceration of the kidney, in which pus accumulates and solidifies, thereby forming renal stones or at least establishing a nidus for the formation of stones. Avicenna contends that the persistence of “morbid matter” in the urinary tract is instrumental in the formation of ghaliz madda (viscid matter). In Unani system of medicine the main aim of management for nephrolithiasis is to make morbid and abnormal humors easily extractible from the body through the excretory system. This paper will deal with the literature, clinical aspect and management of the Nephrolithiasis in Unani System of Medicine
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Porta-Navarro, Amparo. "The Musical Offers of Children’s Programming on «Televisión Española» as its Hearing Universe." Comunicar 19, no. 37 (October 1, 2011): 177–85. http://dx.doi.org/10.3916/c37-2011-03-10.
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The music that children are exposed to in their everyday lives plays an important role in shaping the way they interpret the world around them, and television soundtracks are, together with their direct experience of reality, one of the most significant sources of such input. This work is part of a broader research project that looks at what kind of music children listen to in a sample of Latin American and Spanish TV programmes. More specifically, this study focuses on children’s programmes in Spain, and was addressed using a semiotic theoretical framework with a quantitative and musical approach. The programme «Los Lunnis» was chosen as the subject of a preliminary study, which consisted in applying 90 templates and then analysing them in terms of the musical content. The results show that the programme uses music both as the leading figure and as a background element. The most common texture is the accompanied monody and the use of voice, and there is a predominance of electronic instrumental sounds, binary stress and major modes with modulations. Musical pieces are sometimes truncated and rhythmically the music is quite poor; the style used is predominantly that of foreign popular music, with a few allusions to the classical style and to incidental music. The data reveal the presence of music in cultural and patrimonial aspects, as well as in cognitive construction, which were not taken into account in studies on the influence of TV in Spain. Such aspects do emerge, however, when they are reviewed from the perspective of semiotics, musical representation, formal analysis and restructuring theories.La música de la vida cotidiana del niño tiene uno de sus referentes, junto a su experiencia real, en la banda sonora de la televisión, configurando una parte de su interpretación de la realidad. Este trabajo forma parte de una investigación más amplia sobre la escucha televisiva infantil en una muestra iberoamericana. El objetivo, conocer qué escuchan los niños en la programación infantil de «Televisión Española», ha sido estudiado desde un marco teórico semiótico con un enfoque cuantitativo y musical. El artículo presenta un resumen de los resultados obtenidos en un primer análisis del programa «Los Lunnis» mediante la aplicación de noventa plantillas y sus análisis musicales correspondientes. Estos resultados indican que el programa utiliza la música como fondo y figura, textura de monodía acompañada y utilización de la voz, predominio del sonido electrónico instrumental, acento binario y modo mayor con modulaciones. Aparecen piezas musicales cortadas y cierta pobreza rítmica, su opción estilística es la música popular no propia, con algunos guiños al estilo clásico y a la música incidental. Los datos muestran la presencia de la música en aspectos culturales, patrimoniales y de construcción cognitiva no considerados en los estudios sobre la influencia de la TV en España, pero que emergen cuando son revisados desde la semiótica, la representación musical, el análisis formal y las teorías de la reestructuración.
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Liu, Ting. "The interpretative function of singing in the “score” of a modern ballet performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, no. 62 (September 16, 2022): 79–92. http://dx.doi.org/10.34064/khnum1-62.05.
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Statement of the problem. Under consideration is a specific form of art synthesis – singing in modern ballet. The synthesis of arts is attributive to the poetics of European opera, where a choreographic plan is used, however, singing in ballet is a rather rare phenomenon against the background of the dominance of singing in the operas of the 18th and 19th centuries. Nonetheless, there are eloquent examples of the return of singing in a ballet as a characteristic feature of the innovative choreographic theatre (“Pulcinella” by I. Stravinsky). The relevance of the topic is explained by the lack of musicological research devoted to the functions of singing as a component of ballet, while in modern practice there are clear precedents for the revival of this phenomenon. Some topical sources indicate the synthetic type of theatrical spectacle in the context of French Baroque culture (Danshina, 2010; Anfilova, 2004; Chepalov, 2008 and others), but the vocal component is not considered as a special problem. The purpose of the article is to investigate the interaction of vocal and ballet arts in the modern practice of ballet productions of the Kharkiv Opera and Ballet Theater (Ukraine) in the retrospective context of European musical-theatrical traditions. Modern ballet “The Little Prince” based on A. Saint-Exupery’s novel of the same name (2016) staged by Kharkiv ‘M. Lysenko’ National Academic Theatre of Opera and Ballet (KhNATOB) was chosen to be the material of the article. The following research methods are used: historical and typological approach that distinguishes the styles of European opera culture; semantic analysis of ballet performance as an artistic text; interpretative-cognitive comprehension of singing and its functions in ballet dramaturgy. Presentation of the research results. The creative experience of the French choreographer Johann Nuss on the stage of Kharkiv Opera Theatre – the premiere of the modern ballet “The Little Prince”, testified to the actualization of intertextuality in solving the problem of the relationship between singing and dancing. Traditional artistic plans are an important factor in the dramaturgy of a ballet performance. Together with two purely choreographic levels where the virtuoso skill of dancers and plastique of “talking” movements prevails, the singing voice is the third plan, which indicates the continuity of the French tradition (one can remember the model of J. B. Rameau’s “Gallant India”). The choice of musical material for the performance belongs to J. Nuss. He “saw” the image of Rose, who the Prince is in love with, twofold: as a choreographic-plastic and a “singing” one. Respectively, the role of Rose is embodied by a ballerina (Honoured Artist of Ukraine Iryna Khandazhevska) and a singer (Honoured Artist of Ukraine Olena Starykova, soprano). Dressed in a costume of a flower, the singer represents an ideal creature: themes from R. Glier’s and S. Rachmaninoff’s vocal compositions sound. The appearance of other bright characters is accompanied by instrumental music fragments, these are the King (J. S. Bach’s Second Orchestral Suite), the Ambitious Man (L. Delibes “Coppélia”), the Drunkard (“Winter” from A. Vivaldi’s “The Seasons”), and the Banker (J. S. Bach’s Suite for Cello Solo). So, the introduction of coloratura singing into the spectator’s plan of perception of the expressive-linguistic means of ballet opens a new symbolic world. Conclusions. Singing in a ballet is a specific manifestation of the art synthesis characteristic of modern choreographic performance. The vocal art emphasizes the highest, spiritual degree of communication, adding to the spectators’ experience a cathartic component. The interpretative function of singing in the concept of the performance is obvious: singing is a symbol (expression) of the divine essence of a human. Energy of vocals, multiplied by the traditional means of classical choreography and modern ballet, is a component of “multimedia modality” (Petrovic, 2017) as a sign of the interpretive thinking of the directors. Understanding the action of multimodality in the space-time of ballet is an interpretative dimension of spiritual reality. The prospect of researching. The study of modern forms of stage life of “singing in a ballet” indicates the need to develop this concept in the theoretical and methodological key, as well as to consider other examples of ballet performances (“One Thousand and One Nights” by F. Amirov, “Spartacus” by A. Khachaturian in Kharkiv Opera and others).
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Ghosh, Amit K. "An assumption of the past climate and environment in millennial and centennial scale." Journal of Environmental Biology 44, no. 1 (January 23, 2023): i—ii. http://dx.doi.org/10.22438/jeb/44/1/editorial.
Full textAbstract:
The approximate age of Planet Earth is around 4.54 billion years. This age of the earth has been determined from isotopic dating of the rock samples from the earth’s crust as well as from the soils and rocks of the moon and meteorites. Dating methods e.g., Rubidium (87R) – Strontium (87Sr) and Uranium (238U, 235U, 232U) – Lead (206Pb, 207Pb, 208Pb) are widely used for dating of the rocks pertaining to deep time. Succeeding the birth of planet earth, the origin of first life on the earth is one of the greatest enigmas. There have been a number of questions that have been asked on this issue but many of the answers are not satisfactory and absolutely verified as well as full proof. For a better understanding of this enigma, we need to focus on the several features and geochemical conditions that were congenial for the first life on Planet Earth. We need to know which were the main driving forces viz., water, chemistry, temperature cycles, etc., that facilitated the emergence of life on the earth. There are various opinions regarding the origin of first life on the earth. A group of scientists believe that RNA or RNA -like molecule first appeared on the earth that was capable to self replicate. As far as the existing knowledge is concerned, the earliest life forms were microscopic organisms (microbes) and their evidence is archived in the rocks of about 3.7 billion years ago. Evidence of microbes is also preserved in Stromatolites (lamination of lime-secreting Cyanobacteria that make calcareous mound). After the evolution of Cyanobacteria, there was a dramatic transformation by the rise in Oxygen level in the atmosphere. Gradually from the prokaryotes, the eukaryotes evolved. In the history of life on the earth there have been numerous mass extinction events when high proportions of the plants and animals became extinct both in the terrestrial and marine realms. However, the classical mass extinction events are popularly known as 'Big Five'. In accordance with the geological time scale, the 'Big Five' major mass extinction events are: Ordovician-Silurian (440-450 million years ago), Devonian-Carboniferous (360-375 million years ago), Permian-Triassic (252 million years ago), Triassic-Jurassic (205 million years ago) and Cretaceous-Tertiary (65 million years ago). Extreme climatic and catastrophic events were responsible for all these mass extinction events that took place in the history of earth. However, with every mass extinction event, radiation of flora and fauna took place and evolution as well as diversification in the plant and animal kingdom was witnessed both on the land and in the ocean. All these are linked to the change in climate and environment and there have been change in climate since the first life emerged on the earth i.e., during the past several million years. During the past few decades, the global trend of climate change has created tremendous encouragement and increased concern amongst the scientific community of the world and that have motivated the scientists to focus on different aspects of climate research. In this backdrop, the study of the past climate can provide some important clues and by virtue of that possible changes in the future climate can be predicted. Based on different instruments recorded at the meteorological stations, climate and environmental records of the past few centuries can be traced but not on a millennial and centennial scale. For this reason, we need proxies viz., biotic proxies preserved as fossils and geochemical proxies archived in the ancient rocks of the earth. These proxies are able to interpret the past changes in the climate and environment that occurred in different time slices on the Planet Earth. During the last thirty five years of my palaeobiological research hovered on the past climate and evolution of organisms both on the land and oceanic realms myself along with colleagues and research students associated with me have contributed on various extreme climatic events of the past. We have been able to decipher when and how the change in floral composition and radiation took place after the Permian-Triassic mass extinction (~252 million years ago) event (Pal et al., 1991; Pal and Ghosh, 1997; Chatterjee et al., 2014; Ghosh et al., 2014; Ghosh et al., 2016; Kar and Ghosh, 2018; Ghosh et al., 2021). My working group also attempted to identify the changes in the benthic marine flora before and after the Cretaceous- Tertiary mass extinction (~65 million years ago) event (Ghosh et al., 1997; Ghosh and Sarkar, 2013). During the last couple of decades, research of my working group mainly focused on the phytoplankton from the sedimentary rocks exposed in different islands of Andaman and Nicobar along with adjacent offshore sedimentary cores. Our investigations revealed the optimum climatic events, intensification of the Indian Summer Monsoon (ISM), fluctuations in sea level, and various other climatic events since ~16 million years ago (Chakraborty and Ghosh, 2016; Chakraborty et al., 2019; Ghosh et al., 2017; Chakraborty et al., 2021; Saxena et al., 2021; Chakraborty and Ghosh, 2021; Chakraborty et al., 2021a and b; Roy et al., 2022; Saxena et al., 2022). However, according to my perspective, the contributions of mine along with my working group are meager and in further intensive research is needed that can be used as an analogue to predict the future climatic scenario. Last but not the least, I would like to express that I am associated with the Journal of Environmental Biology for the last 10 years in different capacities. I really appreciate the quality of publication in the journal, the process of peer review and the accuracy that attracts the international audience. Specifically, I must acknowledge the contribution of Dr. R.C. Dalela who solely handled the journal and to date, the standard is maintained in an era of competition when various predatory journals are mushrooming all over the world. It is still unbelievable for me that the founder, Dr. R.C. Dalela is no more with us. On December 12, 2022 he took his last breadth. I pay my deepest regards and homage to Dr. Dalela. In fact, he invited me to write this editorial note and I am really thankful to this great human being; a very honest, humble, meticulous and pleasing personality. Whenever I met him, I told him that during my graduation I took the help of the book written by Dalela and Verma on Cell Biology. He is no more in this living world as it is the law of our life, but I believe that his untiring effort, hard work, blessings and best wishes will certainly improve the quality of the journal.