The rulers of the Mughal Empire of India, who reigned from 1526 to 1858, spared no expense as patrons of the arts, particularly painting and music. They left as their legacy an extraordinarily rich body of commissioned artistic projects including illustrated manuscripts and miniature paintings that represent musical instruments, portraits of musicians, and the compositions of ensembles. These images form the basis of Bonnie C. Wade's study of how musicians of Hindustan encountered and Indianized music from the Persian cultural sphere. Imaging Sound is a contribution to many fields in its unique combination of sources and methods: it is the study of musical change; of image-making in the past and the methodological use of images as "texts" in the present; of the role of patronage in the Mughal Empire; and of the development of South Asian culture.

In this historical novel, the legendary Navratan Tansen, comes to life through tales of his guru bhakti, his quest for musci, his loves, his family, and experiences as the chief court musician.

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From imitating animal sounds to igniting a fire with his song, Tansen's genius was unmatched. His voice was so much in demand that wily patrons used it to gain political advantage. Such a talent could win loyal friends and a beautiful wife, but it could also make others viciously jealous. In Emperor Akbar's court, he was a jewel more precious than the diamonds and pearls that were showered on him and he remains to this day a shining symbol of classical Indian music.

Daniel M. Neuman offers an account of North Indian Hindustani music culture and the changing social context of which it is part, as expressed in the thoughts and actions of its professional musicians. Drawing primarily from fieldwork performed in Delhi in 1969-71—from interviewing musicians, learning and performing on the Indian fiddle, and speaking with music connoisseurs—Neuman examines the cultural and social matrix in which Hindustani music is nurtured, listened and attended to, cultivated, and consumed in contemporary India. Through his interpretation of the impact that modern media, educational institutions, and public performances exert on the music and musicians, Neuman highlights the drama of a great musical tradition engaging a changing world, and presents the adaptive strategies its practitioners employ to practice their art. His work has gained the distinction of introducing a new approach to research on Indian music, and appears in this edition with a new preface by the author.

The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service,Bombay ,started on 22 December, 1935 and was the successor to the Indian Radio Times in english, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it was published by All India Radio,New Delhi.From July 3 ,1949,it was turned into a weekly journal. Later,The Indian listener became "Akashvani" in January 5, 1958. It was made a fortnightly again on July 1,1983. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes,who writes them,take part in them and produce them along with photographs of performing artists. It also contains the information of major changes in the policy and service of the organisation. NAME OF THE JOURNAL: The Indian Listener LANGUAGE OF THE JOURNAL: English DATE,MONTH & YEAR OF PUBLICATION: 04-03-1951 PERIODICITY OF THE JOURNAL: Weekly NUMBER OF PAGES: 48 VOLUME NUMBER: Vol. XVI. No. 10. BROADCAST PROGRAMME SCHEDULE PUBLISHED(PAGE NOS): 15-43 ARTICLE: 1. Convenient Jargon: "In The Interests Of The Masses" 2. Development Of Water Resources 3. Shortwave Transmissions:Listening Conditions In March : I 4. Music And Music Makers : Tansen 5. The Indigenous Banker AUTHOR: 1. Samuel Mathai 2. Michael W. Straus 3. R. B. L. Srivastava 4. Hirji R. Doctor 5. Chunilal B. Mehta KEYWORDS: 1. Constitution, convenient jargon, diplomatic language, Abraham Lincoln 2. Grand Coulee Dam, hydro-electic power, multi-purpose project 3. atmospheric disturbance, transmission, shorter wave bands 4. Geeta Govind, Vedic times, Tannamishra, Dhrupad style 5. Joint Stock Banks, hundi, Imperial Bank of India, sowcar Document ID: INL-1951 (J-J) Vol-I (09)

In the middle of the nineteenth century a new family of hereditary musicians emerged in the royal court of Lucknow and subsequently rose to the heights of renown throughout North India. Today this musical lineage, or ghar n, lives on in the music and memories of only a small handful of descendants and players of the family instrument, the sarod. Drawing on six years of ethnographic and archival research, and fifteen years of musical apprenticeship, Max Katz explores the oral history and written record of the Lucknow ghar n ,tracing its displacement, loss of prestige, and erasure from the collective memory. In doing so he illuminates a hidden history of ideological and social struggle in North Indian music culture, intervenes in ongoing debates over the anti-Muslim agenda of Hindustani music's reform movement, and reanimates a lost vision in which Muslim scholar-artists defined the music of the nation. An interdisciplinary, postmodern counter-history, Lineage of Loss offers a new and unsettling narrative of Hindustani music's encounter with modernity.

Everyone is a leader in his or her own way. It could be in a company, in the government, with an NGO, in the classroom, or at home. There are tomes written about leadership. Most leaders have no time or inclination to pore over heavy stuff. But not many can resist a story, especially if it is only two or three pages long, as most of the stories in this book are. These stories have come from all sources--from Aesop to the Internet. In most cases it is impossible to trace the origin of the stories. Even when the immediate source is traced, it only leads to another source, which in turn leads to another until the trail is lost. Stories belong to humanity as whole. I have even tweaked some of the stories.