Seminar-I under UGC SAP-DRS project

Kolkata Style: Looking into Indian Classical Music

Important details

• Date: 12 and 13 March 2015
  
• Last date for Registration 02 March, 2015. This is extended till 06 March, 2015.  Interested ones are requested to visit the Registration page.
• Those who wish to present papers MUST submit their abstracts by  February 28, 2015 for processing. [you may like to see the abstract writing guide   below.].
• Venue: Jorasanko Campus
• Registration fees:
  • All faculty members of universities and colleges, and Independent Researchers: Rs. 500
  • All scholars pursuing M.Phil and Ph.D.: Rs. 200
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Concept note

The city Kolkata boasts as a very important seat of practicing Indian Classical Music Culture. Anybody can feel the overwhelming presence of music in the society. This is very lively, full of energy, throbbing like a heart, and present everywhere in the city and around. The practicing-culture has been running through many generations for hundreds of years. The city is playing an exemplary role of music connoisseurship, it has produced innumerable high quality musicians, given a huge number of wonderful listeners and music lovers, produced musical instruments for the people, and generated high volume of musical thoughts. The city ambiance inspires the musicians to do it, to put in heavy practicing to meet the healthy musical challenges around. Here city noise no barrier! The practicing musicians have their custom-made optimized natural ear-filters that only filter out the music to their ears but not the city-noise! The people here spent uncountable hours on musical debates and discussions; it has developed its own listening, presenting and performance culture, simple to pompous. It gives a picture and feel that has the Kolkata-signature. It has embraced and assimilated the finest musical thoughts of different parts of the country; nurtured and enriched it to grow to create newer expressions.

When it is understood that Kolkata has a very strong presence in all areas of Indian Classical Music, there is no formally identified Kolkata-Style. Kolkata has provided such a wide and proven-optimized facility [as this worked!] to music and musicians, we would like to hypothesize that there are Kolkata-components in music. Here ‘Kolkata component’ will mean the addition of fresh thoughts offered by the Kolkata based musicians and other music related persons that clearly helped in producing new colors and dimensions in Indian Classical Music culture. Here the ICM-Culture requires to be viewed holistically. This will include any area relating to Indian Classical Music; starting from music performance, music teaching, musical instrument making, music promotion style, music-politics, role of media, application of modern technology and others.

In this seminar we would like to listen to and learn from the music related people about their thoughts and contributions in their respective fields that helped the music march forward with time. The question is what they learnt, how they developed on that, what they added or re-framed and the theory of their creations.

Some important details

When there will be some renowned musicians and persons related to Indian Classical Music as panelists we invite music scholars to contribute their research outputs in the seminar. We welcome scholars to join and let us have their brief abstracts directly relating to the any one of the questions below. Please restrict the abstracts to 500 words. Please use Google Input Tools if you type in Bengali/Hindi. This is mandatory. You may download the tool from the page link here.

The abstract format should be (a) Chosen Area (b) The title (c) the scholar’s name and affiliation, (d) the content (e) key words

1. The Kolkata based vocalists those worked in the city for considerably long period of time and has distinct contribution in advancement of the vocal style through their style updates, addition of musical components, reduction of musical components in their performances, redistribution of musical components, different modes of musical applications, any change in performance formatting and so on.
2. Same areas as in 1. for tata-sushir vadya.
3. Same areas as in 1. avanaddha vadya. Also if there are changes in sangat style that is special for a list of musicians performing avanddha vadya.
4. Changes in music projection style.
5. Changes in Music Criticism styles in Kolkata: comparative study of ICM criticisms of different times taking into account different decades.
6. Impact of modernity on ICM performances, arrangements and presentations.
7. Utilization of Information Technology and modern gadgets in Kolkata and their impact on music and listening public. A comparative study of the past and present.
8. Changes in listening style in Kolkata. A comparative study of the listening behavior of the past and the present.
9. Other areas matching the topic of the seminar.

The teachers of colleges and universities, the scholars pursuing M.Phil and Ph.D, and Independent Researchers are welcome to send their abstracts as per the stated requirement of this seminar to rbu.doim@gmail.com

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Suggested reading for new scholars trying to write their first presentation abstract

You should submit an abstract to a seminar when you have (1) data and (2) an analysis of your data. You should not submit an abstract in the early stages of your data collection, and you should never submit an abstract if you have not started your study! However, you do not need to have your study fully completed by the time you submit the abstract; a solid preliminary analysis can benefit from seminar presentation. Your analysis should be as polished as you can make it.

Title

Select a clear, informative title that contains all the key elements of your presentation (e.g., a key concept, the area under study, a general sense of your argument). Very short and very long titles are not recommended. It is easiest to choose a title after writing the abstract.

Section 1

The main focus of the introduction should be a general statement about some issue in the field that your study contributes to. At this point you typically don’t mention your study yet but stake out the part of the field that you’re speaking to, and raise the issue that you’ll be addressing (this sets the stage for you to present your research as the solution to a problem, or as a challenge to a claim made by another scholar). Don’t just present a topic; frame the issue as a puzzle or problem or gap or weakness in the literature. This shows why your work is important. Also don’t just say you’re applying someone else’s ideas; make clear what this application adds to knowledge.

Alternatively, you can open with one sentence stating what the paper is about and then contextualize it with a general statement about how it connects to an issue in the field, but the first way is a bit more elegant.

Section 2

This should be the heart of the abstract. State here that your study offers a solution to the problem described in section 1 and how. Briefly give details about the study–where it was conducted and with whom (background of participants, sources of data). Then summarize your research findings.

Finally, all writers of conference abstracts should edit their drafts religiously. Not only must the abstracts be free of spelling and grammatical errors, all superfluous language must be cut. This allows more room for substantive detail, while remaining within the necessary word count.

 Click to download the ‘Abstract Template’ [English]

 

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