Re: Free Pdf On Numerical Analysis By Dutta Jana
Edelira Longinotti
This paper is concerned with an analysis of the dynamics of a non-autonomous, single population age based growth model with harvesting formulation. First, we derive sufficient conditions for permanence and positive invariance. Then, by constructing a scalar function, namely the Lyapunov function, we arrive at a suitable criterion for global attractivity. With the help of Brouwer fixed point and continuation theorems, we obtain constraints for the existence of a positive periodic solution. Then we prove that there exists only one solution which is almost periodic in nature that is distinct from every other solution. Further, we carry out a numerical simulation to support the analytical findings.
Our musical heritage is replete with songs based on classical
Raagas. Bhairavi and Yaman are easily the two Raagas that have
been used most often. Other Raagas used to a lesser extent
include Malkauns, PahaaRi, Shivranjani, Baageshri, Des etc. But which is the Raaga that has been used least in film music ?
I would say that the "prize" should go to Raaga Deepak. Apart
from a couple of films dealing with the life and times of MiaN
Tansen, I doubt whether this Raaga has been used in any other
film. (Sometimes, while listening to an "Anurodh" song, some
of the notes remind me of Deepak, but I may be mistaken.)
Other Raagas which have not been favoured so much by our MDs
include Durga, Kalawati, Tilang, Jaunpuri and BilasKHani Todi. RMIMers' views requested.
Afzal
I agree. The only song bsed in Deepak I know is " Diya jalao" from TansenHowever my favaorites songs in the other less used raags are:Durga: Geet Gaya patharoon ne Lata/Asha
There is a great Ghazal by Chitra "tum ko hum dil main"
Kalawati: Hi re vo din kyon na aa-ay Lata/Asha
Tilang: Chota sa balama Asha
Jaunpuri: Meri Yaad main tum na Talat
Bilaskhani Todi Uff!! Ive forgotten the Bhav completely.
Been too long in the USA. Please remind
me ofa a song in this Raag !!!! Thanks
>
> There is a fairly good w/site where you can find a list of
songs in about seventy different raags.You may find some
repetition or some wrong plcement,but overall it's a very good effort. www.geocities.com/Vienna/Starsse/1364/songs.html Enjoy, Irfan
You have started a very interesting thread Afzalji. I wonder whether
music directors really choose an obscure raga and base a song on them.
As film music need not necessarily be purely based on a raga, IMHO I
think a music director selects a mainline raga, and introduces
innovations (which results in the raga getting changed from the
mainline to a more obscure form).Example: Mr. Rajan Parrikar identifies "Nain so nain" as Malgunji. Now
I really wonder if Vasant Desai while composing the song really
decided on Malgunji. I would rather hedge my bets on he choosing
Bageshri with a few liberties which the realm of film music allows
him.Harish Kini
You have raised a very interesting point. I also feel that many Music Directors may not actually
think of a raaga and then compose their songs in that
raaga. But the nature of true "Indian" music is such
that many compositions do carry a "whiff" of some raaga.
Some months back, there was a thread about songs in Bhairavi
and while giving examples from Shankar-Jaikishan's composi-
tions, I had emphasised this --- that the songs cited contain
the flavour of that raaga, although they may not satisfy the
complete notation. Some of their latter-day songs, where
the electric guitar, accordion and other western instruments
are prominent, also happen to give the impression of Bhairavi.
Examples : "SapnoN ka saudaagar aaya" or "Mere man ki ganga". Recently, in a TV programme, it was mentioned that a song
composed by Anu Malik (of all the people !) for "Refugee"
had notes of not one but two Raagas. The song for which
he got the National Award was "Aisa lagta hai", where this
opening line is in Yaman and the next line "warna dil kyoN
dhaRakta..." is supposed to be in Bihaag. And he openly
confessed that he was unaware of this ! Many Music Directors, particularly of the "Golden Era" had
had a good grounding in classical music and there must have
been a good deal of deliberate raaga-based composition in
their output. But, except for some examples (or exceptions)
here and there, honest and earnest efforts in this direction
have been few and far between. One such exception that I
can recall now was the "One Two Ka Four" song " KHaamoshiyaaN
gungunaane lageeN". As an aside, I do wish that A. R. Rehman
had asked some other female singer to croon this song.
By way of contrast, I can cite the example of the "Devta"
song (old) : "Kaise aaooN Jamuna ke teer". It is in chaste
Bhairavi --- an old Bandish that must have been sung by many
reputed classical singers. I have in my collection, this
Bandish sung by the late Ustaad Abdul Kareem Khan, recorded
somewhere in the mid-thirties. But, I have no hesitation in
confessing that I much prefer the Lata rendition. Despite
the constraints of time (about 3 minutes, 20 seconds for a
78 rpm record), this along with the Geeta Roy "LaRki" song
("BaaT chalat nayi chunri" seem to me the most complete
examples of a Bhairavi recital. Just my opinion. As an example of a composition getting a garb of a raaga
(accidentally ?) Dutta Roy has cited the song from "Yes Boss"
--- "Jaata hai tu kahaaN" which is in Shuddh Kalyaan. I
don't know if this is true of the main song or just one
stanza which contains Bhojpuri lyrics. The tune for that
particular stanza is a little different.
Afzal
Nice list. Some of your raaga attributions are a bit dubious: "saa.Njh
bha_ii ghar aajaa", e.g., is not in Marwa beyond the first line. A true
filmic Marwa is from Saaz aur Awaz. The long ghost sequence "na phuulo.n
kii duniyaa, na taaro.n kii duniyaa" has an extended section in the
raag, that begins:paayaliyaa baavarii baaje
payaliyaa morii
jhanana jhanana jhana jhananana baaje
payaliyaa baavarii baajeThe whole section works beautifully, as Marwa is an unsettling kind of
raag to begin with. Another light Marwa is the Marathi bhaavgiit "rasikaa mii kaise gaauu
giit", beautifully sung by Anuradha Paudwal.
erm, there's a little-known Lata-Madan Mohan confection that goes
"rasm\-e\-ulafat ko nibhaae.N to nibhaae.N kaise". I know it's obscure,
and very hard to come by, but do try and get a hold of it, it's quite
fetching, really. There's also a lovely Tamil song by Vani Jairam. > Soordasi Malharwell, the beginning of "saavan aaye yaa na aaye" is in Brindavani
Sarang, which is close enough, especially given that such fine
distinctions are probably beyond Naushad anyway > Sahana
> Bhavani
> Shankara"ruum jhuum chaal tihaari"
"bemurawwat bewafaa begaanaa\-e\-dil aap hai.n"None of the raags that have been listed as rare in film songs strike me
as being good candidates. Deepak, Bhavani, etc. are esoteric, barely
heard on the concert stage. If they're rare in film songs, it's because
they're rare, period. There is, however, one "big" raag, recorded and performed very often, in
which I can't recall a single film song: Shree.-s
I wouldnt call this an "obscure" song at all. Its a wonderful song and
has a fantastic sitar piece right at the end. Its from Dil ki Raahein,
which has a wonderful raagamaalika by Manna Dey, and a very nice
Usha-Manna Dey duet "apne suron mein....". There is yet another ghazal
by Lata in that movie - "aap ki baatein kahein ya...". "ko birahini ..." from Chala Vaahi Des also based on Madhuvanti. It
sounds a bit similar. I know this isnt the right way of trying to
recognize raagas but,.... :-)
1. Mavalatya Dinkara is based on raag Malavati by Kumar gandharva. Its
raag based on MArwa. Don't knaow exact notes which u cna get from
anup raag vilas.. The book of Kumar's bandish books. IF i remember
vaguely the roginoinal bandish is mhara mujra. hridaynath sings it
quite oftern in his concerts.2. One of first few songs of hridaynath : barse bundiys sawan ki.. is
gues is in either surdai or ramdasi malhar.3. main piya teri ..i thought was typical SJ bhairavi and not bhupal
todi.
These are ganapati days.. heard gajanana shri ganaraya by lata?HM
quite often. Its has got lot of shades of Main piya teri.4. Onew more example of bilaskhani todi is datta dsavjekar asha song..
'rama radhu nandana. ' beautifull song !!!& thanks for remoinding ko birahini ko dukh dayi ho..haven't heard for
ages..rgds
Anand.
musicad...@yahoo.com (Ajit) wrote in message news:...
Naushad certainly has composed good classical-based songs.
But nothing about him stands out in any special sense.For example, he doesn't have the ability to compose a fiendishly
brilliant song like 'karam ki gati nyaari, santo'. Nor has he handled
raagas less commonly heard in film music, much less raagas heard
rarely even in classical concerts. His showing off his love of
classical music can be dismissed when it stops amusing.One person who has composed brilliant songs based on raagas
which are almost never used in film or light music (and indeed are
not expected to be used so regularly) is Jitendra Abhisheki.
His natyageets in Bihagda (mii maanaapamaanaa), Alaiya? Bilawal
(din gele bhajanaaviiN saare), raag-mala (suurat piyaa ki),
Bhatiyar (arth_shoonya bhaase maj haa), Sampoorna Malkauns
(ashii sakhii sahacharii), to name just a few, are magnificent.
Pat-bihag, Lalit Pancham, are not among the more common
raagas even in classical concert circuit; he has handled them, too.
Even his songs in raagas like Dhaani, Nand, Yaman stand
testimony to his astounding imagination.It is true that natyageets are not very easy to take to and are
nothing like as popular among common people as film songs.
But Hridaynath's non-film or Abhisheki's natyageet tunes
are on a level quite beyond Naushad.Talking of Hridaynath, he has mastered a raag rarely used
in film music : Gorakh-kalyan. I don't know how difficult
the raag might be for lesser MDs, but it is not much used.
I wish Abhogi were used more often than it is.By the way, one of Hridaynath's earliest (probably the very first)
tunes is 'nis din barasat nain hamaare'. I remember a friend
telling me that it is in Kaushik Ranjani. (Malini Rajurkar has
a commercial release in this raag.) Why a genius like HM
had such an undistinguished film career is a mystery to me.
(The puny score in Lekin doesn't count; certainly not from
a giant like him.) If he had played upto his true (and proven)
potential, we should have had many gems in less used raagas.
- dn