List of Content

Vol 7. No 3 – May-June 2025

The Portrayals of Women in Indian Classical Music: A critical analysis of song-texts of Khayāl – Dr. Bilambita Banisudha

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύ⧃āĻ¤ā§āϝāύāĻžāĻŸā§āϝ⧇āϰ āύāĻžā§ŸāĻŋāĻ•āĻžāϚāĻŋāĻ¤ā§āϰāϪ⧇ āύāĻžāĻŸā§āϝāĻļāĻžāĻ¸ā§āĻ¤ā§āϰāĻĻāĻ°ā§āĻļāĻŋāϤ āĻ…āĻˇā§āϟāύāĻžā§ŸāĻŋāĻ•āĻžāϰ āĻŦāĻŋāĻ¨ā§āϝāĻžāϏ – āĻĄāσ āĻ…āϰāĻŋāϜāĻŋā§Ž āϗ⧁āĻĒā§āϤ

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āϏāĻ‚āĻ—ā§€āϤ āϰāϚāύāĻžā§Ÿ āϏāĻ‚āĻšāϤāĻŋāϰ āĻ­āĻžāĻŦāύāĻž – āĻĄ.āύāĻ¨ā§āĻĻāĻŋāϤāĻž āĻŦāϏ⧁ āϏāĻ°ā§āĻŦāĻžāϧāĻŋāĻ•āĻžāϰ⧀

āϠ⧁āĻŽāϰāĻŋ āĻ“ āĻŦāĻŋāĻĻā§‚āώ⧀ āϏāĻŦāĻŋāϤāĻž āĻĻ⧇āĻŦā§€-āϤāĻ¨ā§āĻŽā§Ÿ āĻŽāϜ⧁āĻŽāĻĻāĻžāϰ

āϏāĻ™ā§āĻ—ā§€āϤ⧇āϰ āĻĒā§āϰāĻ­āĻžāĻŦ āĻŽāύ⧇ – āĻ…āύāĻŋāĻ¨ā§āĻĻā§āϝ āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžā§Ÿ

Reflection of Culture and Beauty in Bhupen Hazarika’s Musical Legacy -Dr. Shrabanika Changmai 

āĻŦāĻžāρāĻļāĻŋāϰ āĻŽā§ƒāĻĻ⧁āĻŽāĻžāϧ⧁āĻ°ā§āϝ⧇ āĻ—ā§Œāϰ āĻ—ā§‹āĻ¸ā§āĻŦāĻžāĻŽā§€ āĻ“ āϏāĻžāύāĻžāĻ‡ā§Ÿā§‡āϰ āĻ—āĻžāĻŽā§āĻ­ā§€āĻ°ā§āϝ⧇ āφāϞāĻŋ āφāĻšāĻŽā§‡āĻĻ: āĻĻ⧁āχ āϝāĻ¨ā§āĻ¤ā§āϰāĻŦāĻžāĻĻ⧇āϰ āĻĻ⧁āχ āĻĻāĻŋāĻ•āĻĒāĻžāϞ – āĻ­āĻŦāĻžāύ⧀āĻļāĻ™ā§āĻ•āϰ āĻĻāĻžāĻļāϗ⧁āĻĒā§āϤ

āĻŦāĻžāĻ‚āϞāĻžāϰ āĻļāĻ•ā§āϤāĻŋ āϏāĻžāϧāύāĻž āĻ“ āĻŦāĻžāĻ™āĻžāϞāĻŋāϰ āĻļāĻžāĻ•ā§āϤāĻ—ā§€āϤāĻŋ – āϤāĻŽāĻžāϞ āĻĻāĻžāϏ

āĻ•āĻ°ā§āĻŽā§‡āϰ āφāύāĻ¨ā§āĻĻāϝāĻœā§āĻžā§‡ āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ – āĻ‹āĻĻā§āϧāĻŋ āĻĒāĻžāύ

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāϏāĻ‚āĻ—ā§€āϤ⧇ āĻŦāĻŋāĻˇā§āϪ⧁āĻĒ⧁āϰ⧀ āϘāϰāĻžāύāĻžāϰ āĻ—āĻžā§Ÿāϕ⧀āϰ āĻĒā§āϰāĻ­āĻžāĻŦ – āύāĻžāψāĻŽāĻž āĻĒāĻžāϰāĻ­ā§€āύ

From Code to Care: The Human-Centric Rise of Artificial Intelligence -Sourav Mukul Tewari.

The Sound of Nature: Music, Environment, and Our Ecological Bond – Brintali Acharya

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āύ⧃āĻ¤ā§āϝāύāĻžāĻŸā§āϝ⧇ āύāĻžāϰ⧀ āϚāϰāĻŋāĻ¤ā§āϰ : āĻāĻ•āϟāĻŋ āĻĻāĻžāĻ°ā§āĻļāύāĻŋāĻ• āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖ – āĻ…āĻ¨ā§āĻŦ⧇āώāĻž āĻŽā§āĻ¸ā§āϤāĻžāĻĢā§€

āĻ¸ā§āĻŦāĻžāϧ⧀āύāϤāĻž āφāĻ¨ā§āĻĻā§‹āϞāύ⧇ āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ āĻ āĻžāϕ⧁āϰ⧇āϰ āĻ¸ā§āĻŦāĻĻ⧇āĻļā§€ āĻ—āĻžāύ⧇āϰ āϰāĻžāϜāύ⧈āϤāĻŋāĻ• āϤāĻžā§ŽāĻĒāĻ°ā§āϝ āĻ“ āϏāĻžāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāĻ• āĻĒā§āϰāĻ­āĻžāĻŦ – āϏāĻžāĻĨā§€ āĻĒāĻžāρāϜāĻž

āĻŦāĻ°ā§āϤāĻŽāĻžāύ āϏāĻŽāϝāĻŧ⧇ āĻŦāĻ™ā§āϗ⧇ āĻŽāĻŖāĻŋāĻĒ⧁āϰ⧀ āύ⧃āĻ¤ā§āϝāϚāĻ°ā§āϚāĻžāϰ āĻ…āĻŦāĻ¸ā§āĻĨāĻžāύ : āϏāĻŽāĻ¸ā§āϝāĻž āĻ“ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖ – āϤāĻ¨ā§āĻŽā§Ÿ āĻĒāĻžāϞ

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ⧇āϰ āύ⧃āĻ¤ā§āϝāύāĻžāĻŸā§āϝ⧇ āĻĒā§āϰāĻžāĻšā§€āύ āĻ­āĻžāϰāĻ¤ā§€ā§Ÿ āύāĻžāĻŸā§āϝāϤāĻ¤ā§āĻ¤ā§āĻŦ⧇āϰ āĻĒā§āϰāϤāĻŋāĻĢāϞāύ – āωāĻĻ⧟ āĻ•āĻ°ā§āĻŽāĻ•āĻžāĻ°Â 

The Gharanas of Kathak and its Historical Development – Joysree Biswas

āĻĒāĻŖā§āĻĄāĻŋāϤ āĻœā§āĻžāĻžāύāĻĒā§āϰāĻ•āĻžāĻļ āĻ˜ā§‹āώ : āĻ•āϞāĻ•āĻžāϤāĻžāϝāĻŧ āϤāĻŦāϞāĻžāϰ āύāĻŦāϜāĻžāĻ—āϰāϪ⧇āϰ āĻĒāĻĨāĻŋāĻ•ā§ƒāϤ – āĻ…āĻĒā§‚āĻ°ā§āĻŦ āĻŦāĻŋāĻļā§āĻŦāĻžāĻ¸Â 

āĻāϏ⧇āĻ› āĻĒā§āϰ⧇āĻŽ, āĻāϏ⧇āĻ› āφāϜ āϕ⧀ āĻŽāĻšāĻžāϏāĻŽāĻžāϰ⧋āĻšā§‡ -āĻļ⧁āĻ­āĻžāĻļāĻŋāĻ¸Â āϚ⧌āϧ⧁āϰ⧀

Aranyasanskriti : Tagore’s rendition of the original ancient Indian concept of ecological, cultural & socio- economic symbiosis – Debjani Chatterjee

Vol 7. No 2 – March-April 2025

āĻŦāĻžāĻ™ā§āĻ—āĻžāϞāĻžāϰ āχāϤāĻŋāĻšāĻžāϏ -āψāĻļā§āĻŦāϰāϚāĻ¨ā§āĻĻā§āϰ āĻŦāĻŋāĻĻā§āϝāĻžāϏāĻžāĻ—āϰ
āĻļāĻŋāĻ˛ā§āĻĒ⧇ āĻ…āύāϧāĻŋāĻ•āĻžāϰ-āĻ…āĻŦāύ⧀āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ āĻ āĻžāϕ⧁āϰ
āϜāĻžāϤāĻŋ āϭ⧇āĻĻ -āĻļāĻŋāĻŦāύāĻžāĻĨ āĻļāĻžāĻ¸ā§āĻ¤ā§āϰ⧀
āĻŦāĻŋāϞāĻžāϏ⧇āϰ āĻĢāĻžāρāϏ-āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ āĻ āĻžāϕ⧁āϰ
āϕ⧀āϟāĻĒāϤāĻ™ā§āϗ⧇āϰ āύ⧃āĻ¤ā§āϝ āĻ“ āϝāĻ¨ā§āĻ¤ā§āϰāϏāĻ‚āĻ—ā§€āϤ: āĻāĻ•āϟāĻŋ āϏāĻ™ā§āĻ—ā§€āϤāϤāĻžāĻ¤ā§āĻŦāĻŋāĻ• āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖ-āĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ
āĻĒā§āϰāĻžāĻ¨ā§āϤāϜāύ⧇āϰ āύāĻŦāϜāĻžāĻ—āϰāĻŖ āĻ“ āĻŽāϤ⧁⧟āĻž āϏāĻŽāĻžāĻœā§‡āϰ āωāĻ¤ā§āϤ⧋āϰāĻŖ ( ā§§ā§Žā§Žā§Ļ-⧧⧝⧝ā§Ļ ) – āĻŸā§‹āϟāύ āĻŦāĻŋāĻļā§āĻŦāĻžāϏ

Vol 7. No 1 – January-February 2025

Poush Mela-Nandita Basu Sarjajari Assistant Professor, Department of Rabindra Sangeet, Dance and Drama, Sangeet Bhavan, Visva-Bharati, Santiniketan 

Rabindranath Tagore and Vaishnava Literature. Srabani Sen, Associate Professor, Department of Music, Tarakeswar Degree College

A Drama Exploring the Delicate Balance Between Desires and Necessities -Dr. Krisnapada Das 

Vol 6. No 6 – November-December 2024

Vol 6. No 5 – September–October 2024

The domestic world in Mariama BÃĸ and Ashapurna Devi- Anwesha Biswas, Visiting Faculty,  Department of French,  Syamaprasad College

The Evolution of Tabla Playing: From Classical Traditions to Contemporary Adaptations in Indian Music- Dr. Soumen Chakraborty, Department of Music, Ramsaday College

The Nomenclature of Protagonists in Detective Novels Is Not Free-A Specific Study of the Case of Byomkesh and Lupin Ms. Suparna Nandy, Adamas University

Discovering French Culture Through Diplomatic Gifts Sujatha Swamy, Centre for Global Languages, Bengaluru City University 

Cultural Diplomacy Between India and France Through the Films and Visual Arts of Satyajit Ray Suchandra Ghosh (Basu), Amity University Maharashtra, Prajesh Kumar Basu, Amity University Maharashtra 

The Representation of Indian Cultures in Selected Works Written by Foreign Authors Subrata Pal, Department of Foreign Languages, Amity University

The role of creative industries in promoting cultural cooperation between France and India. Satyasree Balijepally, Asst. Prof & Head of the Department of French, St. Joseph’s University, Bengaluru

Impact of French Colonialism on Indian Society: A Critical Study of a Paper Canoe on the Ganges By K. Madavane -Mr. Prantik Biswas, Assistant Professor in French, Amity School of Foreign Languages, Amity University Kolkata Dr.Pronobesh Ranjan Chakraborty, Assistant Professor in French, Assam University, Silchar

Samuel Beckett: Beyond the Horizons of Language and Culture-Mr. Prantik Biswas, Assistant Professor in French, Amity School of Foreign Languages, Amity University Kolkata Dr.Pronobesh Ranjan Chakraborty, Assistant Professor in French, Assam University, Silchar 

A comparative Study of Social Life, Community Gathering, Cultural Celebration and Festivity in Guy de Maupassant’s ‘Une Vie’ and Manik bandopadhyay’s ‘Putul-Nacher-Itikatha’- Partho DAS. Assistant Professor – I (French),  Amity University Kolkata & Ph.D Research Scholar (French) University of Lucknow) Dr. Shailendra Pratap SINGH. Associate Professor (French), University of Lucknow

Rabindranath Tagore and his Franco-Indian relationship -Jayita Basak, SACT,  Chandernagore College

Chandernagore and France: Franco-Indian cultural heritage and mutual traditions– Ms. Jayati Dasgupta, Research Scholar, Visva Bharati University, Santiniketan

A Bourbon in Akbar’s Court: Strategies of Integration and the Influence of Mughal Syncretism-A Bourbon in Akbar’s Court: Strategies of Integration and the Influence of Mughal Syncretism

 

Memory and Identity in Ari Gautier’s “The Thinnai”: A Reflection on Cultural Change and Continuity in Pondicherry -Dr. Kalplata, Assistant Professor, EFL-U, Hyderabad

Co-constructing Intercultural Competence: Challenges, Dilemmas and Delights-Dr Varun Dev SharmaDepartment of French and Francophone StudiesSchool of LanguagesDoon UniversityDehradun

Tripura’s Bamboo Made Imitated Instrument-Rajat Seal, Research Scholar,  Visva Bharati University (Sangit Bhavana)

Antareen (1993) : A study of its precise Music along with the narrative-Dr. Sukanya Sarkar, Rabindra Bharati University

The Role of Performing Arts Therapy for Caring Mental Health Farjana Yasmin, Ph.D Research Scholar, Department of Performing Arts (Dance), Sister Nivedita University, Kolkata

The uniqueness of Dwijendralal’s song Dr. Srabani Sen, Associate Professor, Department of Music, Tarakeswar Degree College

Vol 6. No 4 – July-August 2024

Technological Modernity of Music in the Present EraDr Pratiti Pramanik De

History and Journey of Annan Theatre Group (1971-2020)-Dr. Ankush Das

In Search of the Roots of Bhawaiya  Song-Dr. Srabani Sen

Efforts to Progression in Tagore Song-Priyanka Bhattacharjee

Shapmochan: The Main Plot of the Cursed Story in the Application of Rabindra’s Drama-Dr. Amartya Mukhopadhyay

Beneficial Impact of School Music Education in Childhood: A Comprehensive Review-Moumita Majumder

Vol 6. No 3 – May-June 2024

Vol 6. No 2 – March-April 2024

Vol 6. No 1 – January-February 2024

Preventive Use of Instrumental Music for Wellness-Sayanta Ganguly

Charulata: from the Language of Literature to the Language of Film-Dr. Pratiti Pramanik De

Application of Folk Music as portrayed in Satyajit Ray’s Apu Trilogy and Sonar Kella-Dr. Sukanya Sarkar

BIHU’: AN UNTOLD STORY-Dr. Lopamudra Chakraborty Chatterjee

Women’s Brata: Rituals in Bengali Folk Culture-Dr.Srabani Sen

Music & Cinema: A Tool of Communication-Sayantika Ghosh

Parisodh’ and Dance Drama ‘Shyama’: The Poet’s Intentions in the Duel of Transformation-Priyanka Bhattacharya

Vol 5. No 6 – November-December 2023

Influence of Folk Songs in the Drama of Rabindranath-Dr. Amartya Mukhopadhyay

Echoes of Tradition: Exploring Folk Language and Culture-Dr. Srabani Sen

Social Enlightenment, Preservation of Cultural Values Through Gat-Bhav-Vrushali Dabke-Research scholar, Sri Sri University, Cuttack

Enhancing Cultural Resonance: A Comprehensive Abstract on Music Education in Chittagong-Swarnamay Chakraborty

Vol 5. No 5 – September-October 2023

Music Healed Riot Torn Assam in 1960 -Rimi Biswas Ph.D. Research Scholar, Calcutta University

National Educational Policy : It’s Strength and Weaknesses -Sandip Das, Assistant Professor, Department

of Commerce Gobordanga Hindu College

āύāĻžāϚāύāĻŋ : āĻ›āĻŋāĻ¨ā§āύ āĻœā§€āĻŦāύ āĻ›āĻŋāĻ¨ā§āύ āĻŽāύ – āϏ⧁āĻŦā§āϰāϤ āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ⧇āϰ ‘āϰāϏāĻŋāĻ•â€™ āωāĻĒāĻ¨ā§āϝāĻžāϏ āĻ…āĻŦāϞāĻŽā§āĻŦāύ⧇ āĻāĻ•āϟāĻŋ āφāϞ⧋āϚāύāĻž -āϧ⧃āϤāĻŋ āϏāĻŋāύāĻšāĻž Assistant ProfessorBarasat Subhas Chandra College of Education

āϞ⧋āĻ•āĻžāϝāĻŧāϤ āĻĻāĻ°ā§āĻļāύ āĻ“ āĻĻ⧇āĻšāϤāĻ¤ā§āĻ¤ā§āĻŦ⧇āϰ āĻ—āĻžāύ – āĻĄ. āĻļā§āϰāĻžāĻŦāĻŖā§€ āϏ⧇āύ āĻ†ā§āϝāϏ⧋āϏāĻŋāϝāĻŧ⧇āϟ āĻĒā§āϰāĻĢ⧇āϏāϰ, āϏāĻ™ā§āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—,āϤāĻžāϰāϕ⧇āĻļā§āĻŦāϰ āĻĄāĻŋāĻ—ā§āϰāĻŋ āĻ•āϞ⧇āϜ,āϤāĻžāϰāϕ⧇āĻļā§āĻŦāϰ,āĻšā§āĻ—āĻ˛ā§€Â 

āφāĻŽāĻžāϰ āϭ⧁āĻŦāύ : āϜāĻ¨ā§āĻŽāĻļāϤāĻŦāĻ°ā§āώ⧇ āĻŽā§ƒāĻŖāĻžāϞ āϏ⧇āύ⧇āϰ āĻĒā§āϰāϤāĻŋ āĻļā§āϰāĻĻā§āϧāĻžāĻ°ā§āϘ – āĻĄ: āĻĒā§āϰāϤ⧀āϤāĻŋ āĻĒā§āϰāĻžāĻŽāĻžāĻŖāĻŋāĻ• āĻĻ⧇ āĻ—ā§‹āĻŦāϰāĻĄāĻžāĻ™āĻž āĻšāĻŋāĻ¨ā§āĻĻ⧁ āĻ•āϞ⧇āϜ āϏāĻ™ā§āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—

TRADITIONAL GAMES OF WEST BENGAL -ANIK DAS   SACT, DEPARTMENT OF JOURNALISM & MASS COMMUNICATION  GOBARDANGA HINDU COLLEGE 

Â ā¤°ā¤žā¤Ž ⤏⤂⤗āĨ€ā¤¤ ā¤ŽāĨ‡ā¤‚ ā¤Ļā¤žā¤°āĨā¤ļ⤍ā¤ŋ⤕ ⤅⤍āĨ‚⤕⤰⤪ ⤏ā¤ŋā¤ĻāĨā¤§ā¤žā¤¨āĨā¤¤ ⤕āĨ€ ā¤ĒāĨā¤°ā¤­ā¤žā¤ĩ – ā¤›ā¤žā¤¯ā¤žā¤°ā¤žā¤¨āĨ€ ā¤Žā¤‚ā¤Ąā¤˛, ā¤ā¤¸ā¤ŋ⤏⤟āĨ‡ā¤¨āĨā¤Ÿ ā¤ĒāĨā¤°āĨ‹ā¤ĢāĨ‡ā¤¸ā¤°, ⤏⤂⤗āĨ€ā¤¤ ⤭ā¤ĩ⤍, ā¤ĩā¤ŋā¤ļāĨā¤ĩā¤­ā¤žā¤°ā¤¤āĨ€, ā¤ļā¤žā¤¨āĨā¤¤ā¤ŋ⤍ā¤ŋ⤕āĨ‡ā¤¤ā¤¨, ā¤Ē. ā¤Ŧā¤‚ā¤—ā¤žā¤˛

Vol 5. No 4 – July-August 2023

Music  : Creativity and Compilation -DR.Sumona Banerjee, Guest Faculty, Department of Music, Sikkim University, Sikkim

āĻĒā§āϰāĻžāĻ•ā§â€Œ āωāύāĻŋāĻļ āĻļāϤāϕ⧇ āχāĻ‚āϰ⧇āϜāĻĻ⧇āϰ āĻŦāĻžāĻ‚āϞāĻž āĻ­āĻžāώāĻž āĻ“ āχāϤāĻŋāĻšāĻžāϏ āϚāĻ°ā§āϚāĻžāϝāĻŧ āĻļāĻžāϏāϕ⧇āϰ āĻ•ā§āώāĻŽāϤāĻžāϝāĻŧāύ – āĻļāϤāĻžāĻŦā§āĻĻā§€ āϏāĻžāϧ⧁ āĻŽāĻŖā§āĻĄāĻ˛Â  āĻ…āĻ§ā§āϝāĻžāĻĒāĻ• (SACT-1) āĻŦāĻžāϰāĻžāϏāĻžāϤ āϏāϰāĻ•āĻžāϰ⧀ āĻŽāĻšāĻžāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ, āĻŦāĻžāϰāĻžāϏāĻžāϤ

āύāĻžāĻŸā§āϝāϏāĻ™ā§āĻ—ā§€āϤ āϏ⧃āϜāύ : āĻŦāĻžāĻ‚āϞāĻžāύāĻžāĻŸā§āϝ⧇ āύāϜāϰ⧁āϞ⧇āϰ āĻ…āĻŦāĻĻāĻžāύ -āĻĄ.āĻļā§āϰāĻžāĻŦāĻŖā§€ āϏ⧇āύ āĻ†ā§āϝāϏ⧋āϏāĻŋāϝāĻŧ⧇āϟ āĻĒā§āϰāĻĢ⧇āϏāϰ, āϏāĻ™ā§āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āϤāĻžāϰāϕ⧇āĻļā§āĻŦāϰ āĻĄāĻŋāĻ—ā§āϰāĻŋ āĻ•āϞ⧇āϜ

Shakuntala As Perceived in Mythology and in Drama – Swanupama Sen Gupta Research Scholar, M. Phil Rabindra Bharati University

āĻŽāύāĻŋāĻĒ⧁āϰ⧀ āύ⧃āĻ¤ā§āϝ⧇ āĻ—ā§ŒāĻĄāĻŧā§€āϝāĻŧ āĻŦ⧈āĻˇā§āĻŖāĻŦ āϧāĻ°ā§āĻŽ āĻ“ āϤāĻžāϰ āĻĒā§āϰāĻ­āĻžāĻŦ –  āĻ…āĻ§ā§āϝāĻžāĻĒāĻ• āĻĄ: āϏ⧁āĻŽāĻŋāϤ āĻŦāϏ⧁āĨ¤ āϏāĻ™ā§āĻ—ā§€āϤ āĻ­āĻŦāύ,āĻļāĻžāĻ¨ā§āϤāĻŋāύāĻŋāϕ⧇āϤāύāĨ¤ āĻŦāĻŋāĻļā§āĻŦāĻ­āĻžāϰāϤ⧀  āĻļāĻžāĻ¨ā§āϤāĻŋāύāĻŋāϕ⧇āϤāύ⧇āĻ°Â  āύ⧃āĻ¤ā§āϝāϧāĻžāϰāĻžāϝāĻŧ āϜāĻžāĻ­āĻž-āĻŦāĻžāϞāĻŋāĻĻā§āĻŦā§€āĻĒ⧇āĻ°Â  āĻļāĻŋāĻ˛ā§āĻĒāĻ•āϞāĻžāĻ°Â  āĻĒā§āϰāĻ­āĻžāĻŦ – āϏ⧋āĻŽāĻ‹āϤāĻžÂ  āϚāĻ•ā§āϰāĻŦāĻ°ā§āĻ¤ā§āĻ¤ā§€Â 

Rabindra Nritya: Application & Modernity of Instruments – Dr. Sugata Das, Assistant Professor, Sister Nivedita University 

āχāϟāĻ­āĻžāϟāĻžāϰ āĻļāĻŋāĻļ⧁ āĻļā§āϰāĻŽāĻŋāĻ•āĻĻ⧇āϰ āĻŦāĻŋāĻĒāĻ¨ā§āύ āĻ­āĻŦāĻŋāĻˇā§āĻ¯ā§Ž– āϤ⧁āώāĻžāϰ āĻ•āĻžāĻ¨ā§āϤāĻŋ āĻĒāĻžāĻĄāĻŧ⧈, āĻ•āĻžāϞāύāĻž āĻ•āϞ⧇āϜ, āĻ•āĻžāϞāύāĻž, āĻĒā§‚āĻ°ā§āĻŦ āĻŦāĻ°ā§āϧāĻŽāĻžāύ

Vol 5. No 3 – May-June 2023

āĻŦ⧇āĻ—āĻŽ āφāĻ–āϤāĻžāϰāϜāĻŋāϰ āĻ•āĻžāϞāϜāϝāĻŧā§€ āĻŦāĻžāĻ‚āϞāĻž āϰāĻžāĻ—āĻĒā§āϰāϧāĻžāύ āĻ—āĻžāύ: āĻāĻ•āϟāĻŋ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖāĻžāĻ¤ā§āĻŽāĻ• āϏāĻŽā§€āĻ•ā§āώāĻž-āĻĒā§āϰāĻ¤ā§āϝ⧁āώāĻž āϰāĻžāϝāĻŧ, āĻšāĻŋāĻ¨ā§āĻĻ⧁āĻ¸ā§āĻĨāĻžāύ⧀ āĻļāĻžāĻ¸ā§āĻ¤ā§āϰ⧀āϝāĻŧ āϏāĻ™ā§āĻ—ā§€āϤ, āϏāĻ™ā§āĻ—ā§€āϤ āĻ­āĻŦāύ, āĻŦāĻŋāĻļā§āĻŦāĻ­āĻžāϰāϤ⧀

āϏāĻ‚āĻ—ā§€āϤ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āϜāĻžāϤ⧀āϝāĻŧ āϏāĻ‚āĻšāϤāĻŋ āĻ¸ā§āĻĨāĻžāĻĒāύ⧇ āĻ—āĻŖāĻŽāĻžāĻ§ā§āϝāĻŽā§‡āϰ āĻ­ā§‚āĻŽāĻŋāĻ•āĻž-āĻĄāσ āύāĻ¨ā§āĻĻāĻŋāϤāĻž āĻŦāϏ⧁ āϏāĻ°ā§āĻŦāĻžāϧāĻŋāĻ•āĻžāϰ⧀ āϏāĻšāĻ•āĻžāϰ⧀ āĻ…āĻ§ā§āϝāĻžāĻĒāĻ•, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāϏāĻ‚āĻ—ā§€āϤ, āύ⧃āĻ¤ā§āϝ āĻ“ āύāĻžāϟāĻ• āĻŦāĻŋāĻ­āĻžāĻ— āϏāĻ‚āĻ—ā§€āϤāĻ­āĻŦāύ, āĻŦāĻŋāĻļā§āĻŦāĻ­āĻžāϰāϤ⧀, āĻļāĻžāĻ¨ā§āϤāĻŋāύāĻŋāϕ⧇āϤāύ

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āĻ—āĻžāύ⧇āϰ āĻ…āĻ™ā§āĻ—āύ⧇ āĻĒā§āϰāĻ•ā§ƒāϤāĻŋāϰ āĻ…āĻŦāϝāĻŧāĻŦ-āĻļ⧁āĻ­ā§āϰāĻĒāĻ°ā§āĻŖāĻž āĻŦāĻŋāĻļā§āĻŦāĻžāϏ

āĻšāĻŋāĻ¨ā§āĻĻāĻŋ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇āϰ āĻ—āĻžāύ⧇ āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āϏ⧁āϰ⧇āϰ āĻĒā§āϰāĻ­āĻžāĻŦ āĻāĻŦāĻ‚ āϝāĻ¨ā§āĻ¤ā§āϰāĻžāύ⧁āϏāĻ™ā§āϗ⧇āϰ āĻŦā§āϝāĻŦāĻšāĻžāϰ-āĻĄāσ āĻĻā§‚āĻ°ā§āĻŦāĻž āϏāĻŋāĻ‚āĻš āϰāĻžāϝāĻŧāϚ⧌āϧ⧁āϰ⧀, āϏāĻšāĻ•āĻžāϰ⧀ āĻ…āĻ§ā§āϝāĻžāĻĒāĻŋāĻ•āĻž, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāϏāĻ™ā§āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇āϰ āφāϧ⧁āύāĻŋāĻ•āϤāĻžāϝāĻŧ āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāϏāĻ™ā§āĻ—ā§€āϤ⧇āϰ āĻĒā§āϰāϝāĻŧā§‹āϗ⧇ āύāϤ⧁āύ āĻĒāϰ⧀āĻ•ā§āώāĻžāύāĻŋāϰ⧀āĻ•ā§āώāĻž (āωāĻ¤ā§āϤāϰ āĻ•āĻĒāĻŋāϰāĻžāχāϟ āĻĒāĻ°ā§āĻŦ)-āĻĄāσ āĻĒā§āϰāϤ⧀āϤāĻŋ āĻĒā§āϰāĻžāĻŽāĻŖāĻŋāĻ• āĻĻ⧇, āĻ—ā§‹āĻŦāϰāĻĄāĻžāĻ™āĻž āĻšāĻŋāĻ¨ā§āĻĻ⧁ āĻ•āϞ⧇āϜ,āϏāĻ™ā§āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—

Music in the Manasa Cult of Bengal: Significance of the Traditional Folk-drama Performances-Aindrila Dutta Chowdhury, Ph.D. Research Scholar, Department of Music, University of Delhi

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāϏāĻ‚āĻ—ā§€āϤ⧇ āϝāĻ¨ā§āĻ¤ā§āϰāĻžāύ⧁āϏāĻ™ā§āϗ⧇āϰ āϏāĻŽāĻ¸ā§āϝāĻž-āϕ⧁āĻļāύāĻŋ āϏāϰ⧇āύ, āϏāĻšāĻ•āĻžāϰ⧀ āĻ…āĻ§ā§āϝāĻžāĻĒāĻŋāĻ•āĻž, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāϏāĻ™ā§āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

āϏāĻ™ā§āĻ—ā§€āϤ⧇āϰ āϏāĻšāϜāϞāĻ­ā§āϝāϤāĻžāϰ āϏāĻŽāĻ¸ā§āϝāĻž-āĻĄ. āĻ…āϏ⧀āĻŽāĻž āϜāĻžāύāĻž āĻŽāĻžāχāϤāĻŋ āϏāĻšāĻ•āĻžāϰāĻŋ āĻ…āĻ§ā§āϝāĻžāĻĒāĻŋāĻ•āĻž, (SACT-II), āĻŦāĻŋāĻĻā§āϝāĻžāϏāĻžāĻ—āϰ āĻļāĻŋāĻ•ā§āώāĻ• āĻļāĻŋāĻ–āĻŖ āĻŽāĻšāĻžāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ, āĻŽā§‡āĻĻāĻŋāύ⧀āĻĒ⧁āϰ, āĻĒāĻļā§āϚāĻŋāĻŽ āĻŽā§‡āĻĻāĻŋāύ⧀āĻĒ⧁āϰ, āĻĒāĻļā§āϚāĻŋāĻŽāĻŦāĻ™ā§āĻ—

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ⧇āϰ āύāĻžāϟāĻ•, āĻ—āĻ˛ā§āĻĒ āĻ“ āĻ•āĻŦāĻŋāϤāĻžāϝāĻŧ āϏāĻ™ā§āĻ—ā§€āϤ⧇āϰ āĻĒā§āϰāϝāĻŧā§‹āĻ— āĻ“ āφāϧ⧁āύāĻŋāĻ•āϤāĻž-āĻĄ. āĻŽā§ŒāϏ⧁āĻŽā§€ āĻĒāĻžāϞ, āϏāĻšāĻ•āĻžāϰāĻŋ āĻ…āĻ§ā§āϝāĻžāĻĒāĻŋāĻ•āĻž, āĻĒā§‚āĻ°ā§āĻŖāĻŋāĻĻ⧇āĻŦā§€ āϚ⧌āϧ⧁āϰ⧀ āĻ—āĻžāĻ°ā§āϞāϏ āĻ•āϞ⧇āϜ, āĻŦā§‹āϞāĻĒ⧁āϰ, āĻŦā§€āϰāĻ­ā§‚āĻŽ

āϏāĻ‚āĻ—ā§€āϤ⧇ āϏ⧃āϜāύ āĻĒāĻĻā§āϧāϤāĻŋ āĻ“ āϝāĻ¨ā§āĻ¤ā§āϰāĻžāύ⧁āϏāĻ™ā§āĻ— āĻĒā§āϰāϝāĻŧā§‹āĻ— : āϐāϤāĻŋāĻšā§āϝ āĻ“ āφāϧ⧁āύāĻŋāĻ•āϤāĻž-āĻĄ. āϏ⧁āĻĻā§€āĻĒ⧇āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ āĻšā§āϝāĻžāϟāĻžāĻ°ā§āϜāĻŋ, āĻ…āϤāĻŋāĻĨāĻŋ āĻļāĻŋāĻ•ā§āώāĻ•, āϝāĻ¨ā§āĻ¤ā§āϰāϏāĻ™ā§āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āύ⧃āĻ¤ā§āϝāύāĻžāĻŸā§āϝ⧇āϰ āĻ—āĻžāύ⧇ āĻ›āĻ¨ā§āĻĻ āĻ“ āϞāϝāĻŧ⧇āϰ āĻŦ⧈āϚāĻŋāĻ¤ā§āĻ°ā§āϝ-āĻĒāĻ˛ā§āϞāĻŦā§€ āϚāĻŸā§āĻŸā§‹āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ, āĻ—āĻŦ⧇āώāĻŋāĻ•āĻž, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āϏāĻ‚āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

āĻĒā§āϰāϝ⧁āĻ•ā§āϤāĻŋāĻ—āϤ āϏāĻ‚āĻ—ā§€āϤ⧇ āĻļāĻŦā§āĻĻ⧇āϰ āĻŦāĻŋāĻŦāĻ°ā§āϤāύ, āĻĒā§āϰāĻžāĻĒā§āϝāϤāĻž āĻāĻŦāĻ‚ āϏāĻŽāĻ¸ā§āϝāĻž-āĻĄ. āϞ⧋āĻĒāĻžāĻŽā§āĻĻā§āϰāĻž āϚāĻ•ā§āϰāĻŦāĻ°ā§āϤ⧀; āĻ…āĻ§ā§āϝāĻžāĻĒāĻŋāĻ•āĻž – SACT – (āϏāĻ‚āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—); āĻŽā§‡āĻŽāĻžāϰāĻŋ āĻ•āϞ⧇āϜ; āĻĒā§‚āĻ°ā§āĻŦ āĻŦāĻ°ā§āϧāĻŽāĻžāύ

Social Media and Change in Music Consumption Habit -Anumita Sengupta, Ph.D. Scholar, Instrumental Music Department, Rabindra Bharati University

āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇āϰ āφāĻŦāĻš āϏāĻ‚āĻ—ā§€āϤ⧇ āϝāĻ¨ā§āĻ¤ā§āϰāĻžāύ⧁āϏāĻ™ā§āϗ⧇āϰ āĻ­ā§‚āĻŽāĻŋāĻ•āĻž, āĻŦāĻŋāĻŦāĻ°ā§āϤāύ āĻāĻŦāĻ‚ āϏ⧃āĻˇā§āϟāĻŋāϰ āĻĒā§āϰāĻ•ā§āϰāĻŋāϝāĻŧāĻž-āĻļā§āϰ⧀ āĻ¸ā§āĻŦāĻĒāύ āĻšā§āϝāĻžāϟāĻžāĻ°ā§āϜāĻŋ

āĻĒāϰāĻŋāĻļā§‹āϧ āύāĻžāĻŸā§āϝāĻ—ā§€āϤāĻŋ āĻ“ āύ⧃āĻ¤ā§āϝāύāĻžāĻŸā§āϝ āĻļā§āϝāĻžāĻŽāĻžāσ āϰ⧂āĻĒāĻžāĻ¨ā§āϤāϰ⧇āϰ āĻĻā§āĻŦ⧈āϰāĻĨ⧇ āĻ•āĻŦāĻŋāĻŽāĻžāύāϏ⧇āϰ āĻ…āĻ­āĻŋāĻĒā§āϰāĻžāϝāĻŧ-āĻĒā§āϰāĻŋāϝāĻŧāĻžāĻ‚āĻ•āĻž āĻ­āĻŸā§āϟāĻžāϚāĻžāĻ°ā§āĻ¯ā§āĻ¯Â Electronic Media and Hindustani Classical Instrumental Music: An Analysis of Opportunities and Challenges-Subhadip Das, UGC NET Senior Research Fellow, Department of Hindustani Classical Music – [Sitar], Sangit Bhavana, Visva-Bharati, Santiniketan

āĻĒāĻžāĻļā§āϚāĻžāĻ¤ā§āϝ āĻ¸ā§āĻŦāϰāϞāĻŋāĻĒāĻŋ āĻĒāĻĻā§āϧāϤāĻŋ āĻ“ āϤāĻžāϰ āĻ•ā§āϰāĻŽāĻŦāĻŋāĻ•āĻžāĻļ-āĻŽā§‹āĻšāĻžāĻŽā§āĻŽāĻĻ āĻļā§‹āϝāĻŧ⧇āĻŦ, āϏāĻšāĻ•āĻžāϰ⧀ āĻ…āĻ§ā§āϝāĻžāĻĒāĻ•, āϏāĻ‚āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āĻĸāĻžāĻ•āĻž āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

āĻļāĻŋāĻļ⧁ āĻŽāύ āĻ“ āϰāĻŦāĻŋ āĻ āĻžāϕ⧁āϰ⧇āϰ āĻ—āĻžāύ-āĻ—ā§€āϤāĻžāĻžā§āϜāϞāĻŋ āĻ˜ā§‹āώ,   āĻ…āĻ§ā§āϝāĻžāĻĒāĻŋāĻ•āĻž, āĻŽā§‡āĻŽāĻžāϰāĻŋ āĻ•āϞ⧇āϜ, āĻĒā§‚āĻ°ā§āĻŦ āĻŦāĻ°ā§āϧāĻŽāĻžāύ

āϏāĻ‚āĻ—ā§€āϤ⧇ āϰ⧋āĻ— āύāĻŋāϰāĻžāĻŽāϝāĻŧ-āĻĄ. āĻ—āĻžāĻ°ā§āĻ—ā§€ āĻĻāĻžāϏ āĻŦāĻ•āĻļāĻŋ

Pandit Shankar Ghosh’s  Contribution to Tabla Orchestration With special reference to ‘Music of the Drums-Nabarun Kumar Datta, Visva-Bharati University, Santiniketan

āϞ⧋āĻ•āύāĻžāĻŸā§āϝ⧇āϰ āϏāĻ‚āϰāĻ•ā§āώāĻŖ : āϗ⧁āϰ⧁āĻ¤ā§āĻŦ āĻ“ āĻĒā§āϰāϝāĻŧā§‹āϜāύ⧀āϝāĻŧāϤāĻž-āĻĄ.āĻļā§āϰāĻžāĻŦāĻŖā§€ āϏ⧇āύ āĻ†ā§āϝāϏ⧋āϏāĻŋāϝāĻŧ⧇āϟ āĻĒā§āϰāĻĢ⧇āϏāϰ, āϏāĻ™ā§āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—,āϤāĻžāϰāϕ⧇āĻļā§āĻŦāϰ āĻĄāĻŋāĻ—ā§āϰāĻŋ āĻ•āϞ⧇āϜ,āϤāĻžāϰāϕ⧇āĻļā§āĻŦāϰ,āĻšā§āĻ—āϞ⧀

Inception and Evolution of Tabla Drum in the Music Culture of Malaysia till 21st Century-DR. ASHIS CHAKRABORTY

āĻŦāĻŋāϜāϝāĻŧ āϏāϰāĻ•āĻžāϰ⧇āϰ āĻ—āĻžāύ⧇ āĻ•āĻŦāĻŋ āĻ—āĻžāύ⧇āϰ āĻĒā§āϰāĻ­āĻžāĻŦ -āύāĻžāϜāĻŽā§āϞ āĻšāĻ• āϏāĻšāĻ•āĻžāϰ⧀ āĻ…āĻ§ā§āϝāĻžāĻĒāĻ•, āϏāĻ‚āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āωāĻĻāĻžāϝāĻŧāύāĻžāϰāĻžāϝāĻŧāĻŖāĻĒ⧁āϰ āĻŽāĻžāϧāĻŦā§€āϞāϤāĻž āĻŽāĻšāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ, āĻšāĻžāĻ“āĻĄāĻŧāĻž

āϏāĻ‚āĻ—ā§€āϤ āĻļāĻŋāĻ˛ā§āĻĒ⧇ āϏāĻžāĻŽāĻžāϜāĻŋāĻ• āĻŽāĻžāĻ§ā§āϝāĻŽā§‡āϰ āĻĒā§āϰāĻ­āĻžāĻŦ-āĻŽā§‡āĻšāĻĢ⧁āϜ āφāϞ āĻĢāĻžāĻšāĻžāĻĻ, āĻĒā§āϰāĻ­āĻžāώāĻ•, āϏāĻ‚āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āĻĸāĻžāĻ•āĻž āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ­

āĻ…āĻĢāĻŋāϏ āĻāĻŦāĻ‚ āĻ…āĻ¨ā§āϝāĻžāĻ¨ā§āϝ āĻĒā§āϰāϤāĻŋāĻˇā§āĻ āĻžāύ⧇ āϏāĻžāĻ‚āĻ—ā§€āϤāĻŋāĻ• āĻĒāϰāĻŋāĻŦ⧇āĻļ āϤ⧈āϰāĻŋāϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦ-āĻ•ā§ƒāĻˇā§āĻŖāĻž āĻŽā§‹āĻĻāĻ•, āĻāϏāĻ āϏāĻŋ āϟāĻŋ, āϏāĻ‚āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āĻŽā§‡āĻŽāĻžāϰāĻŋ āĻ•āϞ⧇āϜ, āĻŽā§‡āĻŽāĻžāϰāĻŋ, āĻĒā§‚āĻ°ā§āĻŦ āĻŦāĻ°ā§āϧāĻŽāĻžāύ

āϞ⧋āĻ•āύāĻžāĻŸā§āϝ⧇ āϏāĻ™ā§āĻ—ā§€āϤ⧇āϰ āĻĒā§āϰāĻ­āĻžāĻŦ-āĻŽā§ˆāĻ¤ā§āϰ⧀ āϏāĻŋāύāĻšāĻž, āĻ—āĻŦ⧇āώāĻ•, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ 

āĻŽāĻžāύāϏāĻŋāĻ• āĻ¸ā§āĻŦāĻžāĻ¸ā§āĻĨā§āϝ⧇āϰ āϏāĻ™ā§āϗ⧇ āϏāĻ™ā§āĻ—ā§€āϤ āĻāĻŦāĻ‚ āϤāĻžāϰ āϏāĻŽāϝāĻŧāϚāĻ•ā§āϰ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ•-āĻĄ. āĻ…āϜāĻ¨ā§āϤāĻž āϜāĻžāύāĻž, āĻ…āϤāĻŋāĻĨāĻŋ āĻ…āĻ§ā§āϝāĻžāĻĒāĻŋāĻ•āĻž, āϏāĻžāϧ⧁ āϰāĻžāĻŽāϚāĻžāρāĻĻ āĻŽā§āĻ°ā§āĻŽā§ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ, āĻāĻžāĻĄāĻŧāĻ—ā§āϰāĻžāĻŽ

āĻŦāĻ™ā§āĻ—āĻ­āĻ™ā§āĻ— āĻĒāϟāĻ­ā§‚āĻŽāĻŋāϤ⧇ āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ⧇āϰ āĻ¸ā§āĻŦāĻĻ⧇āĻļ āĻšā§‡āϤāύāĻž-āϏ⧁āώāĻŽāĻž āĻ­ā§‚āχ

Focus on Different Techniques for generating Various Compositions along with Creation & Improvisation-Dr. Soumen Chakraborty, Department Of Music, Ramsaday College, Amta, Howrah, WB, India

āϤāĻŦ⧁ āĻŽāύ⧇ āϰ⧇āĻ–ā§‹-āĻĄāσ āĻŽāϞāĻŋ āĻŽāĻŋāĻ¤ā§āϰ, āϏāĻ‚āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āĻŽā§‡āĻŽāĻžāϰāĻŋ āĻ•āϞ⧇āϜ, āĻŽā§‡āĻŽāĻžāϰāĻŋ, āĻĒā§‚āĻ°ā§āĻŦ āĻŦāĻ°ā§āϧāĻŽāĻžāύ

āϰ⧇āĻĄāĻŋāĻ“ āĻāĻŦāĻ‚ āĻŸā§‡āϞāĻŋāĻ­āĻŋāĻļāύ⧇ āϏāĻ™ā§āĻ—ā§€āϤ-āĻĄ. āĻĒāĻžāϰāĻŽāĻŋāϤāĻž āĻšā§āϝāĻžāϟāĻžāĻ°ā§āϜāĻŋ , āϏāĻ‚āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āϰāĻžāĻŽāϏāĻĻāϝāĻŧ āĻ•āϞ⧇āϜ, āφāĻŽāϤāĻž, āĻšāĻžāĻ“āĻĄāĻŧāĻž, āĻĒāĻļā§āϚāĻŋāĻŽāĻŦāĻ™ā§āĻ—, āĻ­āĻžāϰāϤ

āĻŦāĻžāĻ‚āϞāĻž āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇ āϞ⧋āĻ•āϏāĻ‚āĻ—ā§€āϤ āĻŦā§āϝāĻŦāĻšāĻžāϰ⧇āϰ āĻ•ā§āώ⧇āĻ¤ā§āϰ⧇ āϏāĻ‚āĻ—ā§€āϤ āĻĒāϰāĻŋāϚāĻžāϞāĻ• āĻ“ āϏāĻ‚āĻ—ā§€āϤ āĻļāĻŋāĻ˛ā§āĻĒā§€āĻĻ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ•-āĻĄāσ āχāϤāĻŋ āĻĒāĻžāϞ       

āĻŽā§ƒāĻĻāĻ™ā§āĻ— : āĻ—āĻŖāĻŽāĻžāĻ§ā§āϝāĻŽ āĻ“ āϏāĻžāϧāĻžāϰāĻŖ āĻŽāĻžāύ⧁āώ-āĻĄ. āĻšāϰ⧇āĻ•ā§ƒāĻˇā§āĻŖ āĻšāĻžāϞāĻĻāĻžāϰ

āĻŦāĻžāĻ‚āϞāĻž āϞ⧋āĻ•āĻ—ā§€āϤāĻŋāϰ āϧāĻžāϰāĻžāϝāĻŧ āύāϜāϰ⧁āϞ-āϟ⧁āĻŽā§āĻĒāĻž āϏāĻŽāĻĻā§āĻĻāĻžāϰ āϏāĻšāϝ⧋āĻ—ā§€ āĻ…āĻ§ā§āϝāĻžāĻĒāĻ•, āϏāĻ‚āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āĻĸāĻžāĻ•āĻž āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāϏāĻ‚āĻ—ā§€āϤ āĻļāĻŋāĻ˛ā§āĻĒā§€āĻĻ⧇āϰ āĻ­ā§‚āĻŽāĻŋāĻ•āĻž-āφāρāĻ–āĻŋ āϰāĻžāϝāĻŧ, āϏāĻšāĻ•āĻžāϰ⧀ āĻ…āĻ§ā§āϝāĻžāĻĒāĻŋāĻ•āĻž, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāϏāĻ‚āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

āĻ•āĻŽā§āĻĒā§‹āϏāĻžāϰ āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ āĻāĻŦāĻ‚ āĻ•āĻŦāĻŋāϤāĻžāϝāĻŧ āϏ⧁āϰāĻĒā§āϰāϝāĻŧā§‹āϗ⧇āϰ āφāϧ⧁āύāĻŋāĻ•āϤāĻž āĻ“ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖ-āϏāĻžā§āϚāĻŋāϤāĻž āϭ⧌āĻŽāĻŋāĻ•, āĻāĻŽ āĻĢāĻŋāϞ āĻ—āĻŦ⧇āώāĻ• āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ⧇āϰ āύāĻžāϟāĻ•, āĻ—āĻ˛ā§āĻĒ āĻ“ āĻ•āĻŦāĻŋāϤāĻžāϝāĻŧ āϏāĻ‚āĻ—ā§€āϤ⧇āϰ āĻĒā§āϰāϝāĻŧā§‹āĻ— āĻ“ āφāϧ⧁āύāĻŋāĻ•āϤāĻž-āĻ…āϰ⧁āĻŖāĻžāĻ­ āϰāĻžāϝāĻŧ 

āĻŦāĻžāĻ‚āϞāĻž āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇ āφāĻŦāĻšāϏāĻ‚āĻ—ā§€āϤ āĻ“ āĻšā§‡āĻŽāĻ¨ā§āϤ āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ-āĻĄ. āϚāĻ¨ā§āĻĻāύ āϕ⧁āĻŽāĻžāϰ āϰāĻžāϝāĻŧ, āĻ…āϤāĻŋāĻĨāĻŋ āĻļāĻŋāĻ•ā§āώāĻ•, āϝāĻ¨ā§āĻ¤ā§āϰāϏāĻ‚āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

āϟ⧁āϏ⧁āĻ—āĻžāύ⧇ āĻ•ā§āϰāĻŽāĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύāĻļā§€āϞ āϏāĻŽāĻžāϜ āĻ“ āϏāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāϰ āĻĒā§āϰāĻ­āĻžāĻŦ : āϐāϤāĻŋāĻšā§āϝ āĻ“ āφāϧ⧁āύāĻŋāĻ•āϤāĻž-āĻļā§āϰ⧁āϤāĻŋ āϏ⧇āĻ¨Â 

Volume-5. No-2: March-April, 2023

Adapting Traditions: A Study of Primitive Tribals in the Face of Changing Farming Practices in India-Anjali Doloi

Santal society in Santali music in India-Mani Barik

Unveiling the Past at the Dutch Burial Grounds of Chunchura – A Regional History Survey-Nayan Saha

Mixed culture of the Rarh region of West Bengal-Dr. Srabani Sen

Exploring the Contemporary Relevance of Yoga Philosophy in India-Mausumi Akhuli

Tracing the Roots and Evolution of a Percussive Tradition-Abhi Gharai

The Old Lady (āĻŦ⧁⧜āĻŋāϟāĻž)-Dr. Jayanti Mandal (āϜ⧟āĻ¨ā§āϤ⧀ āĻŽāĻŖā§āĻĄāϞ)

Volume-5. No-1: January-February, 2023

Exploring Raga Music on Western Instruments in India-Debasish Mandal

The Philosophical Perspective on Biodiversity Conversation-SK ASRAFUL ISLAM

āĻœā§āϝ⧇āĻˇā§āĻ āϤāĻžāϤ-āωāĻĒ⧇āĻ¨ā§āĻĻā§āϰāĻ•āĻŋāĻļā§‹āϰ āϰāĻžāϝāĻŧāϚ⧌āϧ⧁āϰ⧀

āĻ•āĻŽāϞāĻžāĻ•āĻžāĻ¨ā§āϤ⧇āϰ āĻœā§‹āĻŦāĻžāύāĻŦāĻ¨ā§āĻĻā§€-āĻŦāĻ™ā§āĻ•āĻŋāĻŽāϚāĻ¨ā§āĻĻā§āϰ āϚāĻŸā§āĻŸā§‹āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ

āϤ⧈āϞ-āĻšāϰāĻĒā§āϰāϏāĻžāĻĻ āĻļāĻžāĻ¸ā§āĻ¤ā§āϰ⧀

āĻŽāĻšāĻžāϜāύ⧀ āĻĒāĻĻ⧇ āĻŽāĻžāύāĻŦāϤāĻž-āύāĻžāϜāĻŽā§āϞ āĻšāĻ•  

The 1795-1833 Armed Mass Struggle of Landlords and Adivasis in Manbhum against British Colonial Rule-Pranab Kumar Mahato

Volume-4. No-5: September-October, 2022

L’Influence Française Dans La Vie et Les Œuvres de Lokenath Bhattacharya– M. Ashis Mahato, Assistant Professor, Chandernagore College, Chandernagore, Hooghly

L’IdÊalisation de la poÊtique libre dans les calligrammes d’Apollinaire – Suchandra Ghosh (Basu), Assistant Professor (French), Amity University Mumbai, Chandernagore, Hooghly, west Bengal, India

Les sites archÊologiques de Māhāsthangarh du Bangladesh et la contribution française à ses fouilles archÊologiques – M. Prasad Barve

La Rose et le RÊsÊda : L’appel à l’unitÊ lors de la rÊsistance -M. Prajesh Kumar Basu Assistant Professor, French Amity School of Languages, Amity University Mumbai

La violence verbale : contraintes mÊthodologiques et apport pluridisciplinaire – M. Nabil ERRAJI Laboratoire Langage et SociÊtÊ- URAC56,  UniversitÊ Ibn Tofaïl, nabil

Le non-sens et ses aspects diffÊrents – M. Partho Das Assistant Professor (French Studies) Amity School of Foreign Languages Amity University Kolkata Konnagar, Hooghly

āύ⧃āĻ¤ā§āϝ āϚāĻ°ā§āϚāĻžāϝāĻŧ āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ⧇āϰ āĻ¸ā§āĻŦāĻĒā§āύ⧇āϰ āωāĻĻāϝāĻŧāĻĒ⧁āϰāϰāĻ¤ā§āύāĻĻā§€āĻĒ āϰāĻžāϝāĻŧ, Research Scholar, Rabindra Sangeet Dance and Drama Department, Sangeet Bhavan, Visva Bharati 

Gender and Migration in Labor History: as Replicated in the Folk Song of Purulia – Dr. Abhijit Sarkar, Associate Professor of History in WBES & OIC, Govt. General Degree College at Manbazar-II, Susunia, Purulia,W.B.

La figure : comparaison dans le domaine littÊraire – Dr. Amalendu Chakraborty, Professeur de Français,  Assam University Silchar

La pauvretÊ –  dans la littÊrature française – Jayita Basak, SACT II, Department of French, Chandernagore College, Chandernagore

Les nÊologismes en français – Ms. Kiran Wadhwa, Assistant Professor, Amity School of Foreign Languages, AmityUniversity, Noida, Uttar Pradesh

Briser l’idÊal pour la beautÊ du spleen: rôle de la sociÊtÊ et la nature dans les poèmes par Baudelaire– Richa Roy, Assistant Professor. Amity School of Foreign languages, Amity University, Kolkata, India.

Les sentiments personnels de Victor Hugo dans ses poèmes choisis -Mr. Prantik Biswas, Assistant Professor in French, Amity School of Foreign Languages, Amity University Kolkata, India

Paratexte comme un outil pour une traduction postcoloniale: Une Êtude de la traduction française de The God of Small Things – M. Rupam Datta, Assistant Professor, Amity University, Kolkata

Les Souvenirs et les Regrets chez Alphonse de Lamartine dans ÂĢ Les MÊditations PoÊtiques Âģ – SUBRATA PAL, Amity University Kolkata, Department of French, Kolkata, India

Symbolisme français dans la poÊsie de W. B. Yeats -Amit Kumar Srivastava,  Lecturer, Mody University of Science & Technology,  Rajasthan

Verbal violence: methodological constraints and multidisciplinary contribution– Mr Nabil ERRAJI Laboratoire Langage et SociÊtÊ- URAC56, UniversitÊ Ibn Tofaïl, nabil

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻŽāĻžāύāϏ⧇ āĻŦāĻŋāϞāĻžāϤ⧀ āĻ—āĻžāύ⧇āϰ āĻĒā§āϰāĻ­āĻžāĻŦāĻĄ.āĻļā§āϰāĻžāĻŦāĻŖā§€ āϏ⧇āύ, āϏāĻšāĻ•āĻžāϰ⧀ āĻ…āĻ§ā§āϝāĻžāĻĒāĻŋāĻ•āĻž, āϏāĻ™ā§āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—,āϤāĻžāϰāϕ⧇āĻļā§āĻŦāϰ āĻĄāĻŋāĻ—ā§āϰāĻŋ āĻ•āϞ⧇āϜ,āϤāĻžāϰāϕ⧇āĻļā§āĻŦāϰ,āĻšā§āĻ—āϞ⧀

āĻŽāĻžāύāĻŦāϤāĻ¨ā§āĻ¤ā§āϰ⧇āϰ āĻŦāĻŋāĻ•āĻžāĻļ⧇ āϝ⧋āĻ—āĻžāĻ­ā§āϝāĻžāϏ⧇āϰ āĻ­ā§‚āĻŽāĻŋāĻ•āĻž āĻāĻŦāĻ‚ āϤāĻžāϰ āĻĢāϞāĻ¸ā§āĻŦāϰ⧂āĻĒ āύ⧃āĻ¤ā§āϝāĻ•āϞāĻžāϰ āϏāĻžāĻŦāϞ⧀āϞāϤāĻž āĻŦ⧃āĻĻā§āϧāĻŋāϰāĻžāĻšā§āϞ āĻĻ⧇āĻŦ āĻŽāĻŖā§āĻĄāϞ ( āϏāĻšāĻ•āĻžāϰ⧀ āĻ…āĻ§ā§āϝāĻžāĻĒāĻ• , āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ , āύ⧃āĻ¤ā§āϝ āĻŦāĻŋāĻ­āĻžāĻ— ) 

Volume-4. No-4 : July-August, 2022

āĻŦ⧁āĻĻā§āϧāĻĻ⧇āĻŦ āϗ⧁āĻšâ€™āϰ āωāĻĒāĻ¨ā§āϝāĻžāϏ⧇ āĻ•āĻ¨ā§āĻĻāĻœā§€āĻŦāύ āĻ“ āϏāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋ : āĻĒā§āϰāϏāĻ™ā§āĻ— ‘āĻĒāĻžāϰāĻŋāĻ§ā§€â€™

Posted by LOKOGANDHAR ISSN : 2582-2705 Indigenous Art & Culture

āĻ…āĻ°ā§āϜ⧁āύ āĻŽāĻžāĻāĻŋ, āϏāĻšāĻ•āĻžāϰ⧀ āĻ…āĻ§ā§āϝāĻžāĻĒāĻ•, āĻŦāĻžāĻ‚āϞāĻž āĻŦāĻŋāĻ­āĻžāĻ—, āĻ—āĻ­āĻ°ā§āύāĻŽā§‡āĻ¨ā§āϟ āĻœā§‡āύāĻžāϰ⧇āϞ āĻĄāĻŋāĻ—ā§āϰāĻŋ āĻ•āϞ⧇āϜ āĻļāĻžāϞāĻŦāύāĻŋ, āĻĒāĻļā§āϚāĻŋāĻŽ āĻŽā§‡āĻĻāĻŋāύ⧀āĻĒ⧁āĻ°Â 

āφāϧ⧁āύāĻŋāĻ• āĻŦāĻžāĻ‚āϞāĻž āĻĨāĻŋāϝāĻŧ⧇āϟāĻžāϰ⧇ āĻŦā§āϰ⧇āĻ°ā§āĻŸā§‹āϞ āĻŦā§āϰ⧇āĻ–ā§āĻŸā§

āϏāĻžāϝāĻŧāĻ¨ā§āϤ⧀ āϘāϟāĻ•, āĻĒāĻŋāĻāχāϚāĻĄāĻŋ āĻ¸ā§āĻ•āϞāĻžāϰ, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

āϧāĻ°ā§āĻŽā§‡āϰ āύāĻžāĻŽā§‡ āĻšāĻ¤ā§āϝāĻžāϰ āĻŦāĻŋāϰ⧁āĻĻā§āϧ⧇ āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ⧇āϰ āύāĻžāϟāĻ• āĻ“ āύāĻžāϟāϕ⧇āϰ āĻ—āĻžāύāĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ

IOT – SMART CITYSANDIP ROY State Aided College Teacher [SACT], GOBARDANGA HINDU COLLEGE

āĻ•āĻŦāĻŋ āύāϜāϰ⧁āϞ⧇āϰ āĻ­āĻžāĻŦāύāĻžāϝāĻŧ  āĻ¸ā§āĻŦāĻĻ⧇āĻļ āĻ“ āĻŦāĻŋāĻļā§āĻŦāĻĄ.āĻļā§āϰāĻžāĻŦāĻŖā§€ āϏ⧇āύ āϏāĻšāĻ•āĻžāϰ⧀ āĻ…āĻ§ā§āϝāĻžāĻĒāĻŋāĻ•āĻž, āϏāĻ™ā§āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—,āϤāĻžāϰāϕ⧇āĻļā§āĻŦāϰ āĻĄāĻŋāĻ—ā§āϰāĻŋ āĻ•āϞ⧇āϜ,āϤāĻžāϰāϕ⧇āĻļā§āĻŦāϰ,āĻšā§āĻ—āϞ⧀

Volume-4. No-3 : May-June, 2022

āĻ­āĻžāϰāϤ⧀āϝāĻŧ āĻ—āϜāϞ āĻ“ āĻŦ⧇āĻ—āĻŽ āφāĻ–āϤāĻžāϰāĻ…āύāĻŋāĻ¨ā§āĻĻā§āϝ āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ

THE EXPEDITION OF GRAPPLE AND RECOGNITION OF WOMEN IN BANGLA THEATRE

SAYANTIKA GHOSH, PhD Research Scholar, RBU, SACT, Gobardanga Hindu College 

BAIJI CULTURE OF KOLKATA DURING COLONIAL PERIOD: A REVIEW

Aritri Majumder, SACT,Department of Music, Gobardanga Hindu College, 

Volume-4. No-2 : March -April, 2022

āĻĒ⧌āĻŖā§āĻĄā§āϰ, āύāĻŽāσāĻļā§‚āĻĻā§āϰ āĻ“ āϰāĻžāϜāĻŦāĻ‚āĻļā§€ āϜāύāĻ—ā§‹āĻˇā§āĻ ā§€āϰ āĻļāĻŋāĻ•ā§āώāĻž āĻ“ āϏāĻŽāĻžāϜ āĻšā§‡āϤāύāĻž ā§§ā§Žā§Ģā§­-⧧⧝ā§Ēā§­āĻĄāσ āĻļā§āϝāĻžāĻŽāĻž āĻĒā§āϰāϏāĻžāĻĻ āĻŽāĻ¨ā§āĻĄāϞ

Scenography in Indian Theatre: Sharing Aesthetics of Light and Sound-Dr. Gagandeep, Assistant Professor, Department of Drama. Rabindra Bharati University

āĻ­āĻžāĻŦ āĻ“ āϏ⧁āϰ⧇āϰ āĻŽā§‡āϞāĻŦāĻ¨ā§āϧāύ⧇ āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ⧇āϰ āĻ—āĻžāύāĻĄ.āĻļā§āϰāĻžāĻŦāĻŖā§€ āϏ⧇āύ

Portrayal  of  Information  Communication  Technology  in Empowering  Rural  Female  Laboure’s  in  Agricultural FieldSayantika Ghosh, SACT, Gobardanga Hindu College, Ph.D. Research Scholar, RBU.

Volume-4. No-1 : January-February, 2022

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ – āωāĻĒāϞāĻŦā§āϧāĻŋ āĻ“ āĻšā§‡āϤāύāĻžāϰ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύāĻĄ. āĻĒā§āϰāϤ⧀āϤāĻŋ āĻĒā§āϰāĻžāĻŽāĻžāĻŖāĻŋāĻ• āĻĻ⧇, āĻ—ā§‹āĻŦāϰāĻĄāĻžāĻ™ā§āĻ—āĻž āĻšāĻŋāĻ¨ā§āĻĻ⧁ āĻ•āϞ⧇āϜ , āϏāĻ‚āĻ—ā§€āϤ āĻŦāĻŋāĻ­āĻžāĻ—

āĻ›â€™āϝāĻŧ⧇āϰ āĻĻāĻļāϕ⧇ āĻŦāĻšā§āϰ⧂āĻĒā§€āϰ āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āύāĻžāϟāĻ• āĻ“ āĻļāĻŽā§āϭ⧁ āĻŽāĻŋāĻ¤ā§āϰ⧇āϰ āύāĻžāĻŸā§āϝ āĻĒā§āϰāϝ⧋āϜāύāĻžāĻ•ā§ƒāĻˇā§āĻŖāĻĒāĻĻ āĻĻāĻžāϏ

Empowerment Through Struggles and Strifes – An Analytical Study of Mitra’s Putul Khela-SAYANTIKA GHOSH Ph.D. Research Scholar, Rabindra Bharati University

āĻŦāĻžāĻ™āĻžāϞāĻŋāϰ āύāĻŦāϜāĻžāĻ—āϰāϪ⧇āϰ āĻ—āĻžāύāĻĄ. āĻļā§āϰāĻžāĻŦāĻŖā§€ āϏ⧇āύ

Development and Growth of Schedule   Caste Women Empowerment in West Bengal-Bikash Chandra Mondal Assistant Professor Dinabandhu Mahavidyalaya

HUMAN CHAKRA-Rahul DevMondal Assistant Professor  RBU , Department of Dance

āĻŽāĻŖāĻŋāĻĒ⧁āϰ⧀ āύ⧃āĻ¤ā§āϝ⧇āϰ āϜāĻ—āϤ⧇ āϗ⧁āϰ⧁ āĻĻ⧇āĻŦāϝāĻžāύ⧀ āϚāϞāĻŋāĻšāĻžāϰ āĻ…āĻŦāĻĻāĻžāύ-Ahana Chakraborty, Research scholar Department of Rabindra Sangit ,Dance and Drama Sangit Bhavana, Visva Bharati University

⤏⤂⤏āĨā¤•āĨƒā¤¤ ā¤¨ā¤žā¤Ÿā¤•āĨ‹ā¤‚ ā¤ŽāĨ‡ā¤‚ ā¤°ā¤žā¤œā¤¨āĨ€ā¤¤ā¤ŋ ⤕āĨ‡ ā¤†ā¤¯ā¤žā¤Ž : ā¤­ā¤žā¤¸ ⤕āĨ‡ ā¤Žā¤šā¤žā¤­ā¤žā¤°ā¤¤ ā¤†ā¤§ā¤žā¤°ā¤ŋ⤤ ā¤¨ā¤žā¤Ÿā¤•āĨ‹ā¤‚ ⤕āĨ‡ ā¤ĩā¤ŋā¤ļāĨ‡ā¤ˇ ⤏⤂ā¤Ļ⤰āĨā¤­ ā¤ŽāĨ‡ā¤‚-MADAN MOHAN

āĻ—ā§āϰ⧁āĻĒ āĻĨāĻŋāϝāĻŧ⧇āϟāĻžāϰ āϏāĻ‚āϞāĻ—ā§āύ āĻĻ⧁āχ āĻ…āĻ­āĻŋāύ⧇āĻ¤ā§āϰ⧀ āϚāĻŋāĻ¤ā§āϰāĻž āϏ⧇āύ āĻ“ āϏ⧀āĻŽāĻž āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ : āϜāϞāĻ›āĻŦāĻŋāĻŽā§Œ āϚāĻ•ā§āϰāĻŦāĻ°ā§āϤ⧀

Volume-3. No-6 : November-December 2021

āĻ āĻžāϕ⧁āϰāĻŦāĻžāĻĄāĻŧāĻŋ āĻ“ āĻŦāĻžāψāϜāĻŋ āϏāĻ‚āĻ—ā§€āϤāĻĒāĻŖā§āĻĄāĻŋāϤ āĻ…āύāĻŋāĻ¨ā§āĻĻā§āϝ āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ

āĻ­āĻžāϰāϤ⧀āϝāĻŧ āĻŦāĻžāĻĻā§āϝāϝāĻ¨ā§āĻ¤ā§āϰ āĻ“ āϝāĻ¨ā§āĻ¤ā§āϰāϏāĻ™ā§āĻ—ā§€āϤ⧇āϰ āϏ⧇āĻ•āĻžāϞ-āĻāĻ•āĻžāϞāĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ

āφāĻŽāĻžāϰ āύ⧃āĻ¤ā§āϝāϗ⧁āϰ⧁ āĻĒāĻĻā§āĻŽāĻļā§āϰ⧀ āĻĨāĻŋāĻ‚āĻŦāĻžāχāϜāĻŽ āĻŦāĻžāĻŦ⧁ āϏāĻŋāĻ‚āĻšāĻĄāσ āϏ⧁āĻŽāĻŋāϤ āĻŦāϏ⧁, āĻ…āĻ§ā§āϝāĻžāĻĒāĻ•, āϏāĻ‚āĻ—ā§€āϤ āĻ­āĻŦāĻ¨Â 

āĻ•āϞāĻ•āĻžāϤāĻžāϰ āĻļāĻžāĻ¸ā§āĻ¤ā§āϰ⧀āϝāĻŧ āϏāĻ™ā§āĻ—ā§€āϤ āϚāĻ°ā§āϚāĻž-āĻŦāĻŋāĻļā§āĻŦāϜāĻŋāϤ āύāĻ¨ā§āĻĻā§€

āĻ—ā§āϰāĻžāĻŽā§āϝāϏāĻžāĻšāĻŋāĻ¤ā§āϝāϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ āĻ āĻžāϕ⧁āϰ

Volume-3. No-5 : September-October 2021

āĻļāĻŋāĻļ⧁āĻļāĻŋāĻ•ā§āώāĻžāϰ āωāĻĒāĻ•āϰāϪ⧇ āĻ›āĻ¨ā§āĻĻ : āĻŦāĻŋāĻĻā§āϝāĻžāϏāĻžāĻ—āϰ āĻ“ āφāϧ⧁āύāĻŋāĻ• āĻĒā§āϰāϜāĻ¨ā§āĻŽāĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ

Volume III. No. IV. : July-August 2021

Angashuddhi : Bharatnatyam Dance-Rahuldeb Mondal

āϰāĻžāĻĸāĻŧ āĻŦāĻžāĻ‚āϞāĻžāϰ āϞ⧋āĻ•āϏāĻ‚āĻ—ā§€āϤ⧇ āφāϧ⧁āύāĻŋāĻ•āϤāĻžāĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ⧇āϰ āĻŦāĻžāωāϞ āĻĻāĻ°ā§āĻļāύ āĻ“ āϏāĻ™ā§āĻ—ā§€āϤāĻĄ. āĻļā§āϰāĻžāĻŦāĻŖā§€ āϏ⧇āύ

āĻāϕ⧁āĻļ āĻļāϤāϕ⧇āϰ āĻŽā§‡āϝāĻŧ⧇āϰāĻžāϜāϝāĻŧāĻ¨ā§āϤ⧀ āĻŽāĻŖā§āĻĄāϞ

āϗ⧁āϰ⧁ āφāĻŽā§āĻŦā§€ āϏāĻŋāĻ‚āϝāĻŧ⧇āϰ āύ⧃āĻ¤ā§āϝāĻļ⧈āϞ⧀āϏāĻžāϝāĻŧāĻ¨ā§āϤāύ⧀ āϚ⧌āϧ⧁āϰ⧀

āϏāĻ¤ā§āϝ⧇āύ āĻŽā§ˆāĻ¤ā§āϰ āĻ“ āϏāĻžāĻ•ā§āώāϰāϤāĻž āφāĻ¨ā§āĻĻā§‹āϞāύāĻļāĻ•ā§āϤāĻŋ āĻŽāĻŖā§āĻĄāϞ

āĻ­āĻžāĻĻ⧁ āĻ—āĻžāύ, āĻ­āĻžāĻĻ⧁ āύāĻžāϚ : āφāĻĻāĻŋāĻŦāĻžāϏ⧀ āĻĒāϰāĻŦ āĻĨ⧇āϕ⧇ āϏāĻžāϧāĻžāϰāϪ⧇āϰ āϞ⧋āĻ• āĻ‰ā§ŽāϏāĻŦāĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ

Volume-3. No-3 : May-June 2021

āϕ⧋āϚāĻŦāĻŋāĻšāĻžāϰ⧇āϰ āĻŦ⧈āϰāĻžāϤ⧀ āύ⧃āĻ¤ā§āϝ⧇ āφāϧ⧁āύāĻŋāĻ•āϤāĻž – āĻ…āĻŽā§āĻŦāĻŋāĻ•āĻž āĻ­āĻžāĻ¨ā§āĻĄāĻžāϰ⧀

āĻŽāύ āύāĻžāĻ•āĻŋ āĻŽāύ⧋āϰāĻžā§āϜāύ : āϏāĻŋāύ⧇āĻŽāĻž , āĻ…āĻ­āĻŋāύ⧇āĻ¤ā§āϰ⧀ āĻāĻŦāĻ‚ āϏāĻ¤ā§āϝāϜāĻŋā§Ž āϰāĻžāϝāĻŧ

āĻŦāĻžāĻ‚āϞāĻž āϞ⧋āĻ•āϏāĻ‚āĻ—ā§€āϤ⧇ āĻŦāĻžāĻĻā§āϝāϝāĻ¨ā§āĻ¤ā§āϰ āĻŦā§āϝāĻŦāĻšāĻžāϰ⧇ āφāϧ⧁āύāĻŋāĻ•āϤāĻž āĻ“ āύāĻžāĻ¨ā§āĻĻāύāĻŋāĻ• āĻĻāĻŋāĻ• – āĻĒā§āϰāĻļ⧇āύ āϰāĻžāϝāĻŧ

āĻŦāĻžāĻ•ā§â€ŒāϝāĻ¨ā§āĻ¤ā§āϰ : āĻ—āĻ āĻŖ āĻ“ āϏāĻžāĻ™ā§āĻ—ā§€āϤāĻŋāĻ• āĻŦā§āϝāĻŦāĻšāĻžāϰāύ⧂āϰ āύāĻŦā§€ āĻŽā§€āϰāĻŖ

āĻŽāĻžāϤ⧃āĻ­āĻžāώāĻž āĻŦāĻžāĻ‚āϞāĻž āĻ“ āĻāϰāĻžāĻœā§āϝ⧇āϰ āϰāĻžāϜāύ⧈āϤāĻŋāĻ• āĻĻāϞāϗ⧁āϞāĻŋāĻļāĻ•ā§āϤāĻŋ āĻŽāĻŖā§āĻĄāϞ

Volume-3. No-2 : March-April 2021

ā§§ā§Š āĻāĻĒā§āϰāĻŋāϞ : āĻŦāĻ°ā§āĻŖāĻĒāϰāĻŋāϚāϝāĻŧ āĻĻāĻŋāĻŦāϏāĻļāĻ•ā§āϤāĻŋ āĻŽāĻŖā§āĻĄāϞ

MARGAM IN BHARATNATYAM TRADITION-Rahuldev Mondal

Bengali Song in Bengal Renaissance Movement: Education and Practice-Dr Soma Das Mondal

āύāĻžāϰ⧀ āĻ•ā§āώāĻŽāϤāĻžāϝāĻŧāύ āĻĒā§āϰ⧇āĻ•ā§āώāĻŋāϤ⧇ āĻŦāĻ™ā§āĻ—-āϰāĻ™ā§āĻ—āĻŽāĻžā§āĻšā§‡āϰ āĻļāϤāĻžāĻŦā§āĻĻā§€āĻŦā§āϝāĻžāĻĒā§€ ‘āĻ…āĻ­āĻŋāύ⧇āĻ¤ā§āĻ°ā§€â€™ āϏ⧂āĻ¤ā§āϰāϤāĻžāĻŽā§Œ āϚāĻ•ā§āϰāĻŦāĻ°ā§āϤ⧀ , āύāĻžāĻŸā§āϝ āĻ—āĻŦ⧇āώāĻ• , āύāĻžāϟāĻ• āĻ“ āύāĻžāĻŸā§āϝāĻ•āϞāĻž āĻŦāĻŋāĻ­āĻžāĻ—, āϏāĻ‚āĻ—ā§€āϤ āĻ­āĻŦāύ, āĻŦāĻŋāĻļā§āĻŦāĻ­āĻžāϰāϤ⧀

Different Faces of Violence in Selected Plays of Harold Pinter-Soma Mondal, Assistant Professor, Department of English, Gobardanga Hindu College

āύāĻžāϰ⧀āĻŽā§āĻ•ā§āϤāĻŋ āφāĻ¨ā§āĻĻā§‹āϞāύāĻĄ. āϜāϝāĻŧāĻ¨ā§āϤ⧀ āύ⧇āϜ

Volume-3. No-1 : January-February 2021

āϞ⧋āĻ•āĻŦāĻŋāĻļā§āĻŦāĻžāϏ āĻĨ⧇āϕ⧇ āϞ⧋āĻ•āϏāĻ‚āĻ¸ā§āĻ•āĻžāϰ⧇ āϏ⧃āĻˇā§āϟ āϕ⧋āϚāĻŦāĻŋāĻšāĻžāϰ⧇āϰ āϞ⧋āĻ•āύ⧃āĻ¤ā§āϝ⧇āϰ āϰ⧂āĻĒāϰ⧇āĻ–āĻžāĻ…āĻŽā§āĻŦāĻŋāĻ•āĻž āĻ­āĻžāĻŖā§āĻĄāĻžāϰ⧀, āĻ—āĻŦ⧇āώāĻ•, āϏāĻ™ā§āĻ—ā§€āϤ āĻ­āĻŦāύ, āĻŦāĻŋāĻļā§āĻŦāĻ­āĻžāϰāϤ⧀

HISTORY OF WOMEN EDUCATION IN INDIA– Dr. Saswati Roy Chowdhury, Asst. Professor, Padmaja Naidu College of Music-Burdwan University.:Burdwan

In front of the mirror : Abhinaya Darpana-Nrityachuramani Rahul Dev Mondal  (Assistant Professor, Rabindra Bharati University , Department of Dance )

āϰāĻžāĻœā§āϝ āĻĻāĻ–āϞ āĻĨ⧇āϕ⧇ āϕ⧋āĻ­āĻŋāĻĄ ⧧⧝ : āĻļāĻŋāĻ˛ā§āĻĒ āĻ“ āĻļāĻŋāĻ˛ā§āĻĒā§€āϰ āĻ­āĻŋāĻŦāĻŋāĻˇā§āĻ¯ā§ŽāĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ

āϰāĻŦāĻŋāĻļāĻ™ā§āĻ•āϰ⧇āϰ āϏ⧇āϤāĻžāϰ⧇āϰ āĻŦāĻžāϜāĻĒāĻŖā§āĻĄāĻŋāϤ āĻ…āύāĻŋāĻ¨ā§āĻĻā§āϝ āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧāϏāϰ⧋āĻĻāĻŦāĻžāĻĻāĻ•

āωāĻĻāϝāĻŧāĻļāĻ‚āĻ•āϰ⧇āϰ ‘āĻ•āĻ˛ā§āĻĒāύāĻžâ€™āϝāĻŧ āύ⧃āĻ¤ā§āϝ⧇āϰ āϏāĻžāĻ‚āĻ—āĻ āύāĻŋāĻ• āĻ­ā§‚āĻŽāĻŋāĻ•āĻžāϤāĻĒā§‹āĻŦā§āϰāϤ āĻšā§āϝāĻžāϟāĻžāĻ°ā§āĻœā§āĻœā§€ āĻ—āĻŦ⧇āώāĻ•, āϏāĻ‚āĻ—ā§€āϤ āĻ­āĻŦāύ, āĻŦāĻŋāĻļā§āĻŦāĻ­āĻžāϰāϤ⧀   

Volume-2. No-6 : November-December 2020

Energy Embodiment of Indian Classical Dance– Rahuldeb Mandal

āĻ—āĻžāύ⧇āϰ āϏ⧂āĻ¤ā§āϰ⧇ āύāĻžāĻŸā§āϝ⧇āϰ āĻŽāĻžāϞāĻžâ€™ āĻāĻŦāĻ‚ āύāĻžāĻŸā§āϝ⧇āϰ āϏ⧂āĻ¤ā§āϰ⧇ āĻ—āĻžāύ⧇āϰ āĻŽāĻžāϞāĻžâ€™ : āĻāĻ•āϟāĻŋ āϏāĻŽā§€āĻ•ā§āώāĻžāĻĄāσ āĻ­ā§€āĻˇā§āĻŽāĻĻ⧇āĻŦ āϚāĻŸā§āĻŸā§‹āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ, āĻ­āĻžāϰ āĻĒā§āϰāĻžāĻĒā§āϤ āĻ…āĻ§ā§āϝāĻ•ā§āώ, āĻĒāĻĻā§āĻŽāϜāĻž āύāĻžāχāĻĄā§ āĻ•āϞ⧇āϜ āĻ…āĻĢ āĻŽāĻŋāωāϜāĻŋāĻ•

‌āĻ­āĻžāϰāϤ⧀āϝāĻŧ āϏāĻ™ā§āĻ—ā§€āϤ⧇ āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āĻšā§‡āϤāύāĻžāĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ

āĻļāĻžāĻ¨ā§āϤāĻŋāύāĻŋāϕ⧇āϤāύ⧇āϰ āύ⧃āĻ¤ā§āϝ āϧāĻžāϰāĻžāϝāĻŧ āϗ⧁āϰ⧁ āϕ⧇. āϝāϤ⧀āĻ¨ā§āĻĻā§āϰ āϏāĻŋāĻ‚āĻšā§‡āϰ āĻ…āĻŦāĻĻāĻžāύāϤāĻ¨ā§āĻŽāϝāĻŧ āĻĒāĻžāϞ

āĻŦāĻžāĻ‚āϞāĻžāϝāĻŧ āĻ¸ā§āĻ¤ā§āϰ⧀-āĻļāĻŋāĻ•ā§āώāĻž āφāĻ¨ā§āĻĻā§‹āϞāύ āĻ“ āύāĻžāϰ⧀āĻĻ⧇āϰ āĻŦāĻ¨ā§āϧāύ āĻŽā§āĻ•ā§āϤāĻŋāϰ āϏ⧂āϚāύāĻžāĻĄ. āϜāϝāĻŧāĻ¨ā§āϤ⧀ āĻŽāĻŖā§āĻĄāϞ āĻļāĻŋāĻ•ā§āώāĻž āĻ“ āϏāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāϰ āĻ•ā§āώ⧇āĻ¤ā§āϰ⧇ āĻŦāĻŋāĻļā§āĻŦāĻžāϝāĻŧāύ⧇āϰ āĻĒā§āϰāĻ­āĻžāĻŦāĻĢāϤāĻŋāĻŽāĻž āφāĻ•ā§āϤāĻžāϰ

āϰāĻžāĻĸāĻŧ āĻ…āĻžā§āϚāϞ⧇āϰ āϏāĻ‚āĻ—ā§€āϤ āϏāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋ āĻ“ āϏāĻžāϧāĻžāϰāĻŖ āĻŽāĻžāύ⧁āώ⧇āϰ āĻ•āĻĨāĻžāĻĄ. āϏ⧋āĻŽāĻž āĻĻāĻžāϏ āĻŽāĻŖā§āĻĄāϞ

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āĻ­āĻžāĻŦāĻžāĻĻāĻ°ā§āĻļ⧇ āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āĻ­āĻžāĻŦāύ⧃āĻ¤ā§āϝāϚāĻ¨ā§āĻĻā§āϰāĻžāĻŦāϞ⧀ āϘāĻžā§‡āώāĻžāϞ āĻ—āĻŦ⧇āώāĻ•, āϏāĻ™ā§āĻ—ā§€āϤ āĻ­āĻŦāύ, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āϏāĻ™ā§āĻ—ā§€āϤ āύ⧃āĻ¤ā§āϝāύāĻžāĻŸā§āϝ āĻŦāĻŋāĻ­āĻžāĻ—, āĻŦāĻŋāĻļā§āĻŦāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

āĻļāĻžāĻ¸ā§āĻ¤ā§āϰ⧀āϝāĻŧ āĻŽāĻŖāĻŋāĻĒ⧁āϰ⧀ āύ⧃āĻ¤ā§āϝ⧇āϰ āύāĻŋāĻ°ā§āĻŽāĻŋāϤāĻŋ āĻāĻŦāĻ‚ āĻŦā§āϝāĻžāĻĒā§āϤāĻŋāϤ⧇ āĻŦāĻŋāĻ‚āĻļ āĻļāϤāĻžāĻŦā§āĻĻā§€āϰ “āĻ¤ā§āϰāĻŋāĻŽā§‚āĻ°ā§āϤāĻŋ” āϗ⧁āϰ⧁āϰ āĻ­ā§‚āĻŽāĻŋāĻ•āĻžāϤāĻžāύāĻŋāϝāĻŧāĻž āϚāĻ•ā§āϰāĻŦāĻ°ā§āĻ¤ā§āϤ⧀, āĻ—āĻŦ⧇āώāĻ•, āϏāĻ‚āĻ—ā§€āϤ āĻ­āĻŦāύ, āĻļāĻžāĻ¨ā§āϤāĻŋāύāĻŋāϕ⧇āϤāύ, āĻŦāĻŋāĻļā§āĻŦāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

Tagore’s Vision of a Transformed Society – Soma Mondal, Assistant Professor, Department of English, Gobardanga Hindu College

Volume 2, No 5. September-October 2020

āĻŽāĻŖāĻŋāĻĒ⧁āϰ⧀ āύ⧃āĻ¤ā§āϝāĻļ⧈āϞ⧀āϤ⧇ āĻāĻ•āĻ• āύ⧃āĻ¤ā§āϝ⧇āϰ āĻĒ⧁āύāĻ°ā§āύāĻŦā§€āĻ•āϰāĻŖāϰāĻŋāĻ™ā§āĻ•āĻŋ āĻŽāĻžāĻšāĻžāϤ⧋, āĻ—āĻŦ⧇āώāĻ•, āϏāĻ‚āĻ—ā§€āϤ āĻ­āĻŦāύ, āĻŦāĻŋāĻļā§āĻŦāĻ­āĻžāϰāϤ⧀

Mudras of YOGA & Dance – Nritya Churamani Rahul Dev Mondal

An Overview of the Context and Related Literature Review of the Sena Period Sculptures of Bengal– Arindam Mandal

āϞ⧋āĻ•āĻžāϝāĻŧāϤ āĻ—āĻžāύ⧇ āĻ•āĻžāĻœā§€ āύāϜāϰ⧁āĻ˛Â āχāϏāϞāĻžāĻŽ-āĻĄ. āĻŽā§ŒāĻŽāĻŋāϤāĻž āĻŦ⧈āϰāĻžāĻ—ā§€

āĻ…āĻžā§āϜāϞ⧀ āϞāĻš āϏāĻ™ā§āĻ—ā§€āϤ⧇āĻĒāĻŖā§āĻĄāĻŋāϤ āĻ…āύāĻŋāĻ¨ā§āĻĻā§āϝ āĻŦā§āϝāĻžāύāĻžāĻ°ā§āϜāĻŋ

āĻŽāĻžāύāĻŦāĻŋāĻ• āĻŦāĻŋāĻ•āĻžāĻļ⧇ āĻĒā§āϰāĻžāϤāĻŋāĻˇā§āĻ āĻžāύāĻŋāĻ• āĻļāĻŋāĻ•ā§āώāĻžāϝāĻŧ āϏāĻ™ā§āĻ—ā§€āϤ⧇āϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāϞ⧂āύāĻž āĻĢāϤāĻŋāĻŽāĻž

āϏāĻžāϧāĻžāϰāĻŖ āĻŽāĻžāύ⧁āώāĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ

Volume 2, No 4. July- August 2020

āϞ⧌āĻ•āĻŋāĻ• āĻŦā§āϰāϤ : āϤ⧁āϏ⧁ āĻ“ āĻ­āĻžāĻĻ⧁ āĻ—āĻžāύāĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ

āύ⧇āĻĒāĻĨā§āϝ āύāĻžāĻŸā§āϝāĻļāĻŋāĻ˛ā§āĻĒā§€ āϕ⧁āĻŽāĻžāϰ āϰāĻžāϝāĻŧāĻŦāĻŋāĻļā§āĻŦāϜāĻŋā§Ž āĻŽāĻŖā§āĻĄāϞ

āϰāĻžāĻĸāĻŧ⧇āϰ āϏāĻŽā§āĻĒāĻĻ āĻā§āĻŽā§āϰ āϤ⧁āώ⧁ āĻ­āĻžāĻĻ⧁ āĻ—āĻžāύāĻĄ. āϏ⧋āĻŽāĻž āĻĻāĻžāϏ āĻŽāĻŖā§āĻĄāϞ

āĻ­ā§‚āϤ āĻ“ āĻ…āĻĻā§āĻ­ā§‚āϤ āĻ•āĻžāĻšāĻŋāύ⧀āĻĒāĻŖā§āĻĄāĻŋāϤ āĻ…āύāĻŋāĻ¨ā§āĻĻā§āϝ āĻŦā§āϝāĻžāύāĻžāĻ°ā§āϜāĻŋ

āĻĻāĻŖā§āĻĄāĻŋāϤ āϏāĻŽā§āϰāĻžāϟ āωāϞ⧁āϘ āĻŦ⧇āĻ—āĻļāĻ•ā§āϤāĻŋ āĻŽāĻŖā§āĻĄāϞ

Volume 2, No 3. May-June 2020

āϏāĻ™ā§āĻ—ā§€āϤ āĻļāĻŋāĻ•ā§āώāĻž : āϝ⧁āĻ•ā§āϤāĻŋ āĻ“ āφāĻŦ⧇āĻ—āĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ

āϰāĻžāĻ— āφāϞāĻžāĻĒ : āύāĻŋāĻŦāĻĻā§āϧ āĻ“ āĻ…āύāĻŋāĻŦāĻĻā§āϧ āϏāĻ™ā§āĻ—ā§€āϤ⧇āϰ āĻĒā§āϰāĻ­āĻžāĻŦāĻĄ. āϜāϝāĻŧāĻ¨ā§āϤ āĻŽāĻ˛ā§āϞāĻŋāĻ•

āĻĒā§āϰāϏāĻ™ā§āĻ— āĻŦāĻŋāĻļā§āĻŦ āύ⧃āĻ¤ā§āϝ āĻĻāĻŋāĻŦāϏāϰāĻžāĻšā§āϞāĻĻ⧇āĻŦ āĻŽāĻŖā§āĻĄāϞ

āĻļ⧇āώ āĻĻ⧃āĻļā§āϝ āĻļ⧁āϧ⧁ āύāĻŋāĻœā§‡āϰ āϜāĻ¨ā§āϝ?-āĻ…āύāĻŋāĻ¨ā§āĻĻā§āϝ āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ

Manna Dey & Hemanta Mukhopadhyay : (An outward study on their styles and the cordiality they shared)- SUBHADRAKALYAN

āĻ•āϰ⧋āύāĻž āĻŦāĻŋāĻĒāĻ°ā§āϝāϝāĻŧ : āĻāϏ⧋ āĻĒā§āϰāϤāĻŋāϰ⧋āϧ āĻ•āϰāĻŋāĻĄ. āϏ⧁āĻļāĻžāĻ¨ā§āϤ āϕ⧁āĻŽāĻžāϰ āϏāĻžāĻŽāĻ¨ā§āϤ

Volume 2, No 2. March-April 2020

ASHTANGA YOGA  – Nrityachuramani Rahul Dev Mondal ( Assistant Professor, Department of Dance, Rabindra Bharati University

 Socio-cultural Background of Kanada Ragini– Pandit Anindya Banerjee

  āĻŦāĻžāĻ‚āϞāĻžāϝāĻŧ āĻ¸ā§āĻ¤ā§āϰ⧀āĻļāĻŋāĻ•ā§āώāĻž āĻŦāĻŋāĻ¸ā§āϤāĻžāϰ : āĻŦāĻžāϞāĻŋāĻ•āĻž āĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ āĻĒā§āϰāϤāĻŋāĻˇā§āĻ āĻžāϝāĻŧ āĻŦāĻŋāĻĻā§āϝāĻžāϏāĻžāĻ—āϰāĻĄāσ āϜāϝāĻŧāĻ¨ā§āϤ⧀ āĻŽāĻŖā§āĻĄāϞ

āĻ…āϰ⧁āĻŖ āĻŽāĻŋāĻ¤ā§āϰ:āĻāĻ•āĻžāϧāĻžāϰ⧇ āĻœā§€āĻŦāύ āϰāϏ āϰāϏāĻŋāĻ• āĻ“ āĻŽāĻ—ā§āύ āĻ§ā§āϝāĻžāύ⧀ āĻ•āĻŦāĻŋāĻĄāσ āχāϰāĻžāĻŦāϤ⧀ āĻŽāĻŖā§āĻĄāϞ

An Introduction to the Musical Concepts of Satyajit Ray– Subhrakalyan

āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ-āĻœā§€āĻŦāύ⧇ āϏāĻ‚āϘāĻžāϤāĻļāĻ•ā§āϤāĻŋ āĻŽāĻŖā§āĻĄāϞ

Volume 2.No.1 : January- February 2020

  1. Sadir Nattyam : as a dance form can be considered as divine danceâ€Ļâ€Ļâ€Ļâ€Ļâ€Ļ, Nrityachuramani Rahul Dev Mondal ( Assistant Professor ,â€Ļ
  2. PANDIT NIKHIL GHOSH and USTAD ALLAH RAKHA(An outward study on their styles and the cordiality they shared)Subhadrakalyan 
  3. āĻŦāĻžāĻ‚āϞāĻž āĻ—āĻžāύ⧇ āĻĒāĻŖā§āĻĄāĻŋāϤ āĻœā§āĻžāĻžāύāĻĒā§āϰāĻ•āĻžāĻļ āĻ˜ā§‹āώ, āĻ…āϜāĻ¨ā§āϤāĻž āϜāĻžāύāĻž, āĻ—āĻŦ⧇āώāĻ•, āϏāĻ™ā§āĻ—ā§€āϤ āĻ­āĻŦāύ, āĻŦāĻŋāĻļā§āĻŦāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ
  4. Vidushi Purnima Chowdhury : An Artiste with a Motherly Heart, Bhabanishankar Dasgupta.
  5. āĻŽāύāĻŋāĻĒ⧁āϰ⧀ āύ⧃āĻ¤ā§āϝ : āĻŽāĻ¨ā§āĻĄāĻĒ⧇āϰ āĻ—āĻ¨ā§āĻĄāĻŋ āĻĨ⧇āϕ⧇ āĻŽāĻžā§āĻšā§‡ āωāĻĒāĻ¸ā§āĻĨāĻžāĻĒāύāĻž, āϰāĻŋāĻ™ā§āĻ•āĻŋ āĻŽāĻžāĻšāĻžāϤ⧋, āĻ—āĻŦ⧇āώāĻ•, āϏāĻ™ā§āĻ—ā§€āϤ āĻ­āĻŦāύ, āĻŦāĻŋāĻļā§āĻŦāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ.
  6. āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ : āĻ­āĻžāώāĻžāϰ āĻĻāĻžāĻŦāĻŋ – āĻŽā§āĻ•ā§āϤāĻŋāϰ āĻ—āĻžāύāĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ
  7. āĻĒāĻŖā§āĻĄāĻŋāϤ āĻŦāĻŋ. āĻāύ .āĻ­āĻžāϤāĻ–āĻŖā§āĻĄā§‡āĻœā§€āϰ āĻ āĻžāϟ āϕ⧇āϰāĻžāĻŽāϤāĻŋāĻĻā§€āĻĒāĻ‚āĻ•āϰ āĻšāĻžāϞāĻĻāĻžāϰ, āĻ—āĻŦ⧇āώāĻ•
  8.  āĻ­āĻŋāĻ¨ā§āύ āĻ—āϞāĻž, āĻ­āĻŋāĻ¨ā§āύ āĻ—āĻžāύ : āĻ•āĻ¨ā§āĻ āϏāĻžāϧāύ⧇āϰ āϏāĻžāϧāĻžāϰāĻŖ āύāĻŋāϝāĻŧāĻŽāύ⧂āϰ āύāĻŦā§€ āĻŽāĻŋāϰāύ (āĻĸāĻžāĻ•āĻž, āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ) cember 1, 2019
  9.  āĻœā§‹āĻĄāĻŧāĻžāϏāĻžāρāϕ⧋āϰ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻž āĻĻāĻ•ā§āώāĻŋāϪ⧇āϰ āĻŦāĻžāϰāĻžāĻ¨ā§āĻĻāĻžÂ –āĻĄ. āϜāϝāĻŧāĻ¨ā§āϤ⧀ āĻŽāĻŖā§āĻĄāϞ
  10.  Expressions of Rebellion and Protest: A Study of Kazi Nazrul Islam  – Ms Amrita Majumdar, Asst.Prof.Dept.Of Music, Bankua Zilla Saradamani Mahila Mahavidyapith. Bankura University, West.Bengal 
  11. āϤāĻžāĻšāĻžāĻĻ⧇āϰ āĻ•āĻĨāĻžāĻĒāĻŖā§āĻĄāĻŋāϤ āĻ…āύāĻŋāĻ¨ā§āĻĻā§āϝ āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ  
  12. āĻŦāĻŋāϏāĻ°ā§āϜāύ āύāĻžāϟāϕ⧇āϰ āϏāĻ‚āĻ—ā§€āϤāĻĄāσ āĻ­ā§€āĻˇā§āĻŽāĻĻ⧇āĻŦ āϚāĻŸā§āĻŸā§‹āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ, āϏāĻš āĻ…āĻ§ā§āϝāĻžāĻĒāĻ•, āĻĒāĻĻā§āĻŽāϜāĻž āύāĻžāχāĻĄā§ āĻ•āϞ⧇āϜ
  13. ⤏āĨā¤° ā¤¸ā¤ŽāĨā¤°ā¤žā¤Ÿ ⤉⤏āĨā¤¤ā¤žā¤Ļ ⤅⤞āĨ€ ⤅⤕ā¤Ŧ⤰ ā¤–ā¤žā¤‚ā¤…ā¤­ā¤ŋ⤜āĨ€ā¤¤ ā¤°ā¤žā¤¯ā¤šāĨŒā¤§ā¤°āĨ€Â 
  14. A Short History of Masidkhani Gat and Baaj- Bhabanishankar Dasgupta
  15. āĻŦāĻžāĻ™āĻžāϞāĻŋ āϜāĻžāϤāĻŋāϏāĻ¤ā§āĻ¤ā§āĻŦāĻž āφāĻ¨ā§āĻĻā§‹āϞāύ, āĻŦāĻžāĻ‚āϞāĻžāĻ­āĻžāώāĻž āĻ“ āĻŦāĻžāĻ‚āϞāĻž āĻ—āĻžāύāĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāĻ˛Â February 1, 2020
  16.  The Different Gharanas of Sitar– Pandit Bhabani Shankar Dasgupta February 1, 2020
  17.  āĻ—āĻžāϝāĻŧāϕ⧀ āϤ⧈āϰāĻŋāϰ āωāĻĒāĻžāϝāĻŧāύ⧂āϰ āύāĻŦā§€ āĻŽāĻŋāϰāĻŖÂ February 1, 2020
  18.  āĻŦāĻŋāϰāϞ āϏāĻžāĻ™ā§āĻ—ā§€āϤāĻŋāĻ• āĻŦā§āϝāĻ•ā§āϤāĻŋāĻ¤ā§āĻŦ āĻĻ⧇āĻŦāĻŦā§āϰāϤ āĻŦāĻŋāĻļā§āĻŦāĻžāϏāĻĒāĻŖā§āĻĄāĻŋāϤ āĻ…āύāĻŋāĻ¨ā§āĻĻā§āϝ āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ  February 1, 2020
  19. āĻ…āϰāĻŖā§āϝ⧇āϰ āĻ…āϧāĻŋāĻ•āĻžāϰ : āĻŽā§āĻŖā§āĻĄāĻžāĻĻ⧇āϰ āĻ…āϧāĻŋāĻ•āĻžāϰ āϰāĻ•ā§āώāĻžāϰ āφāĻŦāĻš āϏāĻ™ā§āĻ—ā§€āϤāĻĄāσ āχāϰāĻžāĻŦāϤ⧀ āĻŽāĻŖā§āĻĄāϞ, āĻ…āĻ§ā§āϝāĻžāĻĒāĻŋāĻ•āĻž, āĻĻāĻŽāĻĻāĻŽ āĻŽāϤāĻŋāĻāĻŋāϞ āĻ•āϞ⧇āϜ

Volume-1.No.-1 : September-October 2019

  1. Nritya Yoga – An Amalgamation of Dance and Yoga -Rahul Dev Mondal (Assistant Professor, Rabindra Bharati University
  2. āĻļāĻŋāĻ˛ā§āĻĒ⧇ āύāĻžāĻ¨ā§āĻĻāύāĻŋāĻ•āϤāĻž : āĻĻāĻ°ā§āĻļāύāϞ⧋āĻĒāĻžāĻŽā§āĻĻā§āϰāĻž āϚāĻ•ā§āϰāĻŦāĻ°ā§āϤ⧀ -(āĻ—āĻŦ⧇āώāĻ•āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ)
  3. Analytical Survey on Applied Theater in West Bengal-Dr. Biswajit Mondal ( Guest Teacher, Rabindra Bharati University )
  4. āϤāĻŦāϞāĻž āĻŦāĻžāĻĻā§āϝāϝāĻ¨ā§āĻ¤ā§āϰ⧇āϰ āϝāĻžāĻĻ⧁āĻ•āϰ āĻŽā§āĻ•ā§āϤ⧋ āĻĻāĻžāϏāĻ…āĻ§ā§āϝāĻžāĻĒāĻ• āĻŦāĻŋāĻļā§āĻŦāϜāĻŋā§Ž āĻ­āĻŸā§āϟāĻžāϚāĻžāĻ°ā§āϝ, (āĻ…āĻ§ā§āϝāĻžāĻĒāĻ• āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ)
  5. āĻļāĻŋāĻļ⧁ āĻļāĻŋāĻ•ā§āώāĻžāϝāĻŧ āϏāĻ‚āĻ—ā§€āϤāĻ…āĻ§ā§āϝāĻžāĻĒāĻ• āĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞāĨ¤ (āĻ…āĻ§ā§āϝāĻžāĻĒāĻ• āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ)
  6. āĻĻāĻ•ā§āώāĻŋāύ⧇āϰ āĻŦāĻžāϰāĻžāĻ¨ā§āĻĻāĻžāϝāĻŧ āĻ…āĻŦāύ āĻ āĻžāϕ⧁āϰāĻĄāσ āϜāϝāĻŧāĻ¨ā§āϤ⧀ āĻŽāĻŖā§āĻĄāϞ. (āĻ…āϤāĻŋāĻĨāĻŋ āĻ…āĻ§ā§āϝāĻžāĻĒāĻ•āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ)
  7. āωāĻšā§āϚāĻžāĻ™ā§āĻ— āϏāĻ‚āĻ—ā§€āϤ : āϏ⧇āϤāĻžāϰ āϏāϰ⧋āĻĻ⧇ āύāϤ⧁āύ āĻĒā§āϰāϜāĻ¨ā§āĻŽ-āĻŽā§ŒāϏ⧁āĻŽā§€ āĻ˜ā§‹āώ – āωāĻšā§āϚāĻŽāĻžāĻ§ā§āϝāĻŽāĻŋāĻ• āĻ¸ā§āϕ⧁āϞ⧇āϰ āĻ—ā§āϰāĻ¨ā§āĻĨāĻžāĻ—āĻžāϰāĻŋāĻ•
  8. āϞ⧋āĻ•āϰāĻžāĻŽāĻžāϝāĻŧāĻŖ : āĻŦāĻžāĻ˛ā§āĻŽāĻŋāϕ⧀ āĻ“ āϏāĻžāϧāĻžāϰāĻŖ āĻŽāĻžāύ⧁āώāĻĻā§€āĻĒāĻ™ā§āĻ•āϰ āĻšāĻžāϞāĻĻāĻžāϰ, āĻ—āĻŦ⧇āώāĻ•, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ  
  9. āĻā§āĻŽā§āϰ āĻ—āĻžāύ⧇āϰ āϰ⧂āĻĒ āĻ“ āϰ⧂āĻĒāĻžāĻ¨ā§āϤāϰāĻĄ. āϏ⧋āĻŽāĻž āĻĻāĻžāϏ āĻŽāĻŖā§āĻĄāϞ, āĻ…āĻ§ā§āϝāĻžāĻĒāĻŋāĻ•āĻž, āĻ…ā§āϝāĻžāĻĄāĻžāĻŽāĻžāϏ āχāωāύāĻŋāĻ­āĻžāĻ°ā§āϏāĻŋāϟāĻŋ
  10.  Identity of Santhal within their Music and Dance form – Dr. Saswati Sinhababu, Assistant Professor, Saldiha College
  11.  āĻĻā§‚āĻ°ā§āĻ—āĻžāĻĒ⧁āĻœā§‹āϰ āĻ•āϞāĻžāĻŦ⧌ : āϞ⧋āĻ•āĻžāϚāĻžāϰāĻĻā§€āĻĒāĻ™ā§āĻ•āϰ āĻšāĻžāϞāĻĻāĻžāϰ, āĻ—āĻŦ⧇āώāĻ•, āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ  
  12.  āĻ…āϤ⧀āϤ⧇āϰ āĻĒāĻžāϤāĻž āĻĨ⧇āϕ⧇ : āĻ•āϞ⧇āϰ āĻ—āĻžāύ, āϰ⧇āĻ•āĻ°ā§āĻĄā§‡āϰ āĻ—āĻžāύāĻĒāĻŖā§āĻĄāĻŋāϤ āĻ…āύāĻŋāĻ¨ā§āĻĻā§āϝ āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ, āĻĒā§āϰāĻ–ā§āϝāĻžāϤ āϏāϰ⧋āĻĻ āĻŦāĻžāĻĻāĻ• āĻ“ āĻ…āĻ­āĻŋāύ⧇āϤāĻž
  13. The Traditional Identity of The Folk Music of Chhattisgarh– Dr. Asish Chakraborty

Volume-1.No.-2 : November-December 2019

 āφāϞ⧋āϰ āĻ‰ā§ŽāϏāĻŦ : āϕ⧁āϞāϕ⧁āϞ⧋āϤāĻŋ – āĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ

 āύāĻžāĻŸā§āϝ āϏāĻ‚āĻ—āĻ āĻ• āĻ“ āĻļāĻŋāĻ•ā§āώāĻ• āϕ⧁āĻŽāĻžāϰ āϰāĻžāϝāĻŧāĻĄ. āĻŦāĻŋāĻļā§āĻŦāϜāĻŋā§Ž āĻŽāĻŖā§āĻĄāϞ

 āĻ…āϤ⧀āϤ⧇āϰ āĻĒāĻžāϤāĻž āĻĨ⧇āϕ⧇ : āĻ•āϞāĻ•āĻžāϤāĻžāϝāĻŧ āϏāϰ⧋āĻĻ āϚāĻ°ā§āϚāĻžâ€“ āĻĒāĻŖā§āĻĄāĻŋāϤ āĻ…āύāĻŋāĻ¨ā§āĻĻā§āϝ āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžāϝāĻŧ

 Sound, the Threshold of Spiritual Science-Dr. Asish Chakraborty

 The Divine Connection of BharatNatyam & Yoga-Nrityachuramoni Rahuldeb Mondal

āĻŦāĻžāĻ‚āϞāĻžāϰ āĻ¸ā§āĻ¤ā§āϰ⧀āĻļāĻŋāĻ•ā§āώāĻž : āĻĒāĻžāϝāĻŧ⧇ āĻĒāĻžāϝāĻŧ⧇ ā§§ā§­ā§ĻāĻĄ. āϜāϝāĻŧāĻ¨ā§āϤ⧀ āĻŽāĻŖā§āĻĄāϞ

 Vedic Musical String Instruments & Violin-Dr. Dipak Kumar Banerjee

 Features for Style Identification of Hindustani Musicians-Dr. Kaushik Banerjee, Dr. Anirban Patranabis, Dr. Ranjan Sengupta, Dr. Dipak Ghosh

 āϞ⧋āĻ• āϏāĻ‚āĻ—ā§€āϤ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰ āĻ­āĻžāĻŦāύāĻž āĻ“ āϞ⧋āĻ•āϏāĻ‚āĻ—ā§€āϤ⧇āϰ āĻŦāĻŋāώāϝāĻŧ āĻŦāĻŋāĻ­āĻžāϜāύāĻĄ. āĻĒ⧁āϤ⧁āϞāϚāĻžāρāĻĻ āĻšāĻžāϞāĻĻāĻžāϰ

 āϏāĻ°ā§āĻĒāĻĻ⧇āĻŦā§€ āĻŽāύāϏāĻž, āύāĻžāĻ—āĻžāĻŽā§āĻŽāĻž, āĻŦāĻžāϞāύāĻžāĻ—āĻžāĻŽā§āĻŽāĻž, āĻŽā§āĻĻāĻžāĻŽāĻž āĻ“ āĻŽāĻžā§āϚāĻžāĻŽā§āĻŽāĻžāĻļā§āϰ⧀ āĻĻā§€āĻĒāĻ™ā§āĻ•āϰ āĻšāĻžāϞāĻĻāĻžāϰ

Modern Concept of Bani and Gharana in Dhrupad Sangit– BHASWATI SARMA-āĻ—āĻŦ⧇āώāĻ•, āĻŦāĻŋāĻļā§āĻŦāĻ­āĻžāϰāϤ⧀

āĻŦāĻžāϚāĻŋāĻ• āĻļāĻŋāĻ˛ā§āĻĒ⧇āϰ āϜāĻ¨ā§āϝ āϏāĻ°ā§āĻŦāĻžāϧ⧁āύāĻŋāĻ• āĻ•āĻŖā§āĻ  āĻ…āύ⧁āĻļā§€āϞāύ āĻĒā§āϰāĻ•ā§āϰāĻŋāϝāĻŧāĻž : āϏāĻžāϧāĻžāϰāĻŖ āϧāĻžāϰāĻŖāĻž āĻ“ āĻŦāĻŋāĻœā§āĻžāĻžāĻ¨â€“ āύ⧂āϰ āύāĻŦā§€ āĻŽāĻŋāϰāĻŖ-(āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ)

āϏāĻ‚āĻ—ā§€āϤ āĻļāĻŋāĻ•ā§āώāĻž: āϗ⧁āϰ⧁āĻļāĻŋāĻˇā§āϝ āĻĒāϰāĻŽā§āĻĒāϰāĻž āĻĨ⧇āϕ⧇ āĻĻā§‚āϰ āĻļāĻŋāĻ•ā§āώāĻžāϞ⧋āĻĒāĻžāĻŽā§āĻĻā§āϰāĻž āϚāĻ•ā§āϰāĻŦāĻ°ā§āĻ¤ā§āϤ⧀

Ustad Inayet Hussain Khan : A Gracious Musician of Bygone Days– Bhabani Shankar Dasgupta

Alauddin Khan and his Modern Sarod , Pt. Anindya Banerjee

āϰāĻžāĻĸāĻŧ āĻŦāĻ™ā§āϗ⧇āϰ āĻ—āĻžāύ : āĻŦ⧈āĻļāĻŋāĻˇā§āĻŸā§āϝ āĻ“ āĻŦ⧈āϚāĻŋāĻ¤ā§āĻ°ā§āϝāĻĄ. āϏ⧋āĻŽāĻž āĻĻāĻžāϏ āĻŽāĻŖā§āĻĄāϞ

Unnumbered Issue 1 January, 2015

The Artistry of Kolkata Tabla Makers: A Harmonious Blend of Tradition and Craftsmanship-Biswajit Bhattacharjee

āĻŦ⧃āĻ¨ā§āĻĻ āĻ—āĻžāύ⧇ āĻŽāĻžāύ⧁āώ āĻ“ āϏāĻŽāĻžāϜ-āĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞ

āĻ­āĻžāϰāϤ⧇ āĻŦāϝāĻŧāĻ¸ā§āĻ• āĻļāĻŋāĻ•ā§āώāĻžāϰ āχāϤāĻŋāĻšāĻžāϏ-āĻļāĻ•ā§āϤāĻŋ āĻŽāĻŖā§āĻĄāϞ

Unnumbered Issue -1 July, 2014

  1. āωāĻ¤ā§āϤāĻžāϞ āĻļāĻžāĻšāĻŦāĻžāĻ— āĻ“ āĻŽā§āĻ•ā§āϤāĻŋāϰ āĻ—āĻžāύ – āĻ…āĻ§ā§āϝāĻžāĻĒāĻ• āĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŽāĻŖā§āĻĄāϞāĨ¤ (āĻ…āĻ§ā§āϝāĻžāĻĒāĻ• āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ)
  2. āĻĒāϟ⧁āϝāĻŧāĻž āύāĻžāϰ⧀ : āĻĒāϟāϚāĻŋāĻ¤ā§āϰ āĻ“ āĻ—āĻžāύ – āĻĄāσ āϜāϝāĻŧāĻ¨ā§āϤ⧀ āĻŽāĻŖā§āĻĄāϞ. (āĻ…āϤāĻŋāĻĨāĻŋ āĻ…āĻ§ā§āϝāĻžāĻĒāĻ•-āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāĻ­āĻžāϰāϤ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ)
  3. āĻšāĻ¸ā§āϤāĻļāĻŋāĻ˛ā§āĻĒ⧇āϰ āĻŦāĻžāϜāĻžāϰ: āĻŦā§‹āϞāĻĒ⧁āϰ-āĻŦāĻŋāĻļā§āĻŦāϜāĻŋā§Ž āĻ­āĻŸā§āϟāĻžāϚāĻžāĻ°ā§āϝ

 

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