Institutional Music Practice in Nepal

Ramesh Pokharel PhD

Associate Professor

Lalitkala Campus

Tribhuvan University

Abstract

Music is a genre that is directly associated with the nature and every human being it is also

the universal language of love that can be expressed through our soul which is beyond of all

barriers of country race or religion Music education is a field of study associated with the

learning and teaching of music It is specially related to cultural and religious values that

have been used as a useful medium of communication and education Indeed music is an

important part of studentsrsquo lives but how to keep their interest and stimulate their music

abilities is an important aspect of music education Music improves studentsrsquo team skills

creativity analytical power and self-esteem and helps their progress in other important

receptiveness Organized music education helps a country develop socially economically and

culturally It generates opportunities for the several jobs In various countries of the world

music education has been given a proper base It is compulsorily prescribed in the

curriculum of every school and college So far in Nepal this concept is much developed

1951onwards With the establishment of Radio-Nepal in the same year the way of publishing

of music started Similarly both Royal Nepal Academy and Sanskritik Sansthan (Nachghar)

have jointly started to organize many formal and informal ways of cultural exchange

programmes throughout the nation Music as well as all kinds of formal education was

banned for common people during the Rana regime before 1951 and musical activities were

not easy to perform by civilians at that time Those who were closed to the Rana family and

the palace were supposed to learn classical music from the PunditUstad of the Palace With

the establishment of Tribhuvan University and its constituent and affiliated Colleges the

formal music education started in Nepal Today much more private music related institutions

are also contributing in this field and their effort is very much valuable and appreciable

towards the overall cultural development in Nepal The main objective of this paper is to

highlight the overall trends of music and its institutional practice from 1951 to present

Key words Music education Constituent-affiliated Campus Private music institutions

Rana-regime

Methods and Materials

The objective of this study is to deeply focus on Present Scenario of institutionalized Music

Education system and its trends that running in Nepal after 1951 with a historical perspective

Analysis of the information is made in qualitative approaches This is a descriptive and

analytical study based on secondary sources of information Relevant books articles

journals websites research reports are sources of the study

Background

Rana regime initiated rule in Nepal from 1846 to 1951 when Jang Bahadur Rana took over

as prime minister and recognized genetic rule of the Ranas as prime ministers which

continued for over a century Shah Kings were reduced the power of crowned head to a

figurehead and the position of Prime Minister was made powerful and inherited During this

period people were no allowed to take any type of school education those who were close to

Rana family only could take in selected institutions that were established only for the rana

and their own family members The Rana regime followed a policy of detaching Nepal from

outer effects King Tribhuvan re-established to the authority from Rana regime and the

monarchy once again became a key centre of the political system He took over all power and

proclaimed a constitutional monarchy in 1951

After the first proclamation of the Democracy in 1951 Radio Nepal was established in the

same year (Panday amp others 1977 p160) and the formal way of teaching and publishing of

music started No musical activities were performed by the citizens at that time Those who

were closed to the Rana family and the palace were supposed to learn classical music from

the TeacherUstad of the Palace The significance of Radio Nepal was highly appreciated and

the broadcasting of contemporary classical and modern music unified the musical genres of

Nepal Many Nepali musicians came in the forefront with their talent such as Yajya Raj

Sharma Ganga Dutta Parajuli Nara Raj Dhakal Ganesh Lal Shrestha Ganesh Bahadur

Bhandari Shambhu Prasad Mishra Shamba Dev Sapkota Master Ratna Das PrakashUstad

Anand Ujeli Maiya Udaya Lal Urmila Kumari Shrestha Ustad Khem Chand Miss Chanda

Devi Master Jeetu Singh Jwala Prasad Miss Tara Bai Ustad Dal Bahadur Miss Dulari

Miss Panchawala Dasi Miss Patal Chaina Miss Parulbala Master Purnaman Miss Prabha

Miss Pramila Ustad Badri Bhabani Charan Das Manbir Rana Mastar Mitra Sen Melwa

Devi Miss Rajya Laxmi Rup Kumari Laxmi Devi Miss Shanta Devi Sanu Maya Ustad

Sahila Setu Ram Shrestha Miss Soni Singh Miss Hina Devi Heera Bai Ranga Rao

Kadambari Ram Prasad Raya Satish Chandra Regmi etc (Mukarung 2014 p20-21)

During the reign of King Tribhuvan Ram Prasad Raya Tharu a veteran Nepalese musician

organized a music conference entitled lsquoNepal Bihar Sangeet Sammelanrsquo in Birgunj of Nepal

where Nepalese Ustaad Ganesh Lal Shrestha was honoured with golden prize in 1951 The

following year he organized a program entitled lsquoBrihat Shastriya Sangeetrsquo in the same place

All these musical activities of Ram Prasad Raya Tharu contributed much in developing the

genre of classical music in Nepal (Acharya 1997 p140)

Institutional practice

The very first formal music education started in Nepal with the establishment of the Padma

Kanya High School in Kathmandu where music maestro Pt Ganga Dutta Parajuli had been

involved as the first classical music teacher since 1947 (Tuladhar 1979 p75-76) The credit

of todayrsquos expanded form of music education in Nepal goes to this school In Padma Kanya

School Ganga Dutta Parajuli had served 14 years since 1947 to 1961 He was a multi-

talented classical singer and classical dancer too He used to sing Dhrupad Khyal Tappa

Thumri Tarana and also composed these genres in Nepali language too He had learned

classical music from many Indian musicians like Sitaram Mishra of Baidhnath Dham (music

teacher of Rana Chandra Shumsherrsquos Palace Kathmandu) Ustad Mitthu Khan of Patna

Rajjav Ali Khan of Dewas Haidar Khan and Ganesh Biswanath Marnerkar of Mumbai and

also learnt Kathak dance from Bindadin Maharaj of Lucknow Later on Parajuli also taught

classical music in Madan Memorial Girls High School at Kathmandu since 1960 to1968 and

also taught in Nari Jyan Mandir School at Kathmandu for three years (Pandayamp others 1977

p28-29)

King Mahendra became king in 1955 who was really a great Music lover and song-writer

too At that time there was no university in Nepal till 1959 many foreign educated musicians

took initiatives to establish private institutions to teach music King Mahendra and later on

King Birendra played important role to popularize classical music through Radio and Durbar

Concerts Today many music companies and educational institutions are mushrooming and

Nepali musicians are living with music as their profession

Many private institutions have opened for music education In 1957 Ratna Rajya Laxmi Kala

Kiran a private institute of music was established in Kathmandu by a veteran musician

Krishnaman Dangol Similarly with the aim of developing and promoting the Nepalese Music

Kalakunj institute was established in 1963 by some acclaimed Nepali musicians like Bachchu

Kailash Kiran Kharel Narayan Gopal Ratna Shamsher Thapa Ram Sharan Darnal Pushpa

Nepali Tara Devi Narayan Prasad Sharma Krishnaman Dangol Bhupi Serchan Suman

Kumar Nepali Shreedhar Khanal Shushil Shamsher Jabara etc King Mahendra donated 20

thousand Rupees to the institute (Mukarung 2014 p 819)

In the history of Nepal King Mahendra is known as the most liberal king for his keen

interest in music and arts He was the first king who approved music education for common

people People started music education either in government institutions or with private tutors

or Guru During his rule in 1959 for the purpose of cultural exchange program and music

education and performance of drama Rastriya Nachghar which renamed as Sanskritik

Sansthan or tadays Cultural Corporation of Nepal in 1972 (sanskritiksansthanorgnp)

The Nepal Academy earlier known as Royal Nepal Academy established in 1957 is a national

institution of Nepal that aims to promote the languages culture literature philosophy and

social sciences of Nepal Both Sanskritik Sansthan and Royal Nepal Academy have jointly

started to organize many formal and informal ways of cultural exchange programmes

throughout the nation and outside the country These two institutions also started to provide

music trainings for common people by introducing six-month and one-year music courses

By the request of a veteran classical musician Pt Yajya Raj Sharma In 1955 the first

professional Music School and College Nepal Sangeet Mahavidyalaya was opened under

the Nepal Music Council in Kathmandu with the kind privileges of King Mahendra Sharma

took a great initiative to promote classical music education in Nepal with the opening of this

College He took the lessons of classical music from many prominent musicians of India like

Ustaad Belayat Hussain Khan of Mumbai Ustaad Phaiyaz Khan of Baroda Pt Krishna Rao

Shankar of Gwaliyar This music college was affiliated to Prayag Sangeet Samiti Allahabad

India The college was granted twenty thousand Nepali Rupees per year by the government of

Nepal (Mukarung 2014 p 826) In the beginning the college was conducting music classes

in the evening shift in the small building of Rajguru Pt Bhogendra Rajjyu at Dillibazar

Kathmandu The college was active in teaching music education only for 20 years in

Kathmandu valley but in 1975 it closed due to financial crisis (Acharya 1999 p 140-41) It

produced around 32 music graduates (Pandayampothers 1977 p47) Nepal was fortunate

enough to have a king like His Majesty King Mahendra a great lover of music and arts who

established Royal Nepal Academy and appointed many contemporary veteran musicians as

lifetime members of the academy in 1957 King Mahendra also announced National Awards

such as Sangeet Shiromani Badhya Shiromani Sangeet Praveen for the veteran classical

musicians Pt Yanjya Raj Sharma Ustaad Ganesh Lal Shrestha and Nararaj Dhakal

respectively During the reign of King Mahendra another reputed national award Indra Rajya

Laxmi Puraskar was accorded to classical musicians like Ustaad Ganesh Lal Shrestha in

1959 Pt Krishna Chandra Regmi in 1964 Nara Raj Dhakal in 1967 (Panday ampothers 1977

p160-61)

Present scenario

At present the Government of Nepal has built a separate Nepal Academy of Music and

Drama similar to Royal Nepal Academy in 2010 with the aim to preserve promote and

develop the vast intangible cultural heritage of Nepal that is enriched with multi-language

and culture (wwwnamudaorgnp) Besides Tribhuvan University these institutions are

playing great roles in popularizing music education in Nepal

In recent decades many private music institutions affiliated with Prayag Sangeet

Samiti of Allahabad have grown up throughout the Country which is successfully enriching

the tradition of music in Nepal by providing basic education to the students To name some of

these institutions are Om Annapurna Sangeet Pariwar at Pokhara (1977) Academy of

Performing at Bagbazar Kathmandu (1989) Sadhana Kala Kendra at Putallisadak

Kathmandu (1990) Omi Kala Kendra at Putalisadak Kathmandu (1991) Sargam Sangeet

Vidyalaya at Dharan in Sunsari (1991) Sangeet Sadhana Mahavidyalaya at Itahari in Sunsari

(1993) Kirateswar Sangeetashram at Pashupati area Kathmandu (1983) Doremi Sangeet

Pathshala at Jamal in Kathmandu (1995) Gandharva Sangeet Prasikshan Kendra at Asan in

Kathmandu (1994) Bageswari Sangeetalaya at Butbal in Rupandehi (1998) Manju Shree

Sangeet Maha Vidyalaya at Kalimati in Kathmandu (1990) Mridanga Bhajan Guthi at

Tabahal in Lalitpur (According to the Guthi members it has been running for last 1500 years

but was registered in 1995) (Mukarung 2014 p831) Swar Sangam Sangeetalaya at

Biratnagar in Morang (2001) Anurag Sangeet Vidyalaya Kathmandu (2001) Sur Sangeet

Vidyalaya at Bagbazar in Kathmandu (2003) Gurukul Sangeet Pathshala at Bagbazar in

Kathmandu (2003) Badhya Siromani Gharana School in Lalitpur Shree Krishna Gurukul

Sangeet Pathshala at Banasthali in Kathmandu (2004) Shree Sangeet Pathshala at

Kalikasthan in Kathmandu (2009) Pt Satya Narayan Chaudhary smriti Pratishthan in

Lalitpur (2006) Sangeet Pathshala Lalitpur (2011) Atul Memorial Music gurukul at

Tinkune in Kathmandu Shushila Art Academy in Kathmandu Naad sangeet Pathshala in

Kathmandu (2007) Kapan Sangeet Sarobar In Kathmandu (2005) Kapan Tabla School in

Kathmandu (2009) Aarambha Sangeet Pathshala at Bhotahiti Kathmandu Sharada

sangeetalaya Sayapatri Sangeet Prashikshan Kendra Tribeni Sangeetalaya Gurukul Sangeet

Prashikshan Kendra at Pokhara Aaroha sangeet Pathshala Jhapa etc Nepal government has

included Music as an optional subject in the music curriculum of Secondary School Level

Yet most of the schools have not implemented the curriculum properly (Acharya 1997

Tribhuvan University was established in 1959 as the first national institution of higher

education in Nepal It started Music education in 1960 At present the university is running a

Central Department of Fine Arts that is also providing music education The university also

has three constituent Colleges ie Padma Kanya Multiple Campus Lalitkala Campus and

Ratna Rajya Laxmi Multiple Campus and one affiliated Sirjana College of Fine Arts under

the Faculty of Humanities and Social Sciences that are providing formal music education

The passion for higher education of the common people was fulfilled with the establishment

of the first public Tribhuvan University but it didnrsquot start Music Education in the beginning

It was included as an academic subject after a year of the universityrsquos establishment in 1960

As it was not possible to start a separate Department for music education at the Kirtipur

Campus of the university it was introduced at the Intermediate Level in Padma Kanya

Campus which was meant for only women In the beginning a few students took admission in

music in Padma Kanya College who were taught only practical as well as theory oriented

courses After three years of academic experience success and positive response from the

students the college started Bachelor level in Vocal Dance and Instrumental music

Moreover the womenrsquos college also started the formal education in Folk and Traditional

Music Thus music education was recognized as an academic subject and became

institutionalized

Ratna Rajya Laxmi campus and Lalitkala campus included Music as a subject and

started a formal education of classical system of music respectively in 1973 and 1976 Ratna

Rajya Laxi Campus is a constituent college of TU where Music is taught in Bachelor of Arts

under the Faculty of Humanities and Social Sciences On the other hand Lalitkala campus is

the only constituent college for music and Fine Arts where Music is taught in the Bachelor of

Fine Arts under the same faculty of TU In 2009 music education in the Intermediate Level

was phased out and all the constituent colleges of TU also followed the same After phasing

out music education from Intermediate Level of TU Sirjana College of Fine Arts continued

Intermediate in Music with the TU curriculum under ldquoHigher Secondary Education Board of

Nepalrdquo and it also started Bachelor program of Music under the same Faculty of TU in 2014

In 2009 TU opened the Central Department of Fine Arts where Master of Fine Arts courses

in Vocal and Instrumental Classical Music are taught

At present TU is running two Bachelor and Master Level programs in its constituent

and affiliated colleges under the Faculty of Humanities and Social Sciences The research

oriented PhD program in Music education have also been introduced in TU since 2018

With the aim of providing practical and theoretical knowledge of classical Music in more

depth either in singing or playing musical instruments based on Raaga and Taala as well as

folk Music of Nepal TU has been providing Bachelor program of music education since

long As the constituent colleges of TU Padmakanya Lalitkala and Ratna Rajya Laxmi

campus have been running Bachelor courses respectively since 1963 1979 and 1999 Sirjana

College a private affiliated college of Fine Arts also started Bachelor course in Music in

After phasing out Intermediate level from TU in 2009 one can take admission in

BA or BFA In Music (Vocal and Instrumental) coming from any discipline of Higher

Secondary (+2) Levels with Music as one of the subjects or any other discipline equivalent to

Higher Secondary Level

As far as the duration of the course is concerned Lalitkala Campus and Sirjana

College of Fine Arts have introduced 4-year Bachelor of Fine Arts in Music respectively in

2013 and 2014 Padma kanya and Ratna Rajya Laxmi Campus are still following the 3-year

Bachelor of Arts in Music course under the Faculty of Humanities and Social Sciences As

per the decision of the concerned Dean Office of Humanities and social sciences all 3years

running bachelors course will be 4 years from 20202021 session in all TU constituent

Campuses Now central department of fine arts is doing revision of all course-curriculum of

BABFA accordingly through its music subject committee

To acquaint the students with the theoretical and practical knowledge of classical

music (vocal or instrumental) knowledge of Raaga and Taala introduction to different

musical instruments as well as folk music of Nepal The course will help the students to know

the classical music in more depth so that the students will be able in performing arts The

course is a learning basis for the candidates to fulfil their potentials as performers or teachers

from their entry to Fine Arts levels that will provide opportunities for the candidates to

explore and increase their understanding of spiritual moral ethical social and cultural issues

It will provide detail knowledge of music and about the development of Nepalese classical

music and in addition to it they will gain knowledge of western notation and world music

too It will also help to preserve the Nepalese Traditional music festivals and culture This

syllabus may provide a frame work that will give opportunity to the students to consider the

expressive nature of music to consider the ways in which music may be expressed or be a

response to a particular culture or tradition to consider the ways in which music forms an

integral part of the cultural heritage of a civilization It will also consider the ways in which

music may express or explore moral issues or may in itself act as a moral force for good As

the only institution in Nepal the Central Department of Fine Arts of TU at Kirtipur is

conducting Master of Fine Arts course in Classical Vocal and Instrumental (Sitar) Music and

Tabla too The course has been designed for the students who wish to prepare themselves

professionally in the field of Music

The Master of Fine Arts course in Music is designed for students who wish to prepare

themselves professionally in the respective fields of Fine Arts Other objectives are to prepare

themselves for research work and as well as creative work in the field of music Detail

theoretical knowledge will be given to the students In order to achieve this goal the

Department has designed to give classes on the following different areas such as Practical

music classes Theoretical music classes Research and Methodology and Creative work

classes The objective of the course is to produce good performers artists researchers and

teachers to encourage the study of music as a vocation to institute Degree and PhD course

in performing arts

Kalanidhi Indira Sangeet Mahavidyalaya

At the time of the establishment the college was known as Kalanidhi Sangeet Mahavidyalaya

which was renamed as Kalanidhi Indira Sangeet Mahavidhylaya in 1993 (Gopali 2013

P118) Kalanidhi Indira Sangeet Mahavidya is the oldest non-governmental and non-profit

making institute in Nepal that is dedicated to the development of Classical Music and to

produce competent music artists In 1963 with the aim of producing music professionals

some music interested people from Kathmandursquos Jhochhen Tole established Kalanidhi

Sangeet Mahavidhyalaya In the beginning the classes were held in Bal Sikshya Sadan at

Jhochhen in Kathmandu and later on in a small room of Lalitkala Campus at Bhotahiti Later

on when some problems arouse for running classes in these places Russian Cultural Centre

situated at Thahiti Kathmandu was selected for holding classes The establishment of this

college marks the beginning of the institutional development of Music education in Nepal

The College is acknowledged and accredited by Bhat Khande Sangeet Vidyalaya of Lucknow

(India) and later on by Prayag Sanggeet Samiti of Allahabad (India)

Kathmandu University

With the objective to produce competent musicians and ethnomusicologists for preserving the

endangered musical traditions of Nepal Kathmandu University opened the Department of

Music in August 1996 at Bhaktapur near Kathmandu At present the Department is

functioning ldquoas a centre for the documentation and teaching of Nepalese musical traditionsrdquo

(Wegner 2004 p236) The Department is situated beside a 19th century temple called

Shivalaya built by the great grandfather of the renowned Dhaubhadel family

(wwwasianartcom)

Sirjana College of Fine Arts

With the mission of making aspiring artists illustrators designers sculptors and musicians

with career preparation combined with academic excellence for the +2 levels in Fine Arts

(Painting Sculpture Applied Arts and music) in affiliation to Higher Education Secondary

Board (HSEB) and Bachelors of Fine Arts (BFA) in Painting Sculpture and Music Sirjana

college of Fine Arts was established in 2001 It is affiliated to Tribhuvan University and an

outcome of a common vision shared by a group of prominent artists and art lovers of Nepal

The College holds the pride of being the first Fine Arts College in Nepal established by the

private sector which has been successful to earn fame for its academic and creative

excellence Sirjana College is a private-community college situated in Dhobichaur near to

Lazimpat in Kathmandu This college started Music education at Intermediate (Higher

Secondary) level with 16 students in 2010 Among them 8 students in Vocal and 8 were in

Instrumental Flute Music (as per college record) It was a great initiation of the college in the

field of music education in Nepal by the private sector The college followed the same music

curriculum of TU which had already phased out from TU in 2009 because there was no any

new course of Higher Secondary Level parallel to other Fine arts subjects like Painting and

Sculpture under the Government Board

Nepal Sangeet Vidyalaya

Nepal Sangeet Vidhyalaya is known as Nepal Music Centre It was established in the year

2006 by Music Nepal (a reputed private music production company of Nepal) in its own

building at Pingalasthan in Kathmandu This school is the only one high school that teaches

music as a primary subject This aims to explore folk music of various ethnic groups as

possible educational resource on the ground that it is a relevant uniting factor in Nepalese

cultural identity and social unity among great diversity With the aim of providing formal

music education from the primary level onwards it was established with due permission from

Ministry of Education Government of Nepal The ministry made an important decision and

introduced music in technical stream education and Nepal Sangeet Vidhyalaya was chosen to

be the pilot school for this first time ever program in Nepal from the academic year 2016 with

the objectives of expanding into the high school grades with a music curriculum that

emphasizes the development of the student as a musician for the 21st century

(nepalmusiccentercom)

Conclusion

It can safely be concluded that institutional music education practice in Nepal has been

developed after the first proclamation of the Democracy in 1951 Radio Nepal was

established in the same year and the formal way of teaching and publishing of music started

Similarly Both Royal Nepal Academy and Sanskritik Sansthan have jointly started to

organize many formal and informal ways of cultural exchange programmes throughout the

nation and outside the country These two institutions also started to provide music trainings

for common people by introducing six-month and one-year music courses too Music as well

as all kinds of formal education was banned for common people during the Rana regime

before 1951 and no musical activities were performed by the citizens at that time Those who

were close to the Rana family and the palace were supposed to learn classical music from the

PunditUstad of the Palace With the establishment of Tribhuvan University and its

constituent and affiliated campuses the formal music education has started in Nepal

Kathmandu University has been providing music education through its own music

department Today much more private music institutions that are also involving in learning

and teaching activities of music in Nepal affiliated to Prayag Sangeet Samiti-India are also

contributing and enriching this field and their effort is very much valuable and appreciable

towards the overall cultural development of Nepal

References

Acharya S R (1997) Sangeetamrit prathamahuti Kathmandu Sangeetamrit prakashan

Samiti

Acharya S R (1999) Sangeetamrit prathamahuti Kathmandu Sangeetamrit Prakashan

Gopali DB (2013) Nepali sangeet ma kalanidhi ko bhumika Kalanidhi swarna mahotsav

smarika 2070 Lalitpur Kalanidhi Indira sangeet Mahavidyalaya

Mukarung B (2014) Nepali sangeet ko abhilekh Kathmandu Palpa Books

Pandeyampothers (1977) SangeetanjaliKathmandu Shree Pandey Raktakali

Tuladhar B R (1979) Sangeet sadhan part-IampII Kathmandu Curriculum Development

Committee Tribhuvan University

Wegner GM (2004) Documenting Nepalese Musical Traditions in Anthony Seeger and

Shubha Chaudhuri eds Archiving for the Future Global Perspectives on Audiovisual

Archives in the 21st Century Calcutta Seagull Books

httpswwwnamudaorgnp

httpsanskritiksansthanorgnp

httpswwwcollegesnepalcomsirjana-college-of-fine-art

httpswwwnepalmusiccentercomcourseshtml

httpwwwasianartcomassociationskumusicindexhtml

httpsthelogicalindiancomnewsa-brief-on-nepals-political-history-with-an-analysis-of-its-

constitution

Contents of Nepali Paintings in Religious Manuscripts

--By Dr Yam Prasad Sharma

Abstract

Nepali Manuscript paintings are religious symbolic magical and didactic These

traditional works represent the characters and events of Hindu and Buddhist myths The

symbols signify something else beyond the represented visuals The visual narratives

teach moral lessons to the readers and viewers telling interesting stories The co-presence

of Hindu and Buddhist mythological contents in the same work suggests religious

harmony in the then contemporary society The pictures and texts are present in the same

page of the manuscript motivating the readers to go through the text Two-dimensional

colors distinct contours and lack of shades are the formal properties of these religious

paintings This article traces the subject matters and issues of the manuscript

illuminations and attempts to throw light on their significances

Keywords manuscript paintings symbolic magical didactic and religious harmony

Research Methodology

The research area is Nepali manuscript illuminations This research is qualitative for it

analyzes and interprets the artworks to support the statement of the study Since the study

derives the statement based on available evidence and examples it uses inductive method

for argument The researcher has used secondary sources like books and articles to create

the background of the study The manuscripts paintings are the primary sources for

analysis and interpretation

Introduction

Paintings have been a part of our culture from the time when the festival and

ceremonies were celebrated But the earliest Nepali painting is in Prajnaparamita (1015

AD) manuscript Manuscripts are handwritten religious texts which the artists writers or

priests copied and illustrated with drawings and paintings to the myths in the texts They

wrote manuscripts on palm leaves Later paper took place of palm leaves after the 13th

century Pictures are at the centre of the page and the verbal texts are on the two sides of

the visual composition There are decorative patterns and floral designs along the borders

(Pal 1978) In some manuscripts the text is at the center and the pictures are at the sides

of the page and Few manuscripts present paintings in one page and text in the next

The paintings appear in both Buddhist and Hindu manuscripts The name of the

artists who painted these paintings is unknown In ancient times it seems that work is

more important than the name We can associate this issue to present situation where the

list of the doners is very long but the temple is tiny at the side of the road the name and

fame is more important than the work

Prajnaparamita Pancaraksa Dharanisamgraha and Gandavyuha are Buddhist

manuscripts that have been illustrated Buddhist manuscripts narrate the life of Buddha

and present the portraits of Bodhisattava Hindu manuscripts paintings are in

Visnudharma Bhagavata Mahapurana Shivadharma the Ramayana and Devimahatmya

manuscripts These manuscripts represent Hindu gods and goddesses like Shiva Vishnu

Durga and associated narratives from the myths (Dwivedi 1982)

Before the analysis of manuscript paintings defining some keywords These

compositions are magical that is there is the role of supernatural power some strange

things happen that we cannot see in real life For example lord Vishnu takes the

incarnation of fish Here the fish is the god These works are symbolic that is in the

composition we can see a figure or image that signifies something else not presented in

overt manner Such images are the symbols For example the fish symbolizes lord

Vishnu The painting presents the picture of fish but the figure of god is not there We

must guess the significance of symbols

The compositions in manuscript are didactic that is they teach moral lesson to

the viewers The artworks for instance explore the theme of sin and punishment

Viewing these works we learn the lesson that we should not commit sin we try to

correct ourselves Some of the paintings are anthropomorphic that is the nonliving

things or animals appear act or behave like human beings The tortoise for instance

behaves like a human being at the time of churning the ocean for nectar in Vishnudharma

manuscript painting

Analysis and interpretation of manuscript paintings

Nepali religious manuscript illuminations are magical narrative didactic and

anthropomorphic and they present the religious harmony between Buddhism and

Hinduism In this section of the paper the researcher attempts to trace these contents in

the visual compositions and tries to throw light on their significances Visnudharma

manuscript paintings (1047) present lord Vishnus incarnations According to Hindu

myths the deity takes incarnation to save innocent individuals and minor gods to restore

good order in the universe destroying evils and demonic nature The visual compositions

of the ten incarnations present the moral lesson about the consequence of sin The

artworks make viewers aware about these ideas

The fish represents the incarnation of lord Vishnu as a fish that protects the world

from flood and drowning The fish is the personification of the god Because of this

picture and myth people worship the fish as the lord Vishnu and auspicious symbol in

rituals The tortoise is the second incarnation of the god that saves the mountain from

drowning while gods and devils are churning the ocean for nectar The incarnation of the

god in the form boar saves the earth which has been drowned in the sea due to the

excessive sins of demons The powerful and heroic posture of the boar takes out the earth

in the image of female deity These compositions present anthropomorphic feature in the

sense that the artist personifies the figures of earth fish tortoise and boar giving human

characters Similarly the characters and event are mystical and magical

The incarnation in the form of half lion and half man destroys Hiranyaksipu the

demon king to protect Prahlada his devotee Hiranyaksipu has the blessing that neither

man nor animal can kill him So the god takes the incarnation in the form of lion and

man in the same body and kills the demon The incarnation in the form of dwarf ended

the pride of Bali the demon king The god disguises himself in the form of a Brahmin

and requests the king for the land that he can take in three steps so that he can meditate

sitting there Bali agrees to provide the land Then Vishnu stretches his leg up and covers

the entire heaven in the first stride In second stride he takes the Earth There is no place

for the third strid So the king offers his own head Then Vishnu lands his foot on the

head of the proud and generous king forcing him down to the pandemonium This picture

is also mystical and magical

Incarnation in the form of Parasurama kills all the corrupt Kshetriyas the

warriors of the earth with his axe Rama the protagonist of the epic Ramayana

Laxman his brother and monkeys kill Ravana the king of Lanka The incarnation in the

form Krishna destroys Kansa the demon King and Kauravas the sinful rulers The epic

Mahabharata narrates this story in detail

The painting also includes Buddha as the incarnation of the god The presentation

of Buddha and Hindu gods in the visual composition suggests the existence of religious

tolerance in the then Nepali society Hinduism integrates new and useful ideas and

thoughts in its own philosophical system The last incarnation in human figure with

sword is on the horseback People believe that the god will come in future to protect the

innocents destroying the evils The compositions are the visual narrations of ten

incarnations based on mythology that teach moral lessons to the ordinary people The

symbols signify beyond themselves The non-humans act like humans and divinities This

is the mystical and magical feature of the paintings

Some compositions in Visnudharma manuscripts present the figure of Vishnu

with four hands holding conch shell wheel mace and lotus The god is moving up in the

air on his vehicle Garuda (large bird) The god is anthropomorphic but the presence four

hands and the bird as a vehicle makes the painting magical Few works present Vishnu

with Laxmi his Shakti or the female principle

The Ramayan manuscript illuminations (15th century) present the portraits Rama

the protagonist of the epic poem Sita his wife Laxman his brother and his devotees

and Hanumana (monkey) his friend and devotee (Sharma 2014) The devotion of the

monkey toward Rama is an anthropomorphic character of the composition

Devimahatmya manuscript illuminations (14th century) present different forms of

goddess Durga destroying the buffalo demon in his army Durga disguises herself in the

form of beautiful girl to lure the demon The demon comes with marriage proposal

meanwhile goddess Durga from the lions back (her vehicle) with different weapons in

her multiple hands attacks the buffalo demon and his companions and gets victory

destroying them The artwork presents magical power of goddess Durga

Shivadharma manuscript paintings (13th century) present lord Shiva with his

consort Parvati at the center of the composition Parvati is sitting on the lap of lord

Shiva Trident the weapon of the god symbolizes three duties of the god creation of the

universe preservation and nourishment of living beings and destruction of devils and

sins (Shakya 2000 p 31) The Ganga river in female form pours water over the vast

hair of the Shiva The river looks like human being Sivadharma manuscript paintings

(1069) depict Shivalinga the union of the Lingum (Phallus) and Yoni (vagina) Shiva and

Parvati Uma and Mahesvara the male and the female principles the source of all

creations

Prajnaparamita Manuscript paintings (1054) present goddess Prajnaparamita

pictures from the Buddhas life Bodhisattvas and Panchabuddhas (five transcendental

Buddhas) from the Buddhist myths The painting presents Buddhas birth The Buddha

comes down from Maya Devis hip walks seven steps and stands on the lotus flower the

symbol of nirvana Hindu deity Brahma with rice grain welcomes new god Similarly

Indra is present there with a fish in his hand Rice grain and fish are auspicious signs The

respect of the Hindu gods toward Buddha suggests the religious harmony in the then

contemporary society

Pajnaparamita manuscript illustrations (12th century) present goddess

Prajnaparamita with other six deities Prajnaparamita with four hands is on the lotus

flower Her two hands make Dharmachakra mudra This mudra is the gesture of turning

the wheel of law in Buddhist mythology Her upper right hand has the rosary She holds a

manuscript in her upper left hand The manuscript is the symbol of wisdom

Conch shell vase flower and lamp in the painting are cohesive with wisdom

The vase full of water is an auspicious sign that symbolizes abundance (Aran 1978

p230) The lamp is the symbols of enlightenment Conch shell symbolizes Buddharsquos

speech and teaching (Shakya 2000 p29) One deity holds a sword which cuts through

the darkness of the ignorance (Shakya 2000 p25) The representation of four hands of

the deity Prajnaparamita and the symbolic significances of the images are magical for

we cannot see such visuals in real life

Other paintings in the same Prajnaparamita manuscript represent bodhisattavas

around the meditative figure of Buddha Bodhisattavas is a concept Mahayana

Buddhism Mahayana means the great vehicle to achieve nirvana Mahayana Buddhism

exists in sharp contrast to Hinayana the small vehicle Hinayana is called as Theravada

the teaching of elder

Hinayana states that Buddha is a god but a great teacher His success to

enlightenment is great and it is possible to other human beings as well if they put effort

in right manner (Aran 1978 p47) According to Mahayana Buddhism nirvana is

possible for individual ldquonot only by their own endeavor but also through the vicarious

suffering of a new deity the Bodhisattava an intermediary between the passive Buddha

and the suffering humansrdquo (Aran 1978 p49) Ernst and Rose Leonore Waldschmidt

(1967) state about Bodhisattavas

Enthroned beside the Dhyani Buddhas in their worlds are so called

Bodhisattvas lsquoBeing of Enlightenmentrsquo who are potential Buddhas or

Buddhas designate These blessed beings have come within reach of their

goal the rank of a Buddha having travelled the way that leads through the

ten stages (bhumi) of supreme virtue and perfection they have however

abstained from taking the final step to deliverance and extinction in order

to stand by those who have remained behind on earth their former

companions in suffering to help them in their troubles and guide to them

along the right path These Bodhisattavas thus have the function of helpers

to those who belong to this branch of the Buddhist religion-like the saints

in the western churches (p29)

Bodhisattavas are the enlightened ones and the bridge between the Buddha and the

ordinary persons who try to achieve Nirvana

Twelfth century Prajnaparamita manuscript painting presents the figure of

Buddha in Dharmachakra Mudra (the gesture of teaching the law) Ratnapani

Samantabhadra Manjusri Vajrapani Avalokitesvara and Visvapan the Bodhisattavas

seated in Dharmachakra Mudra hold a lotus People believe that Bodhisattavas spread

Buddharsquos teachings to common folks They work as the mediators between Buddha and

ordinary people This work shares ideas of Mahayana Buddhism

Vessantara Jataka (12th century) manuscript paintings teach moral lessons about

kindness generosity and religious harmony through visual narration of a Buddhist story

Vessantara a kind prince gives the white elephant to another kingdom nearby that has

suffered from draught There is a belief that the white elephant brings rain When he has

given the elephant later his own nation suffers due to the lack of rain The prince

considers other countrys problem more important The monarch forces the prince to the

exile due to the demand of the people

Vessantara took refuse in in jungle taking his wife son and daughter While

Vessantara is meditating in the forest lord Indra the king of the heaven comes in the

disguise of a Brahmin and begs for the son and daughter to take away with him The

prince happily provides his kids to the Brahmin He renounces the bond of attachment for

his family members The Brahmin takes the children and drives them ahead using his

stick and scold Actually Indra has taken a test of the princes kindness and generosity

The prince has passed the test taken by the deity Finally the god throws his disguise and

reveals the secret of the test All the family member for reunion in the kings palace The

visual narrative emphasizes the significance of kindness and sacrifice This is the

Buddhist manuscript but integrates the figure Indra the Hindu deity implying religious

tolerance between Buddhism and Hinduism in the then contemporary Nepali society

Pancaraksa manuscript illuminations (1250) are narrative anthropomorphic and

mystical These compositions depict five goddesses the symbols of five charms used to

protect devotees from diseases other problems like snakebite and smallpox The artist

animates and personifies the concept of protective charms like human figures and divine

characters One of the paintings presents Buddha and Mahapratisara the goddess with

whom devotees consult about their sickness The animated figure of sickness runs away

when the religious manuscript of Pancaraksa opens The figure of the disease behaves

like a human being In this sense the picture is anthropomorphic and mystical This

visual narrative tells the story of deities and disease

The shining yellow indigo red and green colors make the composition vivacious

and lively The borders present the decorative pattern with geometric shapes floral

designs (Sharma 2010) The ideas in Pancaraksa are still in practice in contemporary

Nepali society in the sense that religious people keep religious books like The Ramayana

The Mahabharata Chandi Devi Bhagavata and Vedas and worship them so that the

religious scriptures will protect them from diseases demons and other problems

Gandavyuha manuscript illuminations (12th century) present the spiritual

transformation of Sudhana his dialogue with the Bodhisattava Majusri and the

achievement of nirvana The halo at the back of Manjusri symbolizes his spiritual power

and divine status

The pictures in these Buddhist manuscripts have flowing lines and curves

suggesting visual melody The figures are flexible and sinuous with luminous texture

This makes the characters youthful and lively Rajatananda Das Gupta (1968) points out

the stylistic aspects of these compositions in the manuscripts

The lines move in continuous flowing cures and successfully model the

masses and volumes within the given contour Human figures are full

sinuous and rounded while draughts-man-ship attains the height in the

decorative motifs Some landscape is also attempted by arranging stylized

trees at uniform distances (p10)

Amita Ray (1973) states that the lines in these paintings are ldquorounded and sweeping and

color has almost a modeling effectrdquo (p49)

Buddhist manuscript paintings depict the influence Ajanta wall painting (5th

century) and manuscript paintings of the period of Pala dynasty (5th -12th century) in

India These murals in Ajanta caves present the birth of Buddha and other events of his

life until Mahapari-nirvana the great departure (Aran 1978 p127) These influences

came through visiting merchants monks and pilgrims

Conclusion

Nepali paintings in religious manuscripts present magical didactic

anthropomorphic and symbolic features The images and figures symbolize beyond

themselves The supernatural characters seem to be performing in magical manner The

nonhuman characters act and behave like human beings The artists animated and

personified animals and even nonliving things like river The visual narratives attempt to

teach moral lessons to the readers and viewers The characters and events refer to myths

The artworks also depict the religious tolerance between Buddhism and Hinduism in the

ancient Nepali society The manuscripts with visual and verbal texts not only teach

valuable lessons to the readers but also provide aesthetic pleasure presenting strange

characters and events

References

Aran L (1978) The art of Nepal A guide to the masterpieces of sculptures painting and

woodcarving Kathmandu Sahayogi

Dwivedi P K (1982) Miniature paintings of national museum Kathmandu Kathmandu

National Museum

Gupta R D (1968) Nepalese miniatures Baranasi Bharatiya Vidya Prakashan

Pal P (1978) The arts of Nepal part II Leiden Tuta Sub Aegide Allas

Ray A (1973) Arts of Nepal New Delhi Indian Council for Cultural Relations

Shakya M B (2000) Sacred art of Nepal Nepalese paubha painting past and present

Kathmandu Handicraft Association of Nepal

Sharma Y P (2010) Contemporary Nepali painting Hybridity and negotiation Diss

TU Kathmandu

Sharma Y P (2014) Nepali painting A Critical analysis Kathmandu Nepal Academy

of Fine Arts

Waldschmidt E and R Leonore (1967) Nepal Art treasures from the Himalayas

Calcutta Oxford amp IBH Publishing Co

Comparative Study of ldquoWhatrsquos in a Namerdquo and

ldquoThe lsquoBlack Tablersquo is Still Thererdquo

Rena Thapa Lecturer of English Lalitkala Campus

Tribhuvan University Kathmandu Nepal

Abstract Humanity is composed of individuals with different origins beliefs and

characteristics aspects that have significantly promoted diversities in the society But when

racial segregation entails the division of humanity resulting in discrimination hatred and

violence the part of human civilization is stigmatized Despite the proclamation of equality of all

men the imagined order established by the Americans in 1776 also established a hierarchy

Gatesrsquo and Grahamrsquos autobiographical presentation of racial discrimination in one or the other

form exhibits the whole array of history legislation psychology custom and power structure

Though the American black people have gone a long way of integration as Graham has

experienced American society still retains some nuances of racial differences

Keywords segregation bynames manipulation discrimination gravitate transhistorical

Introduction

The two Essays ldquoWhatrsquos in a Namerdquo(by Henry Louis Gates Jr) and ldquoThe lsquoBlack Tablersquo is Still

Thererdquo(by Lawrence Otis Graham) included in ldquoPatterns of College Writingrdquo the English

Course book for BA 1st year reflect upon the racial discrimination prevalent in the USA

Though the essays are written by two different writers their response towards the prejudice is

based on their own experience Both the writers belong to Black community that went through

traumatic period of prolonged injustice offences deprivation and oppression in America They

give account of their childhood when they had the bitter experience of being insulted and

excluded by whites Gates remembers himself as an innocent child who was ignorant about the

demeaning attitude of whites towards his race in general and his own father in particular Even

when he grows up it makes no senses to him that bynames used for Black people signifies hatred

and prejudice white people have nurtured He implies that people should be judged from their

quality contribution and skill Likewise Graham who clung to integration and still faced the

exclusion during his schooldays was confused about the existing different treatment towards

himself He is disillusioned when he finds out the integration be just superficial as he grows up to

a professional lawyer Gates using the allusion from Shakespearersquos Romeo and Juliet ldquoWhatrsquos in

a namerdquo and Graham using a symbol ldquoBlack Tablerdquo of his junior high school strongly hold the

belief that segregation is wrong

Gatesrsquo Experience

African Americans are generally the descendants of enslaved black people within the boundaries

of present United States Formal political economic and social discrimination against these

minorities has been present throughout American history Gates despises the discrimination of

black people especially the spiteful attitude of whites using bynames to address them His

childhood experience gives an account of his irreversible negative recognition labeled to him by

white despite his high financial standings The racial identity has been denominated by whites as

inferior ugly and poor which is further crushed by giving bynames like Kaffir Tar Baby Jim

Crow Georgehellip Even a lower social status white like Mr Wilson would find privilege to insult

his well to do father just because he was a black Gates hated that his father being called by

different name which was not truly his name His fury was not for demeaning his father instead

his fatherrsquos silence hurts him more From then he had the revelation that two worlds exist for

black people like him The hierarchy created by whites has been choking them and shooing them

to the margin White people who regarded themselves supreme hurled the hatred in different

forms and one of them was negative names

Grahamrsquos Experience

In the US the separation was experienced in various areas such as public transportation

schools restaurants and residential places where individuals were restricted on the basis of

racial background Black table in the cafeteria got the name as black boys would separate

themselves from other race except Graham He strictly adhered to integration by avoiding black

table for two reasons first he held the principle of equality and integration strongly and second

he didnrsquot want to lose his white friends by being racial As a schoolboy he carried on the

principle seriously despite being shunned by white community Since he prospered as an

American entertaining all the integrating activities with the whites he condemns the separation

though volunteer it is What shocks him the most is the black table still laying on the cafeteria

even after 27 years He wondered that other separate tables in which athletes Jewish boys

Jewish girls Irish kids heavy metals grouphellipsegregate themselves had never drawn argument

and condemnation during his school life The trend he considered deplorable even though the

principles may have changed is still alive He wakes up to a new realization of truth that people

tend to gravitate towards other people they think they may relate better with and stay away from

what they think is different

Gatesrsquos Allusion

ldquoWhatrsquos in a namerdquo is an allusion derived from Shakespearersquos ldquoRomeo and Julietrdquo a romantic

tragedy Its Juliet who states this very expression to imply that name should not determine how

people are to be regarded by others Julietrsquos stance and condition is analogous to Gates as he

abhors the trend of discrimination and prejudice that lies behind names Gates expresses his

claim that name shaped peoplersquos perceptions and prejudice in the mid 1950s Name is a part of

onersquos identity how one is recognized and addressed by the world These names on the other

hand signify offenses and disrespect George was an infamous name to belittle black people and

Gates hated that his father was put to a lower standard than he truly was Gates illustrates how

racism can perpetuate prejudice that aims to snatch individual identity

Grahamrsquos symbol

Black table which is regarded with scorn by whites is a symbol that segregates black boy from

others Graham sees it as a taboo and by avoiding it he wants to prove that he is not an angry

black person who wants nothing to do with the white kids White kids who would never invite

him to occasions as they thought it would make people feel uncomfortable Poor Graham is torn

between the scorns of black boys and taunting of white boys Even after fourteen years of his

adolescence still existing black table refracts that integration has not eradicated the sense of

separation it has become more entrenched as time went by Such vicious circle can go on for

centuries and even millennia perpetuating an imagined hierarchy that sprang from transhistorical

occurrences (Harari 161)

The common ground

Both writers share common ground in yearning for equality dignity and respectable space in

society Black table exhibits stark view of human nature on the one hand and on the other hand it

displays the superficial encroachment of integration that manipulated him to refuse his own

ground Both of them represent the blacks who resent the violation of social dignity and the ones

who want to negotiate the legislation to be united Gates the innocent and naiumlve boy gauges the

wounded self- esteem of his parents after the exposure to unwanted offence he witnessed

Similarly the ideal black boy Graham finds his ground as he becomes a matured man He

blamed the black boysrsquo attitude to be the hurdle of integration He even swallowed white parentrsquos

insulting treatment who begrudged his presence in their gatherings and other occasions Graham

ultimately feels the need to realize that modern times self segregation is the custom that humans

adopted from their ancestors culture and their biology and intelligence It is the imagined orders

and devised scripts humans have constructed and internalized in order to organize the society

within a power structure

Pathos Logos and Ethos

The title ldquoWhatrsquos in a namerdquo is a rhetorical question and finally answers that name can be

manipulated used and even misused according to the userrsquos vested interest His fatherrsquos silence

and helplessness devastates the childrsquos psyche driving him to loathe Mr Wilson who resembled

his own Uncle Joe This infers that how come Mr Wilson so much alike his uncle can be a snob

Gatesrsquo emotional appeal (pathos) invokes readers particularly the blacks who grew up

swallowing the hatred He motivates the readers to empathize the humiliated parents that

dwarfed them to their marginal state Gates first presents the causes of his rage to intensify

readerrsquos emotions Mr Wilson despite his own wretched social status dominates his father using

bynames And in turn his fatherrsquos reasoning for suppressed silence infuriates the narrator and the

reader as well Gatesrsquo wrath pervades the end of the essay as Gates describes how they cowered

back to quietness and consoled themselves by glorifying black sports star Jackie Robinson This

situation better speaks the condition of black people before Civil Rights Movement

Likewise Grahams evidently implies the answer of why is the black table still there in his junior

high school His rhetorical questions ldquoWhy did the black kids separate themselves What did the

table say about the segregation that was supposedly going on in homerooms and gym classes

(189) are the logic (logos) providing His reasons in the form of questions ldquoWhat was I

thinkingrdquo and ldquoI realize that how wrong I wasrdquo (190) is the logos appeal consisting of reason for

accepting the narratorrsquos claim Readers can easily grasp Grahamrsquos perspective shaped by idealist

notion that has been changed to a kind of awakening at the fag end of the essay He doesnrsquot

directly tell the audience exactly what to conclude the readers nevertheless are encouraged to

infer the existing differences that lay deep down the surface of integration

The credential of the writerrsquos (ethos) lies on the fact that both of them are from black American

family background which accentuates the ground for trusting their opinion arguments and

feelings Their own experience can be recognized as real since their self-representation is equally

trust-inspiring Readers can simply believe their claims and frustration to be relevant Both

writers oppose the erasing of self the true being of an individual

Beginning with anecdote both the writers excites the readers to go through the text Gates hints

that the issue of mistreating by the so called powerful and highly privileged whites is not new

The use of dialogues has made vivid impact on the writing instigating the readers to feel the

same negative aura Similarly Grahamrsquos narration takes gait from the anecdote itself Profound

rhetorical questions and quotations put additional impetus on his logos appeal provoking to

thoughts Both writers conclude their essay with the same mood and context as they have begun

More personal style makes familiar tone in Grahamrsquos writing using first person pronouns and

contracted forms(Irsquom Irsquod)

Conclusion

The phenomena of racial discrimination in USA are rooted on sociopolitical hierarchies which

cannot be justified through logical and biological basis Biology ie the blackness and other

physiology of black people cannot explain the intricacies of American racial dynamics Gatesrsquo

fury and Grahamrsquos confusion are the outcome of historical phenomena events circumstances

and power structure that transformed the social condition into cruel social structures Martin

Lutherrsquos dream of former slaves and the sons of slaveholders being able to sit down together at

the table of brotherhood (176) seem to be thwarted by self segregation The hierarchy of race

originated from accidental historical circumstances and was perpetuated and refined over many

generations with their own vested interest Gates and Graham are among many black writers who

seek justified answer for the age old question asking for the existence of black people as equal to

whites The value of contribution of these black people who were brought to America depriving

their homeland of strong human resource has been relegated The vicious cycle seems to repeat

when the lynching and brutalizing of black by whites trickles down now and then in America

References

Gates Henry Louis Jr ldquoWhatrsquos in a Namerdquo Patterns for College Writing A Rhetorical Readers and

Guide 12th edEd Laurie GKriszner and Stephen R Mandell Boston Bedford 20122-4 Print

Graham Lawrence Otis ldquo lsquoThe Black Tablersquo is Still Thererdquo Kriszner and Mandell 188-190

Harari Yuval Noah Sapiens A Brief History of Humankind London Vintage 2015 Print

King Martin Luther Jr ldquoI Have a Dreamrdquo The Heritage of Wordsrdquo Ed Abhi Subedi Rameshwar

Adhikaray and Shreedhar Lohani Kathmandu Ekta Books 2018 Print

Mahendra Prasad Adhikari

Library officer Lalitkala Campus

A Concept on E-LIBRARY vs Automation Abstract

Generally the working collection of books documents newspapers audio-visual

materials kept and organized people to read or borrow in a library Recent advances

in computers storage and processing communication technologies e-product

networking and internet uses have brought a revolutionary change in functioning of

the libraries and its services Information communication technology (ICT) makes

a lot of impact on library and it has changed the concept of library where print and

paper media are the main components of library system To meet tremendous

information explosion and high demand of information libraries are now changes

in digital library Due to digitizing the library resources and fast changing

technology a new type of library is coming in existence which is called- virtual

library Many of us are always very much confused about such terminology of library

It reflects three main components- service provider service receiver and the

channels of service delivery (ie technology) Internet is the main channel of e-

service delivery while other classic channels (eg telephone call center public kiosk

mobile phone television) are also considered In this paper we try to clear the

concept of these libraries terminology in a professional way

Key Words Automation Hybrid Library Digital Library Virtual Library

Automated Library Electronic Library Modern Library

Introduction

Its an electronic or online library where one can have access to books journals

novels articles or any other information over net E-service (electronic

service) represents application of utilizing the use of Information and

communication technologies (ICTs) in different areasit includes the service

element of e-tailing customer support and service delivery Database of

digitized audio video and written material on a physical site andor a website

giving 24hour online access to users E-Library is generally a library where

books can be accessed through internet Just sitting anywhereanytime a user

can read the material online

The library has purchased subscriptions to many electronic information

resources in order to provide you with access to them free of charge Our

e-resources include lots of things full-text journals newspapers company

information e-books dictionaries encyclopedias economic data digital

images industry profiles market research career information etc

What is Automation

The term automation is introduced used first DS Harder in 1936 He

defined it as ldquothe automation is handling of parts between progressive

production processes Since then the term has been applied to a wide variety

of automatic machinery and automatic systems In addition is action for

human efforts of intelligence

Need for Library Automation

There are several reasons for automation A considerable saving

in efforts Time and resources involved in manual processing can be

achieved The other reasons are 1) To improve control over collection 2) To have an entries control over the entire operation

3) To improve the existing services as well as introduce new

services

4) To avoid duplicate of work

5) To use services of the existing staff effectively

Basic Requirement of Library Automation

The following are the basic requirements for the automation of

libraries through the computer 1) Adequate collection 2) Financial assistance

3) Computer hardware

4) Library software

5) Tanning of the staff

6) Maintenance of development

Advantages of Library Automation

There are several advantages of Library Automation a machine

readable catalogue prepared at the time of acquisition may be required

respectively for number of purposes Automation has the following

advantages 1) Professional staff need not spend much time to do the routine library work 2) Eliminates human errors while performing routine library works

3) Improved control covers library collection

4) Increased computer awareness among users

5) Cataloguing is faster instant access to non-records

6) Excellent control over circulation

Some Library Software

1 KOHA

2 EMIS

4 LIBRA etc

The functions of e-libraries

1) Systematic and organized collection of print and non-print resources

2) Digital in formats so that easily process able by computers

3) The acquisition storage disseminates amp retrieval of information is done by the use

of technology

4) Access of entire holding of library is directly or indirectly accessible across the

network with the help of internet

5) Supports and provides more amp better online amp offline services

Natures of e-library

1 In digital library e-library a set of documents available through electronic means by

the use of digital technologies that allow for the retrieval archiving preservation and

dissemination of those documents which are provides access to in electronic format

2 A Physical site andor website that provide 24-hour online access to digitized audio

video and written material such as books journals and articles The content may come

from different providers

3 Digital library provide as an information service in which all the information

resources are available in computer-process able form and the functions of acquisition

storage retrieval access and display are carried out through the use of digital

technologies

4 e-Library collections of documents in organized electronic form available on the

Internet or on CD- ROM disks and Specific library a user may be able to access

magazine articles books papers images sound files and videos

5 A database is a collection of information stored in a computer or server which

incorporates software to provide efficient retrieval of the data Databases are great tools

to help you retrieve information by keyword title author subject year etc The most

common types of databases in the library are the online catalogue and the virtual

electronic databases Some are in visible some are in Download able such as full

Text abstract title with Content free of cost paid full

6 A Virtual Library is a collection of resources available on one or more computer

systems where a single interface or entry point to the collections is provided

7 More than just a means of collocating electronic resources (full-text materials

databases media and catalogues) a virtual library also provides user assistance services

such as reference inter library loan technical assistance etc

8 Library resources (indexes journals and reference materials for example) or

online reference services are available over the Internet Terms such as electronic

Library and Digital Library are often used synonymously

9 A hybrid library which is partly electronic and partly physical It has a physical space

with both the physical and electronic resources and services

10 A hybrid library is not just a traditional library (only containing paper-based

resources) or just a virtual library (only containing electronic resources) but somewhere

between the two It is a library which brings together a range of different information

sources printed and electronic local and remote in a seamless way

Different Types of Library

Library is a place where the collection of information resources in print or in other forms

that is organized and made accessible for reading or study is kept International

Organization for Standardization has defined library as irrespective of the title any

organized collection of printed books and periodicals or of any other graphic or audio-

visual materials and the services of a staff to provide and facilitate the use of such

materials as are required to meet the informational research educational or recreational

needs of its users

Advances in Information Communication Technology (ICT) particularly the World

Wide Web (WWW) have seen the evolution of the automated library electronic library

digital library virtual library Hybrid library etc

A Traditional Library Traditionally libraries were collections of books manuscripts

journals and other sources of recorded information The collection of the traditional

libraries are mostly print media manuscripts etc and are not well organized The

documents are deteriorating at a rapid rate the collected information is not easy to locate

and procure Such information does not reach the user of the libraries on time It is

difficult to get such publications in the absence of personal influence and contacts

There are certain restricted publications containing highly informative materials but

may not be easily available Sometimes the information is published after many years

By the time it is published the information becomes obsolete and then abandoned Since

it is not properly indexed or listed the researcher is forced to go through long and

tedious process to ascertain whether any material of hisher interest is available or not

Here the collections are not well organized and some reports are deteriorating at a rapid

rate Preserving them in their original form is difficult and it is not cost effective Again

the traditional libraries are confined itself within a physical boundary

B Automated Library A library wh i c h provides automatic services with machine-

readable catalog computerized acquisition circulation and Online Public Access

Catalogue (OPAC) are called as automated library The holdings or collection of

automated such types of libraries makes them better and offer more and effective services

are same as that of traditional libraries

C Electronic Library When automated libraries go for Local Area Networking (LAN)

and CD-ROM networking and started procuring e-journals and other similar kinds of

electronic materials of publications ( magnetic tapes microfilm roles CDs DVDs

Microform or other media) and accessible by any medium such as computer laptops I-

pads etc are stored and then it is known as electronic library The electronic information

or material may be stored in an offline server or online which may be accessed remotely

via computer networks The resources of the electronic libraries are in both print and

electronic form The electronic media are used for storage retrieval and delivery of

information

D Digital Library In digital libraries services are fully automated and all resources

in digital form These libraries are heterogeneous in nature and include work related

to information and how to digitize store find link visualize use publish manage and

share information Digital library is an assemblage of digital computing storage and

communication machinery together with content and software In a digital library there

are mainly two types of information

1) Born digital This information are digitally created and stored

2) Digitalized Information is in physical formats (print format) with the help of

appropriate hardware and software the information is converted into digital format or in

electronic format

It is a later stage of electronic library In digital library high speed optical fiber are used

for LAN and the access is over WAN and provide a wide range of Internet based

services ie audio and video conferencing and like other The majority of the holding

of a digital library is in the computer readable form and also acts as a point of access to

other online sources

E Virtual Library The concept of virtual library also emerged simultaneously with

electronic library and digital library This emergence is perhaps because all the

information uses are at present through networked libraries at the desktop which is quite

virtual (practical) without the physical existence of books on shelves A virtual library

can be simply defined as the internet-based digital library or a library without walls The

concept of virtual library is that any person who has a computer and connection to the

library networks can access not only the resources of that library but also a variety of

information available through national and international networks like internet and

intranet without being physically present in the library Access digital information from

the any part of the globe through an network (LAN or WAN) or any other gateway

such as internet The term virtual library is attracted the interest of users because of the

increasing medium called the WWW (World Wide Web) The virtual library is the single

most reachable and important source of information in the world and leads to

replacement for the traditional library A collection of links is also a virtual library these

links are not necessary owned by the virtual library However the links are maintained

updated and managed as a normal function of the virtual library

F Hybrid Library It was designed to bring a range of technologies from different

sources together in the context of a working library and to explore integrated systems

and services in electronic and printed environments It reflects the transitional state of

the library which today can neither be fully printed nor fully digital Hybrid libraries

consist of conventional print material such as books magazines journals as well as

nonconventional or electronic based material such as audio books electronic journals

e-books etc Hybrid libraries are the new and emerging term for the most public and

academic libraries because with the existing services and collection they can easily

provide electronic services or online services and easily build digital collections

There are many myths about digital library as 1) The internet is the digital library

2) Fully automated library is digital library

3) The myth of a single digital library or one-window view of digital library collections

4) Digital libraries will provide more equitable access anywhere any time

5) Digital libraries will be cheaper than print libraries

Advantages of e-libraries Todayrsquos libraries are not encircled to a particular location The user can get his her

information on his own computer screen by using the Internet It is a network of

compound access system which provides quick information to many users at the same

time There are many advantages of having hybrid digital and virtual libraries some of

the common advantages are as follows

1) No physical boundary The users did not require going to the library through internet

they could access the same information from all over the earth instantly He she have to

just type the URL of the library and heshe can get all the services and information what

heshe get in the libraries Which saves users time and every information is on single

2) Round the clock availability libraries can be accessed at any time 24 hours a day

and 365 days of the year All the digital content is on the internet so the information is

available at 24 hours because machines donrsquot know about day night weeks and months

Every information is available online without the respect of time

3) Multiple accesses The same resources can be used at the same time by a number of

users The users can access same the same material at numerous of times without any

difficulties and at the same time It saves users time and money which is economical

and leads to better services according to userrsquos needs and demands Multiple accesses

mean many users use the same resource at the same time or after some time However

in traditional libraries particular resource can accessed only once by a single user

4) Structured approach the contents of modern libraries are much richer than the

conventional libraries and the collections are in a very organized way ie users can easily

access the catalogue and from catalogue to the exacting book then from the book to a

particular chapter and so on In a library there are organized collections of human

knowledge so with the help of search we can easily approach to our particular topic

and collect the information related to the topic we search the topic in a structured way

which means that from a catalog to book then to index then from chapter so on according

to our needs we move from books to main directory or catalogue

5) Information retrieval The users are able to search or retrieve information with

the use any keyword which are related to the word or phrase of the entire collection

Digital library have user- friendly interfaces one click access to its contents The users

can easily search any word sentence symbol numbers with the help of interfaces called

search box with the help of search we can go through our topic With information

retrieval it saves the userrsquos time in searching of their information quick access to their

topics and easy to operate

6) Space The traditional library faces problems of storage and space as the collections

are in print form it occupies more space whereas electronic or digital libraries store

more information in a very less space Thousands of eBooks magazines journals etc

can be stored in single hard disks so it is important to know that the digital library needs

very less space without effecting their operations and services When the conventional

library had no physical space digitalization of its collection is the only solution

7) Networking nowadays libraries are interconnected with high-speed internet

connection which is called networking sharing of resources can be done through the

sharing of links Users need not required to go to library he can easily access the libraries

resources through internet and use their services Users can easily access many libraries

database at a single click because libraries shares the links of others libraries links which

saves users time and helps in the searching of their relevant information

8) Cost The expenditure on maintaining an electronic virtual library is much lower than

that of a traditional library A conventional library have to accept more expenditure on

the maintenance staff and professionals salaries etc this can be abridged by electronic

virtual libraries because in these modern libraries there are one time investment till the

technology changes and after that less professionals need for the maintenance of the

library

Challengesdisadvantages of e-libraries The computer viruses disasters lack of standardization for digitized information

quick degrading properties of digitized material different display standard of digital

product and its associated problem health hazard nature of the radiation from monitor

etc makes digital libraries at times handicap

1 Copyright Digitization opposes the copyright law as the content or resources of one

author can be simply transferable by others without his knowledge The main challenge

is that how the libraries broadcast information along with protecting the intellectual

properties of an author There are very strict rules regarding the violation of copyright

laws but in digital era it is very difficult to save the intellectual property rights of an

author or publisher

2 Speed of access as more and more computers are connected then the loads on the

server makes website slow If new technology will not evolve to solve the problem then

in near future Internet will be full of error messages As we all know that the technology

is going older day by day so itrsquos difficult to provide same speed of access because digital

content includes audio video documents which are of big in size and require more

bandwidth speed

3 Initial cost is high The initial cost of modern libraries such as the cost of software

hardware communication networks and other equipments are very high So it is very

expensive for libraries to purchase them because libraries are not the profit making

organizations they are depend on any institutions which provides funds for the

functioning and running of the libraries

4 Band width libraries will need high transfer rates for transfer of multimedia resources

but the band width is decreasing day by day due to its over utilization and overload on

the internet The slow bandwidth leads to slow download and uploading of digital

material which means users have to give more time in searching and downloading their

contents

5 Efficiency with the information explosion there is tons of information on particular

topics so it is very difficult to find the right information on the particular topic The

authentication of the information is not sure

6 Environment modern libraries cannot produce the environment of traditional

libraries Many users also find that reading printed information much easier than reading

information on a computer screen Due to lack of technological awareness many people

prefer to use print materials for reading Moreover the habits are the major problem

7 Preservation Due to rapid change in technology libraries become outdate and its

information may become inaccessible In future many new formats evolve so it is

difficult to preserve the library resources at a standard format so that in future we may

use it

Conclusion

The hybrid electronic digital and virtual libraries are the modern libraries and they are

synonyms to each other The modern libraries are not going to replace the physical

existence of print resources completely but no doubt to meet the present demand of the

users and change in technology to satisfy the users demand digitization must be

introduced so that at least libraries becomes of hybrid nature and become in the touch of

its users

The preliminary cost of digitization is high but research shows that once digitalization is

introduced then the cost to manage developing this collection will be cheaper than that of

any conventional library Day by day the cost of digitization is decreasing because the

technology going updated with every bit of time the online publication is increasing and

the needs of user are shifting towards the non-print sources The term digital library has

been around for at least 24 hours and possibly longer and some of the ideas behind the

term have been around for much longer While there is still disagreement about the

meaning of the term this piece argues that digital libraries are not fundamentally

different from

traditional libraries either in the purposes of existing or in the services provided The

main differences come down to how the services are provided and how collections are

stored and managed

Reference 1 Dr Manoj Kumar Verma Concept of Hybrid Digital and Virtual Library -

Mizoram University Assistant

ProfessorDepartment of Library and information science

2 Dr Manoj Kumar Verma Concept of Hybrid Digital and Virtual Library - UP

3 Assistant Librarian Integral University

httpswwwresearchgatenetpublication287196620_Concept_of_Hybrid_Digital_and

_Virtual_Library_A

_Professional_Approach

httpswwwacademiaedu11404741Concept_of_Hybrid_Digital_and_Virtual_Library

_A_Professional_A

pproach

httpseducationendowmentfoundationorgukpublicfilesPublicationsThe_Impact_of_

Digital_Technolog ies_on_Learning_(2012)pdf

7 httpwwwlibraryupaczadigidocsalhaji_paperpdf

8 httpswwwlisbdnetcomdifferent-types-library-traditional-automated-digital-

hybrid-virtual-etc

9 httpswwwresearchgatenetpublication287196620_Concept_of_Hybrid_

Digital_and_Virtual_Library_A_Professional_Approach

10 KumarPSG Information Technology Application (Theory amp Practice)

Delhi BR publishing 2004

11 Sehgal RL and Behl DK Manual of Computer Application Training in

Library Science New Delhi Ess Ess Publication 1996

12 Shukla RK Automation of Libraries and Information Centers New Delhi

Concept publishing company 1995

s[i0f sdf v]n

jtGq tanf afbgsf] snfTds k|tlts0f osf fGbo tTjx

clt k|flrg sfnb]lv g tfn jfBsf] +ut sfodf k|of]u xb cfPsf] j ljlwt g 5 jlbs

sfn eft sfn dWosfndf ufog jfbg tyf g[Todf fy +utsf nflu tfn jfBssf]

k|of]u ulGYof] tfn jfBsf snfsfx ufog Jffbg g[To cgf g jfbg ug] uby] eft

aifdf dunxsf] clwkTo +undash+u osf] c F oxfFsf] +uLtdf klg kg uof] hsf]

kmnjk k|flrg doaf6 k|rngdf x]sf] fdufg w|jkb ufogsf] kDkf eGbf k[ys Vofn

+uLtsf] cToflws k|rf k|ff xg yfNof] hg cfhDd lgGt k|rf k|f df 5 ha Vofn

+uLtsf] k|rf k|f xg yfNof] +u+u osf] dwtfdf To dodf k|rngdf x]sf tfn

jfB d[b+u kvfafhsf] ulDe vnf cfjfh eGbf aGb dw WjgL ePsf] tfn jfBn] cem

a9L ~hstf yKg] dx uL Totf] tfn jfBsf vf]hL xg yfNof] hsf] kmn jk tanfsf]

hGd eof] rf8 g Vofn +uLtdf +ut sfosf] nflu clt pQd tfnjfBsf] kdf yflkt

xg kUof] ttkZrft tanfdf ljleGg jfbg znLxsf] ljsf xb cfh ljleGg 3fgfsf] kdf

cnu cnu jfbg znLx yflkt ePsf 5g

P3ff+ ztfAbLaf6 latfndashlatf tfn jfBdf +utsf] fyndashfy jtGq jfbgsf] k|rng

ePsf] kfOG5 hg jtdfg dodf rdf]Tsifdf x]sf] kfOG5 bO o jif kj jtGq jfbgsf]

jk stf] k|sfsf] lyof] osf] ki6 ljZn]if0f k|fKt 5g t ha tanfsf] cToflws k|rf

k|rf xg yfn] To k|rf k|f +u +u tanf jfbgsf snfsfxn] osf] flxTonfO olt

+d[l4 agfP sL tanf Pp6f +ut jfBsf] fy fy jtGq jfbgsf] kdf klg hgdfgdf

nf]slk|otf sdfpg kmn

eof] tanfsf a snfsfxn] cfkmgf] 3gfsf] jfbg znL cgk tanf jfbgsf] Ps

lglZrt k4ltsf] lgdf0f u] hg cfh Dd lgljjfb kn] cgs0f ulb cfPsf]

kfOG5 hnfO jtGq tanf jfbgsf] snfTds k|tlts0fsf] kdf aemg lsG5 hg

qmdz lgDg cgf 5

_ 7]sf M jtGq jfbg ug eGbf kj tanfsf] j ldnfP tfnsf] rog ub nxf jfbsnfO

tfnsf] hfgsfL lbb nxfsf] fydf DalGwt tfnsf] 7]sf jfbgsf] k|fDe ulG5

_ p7fg Mndash7]sfsf] jfbg pkfGt jfbg cfkmgf] 3fgfsf] k4lt cgk nvgp jf agf

3fgfsf snfsf cfkmgf] jtGq jfbgsf] jft p7fgaf6

ub5g eg] agf 3fgfdf p7fg kZrft 7]sfsf] k|tf jf latf ug] cfkmg rng x]sf]

_ k]zsf M lbNnL chf0ff kmVvfafb k+hfa 3fgfsf snfsf 7]sfsf] jfbg kZrft

k]zsfaf6 cfkmgf] jtGq jfbgsf] jft ub5g

$_ sfobf M 7]sfsf] k|tf cyjf k]zsf kZrft snfsf szn tlsfn] vfnL mdasheLsf] k|bzg

ub sfobfsf] jfbg ub5g sfobfsf] cf8 bug ltug rfugsf] no b]vfpb sfobfsf

kN6fxsf] latf ub5g sfobf jfbgdf bfofF afofFsf af]nxnfO uYb sfobfsf] latf

ub5g sfobfsf] jfbg lanlDjt dWo no badf ug] ulG5

_ ]nf Mndashtanf jtGq jfbgsf] Gbedf qmda4 k|ttLs0fsf] jk cgk sfobfsf] jfbg

kZrft ]nfsf] jfbg ug] k|rng x]sf] kfOG5 ]nf tanfsf s]xL otf j0fxsf] dxnfO

lnP agfOG5 hnfO b|t nodf wff mdash k|jfx kdf jfbg ug lsof] oL jtGq

kn] j0f dxxsf] rog uL agfPsf] ]nfnfO jtGq ]nf elgG5 eg] slxn]sfxL sfobfsf]

Pp6f fgf] c+znfO dfq lnP wffmdash k|jfx kdf ahfpg] ulG5 hnfO ]nf sfobf eGg]

^_ 6s8fMmdash tanf afbgdf 6s8fsf] cToflws k|of]u ePsf] kfOG5 6s8f dw cyjf dnfog

af]nxsf] Pp6f otf] dx xf] hg k|fo M ltxfO lxtsf] xG5 hg ht Mndashfwf0f rSsbf

kmdfOL sdfnL OTofbL 6s8f b|t nodf ahfOG5 sfobfsf] jfbg kl5 ]nfsf] larmdash

lardf 6qmf ahfpg] k|rng x]sf] 5

amp _ ut Mmdash ]nf jfbgsf] fydf lar lardf snfsfaringff utsf] jfbg ug] k|rng x]s]f 5

ut kj afhsf] dxTk0f rgf dflgG5 utsf] rgf Ps eGbf a9L cfjtgdf ulPsf] kfOG5

eGg] ljleGg nosf] k|of]un] osf] Gbtfdf cem gt[ordfuf ylkPsf] kfOG5 utsf w] k|sfx

5g ht hgfgL ut dbfgL ut k~hfaL ut nfxL ut rf jfusf] ut cflb

Uft k|dv kdf kmVvfafb 3fgf snfsfxn] jfbg ug] ub5g cfkmgf] jfbgnfO lafd

lbg] ub5g

_ kg Mmdash kg jftjdf kvfjhsf] afbg fdfu|L ePtfklg tanfdf kj jfhdf osf] k|r

dfqfdf k|of]u ulPsf] kfOG5 onfO ljz]if k|sfsf] vnf tyf hf]bf cyjf 7nf] 6qmfsf]

kdf aemg lsG5 hdf af]nx bf]xf]lb cufl8 a9b5 kj jfhsf snfsfx ljz]if

kn] agf wfgfsf snfsfx kgnfO b|t nodf jfbg ug] ub5g kgsf] klg ljleGg

jkx x]sf] kfOG5 ht Mndash rs|bf kg ttL kg Ps xTyL kg cflb log kgxsf]

jfbg +u snfsf cfkmgf] jtGq jfbgsf] dfkg ub5g

oL qmda4 kdf Pskl5 csf] ub jfbg ulg] k4ltnfO g jtGq tanf jfbgsf] snfTds

k|ttLs0fsf] kdf aemg k5

jtGq tanf jfbgdf 3fgf cgksf] jfbg k4ltsf] cg0f ub onfO cem k|efjsfL

Gb agfpg jfbg k4lt leq ns]sf] fGbo tTjxnfO klg uxg kdf aemg clt cfjZos

xG5 lsgsL fGbo tTjsf[ 1fg lagf bzs mdash|f]tfsf] dgmdash dltis Dd kUg] tjnf jfbg

ug cDej xG5

jtGq tanf jfbgsf fGbo tTjxnfO qmdz M lgDggf aemg lsG5

s_ lgsf fGbo

Pp6f fd|f] snfsfn] cfkmgf] d~r k|bzgsf] dodf j0fxsf] lgsfdf cToflws hu xg

kb5 tanfsf] af]nndashdXxnfO k9Gt ubf hL rgfsf] jk cgf af]nxdf jhg

cyjf an lbOPsf] xG5 ToL g af]n dxxsf] lgsf lgsfNg kb5 hn] jlGbzsf

Gbtf a9fpg] ub5

v_ dndashfGbo Mndashcfjtgsf] klxnf] dfqfsf] cfDe laGbnfO d elgG5 +uLtsf] k|tlts0fdf

dv8fnfO lnP klxnf] dfqfdf cfpg cyjf ddf cfpgg] dsf] fGbotfnfO k|tt ug xf]

tanf jfbgsf] Gbedf snfsf ]nf 6s8f kg cflb htf fgf 7nf rgf jf jlGbz

k|tt ug]

qmddf ltxfOsf] k|of]u u] ha ddf cfpbf Pp6f hg a]Un cfgGbsf] cgetL xG5 Tof]

cgetLnfO g d fGbo elgG5

u_ ul0ftLo fGbo M

tanf jtGq jfbgsf] do snfsf Ps k|sfsf] ultdf rgfsf] jfbg lgGt ulxG5 eg]

bzsndash|f]tf w] k|efljt gxg Sb5g ctM snfsfn] larmdash lardf s]xL ul0ftLo rdfTsf

oQm jlGbzxsf] k|of]u ug plrt xG5 ha ultsf] ptf r9fj ub ddf cfOG5 Tof]

dodf k|fKt xg] cfgGbsf] cgetLnfO g ul0ftLo fGbo elgG5

3_ k9Gtsf] fGbo

k|efjk0f jtGq jfbgsf] nflu af]nndashdxxsf] lgsfzsf] hlt dxTj 5 Toltg dxTj

alGbzxsf] k9Gtsf] klg 5 snfsfn] hlt Gb ki6 9+un] k9Gt ub5g Toltg Gb

z4 jfbg ub5g k9Gtdf jlGbz cgk ljleGg yfgdf WjgLsf] ptf r9fjaf6 fGbosf]

k|fKtL xg] ub5

ordf_ nosf] fGbo

kjLo zflqo +uLtsf k|To]s ljwfsf snfsfx cfkmgf] snfsf] k|bzg qmdzM lanlDjt

dWo Pj+ b|t nodf ug] ub5g oL qmda4 kdf tLg nodf jfbg k|tt ugfn] snfsfsf]

jfbg k|efjk0f xg hfG5 hn] ubf bzs gtf]tfsf] dgdf snfsf k|lt fd|f] k|efj kg] ub5

hnfO no fGbosf] kdf aemg lsG5

r_ vfnL elPsf] fGbo

tanf jfbgsf] If]qdf k|To]s 3fgfsf sfobf vfnL eLsf] lgodsf] k|ltkfbg ub rgf ulPsf]

xG5g oL sfobfxdf eLsf] yfgdf wf wL+ 3fQL 3fu] cflb htf j0fsf] k|of]u xG5 eg]

vfnLsf] yfgdf tf tL+ tfQL tfs] htf j0fxsf] k|of]u ePsf] kfOG5 ha oL vfnLndash

elsf] lgodsf] k|of]u ub ulg] jfbgdf af]nxaf6 WjgLsf] hg ~hstf k|fKt ulG5 TonfO

g vfnLndashelsf] fGbosf] kdf aemg kb5

ll शरी ll

सङगीत एक वििचना

शिव राज पौडल

एमएफए (सङगीत) लशलतकला कयामपस तरि वव

पषटभमि सङगीतको इततहास धर परानो मातननछ l ६४ कलाहर मधयको परमख कला सङगीत कला हो l महाकवव लकषमी परसाद दवकोटाल भनका छन कला भनको जीवनलाई रामरो तररकाबाट उठाउन पररपरण गनण र आननद ददन हो l कला भनको मानव हदयमा परभाववत पारी उचचवोधदवारा नततक शिकषा ददन हनपछण l िासतिोकत ढगल रचचत सतवर वरण र िबद आददल यकत जब कन सागीततक शसजणनालाई मचमा परसततत गररनछ र तयसको आननद परसततोता सतवय र शरोता लाई पतन परापत हनछ भन तयो सङगीतकला बनन जानछ l जमणन ववदवान पाकण रका अनसार मानवको इचछा या चाहनादवारा कालपतनक भावनालाई साकार रप ददन न कला हो l गायन वादन र नतय यी तीन कलाको शमशरर न सङगीत हो l वददककाल दखखन ववशभनन उपतनषद परार आदद गरनथमा उललख गररएको नाद शरतत सपत सतवर जातत गराम राग मछणना ताल मनधम दनदभी ववरा आदद बाट तयो समयमा सङगीतल ववकशसत रप शलएको दखखनछ l नपालमा ककराातकाल शलचछवीकाल र मललकालीन समयमा परापत शिलालखमा उललख भएका पदहर वाददिगोषठी परकषरमणडपी डवली नासादयो पयााख चयाण (चचा) आददको आधारमा तयततबला सङगीतको रामरो ववकास भएको मानन सककनछ l िाहकालीन समयमा राजाहर सङगीतमा तनक िौखखन चथए भनन करा पथवी नारायर िाहको ददवय वारी रर वहादरिाहको शसतार वादन सरनर िाहको गीत लखन र बाजा बजाउन राजा महनरल सतथापना गरको नपाल सङगीत महाववदयालय (२०१२) नपाल एकडमी (२०१४) राषटषिय नाचघर (२०१६) शसहदरबार पररसर शभिको रतन रकरड णङ िसतट (२०१८) जन पतछ २०४१ सालमा नपाल टशलशभजनको रपमा परररत भयो दजणनौ परसतकारहरको सतथापना कलाकारलाई परोतसाहन सतवरप ददएका अनकौ उपाधीहर जसततः वादय

शिरोमखर सङगीत शिरोमखर भजन शिरोमखर सङगीत परववर र नारायरदहटी दरबार पररसरको नारायर मषटनदरमा दरबनदीन तोकी िासतिीय सङगीतको तनयशमत कायणकरम सचालन गराइएको जसतता कायणल सतवदिी कला र ससतकती परतत उनको गदहरो मोह सतनह र ठलो योगदान रहको दखखनछ l भारतीय सगीताचायण वसनतदवारा शलखखत पसततक सङगीत वविारदमा रारा कालीन समयमा वीर िमिरल बीरगजमा आयोजना गरको वव स १९५६ को बगडीको सङगीत सममलन जहाा नपाल र भारत वषणका दजणनौ िासतिीय सगीतजञहरल भाग शलएका चथए र गरनथ न तयार परको करा उललख छ l पथवी नारायर िाहल नपालको एकीकरर पशचात ददएको ददवयवारी आफना िोख सयललाई ताल िासति बमोषटजमको तीन िहर नपालका नवारहरको नाच खिकाई हयाण पतन हनछ भनन वारील सङगीतको रामरो ववकास भएको जनाउछ र सतवदिी कला र ससतकतीलाई महतव ददन पछण भनन गदहरो सदि पतन छ तर आजको पररविमा राषि राषटषियता र ससतकार ससतकती माचथन सब भनदा धर ववकतत शभतरिएको अवसतथा चचनताजनक छ l यसमा हामी सबको धयान जानपन दखखनछ l राजतनिको अनतयका लाचग कलाकारहरको पतन ठलो योगदान रहको दखखनछ l परजातनि र गरतनिको सतथापना पतछ सरकारी गर सरकारीसततरबाट सतथावपत भएका ववशभननखाल ससतथाहरल कला र ससतकतीको कषिमा कायणरत नया तथा पराना सरसतटाहरलाई ववशभनन कायणकरम माफण त मान सममान परसतकार अवाडण सममलन आदद कायणल योगदान पयाणउद आएका छन l

ऐततहामसक रपरखा

वद उपतनषद योग दिणन वयाकरर र अधयातमववदया आदद आयण ससतकततका यी आदय गरनथहरमा नादलाई अपार महतव ददइएको छ l ऋगवद को शिकषा िासति अनसार नाद बाट सतवरको उतपवि हनछ सतवर तीन परकारका हनछन l उदाि अनदाि र सतवररत यी ततन सतवरको वरणन पारीनीय अषटधयायीमा छ l उचचरदािाः नीचरनदािाः समाहारः सतवररतः यी तीन वटा सिल तीनवटा भद दखाएको छ -

उदािो तनषादगानधारावनदािा ऋषभधवतौ सतवररतपरभवा हयत षडजमधयमपञचमाः

(ना शि१८८)

अथाणत उदािा वाट तनषाद र गानधारको उतपवि अनदाि वाट ऋषभ र धवत तयस गरर सतवररतवाट षडज मधयम र पञचमको उतपवि भएको छ पषटणडत िारगदवल पतन आफनो गरनथ सङगीतरतनाकरमा नादलाई साकषात बरहमन मानन भएको करा तनमन शलोकल परषट परको छ -

चतनय सवणभताना वववि जगदातमना

नादबरहम तदाननदमररतीयमपासतमह

(स र १३१)

अथाणत समपरण जीवातमाको जो चतना हो अथवा जसवाट जीवातमा चतन हनछ साथ जगतको उतपवि षटसतथतत र परलय पतन हनछ तयो नाद बरहम हो र तयस नाद बरहम जो अदववविय छ जसलाई अदवत दवतादवत ववशिषटादवत आदद दिणनल परततपादन गरका छन तयसलाई हामी उपासना गदणछौ

जसरी सब जञानको मल आधार वदलाई मातनएको छ तयसतत सङगीतको पतन आधार सामवद न मातनएको छ l सामवदका ऋचाहर गयातमक छन l गनधवणवदमा सङगीत क बारमा उललख गररएको छ l सङगीतल मातनसलाई षटजउन भावनाको जनम गराउाछ सङगीत मानवजीवनको दहसतसा िताषटबदयौदखख छ सङगीतलाई हरक ससतकततल पजा गछण ककनकक यो हरक ससतकततको पदहचान हो सङगीत सनदा िारीररक र मानशसक दव फाइदा हनछन यसल तनाव र चचनता भगाउाछ l धवतन र नाद नाद र िबद िबद र आकािमा अभद छ भतन ववदवानहरल भनका छन -

नादन वयजयत वरणः पद वराणत पदादवचः

वचसो वयवहारोऽय नादाधीनमतो जगत

(स र १२२)

अथाणत नाददवारा वरणहर उतपनन हनछन वरणहरवाट पद तनषपवि हनछ र पद वाट वाकय अथाणत भावाशभवयकत गन पद सघात उतपनन हनछ र यस वाकय (वारी) दवारा वयवहार चलदछ र वयवहारीक वारीन नादवाट अशभवयकत भएको हनछ

सङगीत बाट जीवनका चार परषाथण अथण धमण काम मोकष परापत हन ववचार यजञवलकय सतमतत गरनथ मा उललख गररएको छ l

वीरा वादनततवजञ शरततववदया वविारदः तालजञशचापरयासन मोकषमाग स ववनदतत

(यासतमयध३११५)

अथाणत वीरा वादनमा किल शरततववदयामा तनपर तथा तालजञ मनषय सहज मषटकतमागणमा परववषट हनछ बरहमाणडमा आकाि र नाद यी दई ततव न यसतता ततव हन जन ववशववयापी र सवणवयापी छन l आकािको गर नाद र िबद हो तयसल सङगीतरतनाकरमा नादको तनरषटकत यसरी गररएको छ

नकार परार नामान दकारमनल ववदः जातः पराराषटगनसयोगािन नादो Ntilde शभधीयत

(स र १३६)

अथाणत नकार भनको परार हो र दकार भनको आगो भतन जानन जव परार र अषटगनको सयोग हनछ तयतत वला तयसबाट उतपनन धवतन वविषलाई नाद भतननछ तयसल समपरण जगतन नादको अचधनमा छ भनन बखिनछ l पराचीन सङगीतकारहरल राग-राचगतनहरका धर सनदर रचनाहर गरका छन l िासतिीय सङगीतको ममण न राग हो l राग िबदको परयोगन सगीताचायण मतगको बहददिी गरनथमा उललखखत भएको पाइएको छ l सङगीतको साधना र अधययनल िासति सतवर ववजञान र सङगीत परदिणनमा किलता परापत हनछ l

राग क र कसरी उतपवि भयो

योNtildeय धवतनवविषसतत सतवरवरणववभवषत l रजको जनचचिानाम स राग कचथतो बध ll

- अशभनव राग मनजरी

अथाणत धवतन को तयो ववशिषट रचना जन सतवर र वरणयकत सनदर छ र जसल मनषय(परारी)को चचिलाई रजन अथवा मनोरनजन परधान गदणछ ववदवानहर तयसलाई राग भनदछन l

उतपविको ववषयमा ववशभनन मत छन जसतमा एक मत सङगीत वविारद गरनथमा वसत लखन हनछ पावणती माता को ियन मरा लाई दखर शिवजील अग परतयगको आधारमा रर वीना बनाई आफनो पााच मख बाट पााच रागहर भरव दहनडोल मघ दीपक र शरी रागको उतपवि गनण भयो र छटौ राग कौशिक सतवय माता पावणतील रचना गनण भयो l पराचचन गरनथमा सङगीतका मखय चार मत पाइनछ l शिव मत कषर मत भरत मत र हनमनमत l

पराचीनकालदखख वतणमान समम रागमा ववशभनन वगीकररहर भए जातत वगीकरर गराम राग वगीकरर दसववचध राग वगीकरर िदध छायालग र सकीरण राग वगीकरर मल राग वगीकरर राग राचगनी वगीकरर रागाग राग वगीकरर र वतणमानमा ठाट राग वगीकरर यदह ठाट राग वगीकररलाईन अदहल हामील िासतिीय सङगीत शसकन शसकाउन माधयमको रपमा मानद आएका छौ

शासतरीय सङगीतको आिशयकता

- जीवनको चार परषाथण अथण धमण काम र मोकष पराषटपतका लाचग l - सब सङगीतको जननी भएकाल यसमा दखल हाशसल गनणका लाचग l - िासतिीय सङगीतलाई मल आधार बनाएर सङगीत कषिमा परवि गरका

कलाकारहरलन नपाल लगाएत तरबशवमा उतकषटता हाशसल गरका परमारहर रहकाल

- बयषटकतको असल जीवन िली र आचररमा पररबतणन लयाउनका लाचग - ववशभनन खाल तनाव र दौडधपको जीवन िशललाई िाषटनत र आननदमय

बनाउनको लाचग - सररलो आकषणक र लचचलो सतवर बनाउन रागराचगनीको भद थाहा पाउन र

कदठन सतवर समहलाई पतन सहज ढगल गाउन र बजाउन सकन बननका लाचग l

- सङगीतका पराचचन गरनथहरको अधययन चचनतन मनन र सङगीत ववषयमा नयाा नयाा खोज अनसनधान गनणका लाचग

- सभय सससतकत ससतकारी र योगय कलाकार बननका लाचग

शासतरीय सङगीतिा अिसर

- रामरो गर र उचचत जञान पाएमा असल र गरी कलाकार बनन सककन l - िासतिीय सङगीत शसकनाल सब खाल सङगीतको जञान पतन एकसाथ

सतवतःसतफतण रपम हन l - सब सङगीतको जननीको रपमान िासतिीय सङगीत रहकोल धयण गरर शसकको

खणडमा चार परषाथण अथण धमण काम मोकषको परापत हनछ यसततो िासति मत रहको छ l

- खोज अनसनधान र सजना िषटकतको ववकास हन l - समगर दिको सब जात जातत समदायको भाषा ससतकतत र सङगीतको

अधययन चचनतन गरर शलवपबदध गन कषमता वदचध हन l - राजयको सङगीत समबषटनध नीतत तनमाणरको तहमा पगन सककन l - िासतिीय सङगीतको अधययन ल राषटषिय अनतराणषटषिय सततरमा दिको

परतततनचधतव गरर भाग शलन अवसर परापत हन l - ववशव सङगीतको समगर चचनतन गनण र दि शभिको सङगीतको अवसतथालाई

चचिर गनण सकन कषमता वदचध हन l - राजयको सासतकततक तथा बौदददक समपततको रपमा रहर पराजञजञक कषि

लगायत ववशवववदयालयहरमा ववजञको रपमा रही कायण गन तहमा पगन सककन l

शासतरीय सङगीतको चनौती

- जनमानसमा अि बदढ लोकवपरयता हाशसल गनण l - गरसततरीय कलाकारहरको उतपादन गनण l

- कठोर साधना र तपसतयाबाट माि िासतिीय सङगीतको अधययन परा गनण सककन भएकोल तरबचम छोडर अनय सगम सङगीत तफण उनमख हन परवतत बढन l

- उिम गरी र शिजञकषत कलाकारहरको उतपादन गन गरसततरीय सङगीत तरबदयालय र ववशववयापीरपमा परततसतपधाण गनण सकन वयवहाररक सङगीत शिकषाको ववकास गनण l

- दिभरर छररएर रहका सङगीत परशिकषर कनरहरलाई एउटा छाता मतन राखर गरसततरीय पाठयकरम बनाई परीकषा पररालीमा लयाउन पन l

- कलाकारहर रोजीरोटीमा माि शसशमत रहन पन बाधयता हन l - सङगीत तफण राजयको धयान कषटनरत गराउन नसकन l

शासतरीय सङगीतको सिसतयाहरका सिाधान

- दि सङघीयतामा गईसककाल अब हरक राजय वा परानतमा कलाकारहरको हकदहत र सरकषरको लाचग छटट तनकायको गठन गररनपन l

- िासतिीय सङगीतमा समवपणत साधक सजणकहरको पररचय बनाई जीवन सततर सहज बनाउन आजीवन भिा सवा सतरबधाको राजयल गयारनटी शलनपन तब माि शसजणनाल तनरनतरता पाउाछ र राजयल असल र सततररय सङगीतको ववकास गनण सकछ ककनकक भोको पटल शसजणना गनण सकदन l

- िासतिीय सङगीतको अधययन अधयापनलाई सहज बनाउनलाई हरक परानतमा तरबदयालय तथा महातरबदयालय तहमा िासतिीय सङगीतको पाठयकरम बनाई लाग गररनपन l

- राजधानीमा कषटनरत लशलतकला पदम कनया र रतन राजय कयामपस जसतत दिका अनय भागमा पतन ववसततार गररन पन l

- लशलतकलाको ववकासको लाचग छट Performing Art University को सतथापना गररन पन l

शासतरीय सङगीतको बततिान अिसतथा

- सतकल दखख + २ हाद ववशवववदयालयमा सतनातकोिर र ववदयावाररधी सममको अधययन हन गरको छ l

- समगर नपालको सङगीतको ववकास र सरकषरको लाचग राजयका तफण बाट ररडयो नपाल ( २००७) नपाल सङगीत तथा नाटय परजञा परततषठान (२०६४) सासतकततक ससतथान (२०१६) नपाल टशलशभजन (२०४१) लगाएतका ससतथाहरल योगदान ददइरहका छन l

- कलाकारलाई रोजगारीको अवसर शमलको छ l - राजधानी लगाएतका मठ मषटनदर गठीहर जसततः ककरातशवोर सङगीत

आशरम यलमाया कलाशसक पिपततनाथ सगीतकला परततषठान कपन सङगीत सरोवर कलातनचध सङगीत महातरबदयालय राम मषटनदर आदद कषिहरमा पाजञकषक माशसक रपमा िासतिीय सङगीतका कायणकरमहर हाद आएका छन l

- दजणनौ तनजी सङगीत परशिकषर कनरहरल पतन सङगीत शिकषा परदान गद आएका छन l

- राजयल लगाएत अनय तनषटज ससतथानहरल बषनी कलाकार तथा सरसतटाहरलाई परसतकार तथा मान सममान परदान गद आएका छन l

- कलाकारका हकदहतको लाचग ववशभनन ससतथाहर सककरय छन जसततः रोयलटी सकलन कनर परसततोता समाज सगीतकार सघ गीतकार सघ गायन समाज आदद l

- टशलशभजन लगायत ववशभनन खाल सचारका माधयमबाट आयोजना हन गरका गायनका ररयलदट िोहर जसबाट छोटो समयमान आफनो कला दखाएर चचाण पाउन समभावना बढर गएको छ

- आफनो कलालाई आफल परसततत गनण शमलन कसको पछी लागन नपन ववशभनन परववचधको ववकास भएको छ जसतको परयोगबाट सहज ववशव समदायमा आफनो कला परसततत गनण सककनछ

सङगीतिा गररएका नयाा परयोग (थरापी)

सङगीतदवारा गररन ववशभननखाल रोगहरको उपचार पदधतत लाई न music therapy भतननछ l सतनायववजञानमाचथ अनसनधान गरररहका मनोवजञातनक डयातनयल ज लशभदटनका अनसार मानशसक र िारीररक सतवासतथयका लाचग सङगीत चचककतसाका पररराम रोचक छन अनसनधानका अनसार यसल रोगपरततरोधातमक कषमतामा सकारातमक असर पछण यसल तनाव ददन हमोन कम गराउाछ सङगीतका अततररकत आमाको लोरीलाई पतन महततवपरण मातनएको छ लोरी सनन बानी परको बचचा िानत र सजग हनछ बचचालाई तनरा लागछ र ऊ घररघरर रा दन सङगीत थरापील गभणवती मदहलाको तनाव पतन कम हनछ सङगीत सनन बानील आतमा र िरीरका लाचग औषचधको काम गछण कततपय रोगमा औषचधल काम नगरपतन सङगीतल जादमयी असर दखाउाछ िरीरको कोदटणसोल सततर कम गरर यसल तनावगरसतत मासपिीहरलाई आराम ददनछ तनयशमत सङगीत सनदा ददमागल रामररी काम गनण पाउाछ असहनीय पीडाबाट गषटिरहका मातनसलाई सङगीत सनाउा दा आराम पगछ कयानाडाको अलबटाण ववशवववदयालयमा तीनदखख ११ वषणसममका ४२ बालबाशलकालाई इनजकसन लगाउन बलामा सङगीत सनाउा दा कम पीडा महसस भएको चथयो सङगीत शरवरल िरीरमा इमयनोगलोबशलन ए बढाउाछ यो एनटीबडील िरीरका कोशिकाहर सतवसतथ राखनका लाचग ठलो काम गछण सकरामक रोग लागकाहरलाई उपचारका बलामा सङगीत सनाउा दा परततरकषा पररालीमा सकारातमक असर पछण l घररघरर तरबरामी हनबाट बचनछ भन सङगीत सनन थालनस ढाडको समसतया हटाउन सतमरर िषटकत दहरो बनाउन र रामरो तनरा लयाउन पतन सङगीत परभावकारी हनछ तर िासति मा आधाररत समधर सङगीत सनदा माि यी असर दखखन हन l चको डागड़ोग र ककण ि सङगीत सनदा चादह तनाव थवपनछ l

उपसहार

िासतिीय सङगीतको उपासनाल तरनत मन सतथीर र एकतरित भई सतवरमा र आफनो उपासतयमा सतथीर हन हनाल यो धयानमागणमा पतन परवि गनणका लागी आहत नाद अथाणत सङगीतको अतत महतवपरण भशमका दखखनछ l

आजको नपाली सङगीतको गरसततरमा सदधाषटनतक र वयवहाररक दव पकषमा धर अनतर पाउनको पछाडी भौततक लाभको लाचग माि िासतिीय सङगीत को साधना गररन हो l भौततक पराषटपत का साथ साथ आधयाषटतमक उननततको लाचग पतन िासतिीय सङगीत उविक महतवपरण छ भनन बझन जररी छ l कला सादहतय र सङगीत नबझन वयषटकतलाई सङगीत सादहतयको सपरशसदध गरनथ ldquoितकियमrdquo का रचतयता भतणहरर नीततितकम खडमा भननहनछ -

सादहतयसङगीतकलाववहीनः साकषातपिः पचछववषारहीनः तर न खादननवप जीवमानसततदभागधय परम पिनाम १२

अथाणत जो मनषय सादहतय सगीत कलाबाट वचचत हनछ तयो पचछर तथा शसग तरबनाको साकषात पिको समान हनछ तयो तरबना घाास खाएर जीववत रहन पि भए तनःसदह सौभागयको करा हनछ

यषा न ववदया न तपो न दान जञान न िील न गरो न धमणः त मतयलोक भवव भारभता मनषयरपर मगाशचरषटनत 13

अथाणत ndash जन मनषयसग ववदया तप दानको भावना जञान िील (सतसतवभाव) मानवीय गर धमणमा सलगनताको अभाव हनछ तयो यस मररिील ससारमा धरतीको बोि बनर मनषय रपमा ववचरर गन पि हनछ नीततशलोकका रचतयता राजा भतणहरर यो सतपषट गनण चाहन हनछ कक मनषयको दतनक चयाण यदद पट पालन अथवा तयस भनदा कदह कदम अगारड सखभोगका साधन जटाउनलाई माि सीशमत रहको छ भन उसमा र जनावरमा कन खास फरक रहादन खान-वपउन र सखःभोग गन यही उसको जीवनको उदयशय रहको हनछ मनषयको बौदचधकताको कारर सखभोगको साथ साथ अनय कराहर पतन सलगन रहको हनछ कवव यस करालाई महतव ददन चाहन हनछ कक मनषय र पिमा शभननता कवल िारीररक सरचनामा माि सीशमत न रहर तयस भनदा माचथ उठर ववववध कलामा रचच राखन चचतन-मननको सामथयण हाशसल गनण ववदया आजणन गनण परोपकारादद कायणमा सलगन हन आधयाषटतमक जञानमा रचच राखन आददमा क दरत हन पछण जो यस परकारको उननत दजाणको कमणमा लागदन मनषय

रपमा उसको जीवनको साथणकता वसतततः सददगध हन जानछ तयो धरतीको लाचग एक परकारको बोिन हो भनन सककनछ जसरी सङगीतका सात सतवरहरको उतपवि उदाि अनदाि र सतवररत बाट भए सदहतयको वयाकररमा पतन यी तीन सतवरको वविष महतव रहको पाइनछ l सादहतयमा यमाताराजभानसलगा सि बाट ववशभनन छनदहरको तनमाणर भए जसतत सङगीतमा सारगमपधतनसा सि बाट न ववशभनन परकारका सतवरहर एव राग राचगनी हरको उतपवि भएको पाइनछ l कावयको लाचग ववषय िबद र अथण चादहनछ भन सङगीतको लाचग लय सतवर र धन आवशयक हनछ l सादहतय अथवा कावय सङगीत ववना परण हन सकतन तर सगीतमा सादहतय र िबद नभए पतन हनछ सादहतय िबद परधान हनछ भन सङगीत नाद परधान हनछ र िबद गौड रहनछ l चतन अचतन दबलाई परभाव पन कावय जसततो सङगीतलाई बझन मगज खखयाउन पदन l यसको अततररकत सब उमरका मातनस परारी एवम वोट ववरवा लाई समत लठठ पान कषमता सङगीतमा रहनछ l

+be reg u|Gy reg lr

eftv)] lj=Pg= gtLdNnIosup2Ltd liquestlto +s)fUjflno

jfxfkf)f

b]j zfsup2 sup2LtTgfs -O=1943_ db|fM cfof nfOa|]L

fGbf]Uof]klgifb dGq kikd lbNnL 2 M gO hfu[tL k|sfzg

gfb-O=2002_gfbLo lzIff cg=

cfrfo lzjfh MsflGfGofogMkgdlb|t +s)f jff)ffLM rfvDjf ljBf ejg

ampfs k+0 cf]dsf gfy -O=2014_ k|)fj eftL +zf]lwsf k|f]0 eb|f

rfwLjff)ffLM lknu|LD klAnlz+u

gtLdbefujt dxfkf)f uf]vkM uLtfk|]

ofjNSo ofjNSo d[lt

परधान िकनतला सङगीत सोपान भडीपरार परकािन काठमाडौ वसनत सङगीत वविारद इलाहावाद भारत

सगीत शिकषा एव गर र शिषय

साहितय सगीत कला बििीन साकषात पि पचछ बिषाण िीन |

अराात साहितय सगीत मधय कन एउटा पनन कला नभएको वयकतत पि समान िो | आफनो कला दवारा चतनाको सवोचच सरान परापत गना र गराउन सतन न मानव िो | पराकनतक रपमा िन िो भन पनछीिरल

घर िनाएको नाचको करायको िडा मनमोिक दखन र सनन सककनछ | तर पनन मानव ल मानव जीवन को अकनतम परयोजन मोकष को लागग आफनो कला परयोग गन गररएको िनाल अर पराकनतक जीव भनदा अलग

अकसततव िनाएको िो |

सगीत कला मधयको पररम कला को रपमा शलन गररनछ तमाम लशलत कला को ववधा भनदा सगीत कला ल अर कला भनदा िित परभाव पान गदाछ | चतन अवचतन र अचतन सिमा सगीत को परभाव पन गरका ववशभनन तथयिर फला परका छन | पराचीन काल िोस वा वतामान काल िोस | िाासरीको धन सन पनछ गाई

ल साववक भनदा अशल िढी दध हदन िरक हदन सगीत परवाि िन ठाउमा भएका बिरवा को बिकाि नछटो िन आहद वतामानमा परमाणणत भएका न छन |

सगीत मा साहितय को परयोग पनन उगचत रपमा जीवनत परयोग गन गररएको पाइनछ | जि कन गीतकार

को गीतमा सगीत को उगचत परयोग गन गररनछ ति तयो गीत कालजयी िनदछ |

ldquoवदाना सामवदोसमीrdquo || ldquoमदभतता यतर गायती ततर नतषठामी नारद || ldquo सकककतया नारायण िबद मातरम

ldquo||

आहद कराल पनन गायन(सगीत) को मितव दखाउछ |

ldquoगाजल नत ठला ठला आाखाrdquo जि सगीतमय िनछ कलपनामा मगनयनी झकलकन पकछछन | ldquo ठमक चलत

राम चनरrdquo जि भजन को रपमा सनननछ सगीत को परभाव ल पाउज िजाउा द सामननमा हिडीरको पो िो कक

भनन भान िनछ |

गायन वादन र नतय को समकषट न सगीत िो | गायन लाइ अझ पषटता परदान गना वादन को परयोग गररनछ

तयस अनरप को नतय पनन गररनछ | िन त तीनवट ववधा छटटा छटट पनन परभाव पाना सफल छन तर पनन

ताल बिना गायन या नतय मा आननद को अनभनत िन पन जतती न िन ताल को सि काया वानछनीय

मानननछ |ताल कया ल आननद को अनभनत गराउादछ तयस ल राषर िोक को समय मा सर िाजा को मातर

परयोग गन गररनछ यसत ताल न जानाती गायको न स वादक कन पनन करा मा जि माननस आफनो सकपणा बिवक परयोग गदाा पनन सफल िन सतदन अनन कसलाई सोधर सफल िन भनन करा खोजद हिडछ

| आफ भनदा बििकी वयकतत फला पाछा अनन उसल सकपणा सफलता िात पादाछ | अनन तयो सफलता शसकाउन वयकतत गर को रपमा मानदछ उसल समाजमा तयो करा भन पनछ उसको जसत समसया भयका अर बयतती ल समाधान गराउन समरा बयतती लाई गर भनदछन र परशसदधी फलाउादछन | उततम गर लाई

उसको परशसदधी मा कन लोभ िादन बयततीमा भएको जञानको जयोनत मा लागको पदाा िटाउाछ र तयस मा फरर पदाा न लाछन उपाय िताउाछ र आफनो िाटो लाछदछ

आफभनदा अगाडी हिडको वयकतत लाइ गर या मागादिाक को रप मा शलन गररनछ | तसता मिान जन

िरक पदचाप लाइ आधार मानन चलन छ | ldquoमिाजनो यन गत स पनर ldquo अराात गणी मिान वयकततिर

ल अपनाएको िाटो कलयाणकारी िन गदाछ र विाालाइ गर मानर अर जनिर कलयाणको कामना मा तयहि

िाटो अवलकिन गदाछन | गर मानदछन आफलाई तयस िाटोमा हिडन पाएकोमा गौरवाकनवत मिसस

गदाछन | मिाजनिर कसलाइ आफनो चला शिषय िनन आउ भनदनन आफनो कियाकलाप िदध रपमा पालना गछान | माननसिर जि तयस वयकतततव िाट परभाववत िनछन तव िाशम पनन तसत िन सक िनथयो भनन कामनाका सार विाा सग सार को कामना गदाछन | यानी मिाजनिर को मिानताको सगनध ल जनिर

मोहित िद सकमख पछन गदाछन र विााक आशरय गरिण गदाछन भनका गरका करािर लाइ पालना गदाछन

तसको फलसवरप जीवन मा सकारातमक पररवतान मिसस गदाछन |

सगीत मा पनन तहिकरा लाग िनछ | मिान सगीतकार को सगीत ल सकारातमक परभाव पादाछ तयसको परभाव आफमा पनन पाना सतन कषमता को बिकाि को कामनाल खोकज खोकज तसता मिापरष को सकमख

आफलाई पादाछन | गर मानदछन ककनकी विााल भनको िाटोमा हिडको समयमा आफमा भयको बिकारको क परभाव िाट मतत मिसस गदाछन | ककनकक सगीतको परभाव न तसतो रिको पाइनछ | आलवार योगग

वािनसवामी िरर दास मीरा जीकबिर जीतकाराम आहद ल सगीत (गायन) को सार ल विााका इषट को साकषातकार गना भएको इनतिास छ |

गर िबद को अरा न अजञानको पदाा िटाउन वयकतत को रपमा शलईएको छ | सगीत लाइ गरमखी ववदया भननएको छ ककनकक कियातमक बिषयका अनक भराकनत गर दवारा मातर िल गना सकभव छ | पसतकमा

उललख गररएका ततविर आफल मातर सहि तररका िाट गायन वा वादन सकभव छन तयसल बिना गर

सगीतमा सफल िन सककदन | कन पनन परकारका ववधा मा गर को सरापना जररर छ जो तयस बिषय मा मिारर िाशसल गरको िनछ | तयसल गर को बिषय मा ldquo गररबाहमा गरबिाषण गरदवो मिशवरrdquo यानी गर

सकषट कसरनत र सिार कायामा समरा वयकतत को रप मा माननएको छ | उतकषट गर र शिषय एक अकाामा पररपरक िन गदाछन | चतनाको ववशभनन आयाम को मागादिान गरदवारा न सकभव छ |

पराचीन समय मा सि बिषय िर सनर न पठन पाठन गन चलन गरयो भनन करािर पढन पाइनछ |

वद को पठन पाठन सनर न गन गररनथयो तयस कारण शरनत नामाकरण भयो | जि माननस मा सनर गरिण

गन कषमताको हरास िन लकषण परतीत िन रालयो अनन लखर पढन परचलन को सरवात भयको िो पराचीन

समयमा ६४ कला को अधययन अधयापन गररनथयो | राज कल ऋवषकल वपतकल गरकल आहद ससरा िाट शिकषा परदान गन चलन गरयो |६४ कला मधय लशलत कला को सरान पहिलो तयस मधयमा पनन सगीत

लाइ सवोपरी मानन गररएको छ | साम वद न सगीतको जननी को रप मा माननयको गायन आज को समयसकम आइपछदा ववशभनन अवसरा पार गद िाशम सकमख छ |

शिकषण को मखय तीन अग मानननछ

१ गरशिकषक २ शिषय बिदयारी ३ बिषय शिकषा

मागरका तीन करािर जि सकननहित िनछन ति शिकषण िनछ | तीन मधय एउटा कराको मातर अभाव

रिमा अशभषट शसदध निन िनछ | अनन तीन मधय एउटा पनन कमजोर रिमा उतकषट ननतजा आउन करामा सनदि रिन सतछ | तयसल तीनवट को सामनजसय रिन आवसयक छ | जसरर एउटा राषर समदध िन

राजनताराजनीनतकमाचारी तनतर कमाचारी ननयम कानन पालना सि ल आफनो कताबय िदध ढग िाट

पालना गना आवसयक मानननछ ति मातर उतकषट राजय िन जानछ | तयसत परकारल गरशिषय र शिकषा को सहि सयोजन िाट उतकषट परनतफल को कामना गना सककनछ | गर मातर गणी भएर िनन तसलाई गरिण गन वयकतत पनन पातरता भएको िन पदाछ आफलाई खाशल पार पछी मातर कन वसत भना सकजलो िनछ | गर का सकमख िादा म लाई आउाछ भनन भाव को सवारा अभाव िन पदाछ भनन चलन छ समगर मा भनन पदाा गर

एव शिषय दव एक अकाा मा पररपरक छन | कन एक को अभावल अशभषट शसदध िदन |

पराचीन समय दणख न उतकषटता को खोजीमा िाशम मनतर तनतर िद यनतर यग सकम आइपगका छौ | परसतत लखमा गर र शिषय मा क क ततव िन पछा भनन करा उललख गना खोकजएको छ | यस बिषय मा िाल

सकम आइ पछदा गर र शिषयमा ननकन करा िर िन पछा भनन अनभव गररएको छ |

गर मा िन पन गण

१ जञान २ ववजञान ३ वचन ४ परयोग शसदगध ५ शिषय ननसपादन ६ उजाा वदगध |

तयस गरर शिषय मा ननकन करा िरको परख गररनछ |

१ समपाण २ भकतत ३ मिनत ४ वफादारी ५ समय को पालन |

अि यस लाइ अशल बिसतार मा िझौ|

गर मा खोकजन करा िर |

१ जञान जन बिषय को अधयन गररनछ तयस बिषय परनत अमक वयकतत को जञान कनत छ यानी तयस बिषय

मा चाहिन बिषय वसतपरनत आवसयक करा िर कनत छ भनन करा पहिलो रोजाई िनछ | तयस वयकतत ल

बिषय लाइ तवततक सनका भरमा करा गरको िो कक आफ ल पनन सकयक परकारण शसकको िो भनन करा तयस

वयकतत ल शिकषा गरिण गरको गर वा घर पररवार आहद सि करा िररकन उसको पररकषण गररनछ र उसको ववदवतता को चाल पाउन गररचछ | तयस बिषय मा कनत करा िर को पराचीन काल दणख अहिल सकममा भएका पररवतान को िार मा पनन रािा िन पदाछ |

२ ववजञान ववषय को वविष यानी गिन जञान न बिजञान िो | ववषय ल बयतत गना खोजको करा लाइ गिन

रपमा गचनतन गन र तयसलाइ बयतत गना न ववजञान को रपमा शलन गररनछ | जसत बििान को समय मा ककन मनर सपतक मा अभयास गना पछा भनन करा को समाधान गना सतन बिलककित लयमा अभयाि गदाा िन फायदा सवर को कन परकारल अभयास गदाा क कराको फायदा शलन सककनछ आहद करा बिजञान शभतर

राखन सककनछ | शिषय को कन पकष मा झकाि िढी छ तसमा अझ ननखारता र अर पकष को सिल बिकाि मा धयान हदन जञान न बिजञान िो |

३ वचन यानी िोलन तररकाभाषा को परयोग िबद को चयन आहद करा को पनन बिचार गन गररनछ | कन कन िला मा गर ल अशल कठोर खालको िचन को पनन परयोग गना पन िनछ | अशल ररसाएर परयोग गररएको वचन ल बिदयारी अशल सजगता हदएर शसतन पनन िनछ तयस कारण पनन कन समयमा अशल रखो सबद

को परयोग गदाा बिदयारी को िीतलाइ धयान राणखएको िन गदाछ | ससकत मा एउटा नीती वचन ल भनछ ldquo

लालानाद िििो दोषा ताडनाद िििो गणाrdquo यानी धर माया ल पनन बिगगरन सकभावना िनछ समय समय

मा धयान हदन पन िनछ र उगचत कदम चालन पदाछ | वचन को अको परयोजन कन रचना रचना गन समयमा पनन मितव राखदछ कन िकनदि को रचना मा कन खालका िबदावली को परयोग गन भनन करा पनन यसशभतर

राखन सककनछ

४ परयोग शसदगध यानी भाषागत शसकाएका करा यनतर िाट पनन िजाएर वा गायन गरर परसतत गना सतन

िन पदाछ | कन पनन बिषय को शभबतर करा परयोगका सार िताउन सतन यानी कन राग मा परयोग गररएको बिषि कराको शलणखत मातर िन परयोग पनन गना सतन र िताउन सतन िन पदाछ | तिला मा कन घराना मा कसतो ननकाि या गायन मा दरिारी को गानधार या भरवी को गानधार को परयोय गरर दखाउन सतन | भपाली र रामकली या दिकार आहद ककन फरक छ भनन करा को भाशलभाती परयोग गरर शसकाउन सतन |

५ शिषय ननषपादन अनत शसकर आएका नभई सरदणखन आफल शसकाएका शिषय कनत छन या खिर

जसत मौसममा मातर िन अर िला सखा िो कक अरवा शिषय लाइ अनघ िढन या कसरर अगाडी लर जान

सककनछ भनर िर सकभव परयास गन काम ल न शिषय ननषपादन िन सकभव छ विााल नाम शलन शिषय

ल गरका काम िाट पनन शिषय ननषपादन को िारमा जानकारी शलन सककनछ | शिषय को परगनत न भएको मा गचनता शलन खालका गर िन जररर छ | उसका परगती मा भएका िाधा िर सकभव िटाउन खोजन गरल मातर

असल शिषय ननषपादन गरको पाइनछ | आफमा भएको कला गरल योछय शिषयलाइ मातर परदान गरर योछय

शिषय ननषपादन गनािनछ | िरक ववदयारी को कषमताको पहिचान गरर तिी अनरप को तयारी गराउन

सकमा मातर शिषय ननषपादन अझ िढी परभावकारी िन जानछ | ५ जना शिषय लाइ ५ परकार िाट तयार

गराउन सतन आफमा चनौती िन जानछ शिषय आफलाई एउटा बिषयमा ककनरत गरर अभयाि गछा तर

गर ल ५ वटा न करा को अलग अलग गचनतन मनन गना परम आवसयक पछा | जसरर तिला मा िनारि

घराना अनतगात ५ ववदवानको तिला सनन िो भन सिको अलग अलग तिला छ कसरर तसको कारण यहि

िो कक जो शिषय को जन करामा जयादा रची छ तयस अनरप को शसकाई गर िाट भएको छ | ताल योगी पणडीत सरि तलवालकर जी का सि ववदयारी को तिला अलग -२ न छ | शिषय उतपादन गना आफ मा एक

चनौती िो

६ उजाा वदगध गरल िासतर र तयस को परयोग का सारसार तयस बिषयमा अझ रामरोसग लाछन उजााको वदगध िन करा िर ननरनतर परवाि गना अतयनत जररर छ | उजाावान गर ल मातर उजाा हदन सतछ | जि शिषय

गर को भट िनछ अभयास करा पहिलो परारशमकता मा राखदा अझ उततम लाछछ | तयस उजाा ल बिदयारी मा जीवन मा कहि गना सतन िल परापत गछा | भट िादा कन सगीतसाधकको सकारातमक करासगीत को रचना को करा नयाा रचना को करा ल ववदयारी मा उजाा भन काम गछा | बिशिषट गणवान कलाकार को शरबय

दशय समागरील पनन ववदयारी मा उजाा भन काम गदाछ | उचच कोटी का गरिरल आफना चला लाइ आफनो जसतो नभ आफ भनदा फरक काया गना सदव पररणा परदान गना भएको करा उजाा परापत कलाकारिरको करा िाट परापत गररएको पाइनछ | ववदयारी को कषमता अनरप को कायामा लाछन पररणा गना जसत कन ववदयारी रचना गना रची राखछ भन तिी काया मा उसलाई िौिला परदान गन | सगीत का ववशभनन आयाम मा काम

गना सतन खिी को समगचत ढग िाट पहिचान गरर तसलाई अनघ िढन उतपररणा परदान गन | कन कन ववदयारी लाइ सगीत को िार मा खोज गना मन लाछन िन सतछ तसतो ववदयारी लाइ बिषय को िारमा मागा दिान परदान गन काम पनन गर िाट िन पदाछ |

तयस गरर शिषय मा िन पन करा |

१ समपाण कन पनन करामा आफलाइ सकपणा रपमा तयसमा नलगाएमा सफल िन सककदन | तन मन र

धन सि तफा िाट एकागर िन न समपाण िन िो | यानी गरल भनका बिषय सकिकनध करामा एकागर िन न समपाण िन िो | गरल यमन शसकाउन भएको िलामा भपमा धयान िन िदन | पठन पाठन भएको िलामा भानछामा धयान िन भएन |

२ भकतत भतत ल तिी करा मातर गदाछ जन करा जसको भकतत गदाछ तसलाई मन पदाछ | तसो नगरको खणडमा जसको भकतत गरको उसलाई भनदा पनन भतत लाइ अशभषट शसदध निन िन जानछ | यिाा भकतत

भननाल बिसवाि भनन अरा िन जानछ | गरल समय अनसार शिषय लाइ शसकाउान करा िर शसकाइ िालन िनछ तयसल ितार नगररकन धयाका सार काम शलन पदाछ |

३ मिनत गरल शसकाएका करा लाइ आफल पनन मिनत गररकन साधना गना पदाछ अनन मातर साधना फशलभत िन जानछ | एक पलट आइिालयो भनर छोडयो भन तसमा पररपतवता िदन तयसल गरल िताएका शसकाएका करालाई ननरनतर मिनतका सार गाउन िजाउन गरररिन पदाछ | मिनत नगन शिषय लाइ गर

ल पनन यो मिनत गदन भनर तवतत धयान नहदन िनाल झन कसरनत जहटल िनन जानछ | शिषय ल मिनत

गरमा गरलाइ पनन शसकाउन ननरनतर नयाा करा गरररिन मन लाछन िनछ | भनन गररनछ गर ल शसकाउा दन

शिषय ल शसकाउन िाधय िनाउछ यानी शसकाउ शसकाउ लाछन िनाउन सतन पछा तयो ति मातर सकभव िनछ

जि शिषय आफ मिनत गदाछ |

५ िफादारी यानी भनको मानन गर ल भन पछी ज गरन पनन पनछ न िटन | शसकाएका करा लाइ जसताको तसत गरर गाउन या िजाउन | जि िफादार छ भनन करा कसरर िनछ ति गरल सि करा कन िाकक नराखी कन शसकाउन िनछ अनन मातर आफनो अशभषट शसदध िनछ | मिाभारत मा अजान र असवतरामा को परसङग

आउछ कक जनत ववदया अजान लाइ रोण ल हदन भयो तती असवतरामा लाइ हदन भएन ककन मिनती र

आफनो ववदया गलत परयोग निन अवसराको जञान ल गदाा न तसतो भएको िो | गर सग शसकको ववदया िो परयोग गन िलामा गरको समरण पनन िफादारी िो | कहि समय एक जना गरकोमा जान फरी अको गरकोमा जान यसरर ननरनतर गरिर पररवतान गन चलन उपयतत माननदन | कन जनावर पाशलयको छ भन उसको माशलक भनदा सि कराल उततम अर कन मानछ साग तयो पालत रवततदन तयसतो गरर िफादार रिन न सक

पनन सक जनत िफादार िन उततम माननएको छ

६ समय को पालन समय को पालन सिल सकयक परकारल गना आवसयक छ यहद समय को पालन गररएन

भन आवसयक काम ननषपादन िदन | कन पनन कामको लागग तोककएको समयमा तयो काम परा गना पदाछ

| भन को समय मा तोककएको काम गररएको खणडमा मातर समय को पालन गररएको मानननछ | शसकाउन समय अभयासगन समय सगीतमा समय अनसार को राग िनछ सहि समय मा सहि राग को परयोगल

ववशभनन काम गन रािा न छ | दख को समय मा सख को समय का लागग अलग -२ ताल र राग को परयोग

गन गररएको पाइनछ | समय को परवाि न ताल को रपमा परयोग गररएको िो | गरकल मा रिी शिकषा आजान

गन ववदयारी लाइ ननयम को पालन अतयनत आवशयक ततव मनननछ |

आफल शसकको बिदया मा न कहि गरर दखाउन उददशयका सार लागग परको बिदयारी ल आफनो किागरिदगध अपरतीम कौिल लगन ननयम नतरब समरण एव आसरा आहद गण भएको खणड मा मातर

रामरो कलाकार िनन िनछ | शसतदमा गर को सननगध परापत गदमा मातर कलाकार िनन भनन िदन | ननरनतर

एक गर को नजीक रिर शसकपछी मातर एउटा बिषय मा चाहिन सकपणा करा परापत गना सककनछ | तसपनछ

अरकन गर सग अर न करा शसतन मन लागमा आफना गरको सिमनतमा शसतन जान परकपरा पनन छ |

आजको समय सकम मा आइपछदा पनन जनत ससारमा नाम किाशलएका कलाकारिर िनिनछ विािरल

एकजना गरसग गर शिषय परकपरामा रिी सगीत शसतन भएको पाइनछ | लगानी कतााल आफल लगानी गना भनदा पहिला लगानी गना लागको कषतरको जानकारी परापत गन गदाछन तयस गरर कन पनन गरल आफनो

समय ववदया मिनत आहद लगानी गना भनदा पहिला परनतफल रामरो िनछकक िदन भनन मागर को तररका परयोग गररकन िन परचलन छ | तयस कारण जान बिवततक या शिषय िनाउन भनन करा सननासार तरनत

सवीकार नगन चलन छ | मागर उललणखत करा िरको िारमा रामरोसग जानकारी शलन कहि समय लगगिालछ

कवव भबतरािरी भनन िनछ ldquo गण लबधा सवयमव सकपदrdquo गणको बिकाि न सकपवतत(सकपदा) आगमनको कारण िो | जसतो परकार को सकपवततको भणडार गना खोकजएको िो तसतो गण को बिकाि वानछनीय छ |

lzIffdf +uLtsf] dxTTj

ndash dgdf]xg yklnof

GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG

kjkLl7sf

flxTondash+uLtndashsnfndashljxLgM

fIfft kzM kR5ljiff0fxLgM

t[0f+ g vfbGglk hLjdfg ndash

tb efuw]o+ kd+ kzgfd

ndash gLltztsd M dxfof]uL et[xl

gjfF ztfAbLsf ljVoft bfzlgs dxfslj Pjd dxfof]uL et[xl eGgxG5 M

flxTo +uLt snf oL tLg Totf tTTj xg hn] dfgjnfO fFrf] cydf dfgj agfpF5

hnfO oL tLg sfsf] af]w 5g Tof] dflgsf cfj0fdf b]vf k]sf] fIfft kz g xf] 3fF

gvfOsg klg Tof] afFRb5 Totf JolStdf kzeGbf leGg oxL Pp6f sf dfq afFsL xG5 wGg

pn] 3fF vfFbg of] kzxsf] fefUo xf] gq kzn] Tof] klg vfg kfpFbgy]

oxfF et[xln] flxTo +uLt snfsf] dxTTj k|ltkfbg ub oL tTTjaf6 lxt

dfgjdfqdfly tLvf] Jo+Uo ugePsf] b]lvG5 o kBn] dfgjhLjgdf dfgjLo lzIffdf

ljz]iftM +uLtsf] dxTTjdfly k|sfz kfb5

ljifok|j]z

jttM dfgj Ps +j]bgzLn k|f0fL xf] dfgjhflt hlt dfqfdf +j]bgzLn aGb5 Tolt

g dfqfdf pm Eo +s[t pRr dfgjLo u0fxn] klk0f xG5 psf] oxL

+j]bgzLntfsf] gfkf] g flxTo +uLt snf xg Todf klg +uLt otf] tTTj xf]

hdf flxTo snf klg jtM dflxt xG5g g]kfnL a[xt zAbsf]z kN6fpFbf s]

ki6 xG5 eg] M ljz]iftM no tfn jfBjfbgsf fy ufOg] uLt g +uLt xf] g[To

uLt jfBjfbgsf] d]nnfO klg +uLt elgG5 oL Pp6f klk0f +uLtdf uLtsf

zAbsf kdf flxTo ufogsf kdf snf klg dflxt ePs] xG5 Ton] +uLt

jttM flxTo +uLt snf tLg tTjsf] +ud xf] eGg] alemG5

dfgjhLjgdf +uLtsf] s] dxTTj 5 eg] uxg ljrf ubf xfdL s] kfpF5fF eg] hLjgsf]

s]Gb|df g +uLt ljBdfg 5 xfdL hnfO hLjg eGb5fF Tof] knkn rlnxg]

Zjfk|Zjfsf] cgjt ult xf] knkn rlnxg] d6sf] w8sg xf] rfx] Zjfk|Zjf

xf] rfx] d6sf] w8sg oL bj +uLtabw 5g Zjfsf] w8sgsf] tfn bt

xGh]n dfq xfdL afFRg Sb5fF oL a]f a]tfn xgffy hLjgsf] dflKt xG5

o uL xfdL k|s[ltsf s0f s0fdf +uLt uFlhx]sf] kfpFb5fF rfsf] lrla ltfsf]

snsn kjgsf] fx6 orGb|sf] ult ft lbgsf] no oqtqjq [li6sf] ljf6

kdf +uLtsf tfn nosf] dGjo kfOG5 gftg kDkfdf xfdL o

ljZja|xdf08df rlnxg] ccedil kL cgfxt gfbsf] pmhfn] g of] dt [li6 rnfodfg

5 eg] ljZjf ub5fF oL +uLtsf] dxTTj j0fgftLt 5

lzIff +uLtsf] cGtDaGw

lzIff eg]sf] Totf] tTTj xf] hn] dflgnfO pbfTt efjgf uxg ljrf pRr ljj]sn]

dHHjn agfpFb5 lzIffsf If]qdf x]bf ul0ft bzg euf]n Oltxf wdzfq

of]uzfq dgf]lj1fg gLltzfq lrlsTfzfq cflb x]s ljwfFu +uLtsf] uxg

cGtDaGw x]sf] kfpFb5fF

k|l4 hdg lzIff zfqL k]6nf eGgxG5 M lzIff dgiosf hGdhft zlQmxsf]

jefljs Dos k|ultzLn ljsf xf]

jfdL ljj]sfgGb eGgxG5 M dfgjdf hg fDk0ftf uKt kn] ljBdfg xG5

TonfO k|ToIf phfu ug g lzIffsf] sfd xf]

lzIffsf] Ps dfq pbb]Zo dfgj hLjgsf] jtf]dvL ljsf ug xf] lzIffdf +uLtsf]

dxTTj k|sflzt ub dxfg ljrfs Kn]6f] eGgxG5 M

Music is a more potent instrument than any other for education

x]s afnaflnsfdf x]sf dflns lrsf fy pdf x]sf hGdhft

k|ltefsf ljlzi6 u0fxsf] Dos ljsf ug g lzIffsf] nIo xG5 +uLt Pp6f otf]

tTj xf] hsf] cltTj dfgjhGdsf fy k|s6 eOx]sf] xG5 elgG5 M cfdf g klxnf]

kf7zfnf xf] lzz hGdgffy G5 Tof] Pp6f k|s[ltk|bTt glus +uLt xf] hdf

Pp6f otf] cdt xo ns]sf] xG5 hsf] efiff pgsL hggL cfdfn] aembl5g To

cgk pgL cfkmgf] lzznfO tgkfg ufpFl5g To f]bgdf ns]sf] efiff aem] psf

v ljwfsf] Jojyf ldnfpFl5g

Pp6f k|lbw nf]sf]lSt 5 M ufpg g anfO cfpFb5 hxfFDd +uLtsf]

jfn 5 gftg kDkfn] s] eGb5 eg] osf] pTklt [li6s fydf ePsf] xf]

hutlktf a|xdfsf rf dvaf6 rf j]bx k|s6 eP M Cuj]b ohj]b fdj]b cyjj]b

oL rf j]bdWo] +uLtsf] pTklTTf fdj]baf6 ePsf] xf] ptf kffl0fs flxTon]

+uLtsf] klefiff oL u]sf] 5 M

uLt+ jfB+ tyf g[To+ qo+ +uLtdRot]

cyft ufog jfbg g[To oL tLg snfsf] +ud of lqj]0fL g +uLt xf] oL adf

klg ufog cGo j nlnt snfxdf jgt]i7 dflgG5

[li6sf] jl0fd laxfgLb]lv k|nosf] sfnf] GWofDd +uLtsf] cltTj jq

ljBdfg 5 Gt tnLbf eGgxG5 M

lIflt hn kfjs uug dLf k+r lrt ox cwd zLf

cyft k[lyjL hn t]h jfo cfsfz log k~r tTjx ldn] dfgjsf] zL lgdf0f

ePsf] xf] oxL g hLjgsf] cfwf xf] otf xfd|f j1flgsxn] cfkmgf uxg

cgGwfgaf6 s] lgisif lgsfn]sf 5g eg] pQm kfFr tTjxdf +uLt k|r dfqfdf

ljBdfg lxcfPsf] 5 lzIffsf] If]qdf +uLt Pp6f snf klg xf] lj1fg klg xf]

pGgfOf+ ztfAbLsf] cGTolt cg]sfg]s ljbjfg j1flgsxn] s] l4 usf 5g eg]

hg k|sf Pn]S6laquof]g k|f]6f]g Go6laquof]g kdf0fsf] dVo cjoj xg 7Ls To k|sfn]

+uLtsf kdf0fdf klg oL tLg cjoj kfOG5g M

efj M P]n]S6laquof]g j M k|f]6f]g tyf no M Go6laquof]g

k|s[ltsf tLg u0f M Tju0f hf]u0f tdf]u0f dt k|s[ltdf jq ljBdfg x]sf

xG5g oL g +uLt leq klg log tLg u0f ljBdfg xG5g

gfbfwLg+ hut+ jd cyft M Dk0f a|Dxf08df Pp6 cgfxt Wjlg JofKt 5 o

WjlgnfO k|0fj klg elgG5 The Sound Of Om Wjlg t+uaf6 ckf pmhfsf] pTklt

Jojxf tyf efltsLaringff klg lbw 5 lgsxsf] kbrfksf] nofTds pmhfaf6 kn

elTsg] tYo clxn]Dd klg OlGhlgoxsf nflu Pp6f rgftLk0f vf]hsf] ljifo

lxcfPsf] jlemG5 k|frLg sfndf fdmdashufgbjff b]jL b]ptfnfO cfXjfg u]sf] Gbe

xfdLn] fdfo0f dxfeft tyf kffl0fs u|Gyxdf k9b Gb x]b cfPsf 5f+ Psfu|

efjn] ulPsf] tltk|fygf elStufgn] ufos gtf]tfsf x[bodf OZjLo cnflss

pmhf cfgGbflt]ssf] cgelt xg] sf Totf fwsxnfO k|ToIf xFb cfPs ljifo xf]

dfgj]t k|f0fLdf +uLtsf] k|efj

+uLtn] dfgjdf dfq geP kzkIfL cGo hLjhGtdf klg uxg k|efj kfg] sf

vf]h cgGwfgaf6 lbgfglbg kTTtf nfUb cfPsf] b]lvG5 rLgsf rfFu kf] n] lsfxsf

+uLtsf] cg]sfF ls8 tof uL k|o]fu u] s] lgisif lgsfn] eg] M nfdvsect]nfO

+uLtk|lt uxg cflSt xG5 Tosf] k|ToIf pbfx0fsf kdf udLsf lbgxdf ljBtLo

oGqaf6 lgsg] dw cfjfhn] n77 eP c+Vo nfdvsect]xn] cfkmgf] k|f0fsf] cfxlt

lbPsf] xfdLn] b]v]sf 5f dfsf] klg dw +uLtsf] wg gL Tosf] |f]tsf glhs

cfOkUb5

k]lng gfds k|m]Gr n]vs h]ndf xFbf afFL ahfP dfsfnfO cfkmgf] ghLs

af]nfpFy] ok|sf Pp6f 8]L kmfddf +uLtsf] k|of]u u] ufOxdf osf] s] stf]

c kb5 eGg] lgisif klg lgsflnPsf] 5 ToxfF x]sf $ ufOxn] dw +uLt

g]kl5 blgs amp)) ln6Dd a9L bw lbPsf] tYo km]nf k]sf] 5 pgLxsf] cfxfdf

sg kljtg guLsg g s]jn +uLtsf dfWodn] ToxfF TfL ufOxaf6 kfOg] bw $$$

ls=u|f=af6 $ ls=u|f=Dd a9L ePsf] tYo e]l6Psf] 5

eftsf ljZjljVoft +uLtfws ccedilsfgfy 7fsn] nvgpsf] Ps

lrl8ofvfgfdf k|of]u u] s] kTtf nufP eg] M af3sf glhs hfFbf psf cfFvfdf

klxn] pu| lx+s efj ki6 klnlIft e Ox]sf] lyof] t sf]dn ufGwfsf] ufgaringff

Tosf] cfFvfdf Ps If0fkl5 kljtg cfof] pn] cfkmgf] kR5 ssn] em+ xNnfpg

yfNof] psf cfFvfdf jfTNo efj k|s6 eP cfof]

xfd| dns g]kfndf klg Ps hgf k|l4 dfbn jfbsn] la|l6z Kofn] xndf

uO ssdfly +uLtsf] k|of]u u]sf lyP s] kTtf] nufPsf lyP eg] M Pp6f ljz]if

k|sfsf] ufog g]kl5 ssx g yfNbf x]5g of] k|of]u ug] snfsf xg M Gx5]dfg

8+uf]n

jgkltdf +uLtsf] k|efj

+uLtsf] c k|f0fLxdf dfq geP af]6 ljjfxdf plTts uxg kn] k]sf] xG5

eGg] sf klg ljleGg k|of]ubjff lbw xg cfPsf] 5 h]=L= af]n] ljz]if

cgGwfgbjff jgkltdf klg hLjg xG5 eg] k|dfl0ft ugePsf] 5 kjf]St

+uLtfws k+= ccedilsfgfy 7fsn] jxfFsf] k|of]uzfnfdf uP Psrf]l6 dfq fu ejL

ufpFbf PsfPs ljjf kftdf gofF rds cfPsf] ToxfF dklyt dflgxn] k|ToIf

b]v]sf lyP

blIf0f eftsf] cGgdnfO olgjl6Ldf jgklt ljefusf s]xL 5fqxn] +uLt4ff

af]6 ljjfdf cbet k|of]u u]sf] cgGwfg lgs rlrt 5 Ps lsldsf bO af]6

ljjf tof uL Pp6f ljjfnfO ljleGg jxbjff sof+ lbgDd k|efljt ulPsf]

lyof] eg] bf]|f] ljjfnfO jtGq kn] k|s[ltd lge flvPsf] lyof] kl0ffd s] b]lvof]

eg] hg ljjfnfO +uLt gfOPsf] lyof] Tof] bf]|f] ljjfsf] ck]Iff jfugf ultn] a9]sf]

+uLtsf] Jofks dxTTj

+uLtsnf klg of]us Pp6f k xf] hg ll4 of]lus lqmofaf6 k|fKt xG5 ToxL

ll4 +uLtmdashfwgf af6 klg k|fKt xgS5 w] j1flgsxn] sg sfsf] kli6 u]sf

5g eg] zNolrlsTf ugkj Pg]yLlof sf] k|of]u ljgf g s]jn ddkzL dw

+uLtsf] k|of]u u] f]uLxsf] zNo lqmof ug lsG5 pgLxnfO Plglylofn] emF

+uLtn] klg KfL8flgf]w u]sf] lyof] of] klg jftjdf Ps k|sfsf] dflws cjyf xf]

dflwsf] cjyfdf olb ssf] sg c+u sf6of] eg] pnfO s]xL cgej g xFbg

+uLtdf klg oxL Ddf]xg zlQmsf] cgej u] k|frLg Clif dlg tyf dt gftg

wdfjnDaLxn] khf cffwgfdf tf]q dGq cftLufgsf kdf d]t +uLtnfO yfg

lbO khfs cljefHo c+u agfPsf] kfOG5

+uLtbjff d[lt sNkgf zlQmsf]] ljsf gltstf gfulstf fi6laquok|]d cflb

bu0fxsf]] aLhff]k0f Tk|j[lTTfsf] j[lbw ub bik|j[lTtxsf] kfGt0fsf fy xLgndash

efjgfsf] lgisfg klg ug lsG5 o cltlQm +uLt lzIffsf] f+s[lts

dgf]j1flgs tyf cfWoflTds dxTTj klg kfOG5 lrlsTfsf] If]qdf klg osf] dxTTj

fxgLo 5 jftndashlkQsf] nflu ljnlDat of dWono skmsf] nflu b|t nosf] k|of]u

pQd dflgPsf] 5 gk+stf kfunkg clgb|fsf] lgjf0fsf nflu f+uL Pjd jL0ffsf]

k|of]u x[bo f]usf] lgjf0fsf nflu ltfsf] k|of]u Pjd bjntf Qmrfksf] lgjf0fsf

nflu afFL cflb jfB+uLtsf] k|of]u pQd dflgPsf] 5

flxTo snf +uLt ljgf sg klg fi6laquon] pGglt ug Sbg eft tyf Tosf

ljleGg k|fGtdf klxn] Ps of]k]nL dlxnf 8fS6 P]gL j]]G6n] snxdf

ljZjljBfnoxdf +uLtsf] kf7oqmd dfj] ufpg ePsf] xf] TouL g ( df

jLGb|gfy 6uf]n] zflGt lgs]tgdf dfxfTdf ufGwLn] g ( df Tofu|x cfgtddf

+uLtsf] lzIff k|fDe ufpg ePsf] xf] xfd|f] b]zdf klg tTsfnLg dodf gtL dx]Gb|

jLljqmd zfxb]jaf6 snf tyf +uLtsf] ljsf Jojyfsf nflu lbOPsf] b]gjf] xfdL

anfO yfxf 5

fefUosf] sf s] xf] eg] xfd|f] b]zdf lzIff ljefun] +uLtnfO kf7oqmddf yfg

lbP +uLtsf] ljsf ljtf k|rf k|fdf Jofks r]tgf kmnfPsf] 5 cfzf ufF

of] s|d cem cufl8 a9b hfg]5 cfhef]ln +uLtsf] dxTtf cfsif0f a9b uPsf]

cgelt xG5 Tosf] kl0ffd s] xf] eg] klxn] +uLtnfO vf dxTTj glbg] sn

sn]hxdf klg clxn] osf] k7g kf7gsf] k|j[lTt al9x]sf] 5 oaf6 s] ki6 xG5

eg] s|dzM xfd|f] dfhdf lzIffdf +uLtsf] Jofks dxTTj x]5 eGg] sfsf] af]w xFb

cfPsf] 5

jftjdf o cfn]vsf] k|fDedf pbw[t ulPsf] dxfof]uL et[xlsf] sfnhoL syg

cgf +uLtsf] r]tgfn] DkGg cn dfgj aGg] dHHjn lbzftkm xfdL lbgfglbg

clu al9x]sf 5fF of] cToGt sffTds sf xf] lsgeg] +uLtnfO ^$ snfxdf

gt]i7td snf tyf rtbz ljBfdf onfO aeligcfTdfgGbAElig sf] ljBf elgPsf] 5

+uLtsf] uldfsf af] ljZjljVoft bfzlgs ctsf] Pp6f sygnfO pbw[t ub

ca o cfn]vnfO oxLF ljgtfd lbg rfxG5 M

Music has a power of forming the character and should therefore be

introduced into the education

GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG

zfqLo +uLtdf fu do l4fGt

kfjtL l3ld] kL=Pr8L

nlntsnf SofDk lq=lj

ljifo k|j]z

k|frLg sfnb]lv g ufog tyf jfbg f+uLlts lqmofsnfksf] nflu do lgwf0f xFb cfPsf]

b]lvG5 xfd|f] dfhdf nf]s+uLtsf] d[4 kDkf 5 hxfF ljz]if cjsf] nflu ljz]if wg tyf

uLtx 5g xfd|f] oxfF +uLtsf] dn gftg kDkfsf] wflds u|Gy fdj]b nfO dfGg] ulG5

+uLt zfqdf pNn]v kfOG5 Mmdashaeligo1 ofuflbssf ljz]if cjxdf fdufg ug] fdu klg

k|ftM jg dWofGx jg fo+jgmdash oL tLg sfn laefuxdf leGg leGg k|sfsf ufg

uby] AElig-7fs (((M _ fu +uLtsf] kDkfdf klg do lgwf0f k|frLgsfn b]lv g x]sf]

b]lvG5 fu +uLt slxn] b]lv z eof] eGg] k6 pNn]v kfObg t ftfF ztfAbLltsf]

+uLtsf] zfqu|Gy a[x2]zLdf jk|yd funfO ufogjfbgsf] cydf k6 kleflift u]sf]

kfOG5 Mmdash

aeligof]˜f Wjlgljz]ift jj0fljeliftM

~+hsf] hglrQfgf+ r fu pbfx[tM ^$AElig -IfLfu (^M $$_

cyft j tyf j0f xn] ljelift lalzi6 Wjlg hn] dgio AringbonfO +hg u5 cyft cfgGb

lbG5 eg] TonfO fu elgG5 k|frLg b]lv lnP cfwlgs sfnDdsf ljleGg +uLt zfq

u|Gyxdf tyf k|tlts0fsf] cfwfdf klg fuxsf] DaGw do+u hf]l8Psf] 5 +uLt

zqu|Gyxdf bzfOPsf fu dosf wf0ffxnfO k|tt n]vdf dVo ljifojt agfOPsf] 5

laleGg +uLtzfq u|Gyxdf fu do

+uLt dsGb Mmdash k|frLg +uLtzfqsf] u|Gy +uLt dsGbdf -rgf sfn ftf+ b]lv P3ff+

ztfAbLsf] aLr_ u|Gysf gfbn] k|of]u sfn cgf fuxsf] alus0f o k|sf u]sf 5Gfmdash

s _ of+z fu -k|ftMsfnLg_mdash ufGwf b]jufGwf wGgfL aGt cflb

v _ rGrsaquof +z fu -fo+sfnLg_mdash z4gf6 dfnjuf8 gf6L cflb

u _ dWofGxsfnLgmdash z+sfe0f anxG b]zL dgf]xfL cflb -uu (ampM _

fuxnfO pgLxsf] tf]lsPsf] dodf g ufpg ahfpg k5 eGg] gfbsf] dt b]lvG5 cGo

dodf ufpbf ahfpbf fusf] fGbo dfq geP k|ttstfsf] cfo gi6 xG5 eGg] klg +uLt

dsGbdf pNn]v kfOG5mdash

aeligfufa]nfk|ufg]g fuf0ff+ lx+sf] ej]t

oM gt[0ff]lt bflrsaquoL cfogZolt jbfUacuteUacute -uu (ampM mdash^_

+uLt Tgfs Mmdash t]xf+ ztfAbLlt rgf ulPsf] +uLtzfqsf] dxTjk0f u|Gy cfrfo z+ub]j

lrt +uLt Tgfsdf klg ljleGg fuxsf] j0fgdf fu do pNn]v u]sf] kfOG5 htf]ls

fu z4 sflzssf] k|of]u do lbgsf] k|yd k|x xf] ndash

sfdfJofZr slzSofM +hftM z4 sflzsM )

tf z8hu|xf+zZr k+rfdf+tM sfsnL

fjf]lx k|+gfGtM k0fM if8hfbLd5gM

jL frsaquofbetM lzlz] efdaNneM

u]of] lgjx0f] ofd] k|yd]˜Jxf] dgLlifeLM -rfwL ))M _

lxGbf]n fusf] do aGt Ctdf lbgsf] rfyf] k|x elgPsf] 5mdash

wjfTofiflesfjhjgfdshflthM (

lxGbf]nsf] lwToQmM z8hGofu|xf+zsM

cff]lx0fL k|+GgfB]] z4dWofVod5gM ($

sfslnslntf] u]of] jL] frsaquo]˜bet] ]

jGt] k|x] to] dsWjhjNneM (

Def]u] ljlgof]QmJoM -rfwL ))M _

+uLt bfdf]b Mmdash k|Gbdquof+ ztfAbLsf] cGTolt gtL ze+s aringff rgf ulPsf] u|Gy +uLt bfdf]bdf

ljleGg fuxsf] ufog do pNn]v ub +uelddf fhfsf] cf1f ePsf] a]nf do l4fGt

pn+3g ubf sg bf]if gnfUg] elgG5mdash

aeliggtL k~rDofM dfEo ofjt ofR5og+x]M

Eumledf g[kf1fof+ sfnbf]iff] g ljBt] UacuteUacute -zfqL (^)M $_

sfdbL Mmdash OjL g ) df blIf0f eftLo +uLt ljaringfg gtLs07 cfˆgf] u|Gy sfdbLdf

fuxnfO do cgf o k|sf laefhg ugxG5mdash

k|ftu]o fumdash uhL k+rd ej nlnt lanfjn dNxf b]zfIfL

fo+sfnLg fumdash dfnjuf8 axnL kfnL uf8 z4gf6

lbpf] pbo xbfsf] fumdash tf]8L z+sef0f

jsfnLg fumdash 306fj gfsectgffo0f

ftsf] dodfmdash sfdf]b

dWofGxsf] fumdash f+u

k|ftMsfnsf] fumdash aGt -kf7s ((M ($_

+uLt bk0f Mmdash qf+ ztfAbLdf kl08t bfdf]b aringff lrt +uLt bk0fdf k|ftMsfnLg fuxnfO

o k|sf pNn]v ulPsf] 5mdash

aeligdwdfwjLr b]zfVof ekfnL ejL tyf

j]nfjnLr dNxfL a+ufL fd uhL amp

wgfgtL dfnjgtLZr d]3fuZrkGrdM

b]zsff] ejZr nlntfZr jGtsM amp

P]t] fufM k|uLoGt] k|ftfEoflgTozM UacuteUacute -rGrsaquoz]vg k[=mdash(_

cyft dwdwfjL b]zfVo ekfnL ejL a]nfjnL dNxfL a+ufnL f]duhL wgfgtL dfnfjgtL

d]3 k+rd b]zsfL ej nlntf aGt oL fux w+ k|ftMsfndf g ufOG5g ouL

+uLt bk0fdf bf]|f] k|x t]|f] k|x foFsfn tyf flqsfndf k|of]u xg] fuxsf] klg pNn]v 5

fuxnfO ltgLxsf] tf]lsPsf] dodf k|of]u ubf dfq vbfos xg] fhfsf] cf1f xFbf

fu do sf] lgod pn+3g ug lsg] sf klg kl08t bfdf]b JoQm ugxG5mdash

aeligoyf]Qmsfn P]jt] u]ofM kj ljwfgtM

fhf1of bfu]of g t sfn+ ljrfo]t amp(AElig-rGrsaquoz]vg k[ (_

cfwlgs fu do l4fGt

fu +uLtdf do l4fGt nfO Jojlyt k lbP snfsf tyf gtf]tfxaLr emg kllrt

ufpg] sfo cfwlgssfnLg +uLt ljaringfg k+l08t lji0f gffo0f eftv+8]n] ugePsf] 5

lxGbtfgL +uLtsf jfwf0f lgodx cGtut sg klg fu cfˆgf] lglZrt dodf ufp Fbf

ahfpFbf dfq w] zf]efodfg xG5 eGg] sf eftv+8]hL pNn]v ugxG5mdash

aeligoyfsfn] dfAw+ uLt+ ejlt +hsd

ctM jo lgodft fu]˜lk lgodM s[tM UacuteUacute -eftv08] ))(M _ _

sg jx k|of]u ePsf] funfO sg dodf ufOG5 of ahfOG5 eGg] sfnfO b[li6ut ub

eftv+8]hLn] Dk0f fuxnfO tLg judf laefhg ugePsf] 5 -

aeliglxGbyfgLofuf0ff+ qof] jufM lglZrtf

jljs[TowLgft] nIonIf0fsf]ljbM UacuteUacute -eftv08] k[= amp_

oL tLg jux o k|sf 5Gfmdash

_ sf]dn ] w j k|of]u xg] fux

_ z4 ] w j k|of]u xg] fux

_ sf]dn u lg j k|of]u xg] fux

_ sf]dn ] w j k|of]u xg] fux M mdash klxnf] ju cyft sf]dn ] sf]dn w j k|of]u xg]

fux lbg ftsf] lGwa]nfdf ufpg] ahfpg] ulG5g Ton] of] jusf fuxnfO +lwk|sfz

fu klg elgG5 +lwk|sfz a]nf k|ftMsfn fofFsfn ul lbgdf bOk6s cfpg] xgfn]

+lwk|sfz fuxnfO klg k|ftMsfnLg fo+sfnLg ul bO efudf laefhg ulPsf] 5 laxfg

fFemdf rf b]lv ft ah] Ddsf] donfO +lwk|sfz sfn dflgG5 k|ftM sfnLg

+lwk|sfz fuxdf k|foM z4 dWod k|of]u ePsf] xG5 htM ej sfln+u8f fdsnL cflb

fo+sfnLg +lwk|sfz fuxdf k|foM tLj| dWod k|of]u ePsf] xG5 htM kjL klofwgfgtL

klof dfjf cflb fdfGotof ej kjL dfjf yf6sf fux +lwk|sfz judf kb5g

_ z4 ] w j k|of]u xg] fux Mmdash klxnf] jusf ] w sf]dn k|of]u xg] fuxsf] do

kZrft bf]|f] jusf z4 ] w k|of]u xg] fuxsf] do dflgG5 k|foM lanfjn sNof0f

vfdfh yf6sf fux of] judf kb5g htM lbgdf fu lanfjn fFemdf fu odg

fdfGotof lbg ftsf] bf]|f] k|x o jusf fuxsf] ufog do dflgG5

_ sf]dn u lg j k|of]u xg] fux Mmdash t]|f] ju cGtut sf]dn u lg jx k|of]u xg]

fuxsf] do fdfGotof lbg ftsf] t]|f] rfyf] k|xdf kb5 k|foM sfkmL cfzfjfL

ejL yf6sf fux of] judf kb5g lbgdf cfzfjfL ledknfL cflb ftdf au]gtL

dfnsf+ cflb fux of] jusf pbfx0f xg

kd]n k|j]zs fu Mmdash Ps jusf fuxsf] ufog do dfKt eP csf] jusf fuxsf] do

z xg] a]nfsf sg sg fu bj judf kg] ldlgtt nIf0f ePsf 5g lt fuxnfO kd]n

k|j]zs gfd lbOPsf] 5 htM dNtfgL hohoj+tL cflb kjL dfjf yf6sf fo+sfnLg

+lwk|sfz fuxsf] do z xgeGbf klxnf dNtfgL fusf] ufog do xG5 hdf tf]8L

kjL yf6sf fuxsf] ldlgtt nIf0f xG5

cWjbzs j Mmdash dWod jsf] gfd cWjbzs j klg fu do l4fGts Gbedf cfpF5

rfla 3G6fsf] donfO bO afa efudf laefhg ul klxnf] efu lbpf] ah]b]lv flt

ah]DdnfO kjfw bf]|f] efu flt ah]b]lv lbpFf] ah]DdnfO pQfw gfd lbOPsf] 5

fdfGotof tLj| d k|of]u xg] fuxsf] do kjfwdf z4 d k|of]u xg] fuxsf] do

pQfwdf xG5 sg klg fudf dWod jsf] cjyf x]] Tof] fusf] ufog do kjfwdf k5

of pQfwdf eGg] cGbfh xg] eP dfWodnfO cWjbzs j elgG5 of] lgod laz]iful

+lwk|sfz fuxdf nfu ePsf] kfOG5

jsflns fu Mmdash hg fusf] ufog jfbg do lglZrt gu] hgs a]nf klg xg S5 eg]

Tof] jsflns fu xG5 laxfg lbpFf] jf flt hlta]nf fu +uLtsf] sfoqmd eP klg k|foM

snfsfx cfˆgf] k|tltsf] dfkg fu ejL aringff u5g Ton] of] funfO jsflns dflgG5

dNxf aGt cflb dfdL fux Tof] dfd el jsflns xG5g

eftv08]hLsf] do lcentfGtdf ckjfb Mmdash Dk0f fuxnfO Aojlyt iquestkdf do l4fGtdf

afFWg] k|oGt eftv+8]hLn] ug ePklg ckafb jiquestk w] fux tLg juleq kbgg htM

klxnf] judf ] w sf]dn j k|of]u xg] +lwk|sfz fux dWo] dfjf klof cflbdf z4 w g

k|of]u ePsf] xG5 bf]|f] ju z4 ] w k|of]u xg]df u lg jx klg z4 xG5g sf]dn u lg

k|of]u xFbf lt fux t]|f] judf kg hfG5g t vdfh ltn+u cflb bf]|f] jusf fuxdf klg

sf]dn lg k|of]u ePsf] xG5 t]|f] ju u lg sf]dn xg] fux dwj+tL k6bLk cflbdf z4 lg

k|of]u ePsf] xG5 dfWodnfO cWjbzs j dfg] ulPsf] laefhgdf klg flt ah]b]lv

lbpf] ah]Dd pQfwsf] dodf z4 dWodsf] k|of]u xg] elgG5 t tf]8L c+usf ljleGg

fuxdf ufog do ah]eGbf klxnf ePklGf tLj| d k|of]u ePsf] xG5 eg] laxfu s]bf

fu]gtL afu]gtL cflb kjfwsf fuxdf z4 d gk|of]u ePsf] xG5 ljleGg fuxdf k|of]u xg]

jxnfO s]nfP x]bf w] fux of] do l4fGt leq kbgg ctM cfwlgs sfnsf] do

l4fGt Jojyf df]6fdf]6L iquestkdf dfq nfu ePsf] b]lvG5

k|frLg tyf dWosfnLg fu gfdx cfwlgs sfnLg Gffdx +u ldNbfhNbf 5g k|of]usf]

do klg k|foM ldn]sf] b]lvG5 fu dosf] lgod kfng gubf cfo gi6 xg] eGg] Dd

zfqdf pNn]v kfOG5 haf6 apermilg lsG5 ls fu ufogsf snfsf xn] clgjfo iquestkdf

do l4fGtsf] lgod kfng uy] xf]nfg fhfsf] cf1f xFbf dosf] lgod pn+3g ug ldNg]

eGg] zfqf]Nn]lvt sfn] Psflt snfsf xsf] fhfsf] cf1f k|lt cfyf ljZjf w] lyof]

fy fhfn] rfx] lgod km]abn klg xg Sg] b]lvG5 eg] csf]lt s7f]tfsf] fy fu dosf]

lgod kfng ugkg] s]lx lyPg eGg] alemG5 zfqut tyf k|of]ufTds iquestkdf k|frLg b]lv

atdfg Dd cfOkUbf xfd|f] zfqLo +uLtdf fu dosf] DaGw Ps d[4 kDkf ht

es]sf] 5 laxfg ej tf]8L cflb lbpf] f+u fFemdf odg flt dfnsf+ sGx8f cflbsf]

ufogjfbg xG5 eGg] sf a fu +uLtsf snfsf tyf gtf]tfx DdnfO ofb xG5 funfO

sg cfwfdf do +u hf]l8of] eGg] sfsf] sg 7f] k|df0f tyf a1flgs cfwf kfObg t

klg sg jx k|of]u ePsf] funfO sg dodf ufogjfbg ubf k|efjsfL xG5 eGg] sfdf

fu +uLtsf szn fws +uLt1 xsf] cgelt eg] cfjZo g eP funfO do+u hf]8g]

kDkf cfhDd hLljt x]sf] xgS5

Gbe u|Gy rL

7fs cf]dsgfy -(((_ +uLtf+hln t[tLo efu dDaOM k+=cf]dfsgfy 7fs d]df]lcn 6laquo6

IfLfu 8L= aL= -(^_ dt+udlgs[t a[x2]zL hok eftM klAns]zg sLd

uu nIdLgffo0f - (amp_ gfbs[t +uLt dsGb xfyM +uLt sfofno

rfwL ersaquof -))_ zf+ub]js[t +uLt Tgfsf gO lbNnLM fwf klAns]zg

zfqL ufLgfy -(^)_ gtL ze+s ljlrt +uLt bfdf]b k[ $

kf7s gGbf -((_ lxGbtfgL +uLt d]+ fu sL pTklQ Pj+ ljsfz k[= (

rGrsaquoz]vg 6L= kl08t bfdf]bs[t +uLt bk0f k[= (

eftv+8] lji0fgffo0f-))(_ qmlds kts dflnsf efu -gtLjftj xlZrGrsaquo_ OnfxfafbM

+uLt bg k|sfzg

eftv+8] lji0fgffo0f gtL dNnIo+uLtd k[= amp

fu Mmdash fusf] zflJbs cy xf]mdashdf]xk|]d cfsif0fcflStcfgGb cflb xf] +uLtdf fu

Tof] ljlzi6 jmdashdxnfO elgG5 hdf gtf]]]]]tfxnfO cfslift ul plgxnfO d+qdUw

agfpg] Ifdtf fV5 j[xtb]zLdf dt+u dlgn] funfO kleflift ub eg]sf 5g Mmdash

of]s o+ Wjlgljz]ift jj0f ljelift M

+hsf] hglrQfgf+ fu M slytf] aw M

cyft otf] ljz]if Wjlg hg j j0faf6 ljelift eP hgdbfosf] lrQnfO +hg ub5

TonfO fu elgPsf] 5 tfTko of] xf]sL +uLtsf] jpSt jsf] k|of]u ug] ljleGg lt-

j0f_ jf6 lhPsf] Wjlg hnfO g] gtf]tf df]lxt xG5g eg] Tof] fu xf]

Mmdashdfgj hfltsf] c+t Ms0fdf lgjf ug] ljlzi6 efjgfsf] kdf]TsifnfO g zfq1n]

eg]sf 5g Ugravecyjf hjsg jefljs jt s]lx kljltt eP dgsf] leq Pp6f cfwf0f

gljgtf pTkGg ullbG5 tj TonfO elgG5

fGbo zfqsf] aeGbf w] k|jn k|df0f lbfGt xf] +uLtsf] k|dv pkfbfg-tTj_

j xf] fusf] +rgf jsf] cfkL +jfb jsf] lylt-dGb| dWo tf_jsf] pRrf0f

uLt- b|t dWo ljnlDjt _ jsf] cGo j+u kz jsf] gtToGt jsf] pRrf0f

sfs e]bdf cflgtt 5 +uLt htf] lbAo cdt cbet snfsf] k|f0ftTj Aojxfdf lgofdg

ug tyf hutsf] cl3i7tf j hj leGg leGg Gbedf ljleGg cGtfnsf] fy Jojlyt

lgodsf] cGtut tyf k|tlt ljifos u cf1faf6 g fusf] jkdf pklyt xG5 eGg] efj

sf] kfsfi7nfO k|kml6t u5 fusf] yn j jksf] fy fy Id efj ksf] klg

klsNkgf ulPsf] 5 lglZrt Ctsf] fu htf] jiffsfndf dNxfUacute To k|sfn] aGtCtdf

hellipaGtUacute hellipaxfUacute cyjf aGt afx lglZrt dosf] fu htf] of]bo eGbf kj laef nlnt

obo eGbf kl5 ej Tosf] k|sf kjfGx -dWofGx kj_ df lanfjn Tosf] k|sfdf

dWofGxdf f+u Tosf] k|sf ckfXdf eLdknfL k6bLk dNtfgL femsf] sNof0f osf] k|sf fqLsf]

kjdf klof dfjf clws fqLdf laxfu osf] k|sf dWofqLdf dfnsf+z afu]ZjL bjfL pQ fqLdf

kh f]xgL OToflb Ps lglZrt efj cfj]zsf] fu ksf] Jojyf xf] en cfh Aoayf klkf6L s]xL

kllytL klhGo ablnx]sf] 5 tyfkL u u0ffLhg x]s fusf] jefj do lglZrt

kaf6 g lzioxnfO cjut ufp5g JolQmTjsf] kdf lnbf klg bjfL c8fgf cfzfjL

nueu dfg jksf] fu AolQmTjsf] cfwfdf cnundashcnu cfˆgf] jk k|s6 ub5g

bjfLsf] k|f9 ulDe fhL JolQmTj c8fgfsf] ltvf] pBd tn JolQmTj cfzfjLsf]

sf]dn s0ffdoL JolQTj lsx dfem ndashki6 xG5 fu lugLsf] kif qL kdf Wofg

-zAb lrq_ flxTosf] gfos gflosf e]b+u lglZrt kaf6 k|efljt ex]sf] xG5 fumdash

flugLsf] efjGffTds k|ltltsf] k|dv rf cfwf xg S5

-_zflqo u|Gydf lglkt fu Wofg fu Wofg Znf]s jf sljtfsf] dfWod af6 fusf]

JolQmTj lgdf0f lhn xg S5 cyft qL kif sf]dn ndashs7f] jLndashs0f tf08fjndashnfo

cfbL lbzf +s]t sfAosf] dfWoodaf6 lglZrt xG5

-_zAb lrq -Wofg Znf]sdf_cfwflt laleGg lrq zln dun kxf8L blIf0fL fhkt

sfGx8fdf cfn]lvt fumdashflugLsf] hg lrq kfOG5 TonfO x]] osf] cfs[tL efj ljz]if

lqmofsnfksf] af]df hf] cf+lzs hfgsfL kfOG5 Tos fxffn] fusf] stf] JolQmTj xgk5

tyf Tof] fu sg sf] afxs agf] eg] lg0fo ug lsG5

-_+flults rgf -alGbzdf_ cNk dfqfdf g gf6o tTj oQm sfJo k|fo M xG5 log

sfJofz+sf] cfwfdf kllytLsf] af]w xgS5 tbgf cgdfg af6 nKt s8LnfO hf]8]

Ps efj dlt lgdf0f ug lsG5 hnfO sg ljz]if +u +nUg ug lsG5

-$_fusf] jkaringff lgldt efj dltnfO sg ljz]if+u fDo ndashki6 xg kofKt 5

k|To]s fusf] j ljz]if osf] yfg j nufj ult o fusf] k|ttLs0fsf] znLnfO

k|of]ustf Pj+ ef]Qmfsf] dIf fusf] Ps lglZrt 5lj yflkt ulG5Ugrave of] 5jL sg

ljz]if+u on] cfˆgf] DaGw hf]8] fusf] ly ullbG5 xfdLx fusf] jnfO ufpg]

ahfpg] sfd dfq ubgf fy fusf] efjnfO lgk0f klg u5fUgrave fu dfq unfsf] cEof

xf]Og Ugrave fy of] Ps lglZrt efjnfO kleflift ug] sf] afxs xf]

5Gb tfn M

5Gbsf] cfwf xf] dfqf dfqfnfO ki6 ug] fwg xf] nw u of Aringj lb3 Ps jf bO

Dffqf aringff ki6 ulG5 tfnsf] cfwf klg n3 u dfq xf] ok|sf tfn 5Gb basf]

dGjo ki6 5 flxTodf sljtfdf ult lgodsf] nflu 5Gb k|oQm xG5 +uLtdf sfn

lgodgsf] nflu tfnsf] k|of]u xG5 hg k|sfn] donfO dfkgsf] nflu lbgft ldnfP

rfla 306fdf Ps rqm kf xG5 o k|sf +uLtdf klg Ps lglZrt dfqfsf] tfn rlqmo

kdf uLtsf] kgM dodf hu xg afWo agfp5 5Gb tfnsf] c66 DaGw 5

cIfnfO n3 u pRrf af6 of dfqfsf] n3 M u 36fpbf M a9fpbf nfdf] of 5f]6f]

ubf cnundashcnu efjsf] lgk0f xG5 u cIf jf lb3 dfqf ljzfntfsf] bt efjnfO

ulDetfsf] cgejnfO lrt u5 n3 cIf of Aringj dfqf tn +slrt fldKo efjsf]

klrfos xf] oxL n3nfO 5Gbdf dfqfsf] tfndf lga4 ulG5 tyf osf] n3 u

cjyf cgf leGg efj sf] pTkltdf xof]uL xG5 of] n3 u dfq of zAbsf]

pRrf0fdf +uLtsf] b[li6Ln] lanlDat dWo b|t ultsf] k|of]uaf6 efj [li6Lsf] cgkd

rgfx fdGg] cfp5 TonfO k|ToIf kdf apermilgsf] nflu s]lx pbfx0f o k|sf 5

lagf sg Aringj lb3 zAbnfO s]jn tfnLaringff n3u dfqfdf ljefhg ulof] eg] Todf klg

las6tf tntf ntf lb3tf OTofbL efj k|blzt xg S5 pbfx0fsf] nflu lgDg

lnlvt 5GbnfO lng lsG5

k~r rfd

n nf n nf n nf n nf - j0f_

S S S S

qf]6s 5Gb - j0f_

n n nf n n nf n n nf n n nf

S S S S

k[YjL 5Gb -amp j0f_

n nf n n n nf n nf n n n nf n nf

S S S S S

n n nf

eh+u k|ofo 5Gb - j0f_

n nf nf n nf nf n nf nf n nf nf

S S S S S S S S

b|t lanlDjt 5Gb - j0f_

n n n nf n n nf n n nf n nf

S S S S

zflngL 5Gb - j0f_

nf nf nf nf nf n nf nf n nf nf

S S S S S S S S S

dGbf qmfGtf 5Gb -amp j0f_

nf nf nf nf n n n n n nf nf n nf nf

S S S S S S S S S

n nf nf

Ps n3 Ps u ePsf] cfDesf] hg 5Gb 5 bO ltg jifsf] pd] ePsf lzzsf]

htf] lx8g bf8g cfbLnfO lgb]lzt u5 o lgb]z efjnfO [li6L u5 ttkZrft bO

n3 Ps u dfq ePsf] qf]6s xG5 s]xL lNemPsf] afXo cjyfsf] efjnfO k|tt u5

ok|sfn] efjsf] rgfdf slj 5Gbsf] k|of]u ub5g k[YjL 5Gbsf] rgf cfDedf g em6sf

lbP pRrf0f cyft n3af6 usf] n3 kgM n3sf] pRrf0f on] c klkSjtfnfO

ki6 kf5

eh+u k|ofo 5Gbdf n3 usf] hg ult 5 hg k rfndf lxl8x]sf] -alux]sf]_ 5

dGbf qmfGtdf cfDe b]vL g rf u kfr n3 Ps u kgM u n3 u u

n3 u u s lytLdf s]xL ki6 ug lgj]lbg u5 cfˆgf] +b]zdf lk|oTdfnfO e]6g

k|fygf u5 cggo k|fygfsf] k|ofo jk dfGg lsG5 To k|fygf jLs[tLsf] nflu

cgf]wsf] efj dGbqmfGtf 5Gbdf lgaGw 5 o k|sf 5Gbsf] n3 u dfqf af6 tbgf

ag]sf] bO leGgndashleGg efjsf] [li6 cEoGt b[li6af6 b]lvG5 hsf] nflu +j]bgzLn x[bo

tyf efas b[li6sf] cfjZostf xG5 Id lg0fo ug]xsf] laleGg efjxsf] bzg lglZrt

kdf xG5 +uLtsf] If]qdf sg klg tfn k|oQm xG5 csf] zAbdf eGbf hlt klg j0f

laGof 5 of dflqs 5Gb 5 Tof] tfna4 xG5 g To 5Gbsf] ufg tfndf xG5 g u

kDkf b]vL k|fo ) tfnsf] af]w xG5 eh+u k|ofo 5Gbsf] DaGw obL emktfn +u

hf]8bf Tof] unt xbg Ugrave ok|sf k[YjL 5Gbsf] cfDenfO x]bf sxjf tfndf dfGg lsG5

dfqL 5GbnfO xllutLsf wdf of ltjf tfndf dflji6 ug lsG5 kl08t lai0f l8uDa

hL n] tNLbf s[t fdfo0fsf] Znf]saf6 w] j tfna4 uL k|rf ulPsf] lyof] htf]

ho fd k cgk onfO wdf tfndf gtL fdrGb| s[kfn ltj|fdf ho fd dof df qf]6s

5Gbdf wdfnL tfn qf]6s j[tsf] ultnfO +uLtsf] sxjf jf wdfnL ba tfndf a4 ug

lsG5 bf]xf f]7 rfkfO of] anfO leGg leGg tfndf afWg lsG5 ok|sf 5Gbsf]

tfn+u tfnsf] 5Gb+u kk DaGw 5

of] tfn b|t dWo lanlDjt ultn] leGg leGg sf] Daxg u5 xfdL cgej ug

S5f sL xf]Lsf] kb rfw dfqfsf] wdf tfndf ufOG5 osf] cnfjf dfqfsf] a|Xf

tfn dfqsf] dQ tfn of ) dfqsf] jfL (divide dfqsf] lglw of z]if tfn of

$ dfqsf] nlId tfn divide dfqsf] 4 tfn a tfnsf] k|of]un] ljleGg efj ki6

ulDe zfGt efjsf] cjdf tfn lutsf] ult lanlDjt flvG5 hdf u dfqsf]

clws n3 dfqsf] cNk k|of]u xg] 5Gb pkof]udf NofOG5

n3 u ldgt dfqf dWo ult osf hf]8 g dWo g ulDe g tn g a[4f g ojf g

zfGt g paringft ot dWo cjyfnfO lgb]z lbG5

tn paringft ojf cjyfsf] jefljs k|jl[tsf] b|ts Demg lsG5 o b[i6Laf6

fudf dGb|dWo cfnlKt bL3 dfqfsf] tfn lanlDat ult of] k|f9 ulDe efjnfO lgb]zg

u5 htf] bjfL kLof cfbL fudf lanlDat ult b]vL efjgsn cfnfk c8fgf

f]xgLdf dWo tf ult dWo b|t nosf] k|of]u ojfjyf tn efjsf] b|t xf]

5Gbsf] klg n3 usf] DaGw tfnsf] nfdf] 5f]6f] v08+u hf]8g lsG5 o v08df bO

ltg rfkfFr dfqf Ddsf] v08sf] yfg xG5 hfsf] Aringj bL3 Knt +u DaGw xG5

o k|sfn] tfn 5Gb cGof]gflZqt DalGwt oQm eP sf] ki6 of k0ftf k|bfg

ugdf xof]uL 5

+uLtdf ljlgof]u

+uLt dfq xf]Og gf6o Gblet dnet u|Gy gf6o zfqdf gf6osf] Gbedf

ljlgof]unfO cToGt ljt[t kaf6 cfrfo etn] ki6 u]sf 5g +uLtnfO gf6o cGtut

k|ltkflbt ub ufGwj ufgsf] ljz]if k|ltkfbg u]sf 5g of] ki6 5 ls sf] cfwf efj

xf] efj Ps ljz]if lrq k|j[lt xf] efjsf] +Vof $( 5 hg oyf]lrt yfgdf cfˆgf]

jlzi6df yfO ljdfj cgefj +rfLsf] kdf cfp5 etn] gf6odf ufGwjsf] k|of]u

pTkfbgsf] nflu dfGo u]sf 5g

gf6odf clegosf] dfWodaf6 efj sf] pTklt xG5 t ufGwj Pp6f otf]

pTkfbg xf] hg dVot j tfn kbflTdsf xf] dVotof gf6osf] Gbe uLtsf] ufGwj w|j

ufgsf] cGtut flvG5 gf6odf uLts w|jsf] jk gf6o zfqdf ndashki6 kn] ki6

kflPsf] 5 bjsf] dVo k|flKtsf] p2]Zo g cfgGb xf] uLts ufGwj gt]0fLdf 5 ufGwjaf6

cb[i6 ufgaf6 b[i6 kmn k|fKtLsf] ljj]rgf ulPsf] 5 gf6odf Kt jsf] k|of]u ljljw

sfs lxt pTkfbgsf] af]df gf6o zfqsf] 56f+ cWofodf cfDedf g pNn]v ulPsf]

5 ufGwjnfO gf6osf] k|dv c+u dflgPsf] 5 j u|fd d5gf hftL cn+sf w|jfufg

cfbLsf] fy ufGwj klg pTkfbgsf] nflu lglkt 5 f+lults k|dv Kt jnfO

sf] Gbedf gf6o zfqdf lgDglnlvt pNn]v kfOG5

if8h jL cbet

life jL cbet

ufGwf s0f

dWod xfodividegt+[uf

k~rd xfodividegt+[uf

wjt ljeT eofgs

lgiffb s0f

gf6odf kf7o of ufg bjsf] +of]u Dkfbgaf6 pTkGg xG5 jfsf] sfs

e]baf6 klti6 xG5 gfbsf] prf] lgrf]kg ljljw sfs k|of]uaf6 f+lults j ki6

xG5 laleGg sf] hftLxdf klg lalgof]u zfq1n] eg]sf 5g

if8hf]ljRofjlt gt[+ufdivide xfo

if8hdWof gt+[ufdivide xfo

dWodf gt+[ufdivide xfo

k~rdL gt[+ufdivide xfo

gGboGtL gt+[ufdivide xfo

wjtL laeTdivide eofgs

szsL laeTdivide eofgs

ufGwf k~rdL laeTdivide eofgs

ufGwfL s0f

giffbL s0f

Qm slzsL s0f

if8h slzsL s0f

cfifeL jLdividefb|dividecbet

if8hL jLdividefb|dividecbet

dWodf]lbRojf jLdividefb|

ufGwff]lbRojf jLdividefb|

sfdfjL cbet

cfGb|L cbet

if8hdWo Ps otf] hftL xf] hdf ft j qmdzM c+z jsf] sfo u5 on] o

hftLsf] k|of]u cf7 df ulG5 +uLt snfdf jsf] cnfjf kb of flxToaf6 klg sf]

lglZklt xG5 zflqo +uLtdf fu g k|dv kdf lglZklt ugdf xof]uL 5 dfgj

cGt M s0fdf sgklg fusf] gtj0f kZrft ljleGg k|of]ufTds k|sfaf6 sf] k|fKtL xG5

zflqo +uLtdf -fu +uLtdf_ jksf] b[li6n] fusf] do lgwf0f ulPsf] 5 ej

tf]8L ejL k|ftMsflng dNtfgL kjL fogsflng sfGx8f sNof0f fqLsflng dfnsf+]if cfbL

dWo fqLdf ufpgsf] k5f8L fudf k|oQm jsf] dgf]a1flgs k|efj 5 j rgfsf]

k|sl[tsf] cfwfdf g fusf] JolQmTj lgdf0f xG5 fusf] JolQmTj lgwf0f cf7 k|x cgf

dfgjsf] dglytLdf cfwflt 5 fudf jfbL +jfbL cgjfbL ljjfbL jfsf] klefiff

cjwf0ff klg cgf 5 zfq Ddt z4 ljs[t jn] leGgndashleGg sf] pTkfbg

u5g z4 j ePsf] fu clws zfGt ulDe k|s[ltsf] xG5 sf]dn j k|wfg fu elQm

cgsn xG5 fudf k|oQm jfjnL hsf] j gfbdo k jf JolQmTj aG5 ToxL

jksf] 1fg cfsng g k|tltsf] kZrft k|bfg ug] u5

आवाजको दनियाामा माइकरोफोि

माइकरोफोन आवाजको दननयाामा रमाउन चाहनहरको लानि अतयनत उपयोिी उपकरण होl यसलाई छोटकररमा

माइक(MikeMic) पनन भनननछl यसको आनिसकार सन १८७६ मा Emile Berliner दवारा भएको नियो जन Alexander

Graham Bell को टनलफोनमा voice transmitter को रपमा परयोि भएको नियोl माइकको परयोग बयापक रपमा भएको

पाइनछ रनियो निभी िलीफोिको िर ानसनमिर साथ कि पनि नकनसमको आवाज रकिड गिड परमा माइकको परयोग गिड पदडछ

अथवा भिौ माइकको परयोग भएको पाइनछमाइकरोफोिल कि धवनिको सरोतबाि निसकिएको धवनि तरङगलाई

अिालग(Analogue ) नबधनतय तरगमा पररवतडि गि काम गदडछ जि तरग Amplifier Recorder वा Broadcasting

transmitter मा परवाह हनछ आवाजको दनियाा यािी सगीत कला उदघोषण कला तथा अनय यसत कषतरमा कायडरत वा यस

कषतरमा लागन चाहिहरका लानग यो माइक समबसकि जािकारी उपयोगी हि सकछ भनन मरो बझाइ हो

माइकको बनोट र यसका परकारहर

माइकरोफोिमा मखयतया हलका तौल भएको Diaphragm (पराय जसो पलासकिक बाि बिको हनछ ) जसमा सािो तारको Coil

बररएको हनछ र यसलाई चमबकको वररपरर रासकिएको हनछ जब यो धवनिको सरोतको िनजक आउछ यसमा कमपि उतपनन हनछ

र यी नति बसतल सािो नबधनतय तरङग पदा गदडछ जसलाई Mic Preamp को सहायताल नबसतार वा ठलो बिाइनछ जि परयोगमा

लयाउि सनकनछ माइकरोफोि तयसतो उपकरण हो जसल Accoustic धविीलाई नमलदो जलदो नबधनतय तरङगमा पररवतडि गदडछ

माइकरोफोिलाइ हामी दई नकनसमल बनगडकरण गिड सकदछौ

१ माइकरोफोिको कि निनित नदशातफड हि सवदिनशलताको आधारमा

२ माइकरोफोिको बिाविको आधारमा

माइकको सवदिशीलताको आधारमा माइकलाई ३ परकारमा बनगडकरण गिड सनकनछ

सवडनदशातमक (Omnidirectional )

दवीनदशातमक (Bidirectional )

एकनदशातमक (Unidirectional )

यस अनतगडत नत माइकहर पदडछि जि सब नदशातफड यानिकी ३६० निगरीमा सवदिशील हनछियी माइकलाई कि पनि

पराकनतक धवनि रकिड गिड साथ बानहरी हलला िलला िआउि गरी साउणड परफ गररएको रकोनििग िनियोमा परयोग गररनछ यो

माइकको परयोग तयस अवसथामा कनठि हि जानछ जनत बला माइकलाई कि निनित नदशा तफड लनकषत गिड पि हनछ नकिकी यो

माइक सब नदशा तफड उनतक सवदिशील हि हिाल हामीलाई िचानहि पारशड हललाहर पनि यसल रकिड गदडछ

यस वगडमा पि माइकहरल धवनिलाई दई नबपररत नदशाबाि गरहण गदडछ यसपरकारको माइकमा दई नबपररत नदशा बाहक अनय

भाग भि नयि सवदिशील हनछि यसता माइकहर यगल गायिमा जहाा गायक र गानयका आमि सामि भएर गाउि गदडछि

तयसत लाइभ अनतवाडताडहरमा परयोगमा लयाउि सनकनछ यसता माइकहर िलला अथवा पराकनतक धवनिहर रकिड गिड पिी

परयोगमा लयाउि सनकनछ

यस परकारको माइक सामानयतया अतयानधक परयोग भएको पाइनछ यसको िामल भिजसत यसको नसधा अगािीको भाग नबशष

सवदिशील हनछ भि बाानक भाग नयि सवदिनशल हनछ यो माइकको परयोगल हामीलाई िचानहि धवनि दई नतहाई भनदा बढी

मातरामा कम गिड सनकनछ लाइभ कायडकरमहरमा यी माइकहरको परयोग जयादा भएको पाइनछ अकोसकिक( Accoustic )

वातावरण रामरो िभएको अवसथामा पिी यो माइकल रामरो धवनि गरहण गिड सकदछ यस परकारको माइकको िकारातमक

पकषहरमा - यनद हामील धवनिको सरोतबाि माइकलाई िनजक रािको अवसथामा मोिो आवाज र िाढा रािको अवसथामा पातलो

आवाज सनिनछ जसलाई Proximity Effect भनिनछ अको यसको िकारातमक पकष - यनद हामील माइकलाई धवनिको सरोत बाि

नबमि बिायौ भि माइकल धविीलाई रामररी गरहण गिड सकदि जि पकष अनय माइकमा तलिातमक रपमा कम हनछ

यो त भयो माइकको सवदिशीलताका आधारमा हि बनगडकरण अब माइकरोफोिको बिाविको आधारमा हि बनगडकरण तफड

हरौ

जसअिसार निमन परकारमा बनगडकरण गिड सनकनछ

१ Dynamic

२Condenser

३ Ribbon

Dynamic माइकरोफोि

यस परकारको माइकरोफोिमा तीिविा मखय भाग हनछि - Diaphragm पातलो तारको Coil र चमबक यसमा पातलो धातको

तारको Coil सथायी चमबकको वररपरर बररएका हनछि र Diaphragm को पछािी जोनिएको हनछ

यसपरकारका माइकहरको परयोग बयापक रपमा भएको पाइनछ यी माइकहर ससता मझबत र ठलो साउणड परसरमा पिी रामरो

सग काम गिड सकन िालका हनछििज कायडकरम लाइभ कायडकरम तथा रकनिडङगको लानग पिी यसता माइकहर बयापक रपमा

परयोग भएको पाइनछ

Condenser Microphone

यो माइकरोफोि एउिा electrical उपकरण हो जसलाई काम गिडको लानग निरनतर नबधनतय ससकि(Power ) को आवसयकता

पदडछ यसमा मखयतया Diaphragm - जसमा Front Plate र Back Plate नबचमा िाली ठाउा हि गरी बसका हनछि यो

माइक िाइिानमकको तलिामा बढी सवदिशील हनछ यस परकारको माइकल सािो भनदा सािो धवनि साथ धर Low frequency

दसकि धर High frequency समम गरहण गिड सकन कषमता राखदछ यी माइक अनल भारी वजिका हनछि र तापकरम र आदरतामा

आउि फर बदलल यसलाई असर गदडछ जबनक अनय माइकलाइ िास असर गदिCondenser माइक िनियोमा धर परयोगमा

आउछि

Ribbon Microphone

यो माइकरोफोि Dynamic माइकरोफोि सग धर करामा नमलदो जलदो हनछ तर िाइिानमक माइकमा परयोग हि तारको Coil

को सटटामा यसमा धर पातलो आलमनियम पाता परयोग हनछ र Accoustic sound को तरगल यो अतयनत नछिो कसकमपत हनछ र

जसका कारण High frequency response अतयनत रामरो मानिनछ यो माइक अनत कमजोर परकनतको हनछ यसलाई अतयनत

सावधािीपबडक परयोग गिड पदडछ Vocal वा Kick Drum को हावाको झोकाल वा माइक भइमा िसयो भि वा भलबस माइकमा

Condenser माइकलाई नदि power नदएको िणडमा माइक नबगरि सकछ यो माइकल तलिातमक रपमा िाइिानमक

माइकको तलिामा उसकिि High frequency response गछड Vocal Brass Instrument Bass Electric or Accoustic

Guitar मा यसको बढी परयोग भएको पाइनछ

यो माइकको बारमा सामानय जािकारी आवाजको दनियाामा कायडरत अथवा यस कषतरमा आउि चाहिहि सबलाई अतयनत

उपयोगी हनछ भनन मल आशा रािको छ

धनयबाद

भनबि ढगािा

लनलत कला कयामपस काठमानडौ

Email- bhabindhunganagmailcom

Institutional Music Practice in Nepal by Dr Ramesh Pokharelpdf (p1-11)

Mnuscript e-resource By Dr Yam Sharmapdf (p12-20)

Comparative Study of ldquoWhatrsquos in a Namerdquo by Rena Thapapdf (p21-25)

A concept on e-library vs automation by Mahendra Prasad Adhikaripdf (p26-34)

सवतनतर तबला बादनको कलातमक परसततीकरण र यसको सौनदरय तततवोहर लखक कषण कमार खरल pdf (p35-37)

सङगीत एक बिबचना लखक शिव पौडल pdf (p38-49)

सगीत शिकषा एव गर र शिषय -लखक वनकटश ढकाल pdf (p50-57)

शिकषामा सगीतको महततव लखक मनमोहन थपलिया pdf (p58-65)

राग समय सिददानत - लखक डा पारवती घिमिर pdf (p66-71)

राग र रस -लखक - डा सिता थापा pdf (p72-79)

आवाजको दनियामा माइकरो फोन लखक भविन ढगाना pdf (p80-82)