The Raga System Essay -- essays research papers

Music is an expression of inner feelings through tones (swar) and rhythm (taal). These swars and taals are combined so that they are pleasing to the ear. Music is sound created from the ideas and emotions of man. When these ideas are expressed through the voice in a rhythmic and appealing sound, music is born. Music in its true form controls human activity and is thus the source of attaining pleasure and salvation. At the base of Indian Classical music lies an appreciation for, and an emphasis on creating sound with aesthetic appeal. This is achieved through Raga or melody. In Brihaddeshi, Matang defines raga as â€Å"that attractive combination of notes which pleases the mind†. That this sound be attractive and pleasing is of extreme importance. Because music is so closely linked to human emotion, it is important that it is written and performed so as to truly interpret and convey the emotion and beauty of the melody. To ensure that this is done successfully, there are some guidelines for Indian Classical musicians to follow to ensure an effective interpretation and display of their art. The system of raga in Hindusthani Classical music is both complex and sophisticated, using particular elements within strict guidelines to attain a pleasing and beautiful sound. In addition to the aesthetic aspect, a raga is also distinctive in form. These two aspects are inextricably bound together and are used in a complementary manner. In Hindusthani Classical music, ragas have been classified according to their form under ten thaats. The ten thaats under which all ragas are classified have derived from the twelve notes used in Hindusthani Classical music. A thaat is the ascending scale from which a raga is created. The ten thaats are: Kalyan, Bilawal, Khamaj, Bhairav, Poorvi, Maarva, Kafi, Asawari, Bhairavi and Todi. A thaat is named after the most prominent raga created from it. Ragas are also classified by the number of notes used in their ascent and descent. Two ragas written from the same thaat will comprise the same notes, however, the possibilities of development are limitless. Thus, each raga is a unique expression of an artist’s mind. In creating a raga, a musician must adhere to several guidelines, and must have an understanding of the es sential elements or lakshans which comprise a raga. These are: 1.  Ã‚  Ã‚  Ã‚  Ã‚  A raga must possess at least five... .... Use of taans shows the singer’s talent and creative power. When presented in its truest form, music has the power to affect human emotion. Hindusthani classical music is rooted in this belief. Some believe that music is an interesting part of natural philosophy that explains the causes and properties of sound. Music is believed to be present in every living and non-living thing. It is manifest through the art of raga. Raga or melody is, above all, an aesthetically pleasing sound. To create it, a musician must follow several guidelines and adhere to a strict framework vis-à  -vis form. A musician must also have as his or her aim, to incite a particular emotion in the listener’s mind. In interpreting a raga, a singer must understand these emotions and try to bring them out using the voice. He or she must also practice singing the unique note combinations for many hours. The system is complex, and it takes much practice and deliberation to successfully render a raga – sometimes many years. Once both musician and singer follow the rules laid down in the earlier texts, a raga can be truly beautiful and as Indian classical musicians believe, capable of attaining pleasure and salvation.

Molecular Weight of a Condesable Vapor

AP Chemistry Period 1 Molecular Weight of a Condensable Vapor Lab Purpose: The purpose and objective of this lab was to find the molecular weight of a condensed vapor. Materials and Equipment: †¢Aluminum foil square (around 6cm on a side) †¢125 mL flask †¢Barometer †¢3 mL of unknown liquid †¢200 mL graduated cylinder †¢600 mL beaker †¢Pin †¢Balance (0. 002g) †¢Bunsen Burner setup †¢Rubber band †¢Thermometer †¢Ceramic center wire gauze Procedure: 1. A 125 mL flask was obtained. The square of aluminum was fashioned over the flask by laying the foil over the mouth and folding the sides down.A pin was then obtained and was used to poke a tiny hole in the center of the aluminum cap. 2. Next, the mass was determined of the clean, dry flask with the cap to 0. 001 g. 3. 3 mL of the unknown liquid was obtained and was poured into the flask. Afterwards the flask cap was replaced securely. 4. Then, a 600 mL beaker was then filled nearl y full of water. The beaker was then heated to a boil over the Bunsen burner setup. 5. Once the water reached a boil, the temperature was then recorded and the barometric pressure.Then the flask was clamped at the very top and was suspended to the beaker. 6. The flask from the beaker was not removed and the flask was examined for excess vapor coming out through the pin hole to see a refraction effect. 7. When all of the liquid evaporated, the flask was removed by holding the clamp and set aside to cool. 8. Next, the flask was wiped down until it was completely dry. 9. Then, the mass of flask, cap, and unknown condensed liquid was found. 10. The flask was filled completely full with water.The flask was then poured into a graduated cylinder and measured the volume. 11. Next, all the materials and chemicals were cleaned up. 12. Once the area was clean, the calculations could be completed. Observations: The flask inside the beaker full of water was being examined. As the water surroundi ng the flask began to boil, droplets started to form on the inside of the flask. After a while, nothing could be seen forming in the flask. When this happened, the droplets evaporated and inside the flask was the condensed vapor. Calculations: 1. Questions: 2.What does the flask contain? a. The flask contains air before adding the volatile liquid. b. The flask contains all vapor at the point when the volatile liquid has completely vaporized. c. The flask contains condensed vapor and air at the end of the experiment and at the final weighing. 3. Why is the temperature of boiling water used for measuring the volume of the vapor instead of the temperature of the liquid after it has cooled to room temperature? Instead of taking the temperature of the gas, the temperature of the boiling water was taken and was transferred. . When vaporized, the volatile liquids used in this experiment do not behave exactly as ideal gases. How would this tend to affect your calculated molecular weight? Th e molecular weight was smaller than expected. This happened because the density was smaller due to the mass being smaller and this meant too much vapor escaped the flask. Conclusion: In this experiment, the molecular weight of a condensed vapor was found through a procedure using an unknown liquid. The flask before adding the unknown liquid in was full of air.After the beaker full of water started to boil the flask was examined until the unknown liquid was completely vaporized. At that exact point the flask contained all vapor. At the final weighing the flask contained condensed vapor and air. There is always a chance for error. Some sources of error could have come with completing this lab over an open water bath and some water vapor may have been in place. Also, too much vapor could have escaped and the experiment might not have been stopped quick enough.

Dante’s Inferno - The Evolving Relationship between Dante...

Dante’s Inferno - The Evolving Relationship between Dante the Pilgrim and Virgil the Guide In Dante’s Inferno, the relationship between Dante the Pilgrim and Virgil the Guide is an ever-evolving one. By analyzing the transformation of this relationship as the two sojourn through the circles of hell, one is able to learn more about the mindset of Dante the Poet. At the outset, Dante is clearly subservient to Virgil, whom he holds in high esteem for his literary genius. However, as the work progresses, Virgil facilitates Dante’s spiritual enlightenment, so that by the end, Dante has ascended to Virgil’s spiritual level and has in many respects surpassed him. In Dante’s journey with respect to Virgil, one can see†¦show more content†¦We see Dante’s first step is to acknowledge his inferiority to Virgil; it is to him he owes his modest authorial prowess. This sentiment is understandable indeed. It is only natural for Dante to have nothing but the utmost respect for the great poet who, having preceded him by thirteen hundred years, m erits such treatment. However, when we couple Dante’s intense reverence for Virgil with his plea for his help, our understanding of the strength of his faith is enhanced. The Pilgrim invokes Virgil thusly: â€Å"O famous sage, [help me] to stand against [that beast], / for she has made my blood and pulses shudder† (I.89-90). Perhaps one can account for this behavior by noting that Dante, being heavily disoriented, upon seeing Virgil, whom he initially perceives as being a mere apparition, feels in the Guide something supernatural which compels him to seek his aid in defeating the she-wolf. However, Dante’s remarks and behavior fall perilously close to blasphemy. Instead of unduly flattering Virgil (who by his own admission, â€Å"was a man†, and a pagan at that) and asking his assistance, the ideal Christian monotheist would seek refuge in God. The concept of placing one’s complete trust in God, manifest in such exemplars of faith as Sir Gawain of Camelot and Boccaccio’s Griselda, is an essential component of Christianity. Indeed, Gawain’s fall