This English translation of Santidev Ghosh's Rabindrasangeet Vichitra makes an in-depth study of the music of Rabindranath Tagore.

"Akashvani" (English) is a programme journal of ALL INDIA RADIO, it was formerly known as The Indian Listener. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes, who writes them, take part in them and produce them along with photographs of performing artists. It also contains the information of major changes in the policy and service of the organisation. The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service, Bombay, started on 22 December, 1935 and was the successor to the Indian Radio Times in English, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it used to published by All India Radio, New Delhi. From 1950,it was turned into a weekly journal. Later, The Indian listener became "Akashvani" (English ) w.e.f. January 5, 1958. It was made fortnightly journal again w.e.f July 1,1983. NAME OF THE JOURNAL: AKASHVANI LANGUAGE OF THE JOURNAL: English DATE, MONTH & YEAR OF PUBLICATION: 23 NOVEMBER, 1975 PERIODICITY OF THE JOURNAL: Weekly NUMBER OF PAGES: 56 VOLUME NUMBER: Vol. XL. No. 47 BROADCAST PROGRAMME SCHEDULE PUBLISHED (PAGE NOS): 13-54 ARTICLE: 1. Land Reforms 2. The Rose As a Symbol and Spectrum 3. Physiotherapy and Rehabilitation AUTHOR: 1. B. Sivaraman 2. A. Ranganathan 3. Dr. M. L. Chatterjee KEYWORDS : 1. Intermediary System Wiped Out.Strong Measures Needed. National Guidelines. 2. Poetic Explorations, Symbol of Beauty. Widening Gap. 3. Types of Treatment. Prasar Bharati Archives has the copyright in all matters published in this “AKASHVANI” and other AIR journals. For reproduction previous permission is essential.

This book examines the performance of Bauls, ‘folk’ performers from Bengal, in the context of a rapidly globalizing Indian economy and against the backdrop of extreme nationalistic discourses. Recognizing their scope beyond the musical and cultural realm, Sukanya Chakrabarti engages in discussing the subversive and transformational potency of Bauls and their performances. In-Between Worlds argues that the Bauls through their musical, spiritual, and cultural performances offer ‘joy’ and ‘spirituality,’ thus making space for what Dr. Ambedkar in his famous 1942 speech had identified as ‘reclamation of human personality’. Chakrabarti destabilizes the category of ‘folk’ as a fixed classification or an origin point, and fractures homogeneous historical representations of the Baul as a ‘folk’ performer and a wandering mendicant exposing the complex heterogeneity that characterizes this group. Establishing ‘folk-ness’ as a performance category, and ‘folk festivals’ as sites of performing ‘folk-ness,’ contributing to a heritage industry that thrives on imagined and recreated nostalgia, Chakrabarti examines different sites that produce varied performative identities of Bauls, probing the limits of such categories while simultaneously advocating for polyvocality and multifocality. While this project has grounded itself firmly in performance studies, it has borrowed extensively from fields of postcolonial studies and subaltern histories, literature, ethnography and ethnomusicology, and cosmopolitan studies.

Music has been neglected by imperial historians, but this book shows that music is an essential aspect of identity formation and cross-cultural exchange. It explores the ways in which rational, moral, and aesthetic motives underlying the institutionalization of "classical" music converged and diverged in Britain and India from 1880-1940.

" Makers of Modern India: Raja Rammohun Roy" is a rich exploration of the life and influence of this visionary figure. The book navigates through Roy's captivating biography, spotlighting his political liberalism, transformative journey, and significant social reforms. It delves into his novel perspective on science in the Vedas, his pivotal role in shaping the Brahmo Samaj, and his contribution to the Bengal Renaissance. The chapters also unravel Roy's engagement with Upanishads and meditation, offering a holistic view of his lasting legacy as a reformer who catalyzed India's modernization.

The book explores into the life and contributions of the legendary poet, philosopher, and Nobel laureate. It offers a comprehensive biography, exploring his multifaceted persona. The book delves into his involvement in politics and nationalism, shedding light on his thoughts and actions in shaping India's struggle for independence. It delves deep into his soul-stirring songs, analyzing their cultural and emotional impact. The exploration of his love poems adds a romantic dimension, while his iconic Rabindra Sangeet is celebrated for its cultural significance. The book also examines Tagore's profound views on civilization and self-realization, providing a holistic understanding of his legacy.

Arnold Bake (1899–1963) was a Dutch pioneer in South Asian ethnomusicology, whose research impressed not only the most renowned Indologists of his time but also the leading figures in the emerging field of ethnomusicology. This long overdue biography sheds light on his knowledge of the theory and practice of South Asian music, as well as his legacy on the intellectual history of ethnomusicology. Bake spent nearly seventeen years in the Indian subcontinent and made numerous, irreplaceable recordings, films and photographs of local musicians and dancers. As a gifted Western musician, he studied Indian singing with Bhimrao Shastri, Dinendranath Tagore and Nabadwip Brajabashi, and successfully performed Rabindranath Tagore’s compositions and South Asian folk songs during hundreds of lecture-recitals in India, Europe and the United States. For the last fifteen years of his life, Bake taught Indian music at the School of Oriental and African Studies (SOAS), University of London; he was the first to do so at a Western university. Besides his numerous writings and radio presentations, he advanced his subject through his activities in British and international research associations. The history of ethnomusicology, especially as applied to South Asia, cannot be fully understood without regard to Bake, and yet his contribution has remained, until now, unclear and unknown.