India has enough human resources to match or can be quickly updated to match most of the publication requirements.
Expected benefits
This document will assist in managing the academic publication system for the community that can use AI to its advantage. The identified difficulties during the process will generate areas where the AI developers may focus on and update AI support for publications.
The concept
One can maximize the time economy by generating an AI and chosen HR-supported system for publication management. This system should develop acceptable quality publishable materials in larger quantities.
India has substantial human resources to employ HR intelligently to its advantage. One can generate an algorithm for the work. The publication management will include the following:
intelligent work distribution to HR
introducing available Artificial Intelligence to the advantage
One can:
painstakingly list the whole process in minute details
create several alternative methods for a single stage
Frame a good number of templates, wherever applicable, for each section of the process, e.g., content production, error detection, statement of compliance, and statement of deviations.
Frame the responsibility distribution policy for different preparation, production, and distribution stages.
A. Content Production
Topic generation
Topic idea distribution
Generating structure and alternative structures of paper-collection or chapters.
A good number of content creation templates for different types of content generation.
Different combinations of guidelines for generating different writing templates.
Method of combining components in templates to match authors’ preferences.
Applications of AI in content generation.
A1. Error detection system and statement of compliance and deviations
A straightforward method to detect compromises in maintaining the system.
Authors’ declarations on adherence to the content generation policy and deviation areas, if any, to comply with any specific paper’s inherent requirements.
B. Editorial Policy
A detailed editorial policy requires to be framed.
The sub-editors must ascertain the use of the editorial templates.
The sub-editorial report will include several questions that have MCQs and short reports.
Declarations of the Sub-editors on maintenance and deviations from the policy.
The Section Editor, after satisfactory validation, will send for copyediting.
After successful validation of the copyedited manuscripts, the article or chapter may be selected for publication.
C. HR identification
Essential qualities of execution of a part above in A and B.
Identification method to pinpoint HR with required qualities and attitude.
Work distribution policy.
The expected outputs of this document
The output of this planning will be a detailed publication manual with detailed indexing. With its detailed indexing, this manual will help HR with guidance for utilizing AI and generating probable answers to most issues during the production, validation, and distribution processes.
I had been to Khairagarh for a week from 08 to 15 September 2012 to teach a course. I thought it was a wonderful opportunity to reach today’s ace-musicologist Dr. Anil Beohar and talk to him. I was not sure how our ancient researchers took to researches on Indian Music. How vidwans like Bharata, Matanga, Sarangadeva and others collected such a volume of data and wrote such brilliant treatises that covered music so methodically with so much detail. We see that these scholars also described the music that was present in different geographical locations of the country when transport was difficult in those days. I wanted answers to these questions. So, I approached him and Anilbhai gladly accepted to talk.
Professor Anil Beohar with Khairagarh Palce on the background
I had my little Zoom Q3 HD video recorder with me, I carried this from Kolkata. The Khairagarh palace, the first building of the university, was a good backdrop. The roof-top of the teachers’ hostel appeared to me a good spot to try the shooting. From the roof we could get a good view of the palace. I set the camera on three heavy wooden stools, kept a couple of books on one stool and managed to put the camera-stand firmly. Anil-bhai sat before the camera and it appeared to me all set for a beautiful shoot out. So I recorded the interview. But…. on reaching the guest-house I discovered that I had very bad audio. The whole talk was blurred with the sound of the wind and I forgot to put the wind-shield on the microphones! It was very frustrating after all these work. I became sad. Anil-bhai was too busy with his administrative responsibilities and I feared that he might not be able to give me more time for a fresh recording. However, I told him what happened and requested for time. To my immense pleasure he agreed for the second go!
R to L : Sanjoy Bandopadhyay, Anil Beohar, the two Ph.D. scholars those assisted in the recording.
This time I chose the first floor of IKS University’s Central Library where they have kept the university theses. I was glad that there was enough light to shoot. So finally we could make it during the brief 30 minute free time on the 14 September 2012 from 2:30 p.m. to 3:00 p.m. The recording was okay this time… and here it is for you… I hope you will like it.
Note: Please scroll down to read an approximate translation by Dr. Pragya Pyasi, Assistant Professor of Music, University of Hyderabad.
It was early 1995. We all were so much under the overwhelming influences of the four instrument-giants Ravi Shankar, Ali Akbar Khan, Vilayet Khan, and Nikhil Banerjee that our minds were kind of hypnotized state with their influences. The senior musicians, also my Ustadji, in those days knew that I was a kind of non-routine boy.
In those days I was at Khairagarh, teaching at the University. I was scratching my heads, practicing day and night, and frantically trying to discover more playing spaces for non-routine musical imaginations. My sitar playing was going through a lot of challenges. It was not giving satisfaction. I wanted to reach new horizons but failing.
I was also listening as much as I could. I was trying to identify the music stars’ performed elements and understand the inherent patterns. Suddenly it clicked that there may be some unexplored space in the tala area.
In those days it was in active discussions whether a tala with fractional matra is good to be adapted in performances. Many musicians did not appreciate this. They thought these are limping talas. However, music pillars like Pt. Ravi Shankar, Ustd. Ali Akbar Khan never cared. These giants and later musicians freely played fractional matra tala-s. I started carefully listening to the recording of these music masters. This exercise helped me to discover that these musicians restricted their imaginations in tala-play to either whole matra talas or talas with a fraction of ½ matra. I found their recitals based on 5 ½, 7 ½, and 8 ½ matra talas. This immediately opened up the scope for more thoughts, some room to flow musical imaginations, and scope for further explorations.
Saptarishi Tala of 9 1/3 matras
Dr. Anil Beohar
I started thinking and immediately thought of other fractions like 1/3, ¼, 1/5, and so on. I composed two talas; one in 9 1/3 matras and the other in 10 3/4 matras. After composing naming automatically comes as the next step. I discussed this with my musicologist friend Dr. Anil B. Beohar. Anil said that the 9 1/3 beat tala has 7 gurus and 7 akshar kAla in tisra jAti laghu. So he named it Saptarishi because of the multiple presences of the number 7 in the construction of the tala. I thought this a wonderful idea. I agreed to name this 9 1/3 beat tala as Saptarishi. The other tala was named on my father’s name and that became Peeyush tala of 10 ¾ matra.
Note: As this is a tala that takes a fraction of 1/3 the notation has to be written showing three spaces for each matra for easier communication.
Peeyush Tala of 10 ¾ matra
Dhi na | Dhi Dhi na | Ti na | Dhina DhiDhi na-,Dhina DhiDhina |Dhi
X 2 0 3 X
Note: Please note that the 8th and the 9th matra is going in 2 times laya when the next matras are in 4 times laya.
Sanjoy Bandopadhyay (sitar) and Abhijit Banerjee (tabla) at Indian International Centre New Delhi on 10 October 1995
I gave the first performance in the Saptarishi tala with my dear Abhijit Banerjee on the tabla. That was the autumn of 1995. Abhijit came to me after a concert with Pt. Ajay Chakraborty in Taj Festival in Agra. He came to my aunt’s B-382 CR Park residence. Abhijit took some rest and then we sat for practicing. I composed a gat in Rageshree based on Saptarishi tala. We prepared for the next evening’s concert. I played the Sapatarshi composition at the India International Centre, New Delhi on 10 October 1995, the formal beginning of the journey of a new musical dimension. Here is a tiny excerpt from the concert.
Rageshree in 9 1/3 mantra Saptarishi Tala by Sanjoy Bandopadhyay (sitar). Abhijit Banerjee on Tabla.
Sanjoy Bandopadhyay with Pt. Birju Maharaj after Lucknow concert. Mukund Bhale on the right.
Later, I played this tala in other concerts. One of the important music programs was in Lucknow. It was organized by the UP Sangeet Natak Academy in Lucknow. I was privileged to have Pandit Birju Maharaj as a listener. Mukund Bhale gave me tabla support. Maharajji loved the recital a lot.
Earlier on the same day, we also recorded a piece based on Saptarishi tala in All India Radio, Lucknow. This was again full of excitement. We all know that Lucknow is the fort of Tabla playing. The radio station wanted some good tabla player from the city provides me tabla support. But I strongly urged and persuaded that Mukund should provide me tabla support. Lucknow is a city of reverence to any Hindustani Musician. That was the reason that I wished to record something special. I wished that I play a piece based on Saptarishi tala of 9 1/3 beats. I tried to convince the AIR Programme Executive that Mukund and I played several concerts and it will be good if the radio station permits me to opt for Mukund. At this, the tabla players around got upset and very angry. But finally, they accepted it.
I recorded with Mukund in the presence of a good number of eminent tabla artists. I must thank all of them for their kindness and understanding.
खंड में सौन्दर्य सृजन- सप्तऋषि एवं पीयूष ताल
भावानुवाद : प्रज्ञा प्यासी
संगीत के क्षेत्र में समर्पित मेरे व्यक्तिगत जीवन के वे अध्याय जो मुझे आज भी निरंतर क्रियाशील रहकर नित्य नवीन अन्वेषण एवं सृजन के सोपानों की ओर प्रेरित करते हैं, उन पर , अपने शिष्यों, विद्यार्थियों, संगीत रसिकों , एवं समीक्षकों से चर्चा करने में, मैं आज भी आनंद की अनुभूति करता हूँ|
मेरे स्मृतिपटल में आज वर्ष 1995 के आसपास का कालखंड पुनः जीवंत हो रहा है, जब लगभग सम्पूर्ण विश्व में भारतीय संगीत के चार दिग्गज वादकों – पं. रवि शंकर, उ.अली अकबर खान , उ. विलायत खान एवं पं. निखिल बनर्जी के चमत्कारिक प्रभाव से दिव्य सम्मोहन छाया था | ऐसे समय में मेरे उस्ताद पंडित राधिका मोहन मित्रा समेत सभी वरिष्ठ संगीतज्ञ इस बात से भली भांति परिचित थे, कि परम्पराओं के प्रति निष्ठा रखने के पश्चात भी, पूर्व निर्मित राजपथ के अनुसरण मात्र से ही मैं संतुष्ट होने वाला नहीं हूँ|
उन दिनों मैं खैरागढ़ विश्वविद्यालय में कार्यरत था| दिन रात अभ्यास और गहन चिंतन द्वारा मैं चेष्टा कर रहा था कि, निर्धारित एवं नियमित सांगीतिक कल्पनाओं के अतिरिक्त भी नवीन आयामों की खोज की जाए। सितार वादन की दृष्टि से यह अत्यंत चुनौतीपूर्ण था और मैं इस स्थिति से कदापि संतुष्ट नहीं था| अपने वादन को एक नवीन क्षितिज तक पहुंचाने की मेरी इच्छा निरंतर असफल हो रही थी। मैं अधिक से अधिक संगीत सुनकर विशिष्ट संगीतज्ञों के प्रदर्शन में निहित श्रेष्ठ तत्वों एवं प्रतिमानों को भी समझने का प्रयास कर रहा था| इस समयांतराल में अचानक विचार आया कि ताल के क्षेत्र में कुछ नवाचारी संरचनागत सौंदर्य या नव सृजन की संभावना हो सकती है|
उन दिनों संगीत जगत में यह विचारणीय प्रश्न भी चर्चा में था कि, “भिन्नात्मक” मात्राओं के तालों को प्रदर्शनों में व्यावहारिक रूप से प्रयोग किया जाये अथवा नहीं| जो संगीतज्ञ इसके पक्ष में नहीं थे, उनके विचार से ये लंगड़े ताल थे| हालाँकि पंडित रवि शंकर एवं उस्ताद अली अकबर खान जैसे संगीत स्तंभों ने इस बात की परवाह न करते हुए ना केवल उन्मुक्त रूप से भिन्नातमक तालों का वादन किया वरन अन्य कलाकारों ने भी उनका अनुसरण करते हुए भिन्नात्मक तालों के प्रचार को गति प्रदान की| मैंने इन कलाकारों की रिकॉर्डिंग्स को ध्यान से सुनना आरम्भ किया, और इस निष्कर्ष पर पहुंचा कि कलाकारों ने अपनी कल्पना को या तो पूर्ण मात्रा वाले तालों या फिर आधी मात्रा के छंद तक ही सीमित रखा है| उनकी प्रस्तुतियों में 5 ½, 7 ½, एवं 8 ½ मात्रा के ताल ही शामिल थे| अंततः इस अनुसंधान ने सांगीतिक कल्पनाओं के विस्तार एवं सृजनात्मक चिंतन की असीम संभावनाओं के द्वार खोल दिए|
9 1/3 मात्रा का सप्तऋषि ताल
कुछ समय मंथन के पश्चात ही 1/3, ¼, 1/5 के छंदों (फ्रैक्शन) की कल्पना उभरने लगी और शीघ्र ही 9 1/3 एवं 10 ¾ मात्राओं के दो तालों का जन्म हुआ| तालों के सृजन के पश्चात नामांकन के लिए मैंने अपने सहकर्मी, संगीतशास्त्री डॉ. अनिल ब्योहार के साथ चर्चा की| उन्होंने बताया कि 9 1/3 मात्रा के ताल में सात गुरु एवं तिस्र जाति लघु में सात अक्षर काल हैं | अतः ताल निर्माण की प्रक्रिया में सात की संख्या का बारम्बार प्रयोग होने के कारण इस ताल का नामकरण उन्होंने “सप्त ऋषि ” किया| मैं उनके मत से प्रभावित हुआ और सप्तऋषि नाम के लिए अपनी सहमति जता दी| दूसरे ताल को मैंने अपने पिताजी को समर्पित किया और इस प्रकार 10 ¾ मात्रा का पीयूष ताल अस्तित्व में आया|
प्रथम औपचारिक प्रस्तुति
10 अक्टूबर 1995 को इंडिया इंटरनेशनल सेंटर, नई दिल्ली में सप्तर्षि ताल की प्रस्तुति के साथ मेरी सांगीतिक यात्रा के नवीन आयाम का औपचारिक अनावरण हुआ। इस कार्यक्रम में मैंने सप्तर्षि ताल पर आधारित रागश्री में एक गत का वादन किया| तबले पर संगति हेतु इस प्रथम प्रदर्शन में मेरे प्रिय तबला वादक अभिजीत बनर्जी ने बखूबी मेरा साथ निभाया।
इसके बाद मैंने इस ताल को अन्य संगीत कार्यक्रमों में भी बजाया। लखनऊ के एक महत्वपूर्ण कार्यक्रम का उल्लेख करना मुझे यहाँ उचित प्रतीत हो रहा है, जिसका आयोजन उत्तर प्रदेश संगीत नाटक अकादमी द्वारा किया गया था। इस कार्यक्रम में श्रोता के रूप में पंडित बिरजू महाराज की उपस्थिति एवं उनके द्वारा प्रशंसा पाना एक अविस्मरणीय अनुभूति थी । इस कार्क्रम में पंडित मुकुंद भाले ने तबला संगति प्रदान की।
कार्यक्रम से पहले उसी दिन प्रातः, मुकुंद जी के साथ मैंने आकाशवाणी, लखनऊ में सप्तऋषि ताल पर आधारित एक अंश भी रिकॉर्ड किया था। हालाँकि इस रिकॉर्डिंग के लिए मुझे लखनऊ के अन्य तबला वादकों की नाराज़गी का सामना भी करना पड़ा| लखनऊ तबला वादकों का गढ़ है और आकाशवाणी के अधिकारी चाहते थे की शहर के तबला वादकों में से कोई मेरी संगत करे| मेरा आग्रह था कि मुकुंद जी हीमुझे तबला समर्थन प्रदान करें क्योंकि मैं 9 1/3 मात्रा के सप्तऋषि ताल पर आधारित रचना की प्रस्तुति चाहता था। अंततः मुकुंद जी के साथ ही रिकॉर्डिंग संपन्न हुई और अन्य तबला वादकों का क्रोध भी किसी प्रकार शांत हुआ|
