The substance coated on plastic tape recorder tapes is ?->(Show Answer!)

1. The substance coated on plastic tape recorder tapes is

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MCQ->Fifty college teachers are surveyed as to their possession of colour TV, VCR and tape recorder. Of them, 22 own colour TV, 15 own VCR and 14 own tape recorders. Nine of these college teachers own exactly two items out of colour TV, VCR and tape recorder; and, one college teacher owns all three. How many of the 50 teachers own none of the three, colour TV, VCR or tape recorder?....

MCQ->The substance coated on plastic tape recorder tapes is....

MCQ-> The teaching and transmission of North Indian classical music is, and long has been, achieved by largely oral means. The raga and its structure, the often breathtaking intricacies of talc, or rhythm, and the incarnation of raga and tala as bandish or composition, are passed thus, between guru and shishya by word of mouth and direct demonstration, with no printed sheet of notated music, as it were, acting as a go-between. Saussure’s conception of language as a communication between addresser and addressee is given, in this model, a further instance, and a new, exotic complexity and glamour.These days, especially with the middle class having entered the domain of classical music and playing not a small part ensuring the continuation of this ancient tradition, the tape recorder serves as a handy technological slave and preserves, from oblivion, the vanishing, elusive moment of oral transmission. Hoary gurus, too, have seen the advantage of this device, and increasingly use it as an aid to instructing their pupils; in place of the shawls and other traditional objects that used to pass from shishya to guru in the past, as a token of the regard of the former for the latter, it is not unusual, today, to see cassettes changing hands.Part of my education in North Indian classical music was conducted via this rather ugly but beneficial rectangle of plastic, which I carried with me to England when I was a undergraduate. Once cassette had stored in it various talas played upon the tabla, at various tempos, by my music teacher’s brother-in law, Hazarilalii, who was a teacher of Kathak dance, as well as a singer and a tabla player. This was a work of great patience and prescience, a one-and-a-half hour performance without my immediate point or purpose, but intended for some delayed future moment who I’d practise the talas solitarily.This repeated playing our of the rhythmic cycles on the tabla was inflected by the noises-an hate auto driver blowing a horn; the sound bf overbearing pigeons that were such a nuisance on the banister; even the cry of a kulfi seller in summer —entering from the balcony of the third foot flat we occupied in those days, in a lane in a Bombay suburb, before we left the city for good. These sounds, in turn, would invade, hesitantly, the ebb and flow of silence inside the artificially heated room, in a borough of West London, in which I used to live as an undergraduate. There, in the trapped dust, silence and heat, the theka of the tabla, qualified by the imminent but intermittent presence of the Bombay subrub, would come to life again. A few years later, the tabla and, in the background, the pigeons and the itinerant kulfi seller, would inhabit a small graduate room in Oxford.cThe tape recorder, though, remains an extension of the oral transmission of music, rather than a replacement of it. And the oral transmission of North Indian classical music remains, almost uniquely, testament to the fact that the human brain can absorb, remember and reproduces structures of great complexity and sophistication without the help of the hieroglyph or written mark or a system of notation. I remember my surprise on discovering the Hazarilalji- who had mastered Kathak dance, tala and North Indian classical music, and who used to narrate to me, occasionally, compositions meant for dance that were grant and intricate in their verbal prosody, architecture and rhythmic complexity- was near illustrate and had barely learnt to write his name in large and clumsy letters.Of course, attempts have been made, throughout the 20th century, to formally codify and even notate this music, and institutions set up and degrees created, specifically to educate students in this “scientific” and codified manner. Paradoxically, however, this style of teaching has produced no noteworthy student or performer; the most creative musicians still emerge from the guru-shishya relationship, their understanding of music developed by oral communication.The fact that North Indian classical music emanates from, and has evolved through, oral culture, means that this music has a significantly different aesthetic, aw that this aesthetic has a different politics, from that of Western classical music) A piece of music in the Western tradition, at least in its most characteristic and popular conception, originates in its composer, and the connection between the two, between composer and the piece of music, is relatively unambiguous precisely because the composer writes down, in notation, his composition, as a poet might write down and publish his poem. However far the printed sheet of notated music might travel thus from the composer, it still remains his property; and the notion of property remains at the heart of the Western conception of “genius”, which derives from the Latin gignere or ‘to beget’.The genius in Western classical music is, then, the originator, begetter and owner of his work the printed, notated sheet testifying to his authority over his product and his power, not only of expression or imagination, but of origination. The conductor is a custodian and guardian of this property. IS it an accident that Mandelstam, in his notebooks, compares — celebratorily—the conductor’s baton to a policeman’s, saying all the music of the orchestra lies mute within it, waiting for its first movement to release it into the auditorium?The raga — transmitted through oral means — is, in a sense, no one’s property; it is not easy to pin down its source, or to know exactly where its provenance or origin lies. Unlike the Western classical tradition, where the composer begets his piece, notates it and stamps it with his ownership and remains, in effect, larger than, or the father of, his work, in the North India classical tradition, the raga — unconfined to a single incarnation, composer or performer — remains necessarily greater than the artiste who invokes it.This leads to a very different politics of interpretation and valuation, to an aesthetic that privileges the evanescent moment of performance and invocation over the controlling authority of genius and the permanent record. It is a tradition, thus, that would appear to value the performer, as medium, more highly than the composer who presumes to originate what, effectively, cannot be originated in a single person — because the raga is the inheritance of a culture.The author’s contention that the notion of property lies at the heart of the Western conception of genius is best indicated by which one of the following?
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MCQ-> Read the following passage and answer the questions. Passage: A new paper published by Rochman and her colleagues in February, in the journal Ecology, sifts through past research on marine debris to assess the true extent of the environmental threat. Plenty of studies have sounded alarm bells about the state of marine debris: Rochman and her colleagues set out to determine how many of those perceived risks are real Often. Rochman says, scientists will wrap up a paper by speculating about the broader impacts of what they've found. Maybe their study has shown that certain seabirds eat plastic bags, for example, and the paper goes on to warn that whole bird populations are at risk of dying out. "But the truth was that nobody had yet tested those perceived threats." Rochman says. "There wasn't a lot of information." Rochman and her colleagues examined more than a hundred papers on the impacts of marine debris that were published through 2013. Within each paper. they asked what threats scientists had studied-366 perceived threats in all and what they'd actually found. In 83 percent of cases, the perceived dangers of ocean trash were proven true. In most of the remaining cases. the working group found the studies too shoddy to draw conclusions from—they lacked a control group, for example. or used faulty statistics. Strikingly. Rochman says, only one well-designed study failed to find the effect it was looking for, an investigation of mussels ingesting microscopic plastic bits. The plastic moved from the mussels' stomachs to their bloodstreams. scientists found. and stayed there for weeks—but didn't seem to stress out the shellfish. A lot of ocean debris is "microplastic," or pieces smaller than five millimetres. These may be the beads from a facial scrub. fibres shed by synthetic clothing in the wash. or eroded remnants of larger debris. Compared to the number of studies investigating large-scale debris. Roclunan's group found little research on the effects of these tiny bits. There are also, she adds, a lot of open questions about the ways that ocean debris can lead to sea-creature death. Many studies have looked at how plastic affects an individual animal or that animal's tissues or cells, rather than whole populations. And in the lab, scientists often use higher concentrations of plastic than what's really in the ocean. None of that tells us how many birds or fish or sea turtles could die form plastic pollution or how deaths in one species could affect that animal's predators, or the rest of the ecosystem. "We need to be asking more ecologically relevant questions." Rothman says. Usually, scientists don't know how disasters like oil spills or nuclear meltdowns will affect the environment until after they've happened. she says. "We don't ask the right questions early enough." But if ecologists can understand how the slow-moving disaster of ocean garbage is affecting ecosystems. they might be able to prevent things from getting worse.Which ONE of the following conclusions based on the examination of the hundred-odd papers on marine debris and its ecological impact by Rachman and her colleagues is NOT CORRECT?
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MCQ->The following steps are necessary to obtain sufficient accuracy with the tape :1. Keeping uniform tension on tape for each measurement:2. "Breaking" tape on slopes are necessary to keep the tape level.3. Keeping accurate count of the stations.4. Keeping the tape on the line being measured.The correct sequence of these steps is....