A system of N non-interacting classical point particles are constrained to move on the two-dimensional surface of a sphere.The internal energy of the system is ?->(Show Answer!)

1. A system of N non-interacting classical point particles are constrained to move on the two-dimensional surface of a sphere.The internal energy of the system is

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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 carefully and answer the questions given. Certain words/phrases have been given in bold to help you locate them while answering some of the questions. From a technical and economic perspective, many assessments have highlighted the presence of cost-effective opportunities to reduce energy use in buildings. However several bodies note the significance of multiple barriers that prevent the take-up of energy efficiency measures in buildings. These include lack of awareness and concern, limited access to reliable information from trusted sources, fear about risk, disruption and other ‘transaction costs’ concerns about up-front costs and inadequate access to suitably priced finance, a lack of confidence in suppliers and technologies and the presence of split incentives between landlords and tenants. The widespread presence of these barriers led experts to predict thatwithout a concerted push from policy, two-thirds of the economically viable potential to improve energy efficiency will remain unexploited by 2035. These barriers are albatross around the neck that represent a classic market failure and a basis for governmental intervention. While these measurements focus on the technical, financial or economic barriers preventing the take-up of energy efficiency options in buildings, others emphasise the significance of the often deeply embedded social practices that shape energy use in buildings. These analyses focus not on the preferences and rationalities that might shape individual behaviours, but on the ‘entangled’ cultural practices, norms, values and routines that underpin domestic energy use. Focusing on the practice-related aspects of consumption generates very different conceptual framings and policy prescriptions than those that emerge from more traditional or mainstream perspectives. But the underlying case for government intervention to help to promote retrofit and the diffusion of more energy efficient particles is still apparent, even though the forms of intervention advocated are often very different to those that emerge from a more technical or economic perspective. Based on the recognition of the multiple barriers to change and the social, economic and environmental benefits that could be realised if they were overcome, government support for retrofit (renovating existing infrastructure to make it more energy efficient) has been widespread. Retrofit programmes have been supported and adopted in diverse forms in many setting and their ability to recruit householders and then to impact their energy use has been discussed quite extensively. Frequently, these discussions have criticised the extent to which retrofit schemes rely on incentives and the provision of new technologies to change behaviour whilst ignoring the many other factors that might limit either participation in the schemes or their impact on the behaviours and prac-tices that shape domestic energy use. These factors are obviously central to the success of retrofit schemes, but evaluations of different schemes have found that despite these they can still have significant impacts. Few experts that the best estimate of the gap between the technical potential and the actual in-situ performance of energy efficiency measures is 50%, with 35% coming from performance gaps and 15% coming from ‘comfort taking’ or direct rebound effects. They further suggest that the direct rebound effect of energy efficiency measures related to household heating is Ilkley to be less than 30% while rebound effects for various domestic energy efficiency measures vary from 5 to 15% and arise mostly from indirect effects (i.e., where savings from energy efficiency lead to increased demand for goods and services). Other analyses also note that the gap between technical potential and actual performance is likely to vary by measure, with the range extending from 0% for measures such as solar water heating to 50% for measures such as improved heating controls. And others note that levels of comfort taking are likely to vary according to the levels of consumption and fuel poverty in the sample of homes where insulation is installed, with the range extending from 30% when considering homes across all income groups to around 60% when considering only lower income homes. The scale of these gapsis significant because it materially affects the impacts of retrofit schemes and expectations and perceptions of these impacts go on to influence levels of political, financial and public support for these schemes. The literature on retrofit highlights the presence of multiple barriers to change and the need for government support, if these are to be overcome. Although much has been written on the extent to which different forms of support enable the wider take-up of domestic energy efficiency measures, behaviours and practices, various areas of contestation remain and there is still an absence of robust ex-post evidence on the extent to which these schemes actually do lead to the social, economic and environmental benefits that are widely claimed.Which of the following is most nearly the OPPOSITE in meaning to the word ‘CONCERTED’ as used in the passage ?
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