Coastal Regulation Zone

• The coastal areas of seas, bays, creeks, rivers, and backwaters which get influenced by tides up to 500 m from the high tide line (HTL) and the land between the low tide line (LTL) and the high tide line have been declared as coastal regulation zone (CRZ) in 1991.
• The coastal regulation zones have been declared by the Ministry of Environment, Forest and Climate change under the Environment Protection Act 1986.

CRZ – I: Most ecologically sensitive areas like mangroves, coral reefs etc.

CRZ-II: Areas which are developed up to the shoreline and falling within the municipal limits; includes built-up area – villages and towns are that are already well established.

CRZ-III: Areas that are relatively undisturbed and do not fall under either in Category I or II and also include rural and urban areas that are not substantially developed.

CRZ-IV: It includes coastal waters extending up to 12 nautical miles.

 

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Mridangam

• It is a classical drum of South Indian Music.
• Also known as medal or maddalam.
• It is one of the oldest Indian percussion instruments.
• It is a popular bifacial drum of Carnatic Music.
• A similar instrument, the pakhavaj, is played in the Hindustani tradition of northern India, as well as in Pakistan and Bangladesh.

Indian Classical Music

• Roots of Indian classical music can be traced back to its origin in the recital of Vedic hymns.
• There are four main Vedas, of which the one known as Samaveda (from saman, roughly translating to ‘melody’) is the most relevant – as the texts contained in it were clearly meant to be sung whilst also acting as treatises about music, dance and theatre.
• The seven swars of music – Sa, Re, Ga, Ma, Pa, Dha, Ni represent different scriptural deities: SA – Agni, RE – Brahma, GA – Saraswati, MA – Shiva, PA – Vishnu, DHA – Ganesha, NI – Surya
• Two types of Indian Classical Music:

Hindustani Music	Carnatic Music
It originated in North India. It was influenced by foreign traditions	It originated in South India. No such foreign influence
No strong emphasis on kriti as in Carnatic	It is strongly kriti-based
No strict adherence to unity of raga, tala and Sruti as in Carnatic music	Unity of raga, tala and Sruti in every piece
Prevalence of significant number of gharanas	No such prevalence of gharanas
More importance to vocal than instruments	Equal importance to both
Various sub-styles of singing	Only one sub-style of singing