Analysis of Music Pieces in Terms of Rhythm, Melody, and Texture

Rhythm, melody, and texture are some of the significant basic elements of music that can be found in literally any musical piece. Yet, those elements differ dramatically from piece to piece, thus creating the individual image of each composition and making it unique.Advertising We will write a custom essay sample on Analysis of Music Pieces in Terms of Rhythm, Melody, and Texture specifically for you for only $16.05 $11/page Learn More The present paper focuses on analyzing the rhythm, melody, and texture in a selection of two musical compositions and discovering both the similarities and differences in the way those musical elements appear in the compositions. The works under discussion come from different styles of piano music. The first piece, Allegretto Graciozo from Piano Sonata K333, was written by Wolfgang Amadeus Mozart in the golden age of Classical tradition in 1780s. The second piece, Fantaisie-Impromptu op.66, was created by the Romantic geni us of Frederic Chopin in the first half of the nineteenth century. The rhythmic peculiarities of Mozart’s Allegretto Graciozo reflect the graceful nature of the piece, announced in its name. Streaming through the simple quadruple time signature alla breve, the movement proceeds in the steady rhythm of quarter-notes and eighth-notes, with a significant rhythmic accent placed on the first beat of the bar by placing a dotted crochet rest there (Mozart 00:00, 00:08). The stability of rhythmical scheme is somehow enlivened by a triplet of sixteenth-notes appearing in the variation of the initial motif (Mozart 00:08). A more obvious shift from duple to triple rhythm is observed in the fourth realization of the main theme, with its final bar breaking out in a series of four eighth-note triplets (Mozart 00:22–00:24). Mozart uses the method of rhythmical variation quite widely, with the second theme diversified by a small syncope during its repetition (Mozart 00:38–00:40 ). In addition to these small rhythmical variations, the overall diversity in rhythm is achieved through altering more stabile rhythmic schemes of quarter-notes and eighth-notes with more agitated patterns of sixteenth-notes (Mozart 00:41–00:51). As it is typical of music written by composers of Viennese Classic period, the melody of Allegretto Graciozo is based on the sounds of chords. For example, the first bar of the piece features a melody highlighting the tones of a triad, and in the second bar it outlines the tones of a seventh-chord.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Due to this peculiarity, the first motive is characterized as disjunct melody (Mozart 00:00–00:04). In contrast to this part, the final motive of the phrase moves in intervals of seconds, and therefore features a conjunct type of melody (Mozart 00:05–00:07). The significance of the initial p hrase is emphasized by the fact that it is repeated four times at the beginning of the piece (00:00–00:24), then in the middle of the piece (01:00–01:21), and then developed in a different mode (02:15–02:25), returning in the original variant two more times (02:44–03:05 and 05:15–05:25). In the traditions of the Classical period, the texture of Allegretto Graciozo is homophonic. The main melody is placed in the top layer of the texture, the highest pitches. Although the rest of the layers sometimes demonstrate interesting melodic lines, they do not represent an independent melody. Therefore, those subvoices cannot be viewed as equally significant melodic materials and should rather be classified as accompaniment. Inside this homophonic texture, however, there are fragments of polyphonic dialogue between the voices, imitating each other’s motifs (Mozart 01:30–01:33 and 04:21–04:24). Chopin’s Fantaisie-Impromptu for piano represents a curious piece of music from the point of view of its rhythmical scheme. The basic time signature of the composition is simple quadruple, but it is almost leveled by the intricate polyrhythmic pattern: the right hand of the pianists plays passages in four sixteenth-notes per beat, and the left hand of the pianist performs triads of eighth-notes per beat at the same time. This creates an original effect of continuous and quite irregular movement. Rhythmic organization also helps to divide the form of the piece: the polyrhythmic pattern of four sixteenth-notes against eighth-note triads gives place to another polyrhythmic pattern of two eighth-notes against eight-note triads in the middle section of Fantaisie-Impromptu (Chopin 01:03–02:55). It is hard to talk about the melody in the two parts of Fantasie-Impromptu located around the middle. In fact, the real melody appears only in the middle part, featuring a melodic line of a wide range and both conjunct and disjun ct movement (Chopin 01:03–02:55). The large leaps in melody increase the expressiveness of the piece by enlarging the melodic range to almost two octaves (Chopin 2:25–2:27).Advertising We will write a custom essay sample on Analysis of Music Pieces in Terms of Rhythm, Melody, and Texture specifically for you for only $16.05 $11/page Learn More Emphasizing the romantic nature of the piece, the melody of the middle part is rich with various embellishments like trills and ornamentation (Chopin 01:10, 01:20, 01:30). Contrasted to this obvious melody in the middle section of Fantaisie-Impromptu, the outer sections represent a constant movement of sounds without a definite melodic line. However, even in this sound entity, there emerge certain melodic impulses, allowing to link sounds together in an audible melodic line (Chopin 00:20–00:38 and 03:07–03:24). The texture of Chopin’s Fantaisie-Impromptu is obviously homophonic i n the middle part where a definite melodic line is accompanied by figurations in the bass (Chopin 01:03–02:55). On the contrary, the texture in the outer parts does not possess an outstanding melodic line. The texture there is quite thick due to the figuration in the parties of both the right and the left hand of the pianist. However, since the material played by the right hand prevails in the hearing perception of the listener, it can be assumed that in the outer parts the texture is homophonic as well. Despite the difference in style between Mozart’s Allegretto Graciozo and Chopin’s Fantasie-Impromptu, there is certain similarity in the way the two compositions are organized rhythmically. On the one hand, both pieces maintain one and the same type of time signature, the simple quadruple one. On the other hand, when comparing the ways the composers handle repetitions of the main melodic line, it becomes apparent that with each repetition the theme is varied rhy thmically. By theme here is meant the initial phrase in Mozart’s Allegretto Graciozo and the melodic phrase that opens the middle part of Chopin’s Fantaisie-Impromptu (Chopin 01:03–02:55). Rhythmic variation as a means of development is thus common to both pieces. In terms of melody, the pieces are similar in that they both possess distinctive melodies that combine both conjunct and disjunct movement. Again, in case with Chopin’s Fantaisie-Impromptu melody is discussed in terms of the middle section (Chopin 01:03–02:55). Both of the compositions feature repetitions of melodic phrases in order to emphasize the significance of the given melody as the main theme of the piece. Moreover, Mozart, like Chopin, employs the techniques of ornamental embellishment as variation in consequent repetitions of the melodic phrase (Mozart 00:15).Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Remaining within the conventional tradition of Classical and Romantic music, both Mozart and Chopin write their pieces in homophonic texture. The melody clearly dominates over the accompaniment, however interesting subvoices the latter may feature. The accompaniment of both pieces is mainly based on supporting the melody by harmonic structures that actually represent harmonic chords expanded in separate sounds. Therefore, the subvoices merely fill in the harmony and cannot be viewed as independent melodic structures. Along with the similarities, the music pieces under discussion demonstrate significant differences in terms of rhythm, melody, and texture. The differences in rhythmic organization of the two compositions are apparent in the fact that Chopin’s Fantaisie-Impromptu demonstrates a bright example of polyrhythmic music, with its outer parts featuring a collision between triple and quadruple rhythmic structures. Such conflict of simultaneously sounding rhythms creates a conflict and dramatic character of music itself. On the contrary, Mozart keeps his piece in relatively steady rhythms, occasionally introducing a series of triplets or syncopes to diversify the rhythmic scheme. This placidity in rhythm contributes to the graceful nature of music announced in the title of Allegretto Graciozo. The melodic organization of Mozart’s and Chopin’s pieces demonstrates a difference in terms of the expressive effects of the melody. While Mozart keeps the main melody of his composition emotionally neutral by sticking to the standard pattern of following the sounds of triad, Chopin appears more creative in his approach to melody. In the two outer sections of his Fantaisie-Impromptu, the composer conceals the melody in the streaming passages of sixteenth-notes and only rarely lets the audience trace intonations that resemble a melodic line (Chopin 00:20–00:38 and 03:07–03:24). Such veiling of the melody in the outer parts makes its appearance in the middle section ever significant. This melody of the middle part differs from Mozart’s melodic structures by a much wider range and length of phrase. The difference in the texture between the two pieces reveals itself mainly in the level of texture denseness. In Mozart’s Allegretto Graciozo, the texture is mainly light and almost transparent, since it is only limited to the melodic line and a simple accompaniment with either chords played together or figurations on the sounds of chords. In Chopin’s Fantaisie-Impromptu, the texture is seemingly based on the same principle of melody with accompaniment. However, it seems much denser to the listener due to the accumulation of multiple sounds sustained on one pedal. In addition, the lack of melodic clarity in the outer parts of Fantaisie-Impromptu contributes to the loadening of texture, as the listener intuitively connects the many tones into one reverberating whole. Upon comparison of the two piece s, Wolfgang Amadeus Mozart’s Allegretto Graciozo from Piano Sonata K333 and Frederic Chopin’s Fantaisie-Impromptu op.66, it becomes obvious that certain conclusions should be drawn from the analysis. On the one hand, the similarities in rhythm, melody, and texture prompt that there exist certain artistic standards common for every style in music. Rhythmic variety as a principle of development, repetition of melodic fragments in order to emphasize the significance of a certain melodic theme, homophonic texture as dominant in both pieces, – all those features appear universal principles in classic music. On the other hand, composers individualize their works by employing various patterns of rhythmic organization, a narrower or wider range of melodic lines, and a more or less transparent texture. Singling out the common and the different in music compositions helps to realize the universal and the individual in art. Works Cited Chopin, Frederic. Fantaisie-Impromptu op.66. Perf. Vladimir Horowitz. 6 Jul. 2010. Web. https://www.youtube.com/watch?v=x93pwAvUkAA. Mozart, Wolfgang Amadeus. Allegretto Graciozo from Piano Sonata K333. Perf. Vladimir Horowitz. 6 Jul. 2010. Web. This essay on Analysis of Music Pieces in Terms of Rhythm, Melody, and Texture was written and submitted by user Virginia H. to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Indus Civilization Timeline and Description

Indus Civilization Timeline and Description The Indus civilization (also known as the Harappan Civilization, the Indus-Sarasvati or Hakra Civilization and sometimes the Indus Valley Civilization) is one of the oldest societies we know of, including over 2600 known archaeological sites located along the Indus and Sarasvati rivers in Pakistan and India, an area of some 1.6 million square kilometers. The largest known Harappan site is Ganweriwala, located on the bank of the Sarasvati river. Timeline of the Indus Civilization Important sites are listed after each phase. Chalcolithic cultures 4300-3200 BCEarly Harappan 3500-2700 BC (Mohenjo-Daro, Mehrgarh, Jodhpura, Padri)Early Harappan/Mature Harappan Transition 2800-2700 BC (Kumal, Nausharo, Kot Diji, Nari)Mature Harappan 2700-1900 BC (Harappa, Mohenjo-Daro, Shortgua, Lothal, Nari)Late Harappan 1900-1500 BC (Lothal, Bet Dwarka) The earliest settlements of the Harappans were in Baluchistan, Pakistan, beginning about 3500 BC. These sites are an independent outgrowth of Chalcolithic cultures in place in south Asia between 3800-3500 BC. Early Harappan sites built mud brick houses, and carried on long-distance trade.The Mature Harappan sites are located along the Indus and Sarasvati rivers and their tributaries. They lived in planned communities of houses built of mud brick, burnt brick, and chiseled stone. Citadels were built at sites such as Harappa, Mohenjo-Daro, Dholavira and Ropar, with carved stone gateways and fortification walls. Around the citadels were an extensive range of water reservoirs. Trade with Mesopotamia, Egypt and the Persian gulf is in evidence between 2700-1900 BC. Indus Lifestyles Mature Harappan society had three classes, including a religious elite, a trading class class and the poor workers. Art of the Harappan includes bronze figures of men, women, animals, birds and toys cast with the lost was method. Terracotta figurines are rarer, but are known from some sites, as is shell, bone, semiprecious and clay jewelry.Seals carved from steatite squares contain the earliest forms of writing. Almost 6000 inscriptions have been found to date, although they have yet to be deciphered. Scholars are divided about whether the language is likely a form of Proto-Dravidian, Proto-Brahmi or Sanskrit. Early burials were primarily extended with grave goods; later burials were varied. Subsistence and Industry The earliest pottery made in the Harappan region was built beginning about 6000 BC, and included storage jars, perforated cylindrical towers and footed dishes. The copper/bronze industry flourished at sites such as Harappa and Lothal, and copper casting and hammering were used. Shell and bead making industry was very important, particularly at sites such as Chanhu-daro where mass production of beads and seals is in evidence.The Harappan people grew wheat, barley, rice, ragi, jowar, and cotton, and raised cattle, buffalo, sheep, goats and chickens. Camels, elephants, horses, and asses were used as transport. Late Harappan The Harappan civilization ended between about 2000 and 1900 BC, resulting from a combination of environmental factors such as flooding and climatic changes, tectonic activity, and the decline of trade with western societies.   Indus Civilization Research Archaeologists associated with the Indus Valley Civilizations include R.D. Banerji, John Marshall, N. Dikshit, Daya Ram Sahni, Madho Sarup Vats, Mortimer Wheeler. More recent work has been conducted by B.B. Lal, S.R. Rao, M.K. Dhavalikar, G.L. Possehl, J. F. Jarrige, Jonathon Mark Kenoyer, and Deo Prakash Sharma, among many others at the National Museum in New Delhi. Important Harappan Sites Ganweriwala, Rakhigarhi, Dhalewan, Mohenjo-Daro, Dholavira, Harappa, Nausharo, Kot Diji, and Mehrgarh, Padri. Sources An excellent source for detailed information of the Indus civilization and with lots of photographs is Harappa.com. For information on the Indus Script and Sanskrit, see Ancient Writing of India and Asia. Archaeological sites (both on About.com and elsewhere are compiled in Archaeological Sites of the Indus Civilization. A brief Bibliography of the Indus Civilization has also been compiled.

Ways of Knowing Assignment Example | Topics and Well Written Essays - 1750 words

Ways of Knowing - Assignment Example Nevertheless, enlightenment cannot be exactly known without discussing it in the context of ignorance. When one is ignorant, one is pictured as extremely sensitive and vehemently opposing something without even realizing why. For example, one is into anarchism, or the condition where one is â€Å"unrestricted by man-made law† and believes that â€Å"all forms of government rest on violence† (Goldman 583). This is actually such a negative standpoint from which to proceed. Nevertheless, the ignorant are relentless in believing that â€Å"God, the State, and society are non-existent† (584). This they proclaim while contending that â€Å"the individual is the heart of the society† and that â€Å"society is the lungs which†¦keep the life essence† (584). How then can society be the â€Å"lungs† that keep the individual alive when in fact it had previously been declared that the society is â€Å"non-existent†? Thus, the ignorant do not realize that their principles are actually contradictory. Moreover, if the great French anarchist Proud hon states that â€Å"Property is robbery,† then I am not even entitled to own my physical body lest I be called a robber (584). Why then should anarchism be the solution to all the ills of the world when anarchism can in fact totally annihilate everything? The ignorant stops here and cannot answer such a question. This is the problem of having contradictions. Such contradictions may have only been a theory by Goldman but they made up the entire philosophy of Marx and Engels – the philosophy of communism, which was loosely based on opposition. Judging only from their own limited or ignorant points of view, the authors contend that opposition exists among the social classes: â€Å"†¦every form of society has been based†¦on the antagonism of oppressing and oppressed classes† (Marx & Engels 487). If such oppression did exist in

Correctional Institution , Criminology major Essay - 3

Correctional Institution , Criminology major - Essay Example Other issues that arise from prison rape are contraction of conditions such as HIV / AIDS which can be fatally devastating. Murder and assault: this is mostly because of hate crime in prison. When prisoners disagree, they are not likely to consult prison authorities as they prefer to settle their differences personally. Crimes are a means of exacting revenge. Weapons dealing: aside from using natural means such as physical strength to fight, assault and even murder, prisoners also use weapons. Most of the weapons they use are crude ones such as knives or improvised sharp objects. These weapons are within the prison walls or from outside the prison. Drug dealing: there is a positive correlation between drugs and crime. For prisoners arrested for drug possession and use there is still an urge to continue using drugs, this creates ready market. Through smuggling, prisoners are able to get access to money. This money funds drug deals and purchase of weapons (Mà ¸ller, Gatherer, Jà ¼rge ns, Stà ¶ver & Nikogosian 55). The psychology of the inhabitants of the correctional institutes: persons in correctional institutes reside in the institution because of committing crimes. In this light, therefore, there is a likelihood of them carrying on these activities even while in prison. Prisoners sentenced to life imprisonment in most cases do not see the need of being model citizens. They, therefore, perpetrate crimes at will because they are of the view that the worst that could happen to them has already happened (DeRosia & Victoria 101). Another contributing factor to this issue is public opinion. The public views prisoners as awful people incapable of reform. This kills the moral of an individual, and they do not see the need of change especially while in prison. The public and the prisoners get their influence from the media. There are one too many programs

Transport across a membrane

Transport across a membrane Transport across a membrane occurs by one of two opposite means, actively or passively. Active transport requires the cell to utilise cellular energy in the form of ATP, in order to employ protein pumps or engage in the activity of endo / exocytosis. Passive transport therefore occurs with no energy expenditure by the cell, where molecules exit or enter the cell using kinetic energy, or protein channels. To this effect passive transport encompasses, osmosis, diffusion of a solute across a membrane, facilitated diffusion and transport of an ion down an electrochemical gradient. The reasoning for this is outlined below. Intrinsic homeostasis at a cellular and molecular level is achieved when the cell is in an isotonic environment where the internal solute concentration of a cell is in equilibrium with the external, extra cellular environment, solute concentration and there is no net movement of water in any direction. A change in concentration of solute, initiates transport across the membrane in order to achieve equilibrium once again. The cell membrane is a structure designed in such a way to allow passage of molecules and ions in and out of the cell, to and from the extracellular fluid, whilst keeping essential components such as organelles and ribosomes within its boundary. It is comprised of a phospho lipid bi-layer, in which are embedded a variety of carrier and channel proteins. The lipid bi-layer acts as a barrier to molecules in both directions and the proteins allow entrance and exit of select molecules. (www.faculty.weber.edu/jclark1/mem%20 Permeability. PDF 25.11.09) Some chemicals will traverse the membrane, such as water, carbon dioxide, oxygen, small polar molecules and lipids and others such as ions, amino acids, large polar and macromolecules will not and the membrane is effectively selectively permeable. (www.staff.jccc.net/PDECELL/cells/transport.html 25.11.09) The most basic category of passive transport is that of diffusion of a solute across a membrane. Molecules that move across the membrane in this manner are more soluble in oil than in water and hence effortlessly ‘dissolve in and spontaneously cross the non polar lipid core of the membrane bi layer Examples of these molecules are steroid hormones, Oxygen and Carbon Dioxide (www. Biologyreference.com/Ma-MO/membrane-Transport.html 26.11.09) during the process of diffusion, ‘molecules move from an area of high concentration to an area of low concentration down the concentration gradient in order to achieve equilibrium. This is achieved by kinetic energy of the molecules whi ch are in Brownian motion. An increase in temperature causes the rate of diffusion to increase causing equilibrium to be achieved more quickly as kinetic energy increases. Size and type of molecule also has a bearing on the rate as the smaller the molecule the faster it will diffuse. Osmosis is purely ‘the diffusion of water molecules across a partially permeable membrane from a region of higher water potential to an area of lower water potential'(www.biologymad.com/resources-getting in and out of cells 25.11.09) In an isotonic surrounding there is no net movement of water molecules in either direction as there is no concentration gradient, however in a hypertonic solution where the concentration of solutes is higher and hence the water potential is more negative than the cell, water molecules from within the cell will move down the ‘water potential gradient to the extracellular fluid in order to achieve equilibrium. This can be shown in laboratory conditions by placing red blood cells in a hypertonic solution and observing them. Over time the cells will crenate as the water molecules exit the cell. Similarly if cells are in a hypotonic solution where the concentration of solutes is lower, the water potential is higher and hence the cells now have a more negative water potential and water will be taken into the cell by osmosis down the water potential gradient. Red blood cells left in a hypotonic solution and observed will show nothing under the microscope over time, as the cells eventually undergo cytolysis. (www.biologymad.com/resources-getting in and out of cells 25.11.09). Unfortunately most molecules cannot cross the membrane by straightforward diffusion alone as they are either too large, insoluble in lipid or they carry a charge which is repelled by the surface of the membrane. They therefore undergo facilitated diffusion, a mechanism by which passive transport still occurs without energy expenditure of the cell, but where the molecules are assisted across by groups of proteins inherent to the membrane. Facilitated diffusion still occurs down the concentration gradient but is specific to the molecule being facilitated. A carrier protein is specific to a particular molecule or class of molecules,(www.users.rcn.com/jkimball.ma.ulyranet/biologypages/d/diffusion.html#facilitated 26.11.09) where the molecule binds to the protein which in turn changes shape to enable the molecule to cross the membrane. An example of this being the transport of glucose into the cell. Once inside the cell glucose phosphate is manufactured for which there is no carrier prote in and hence glucose cannot pass back out of the cell. In this case equilibrium will never be reached. . (www.biologymad.com/resources-getting in and out of cells 25.11.09). In the case of transport of an ion down the electrochemical gradient, Ions transit from an area of high concentration to an area of low concentration again through facilitated diffusion with the aid of intrinsic proteins called ion channels. Without these channels charged molecules such as K+ Na+ would be repelled by the charge on the membrane. Transmembrane channels that allow facilitated diffusion, can be permanently open, or can be closed and opened as in neurones, and as such are known as ‘gated, they open or close in reaction to a ligand, a signalling molecule which can be either extracellular or intracellular. It is the gated mechanism that allows a nerve impulse to pass along a neurone. Sometimes however it is necessary for cells to transport molecules against the gradient by the use of carrier proteins, known as protein pumps. They are akin to those of facilitated diffusion, except they are working against the gradient and therefore energy in the form of ATP is expended by the cell in the doing so. This process is known as Active Transport. In all the cases outlined above the objective of passive transport has been to transport molecules across the semi permeable membrane down a concentration gradient, without expenditure of energy to the cell, and, passive transport can be demonstrated by diffusion of a solute, osmosis, facilitated diffusion and transport of an ion down an electrochemical gradient.

Booker T. Washingtons Influence on Historically Black Colleges Essays

BOOKER T. WASHINGTON: THE AMBIGUITY OF INFLUENCE ABSTRACT My paper will discuss the continuing influence of Booker T. Washington's writings on historically black colleges. While my paper will focus on the ways in which the historically black college continues to adhere to the model provided by Washington, it will also explore the ways in which it diverges from the early Hampton-Tuskegee ideal. According to James D. Anderson in The Education of Blacks in the South, both contemporary observers and later historians have portrayed the white south as taking a monolithic view of black education. However, many secondary schools in the south did not emphasize the kind of industrial education advocated by Washington. In the same manner, the historically black college no longer places the emphasis on vocational training it did at one time. However, there are still advocates for Washington's model although the training under discussion is in technical fields. Washington's influence can also be found in the importance often placed on action in hi storically black colleges, such as mine, which can undermine attempts on the part of faculty to pursue a life of the mind. At the same time, stimulating new influences emerging from African-American studies are changing and enhancing the campus culture enriching both students and faculty. My paper will conclude by considering the influence of honors programs as well as multi-ethnic and multi-cultural student bodies and faculties on the future directions of the historically black college. INTRODUCTION The freedmen and women of the Ante-Bellum South had a thirst and hunger for knowledge known by few; often learning from another freedman who had just learned to read himself, freed... ... bonds to a past and to an American tradition erase all personal feelings of self-aggrandizement and intellectual pride, a place where the self encounters the struggle of America's past, a place where the soul grows deep like the rivers. WORKS CITED Anderson, James D. The Education of Blacks in the South, 1860-1935. Chapel Hill: U of North Carolina P, 1988. Du Bois, W. E. B. The Souls of Black Folk. 1903. New York: Penguin Books, 1989. Sims, Serbrenia J. Diversifying Historically Black Colleges and Universities: A New Higher Education Paradigm. Westport: Greenwood P, 1994. Washington, Booker T. A Sunday Evening Talk. Tuskegee Institute, Alabama. 15. Jan. 1911. Washington, Booker T. Up From Slavery. 1901. New York: Doubleday & Co., 1963. Willie, Charles V., and Edmonds, Ronald R. Black Colleges in America. New York: Teachers College Press, 1978.

Automobile Industry, India Automobile Industry Essay

Following India’s growing openness, the arrival of new and existing models, easy availability of finance at relatively low rate of interest and price discounts offered by the dealers and manufacturers all have stirred the demand for vehicles and a strong growth of the Indian automobile industry. The data obtained from ministry of commerce and industry, shows high growth obtained since 2001- 02 in automobile production continuing in the first three quarters of the 2004-05. Annual growth was 16. 0 per cent in April-December, 2004; the growth rate in 2003-04 was 15. 1 per cent The automobile industry grew at a compound annual growth rate (CAGR) of 22 per cent between 1992 and 1997. With investment exceeding Rs. 50,000 crore, the turnover of the automobile industry exceeded Rs. 59,518 crore in 2002-03. Including turnover of the auto-component sector, the automotive industry’s turnover, which was above Rs. 84,000 crore in 2002-03, is estimated to have exceeded Rs. 1,00,000 crore ( USD 22. 74 billion) in 2003-04. Automobile Dealers Network in India In terms of Car dealer networks and authorized service stations, Maruti leads the pack with Dealer networks and workshops across the country. The other leading automobile manufactures are also trying to cope up and are opening their service stations and dealer workshops in all the metros and major cities of the country. Dealers offer varying kind of discount of finances who in tern pass it on to the customers in the form of reduced interest rates. Major Manufacturers in Automobile Industry Maruti Udyog Ltd. General Motors India Ford India Ltd. Eicher Motors Bajaj Auto Daewoo Motors India Hero Motors Hindustan Motors Hyundai Motor India Ltd. Royal Enfield Motors Telco TVS Motors DC Designs Swaraj Mazda Ltd Government has liberalized the norms for foreign investment and import of technology and that appears to have benefited the automobile sector. The production of total vehicles increased from 4. 2 million in 1998- 99 to 7. 3 million in 2003-04. It is likely that the production of such vehicles will exceed 10 million in the next couple of years. The industry has adopted the global standards and this was manifested in the increasing exports of the sector. After a temporary slump during 1998- 99 and 1999-00, such exports registered robust growth rates of well over 50 per cent in 2002-03 and 2003-04 each to exceed two and- a-half times the export figure for 2001-02. Automobile Export Numbers Category1998-991998-99Passenger Car25468121478Multi Utility Vehicles26543892Commercial Vehicles1010819931Two Wheelers100002256765Three Wheelers2113851535Percentage Growth-16. 632. 8 THE KEY FACTORS BEHIND THIS UPSWING Sales incentives, introduction of new models as well as variants coupled with easy availability of low cost finance with comfortable repayment options continued to drive demand and sales of automobiles during the first two quarters of the current year. The risk of an increase in the interest rates, the impact of delayed monsoons on rural demand, and increase in the costs of inputs such as steel are the key concerns for the players in the industry. As the players continue to introduce new models and variants, the competition may intensify further. The ability of the players to contain costs and focus on exports will be critical for the performance of their respective companies. The auto component sector has also posted significant growth of 20 per cent in 2003-04, to achieve a sales turnover of Rs. 30,640 crore (US$ 6. 7 billion). Further, there is a potential for higher growth due to outsourcing activities by global automobiles giants. Today, this sector has emerged as another sunrise sector. EVEN GROWTH Opposing the belief that the growth in automobile industry has catered only to the top income-stratum of society, Growth of exports of 32. 8 % in the first three quarters of 2004-05, the fastest growth in volumes has come from commercial vehicles as against passenger cars. Between 1998-99 and 2003-04, output of commercial vehicles has grown 2. 8 times compared to the 2. 2 times increase in passenger cars. Furthermore, two-wheeler output continues to dominate the volume statistics of the sector. In 2003-04, for every passenger car turned out by the sector, there were 7 two-wheelers produced. In the two wheeler segment, there is a greater preference for motorcycles followed by scooters, with both production and domestic sales of motorcycles increasing at faster rates than for scooters in the current and previous years. However, mopeds have registered low or negative growth. Export growth rates have been high both for motorcycles and scooters.