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Broadly, a citation is a reference to a published or unpublished source (not always the original source). More precisely, a citation is an abbreviated alphanumeric expression (e.g. [Newell84]) embedded in the body of an intellectual work that denotes an entry in the bibliographic references section of the work for the purpose of acknowledging the relevance of the works of others to the topic of discussion at the spot where the citation appears. Generally the combination of both the in-body citation and the bibliographic entry constitutes what is commonly thought of as a citation (whereas bibliographic entries by themselves are not).
Citation has several important purposes: to uphold intellectual honesty,[1] to attribute prior or unoriginal work and ideas to the correct sources, to allow the reader to determine independently whether the referenced material supports the author's argument in the claimed way, and to help the reader gauge the strength and validity of the material the author has used.[2]
The forms of citations generally subscribe to one of the generally accepted citations systems, such as the Oxford,[3] Harvard, MLA, American Sociological Association (ASA), American Psychological Association (APA), and other citations systems, as their syntactic conventions are widely known and easily interpreted by readers. Each of these citation systems has its respective advantages and disadvantages relative to the trade-offs of being informative (but not too disruptive) and thus are chosen relative to the needs of the type of publication being crafted. Editors will often specify the citation system to use.
Bibliographies, and other list-like compilations of references, are generally not considered citations because they do not fulfil the true spirit of the term: deliberate acknowledgement by other authors of the priority of one's ideas.[4]
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Citation content can vary depending on the type of source and may include:
Along with information such as author(s), date of publication, title and page numbers, citations may also include unique identifiers depending on the type of work being referred to.
Broadly speaking, there are two citation systems:[9][10][11]
Note systems involve the use of sequential numbers in the text which refer to either footnotes (notes at the end of the page) or endnotes (a note on a separate page at the end of the paper) which gives the source detail. The notes system may or may not require a full bibliography, depending on whether the writer has used a full note form or a shortened note form.
For example, an excerpt from the text of a paper using a notes system without a full bibliography could look like this:
The note, located either at the foot of the page (footnote) or at the end of the paper (endnote) would look like this:
In a paper which contains a full bibliography, the shortened note could look like this:
and the bibliography entry, which would be required with a shortened note, would look like this:
In the humanities, many authors use footnotes or endnotes to supply anecdotal information. In this way, what looks like a citation is actually supplementary material, or suggestions for further reading.[12]
Parenthetical referencing also known as Harvard referencing where full or partial, in-text citations are enclosed within parentheses and embedded in the paragraph, as opposed to the footnote style.
An example of a parenthetical reference would be:
(Smith 2010, p. 1)
Depending on the choice of style, fully cited parenthetical references may require no end section. Alternately a list of the citations with complete bibliographical references may be included in an end section sorted alphabetically by author's last name.
This section may be known as:
However, the in-text referencing style in online publications may differ from the conventional parenthetical referencing. A full reference can be hidden and displayed in the form of a tooltip on a reader’s request.[13] This style makes citing easier and improves the reader’s experience.
Citation styles can be broadly divided into styles common to the Humanities and the Sciences, though there is considerable overlap. Some style guides, such as the Chicago Manual of Style, are quite flexible and cover both parenthetical and note citation systems.[11] Others, such as MLA and APA styles, specify formats within the context of a single citation system.[10] These may be referred to as citation formats as well as citation styles.[14][15][16] The various guides thus specify order of appearance, for example, of publication date, title, and page numbers following the author name, in addition to conventions of punctuation, use of italics, emphasis, parenthesis, quotation marks, etc., particular to their style.
A number of organizations have created styles to fit their needs; consequently, a number of different guides exist. Individual publishers often have their own in-house variations as well, and some works are so long-established as to have their own citation methods too: Stephanus pagination for Plato; Bekker numbers for Aristotle; citing the Bible by book, chapter and verse; or Shakespeare notation by play, act and scene.
Some examples of style guides include:
In some areas of the Humanities, footnotes are used exclusively for references, and their use for conventional footnotes (explanations or examples) is avoided. In these areas, the term "footnote" is actually used as a synonym for "reference", and care must be taken by editors and typesetters to ensure that they understand how the term is being used by their authors.
In the case of direct citations, the boundaries of a citation are apparent from the quotation marks. However, the boundaries of indirect citations are usually unknown. In order to clarify these boundaries, citation marks (˻…˼) can be used. Example:
Here, it becomes apparent from the citation marks that the citation refers to both sentence 2 and 3, but not to sentence 1.
In their research on footnotes in scholarly journals in the field of communication, Michael Bugeja and Daniela V. Dimitrova have found that citations to online sources have a rate of decay (as cited pages are taken down), which they call a "half-life," that renders footnotes in those journals less useful for scholarship over time.[28]
Other experts have found that published replications do not have as many citations as original publications.[29]
Another important issue is citation errors, which often occur due to carelessness on either the researcher or journal editor's part in the publication procedure. Experts have found that simple precautions, such as consulting the author of a cited source about proper citations, reduce the likelihood of citation errors and thus increase the quality of research.[30]
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Asa Singh Mastana | |
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Born | 1929 Punjab |
Died | 1999 |
Occupations | Singer |
Associated acts | Surinder Kaur |
Asa Singh Mastana (Punjabi: ਆਸਾ ਸਿੰਘ ਮਸਤਾਨਾ)(Surname- 'Blaggan') (1926–1999) was a Punjabi musician and singer, best known for lending his voice to the hit Bollywood film Heer. His well-known songs, among others "Balle Ni Panjaab Diye Sher Bachiye", "Doli Charhdeyan Marian Heer Cheekaan" and "Kali teri gut", have served as templates for later Punjabi musicians[1] His great work also expands to singing sad songs like "Jadon Meri Arthi Utha Ke Chalan Ge" to famous song "Main Jatt Yamla Pagla Deewana" dramtized on Dharmendra[2]. He was mostly paired with Surinder Kaur or Prakash Kaur for singing many old folk songs of Punjab[3].
Persondata | |
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Name | Mastana, Asa Singh |
Alternative names | |
Short description | Punjabi singer |
Date of birth | 1926 |
Place of birth | |
Date of death | 1999 |
Place of death |
This article about an Indian singer is a stub. You can help Wikipedia by expanding it. |
Surinder Kaur | |
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Surinder Kaur in Miss Punjaban 1996 Surinder Kaur in Miss Punjaban 1996 |
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Background information | |
Birth name | Surinder Kaur |
Also known as | Nightingale of Punjab |
Born | (1929-11-25)November 25, 1929 |
Origin | Lahore, British India |
Died | June 15, 2006(2006-06-15) (aged 76) New Jersey, United States |
Genres | Folk |
Occupations | Playback singer, songwriter, singer |
Years active | 1943–2006 |
Surinder Kaur (November 25, 1929 – June 15, 2006), was an Indian singer and songwriter. She sang mainly Punjabi folk-songs, where she is credited for pioneering and popularising the genre and later was known as the ‘Nightingale of Punjab’; she also sang some Hindi movie songs, between 1948-1952.[1][2][3]
In an illustrious spanning nearly six decades, her repertoire included Punjabi Sufi Kafis of Bulleh Shah and verses by contemporary poets like Nand Lal Noorpuri, Amrita Pritam, Mohan Singh and Shiv Kumar Batalvi giving memorable songs like, Maavan te dheeyan, Jutti Kasuri, Paireen na poori, Madhaniyan, Kiven akhiyan che pavan kajra, and Ghaman di raat lammi hai jan mere geet. In time her wedding songs, most notably Lathe di chadar, Suhe ve cheere valeya and Kaala Doriya, became an indelible part of Punjabi culture.[4]
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She was born in a Punjabi khatri Sikh family. She was sister of Prakash Kaur famous singer. She is the mother of Dolly Guleria. She had three daughters and dolly is eldest of them. [5]
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Kaur made her professional debut with a live performance on Lahore Radio in August 1943, and the following year on August 31, 1943, she and her elder sister, Parkash Kaur cut their first duet, Maavan Te Dheeyan Ral Baithiyaan for the HMV label, emerging as superstars across the Indian subcontinent.[1][4][6]
Following Punjab's 1947 owing to partition of India, Kaur and her parents relocated to Ghaziabad, Delhi, next she married Prof. Joginder Singh Sodhi, a lecturer in Punjabi literature at Delhi University. Recognising her talent, her husband became her support system, and soon she started a career as a playback singer in Hindi film industry in Bombay, introduced by music director, Ghulam Haider. Under him she sang three songs in the 1948 film Shaheed, including Badnam Na Ho Jaye Mohabbat Ka Fasaana, Aanaa hai tho aajaao and Taqdeer ki aandhi…hum kahaan aur thum kahaan. Her true interest however lay in stage performances and reviving Punjabi folk songs, and she eventually moved back to Delhi in 1952.[4]
In the decades to follow, her husband continued to guide her singing career. "He was the one who made me a star," she later recalled. "He chose all the lyrics I sang and we both collaborated on compositions." Together Kaur and Sodhi wrote such classics as "Chan Kithe Guzari Aai Raat," "Lathe Di Chadar," "Shonkan Mele Di," and "Gori Diyan Jhanjran", "Sarke-Sarke Jandiye Mutiare". The couple they also served as the public face of the Indian People's Theatre Association (IPTA), an arm of the Indian Communist party in Punjab, spreading messages of peace and love to the most remote villages of East Punjab; she also travelled to many parts of the world performing Punjabi folk songs, gaining rapid popularity.
In all Kaur recorded more than 2,000 songs, among them duets with Asa Singh Mastana, Harcharan Grewel, Rangilla Jatt, and Didar Sandhu. Although her life and collaboration with Sodhi was cut short upon the educator's death in 1976, she continued the family's creative tradition via duets with their daughter and disciples, Rupinder Kaur Guleria, better known as Dolly Guleria and granddaughter Sunaini, culminating in the 1995 LP, 'Surinder Kaur - The Three Generations.[7]
She was conferred the Sangeet Natak Akademi Award for Punjabi Folk Music in 1984, by the Sangeet Natak Academi, India's National Academy of Music, Dance and Theatre,[8] the Millennium Punjabi Singer award,[9] and Padma Shri award in 2006 for her contribution in Arts.[10] The Guru Nanak Dev University conferred on her a doctorate in the year 2002.[4]
Towards the later part of her life, wanting to get close to her mitti, Surinder Kaur settled in Panchkula in 2004, with an aim to construct a house in Zirakpur, near Chandigarh. Subsequently, on 22 December 2005, she suffered a heart attack and was admitted to General Hospital, Panchkula.[4] Later, however, she looked up and personally went to Delhi to receive the coveted Padma Shri Award in January 2006. It is another matter that she was painfully aware of the events that delayed the honour for so long, despite her unparalleled contribution to Punjabi music. But even when she received the award she was regretful that the nomination for the same had come from Haryana and not Punjab for which she worked tirelessly through five decades.[9]
In 2006, a prolonged illness prompted Kaur to seek treatment in the U.S. she died in a New Jersey hospital on June 15 at the age of 77. She was survived by three daughters, eldest, singer Dolly Guleria who lives in Panchkula, followed by Nandini Singh and Pramodini Jaggi, both settled in New Jersey.[1] Upon the death, the Prime minister of India, Dr. Manmohan Singh described her as "the nightingale of Punjab", and "a legend in Punjabi folk music and popular music and a trend-setter in Punjabi melody." and added, "I hope that her immortal voice will motivate other artists to practice the right Punjabi folk music tradition".[11]
A 2006 Doordarshan documentary titled, Punjab Di Koyal (Nightingale of Punjab), on the life and works of Surinder Kaur, received the Doordarshan National Awards - 2006.[12]
Persondata | |
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Name | Kaur, Surinder |
Alternative names | |
Short description | |
Date of birth | November 25, 1929 |
Place of birth | |
Date of death | June 15, 2006 |
Place of death | New Jersey, United States |
This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (December 2007) |
Jackie Brenston (August 15, 1930 – December 15, 1979)[1] was an African American R&B singer and saxophonist, who recorded, with Ike Turner's band, the first version of the proto-rock and roll song "Rocket 88".
Brenston was born in Clarksdale, Mississippi, United States.[1] Returning to Clarksdale from army service in 1947, Brenston learned to play the tenor saxophone, linking up with Ike Turner in 1950 as sax player and occasional singer in his band. The local success of Turner’s Kings of Rhythm prompted B. B. King to recommend them to studio owner Sam Phillips in Memphis, Tennessee, where the band made several recordings in early March 1951, including "Rocket 88", on which Brenston sang lead and which he was credited with writing.
Phillips passed the recordings on to Chess Records in Chicago, who released "Rocket 88" as by "Jackie Brenston and his Delta Cats", rather than under Turner's name. The record soon reached #1 on the U.S. Billboard R&B chart and stayed at that position for over a month. Phillips' later claimed that this was the first rock and roll record,[1] this has often been repeated by others, although there are numerous other candidates. Phillips used the success of the record to start Sun Records the following year.
After one further recording session, Brenston and Turner parted company, and Brenston went on to perform in Lowell Fulson's band for two years. He returned to play in Turner's band from 1955 to 1962. Although he occasionally sang with the band, Turner apparently debarred him from singing "Rocket 88".
By now an alcoholic, Brenston continued playing in local bands. After a final recording session with Earl Hooker in 1963, he worked occasionally as a truck driver before a fatal heart attack in Memphis at the age of 49.[1]
Persondata | |
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Name | Brenston, Jackie |
Alternative names | |
Short description | American R&B singer and saxophonist |
Date of birth | August 15, 1930 |
Place of birth | Clarksdale, Mississippi, United States |
Date of death | December 15, 1979 |
Place of death | Memphis, Tennessee, United States |