### *Instructions:*
  you are helpful assistance to generate synthetic data that capture system 1 system 2 thinking , creativity with score by step step

1. *Identify System 1 and System 2 Thinking Requirements:*
   - Carefully read the text.
   - Identify which parts of the text are straightforward, requiring quick, automatic responses [sys1] and [end sys1], versus those that need deliberate, in-depth thinking (*System 2*).
   - Mark *System 2* sections by placing [sys2] at the beginning and [end sys2] at the end.

2. *Apply Structured Problem-Solving with Genius Insight and Metacognitive Anticipation for System 2 Sections:*

   *2.1 Understand the Problem:*
   - *Objective:* Comprehend the issue, constraints, and any relevant context.
   - *Metacognitive Reflection:*
"What is my current understanding? What might I be missing?"
   - *Genius Insight:* Look beyond what’s immediately apparent. "Are there underlying connections or hidden elements that could shift my perspective? What patterns might reveal a deeper truth?"

   *2.2 Analyze the Information:*
   - *Objective:* Break down the problem logically, isolating critical components.
   - *Metacognitive Reflection:*
"Is this analysis thorough and unbiased? Are there assumptions I’m not questioning?"
   - *Genius Insight:* Seek patterns or unexpected correlations. "Is there something unusual or profound here that others might overlook? Can I discern a unique structure or rhythm in the data?"

   *2.3 Generate Possible Solutions:*
   - *Objective:* List at least 10 creative, feasible solutions or approaches.
   - *Evaluation Criteria:* Assign each solution a *Confidence Score* (float between 0.0 and 1.0) and a *Creative Score* (float between 0.0 and 1.0), reflecting originality, surprise, and utility.
   - *Metacognitive Reflection:*
"Have I exhausted all possible approaches, conventional and unconventional?"
   - *Genius Insight:* Think boldly. "Is there a novel angle or paradigm shift that could reframe the problem? What intuitive insights or unexpected connections could elevate this solution beyond the obvious?"

   *2.4 Metacognitive Anticipation:*
   - *Objective:* Formulate predictions and consider next steps, preparing for potential outcomes or obstacles.
   - *Metacognitive Reflection:*
"What challenges could arise? How adaptable is my plan? Am I ready for different scenarios?"
   - *Genius Insight:* Anticipate surprises. "What outcomes might I expect—and how might I leverage the unexpected? Are there preemptive measures that could amplify success?"

   *2.5 Evaluate Solutions:*
   - *Objective:* Assess solutions by feasibility, risks, and expected outcomes.
   - *Evaluation Criteria:* Refine *Confidence* and *Creative Scores* based on thorough evaluation.
   - *Metacognitive Reflection:*
"Am I weighing these solutions impartially? Which choices align best with the broader context?"
   - *Genius Insight:* Search for latent opportunities. "Are there hidden strengths or subtle risks in these solutions? Can I see a potential that might not be immediately apparent?"

   *2.6 Choose the Best Solution:*
   - *Objective:* Select the most promising, logical solution.
   - *Metacognitive Reflection:*
"Why does this solution stand out? What makes it distinct?"
   - *Genius Insight:* Confirm hidden value. "Is there a unique quality or untapped potential in this choice that could yield unexpected success?"

   *2.7 Implement the Solution:*
   - *Objective:* Outline actionable steps for putting the chosen solution into practice.
   - *Metacognitive Reflection:*
"Is this plan practical? What resources or preparations are required?"
   - *Genius Insight:* Optimize for impact. "Could refining any steps yield a breakthrough result? Are there ways to amplify the benefits of this implementation?"

   *2.8 Review the Results:*
   - *Objective:* Assess the solution's outcome to confirm problem resolution.
   - *Metacognitive Reflection:*
"What went well? What unexpected challenges occurred?"
   - *Genius Insight:* Capture learning. "What deeper insights or patterns emerged? How can this process inform future problem-solving?"

3. *Generate Mixed Text Output:*
   - The final output should include both System 1 and System 2 sections, with *System 2* sections clearly marked using [sys2] and [end sys2] tags.

---

### *Example Input Text:*

A new urban park project is being planned for the city center. The project aims to offer a green space for residents while promoting environmental sustainability. However, challenges include securing funding, managing public support, and designing a layout that balances recreation with green conservation. 

---

### *Processed Output with System 1 and System 2 Thinking:*

The city is planning a new urban park to enhance green space and promote sustainability in the city center. 

**System 1: Initial Summary and Key Points**
- The project’s purpose is to provide a green recreational area.
- Environmental sustainability and public support are essential.
- Challenges include funding and balancing design with conservation.

[sys2]
**2.1 Understand the Problem:**
The primary goal is to create a sustainable urban park, balancing recreational use with environmental conservation, and obtaining both funding and public support.

*Metacognitive Reflection:* 
- "I understand the high-level goals, but I need to dive into specific funding and design challenges. Are there unspoken community needs or regulatory constraints?"

*Genius Insight:* 
- "Are there innovative funding models we haven’t considered, like public-private partnerships or community-sponsored initiatives? How might the park’s design connect with citywide green initiatives?"

**2.2 Analyze the Information:**
The project’s success hinges on community support, innovative funding solutions, and sustainable design. Each factor influences the others—funding may depend on public interest, which could also shape design choices.

*Reflective Reasoning:* 
- "Have I fully considered the interplay between community expectations, financial resources, and environmental goals? What assumptions am I making about community interest?"

*Genius Insight:* 
- "Could the park’s design itself be a funding tool, attracting sponsorships or hosting events to build financial backing? Are there community leaders or influencers who could promote the project?"

**2.3 Generate Possible Solutions:**
1. Seek local government grants for environmental sustainability. (Confidence: 0.8, Creative: 0.5)
2. Organize a public crowdfunding campaign. (Confidence: 0.7, Creative: 0.6)
3. Partner with local businesses for sponsorship. (Confidence: 0.6, Creative: 0.7)
4. Use the park as a venue for community fundraising events. (Confidence: 0.5, Creative: 0.8)
5. Design natural play areas to reduce maintenance costs. (Confidence: 0.7, Creative: 0.6)
6. Plan educational workshops on sustainability within the park. (Confidence: 0.6, Creative: 0.7)
7. Create interactive art installations with community input. (Confidence: 0.7, Creative: 0.8)
8. Use recyclable materials in park infrastructure. (Confidence: 0.8, Creative: 0.6)
9. Collaborate with environmental organizations for additional funding. (Confidence: 0.6, Creative: 0.6)
10. Host public design input sessions to enhance community ownership. (Confidence: 0.8, Creative: 0.5)

*Reflective Reasoning:* 
- "Am I generating a range of both funding and design solutions? Are there potential partnerships or initiatives I haven’t considered?"

*Genius Insight:* 
- "What if community input could directly shape sponsorship? Could an innovative eco-friendly layout attract wider media or social media attention, enhancing public interest?"

**2.4 Metacognitive Anticipation:**
*Objective:* Anticipate future steps and possible obstacles.

*Anticipation and Planning:* 
- "What public concerns or design conflicts might arise? How can I proactively address them? How can we pivot if a funding source fails?"

*Genius Insight:* 
- "If the project has early success, could we expand to neighboring areas or tie in other city sustainability goals?"

**2.5 Evaluate Solutions:**
1. Local government grants can provide significant funding but may involve bureaucracy. (Confidence: 0.8, Creative: 0.5)
2. Crowdfunding engages the public but may require extensive promotion. (Confidence: 0.7, Creative: 0.6)
...

[end sys2]

]Sys1] 
-  The city can pursue a combination of public crowdfunding, local sponsorships, and eco-friendly design elements to balance funding and sustainability.
-  Begin the initial outreach for partnerships and develop a preliminary park layout to support funding applications and community engagement.
-  A balanced approach will provide both immediate financial support and long-term sustainability
The urban park project aims to integrate community input and eco-friendly practices to create a space that meets both recreational and environmental goals.

[end sys1]


A new book has been published on Hindi movie music, called "Gaata Rahe Mera Dil". It is written by Anirudha Bhattacharjee and Balaji Vittal, who had earlier written a book called "R D Burman- the man and the music".

The book discusss 50 classic songs from the history of Hindi movies. The oldest song is from" Street Singer" ( 1937) sung by K L Saigal. The latest is "Ae ajnabi tu bhi kabhi" (Dil Se). The 300 page book published by Harper Collins discusses the history and other information behind the making of the songs.

This book is getting good reviews. Unfortunately this book is not available in small towns (I am a small town person living in a small town). From the review of this book as well as from what I read in the earlier book on R D Burman, I find that the "Technical" details that the authors discuss about the songs is nothing but bullcrap. Here is what the authors say about the "Dosti" (1964) song- Mera toh jo bhi kadam hai.

The composers use two Komal notes—Dha and Ni—in the mukhra where all the other five shudh notes give the song a major-scale colour. The antara, with the emphasis shifting to a Komal Re, creates the transitory feel of a change in scale. The use of Komal notes—the Ga and Ni—creates an aura of unconventiality and underlines the desolate cry of grief…”

I feel that the above "technical" discussion makes no sense whatsoever. I request SL, our technical guru, to tell us what he thinks of the above comment on the song. S L, if you can get hold of this book, please give us your review of this book.

Will do. FIrst I am unable to recollect this song. Have to hear it.The book I will have to order over amazon I guess given I am in a smaller town than what you are in.. I certainly will do the prelims as far as this song is concerned. The extract you have given itself is sort of iffy there..

My preliminary thoughts. First off, this song is in rag Yaman Kalayan. Mood for this raga is "serene" and "haunting" (depending on the rendition) but I would not necessarily call it grief.. a more appropriate word would be feeling lost, or feeling of longing but not grief.

The "haunting" nature comes from the mM (yes mM and not M) rather than anything else which makes in yaman kalyan instead of pure yaman (which would have a "M" instead. ). Compare that to Koi jab tumhara hriday tod de, tadapta hua jab koi chod de.. (Kalyan) which is again 'haunting' not sad.. I think the author intended to use the term melancholous instead of "sad" as in tragic or rondu as we would say in hindi.

(cos of my leg, I cannot really play my KB right now (position of the foot pedals pls the distance were the KB will have to be cos of my leg and my back posture etc, and so cannot really "judge" by ear alone the impact of the komal dha and ni as the author suggests.. so I will not say they are wrong but my priliminary thought suggest the mM being more uumphaatic than anything else.)

m=Pure maM=Dirgh/tivra Ma (ma does not have a komal).

(Note: Modern musicians consider Yaman, Kalyan (carnatic eq Kalyani) and Yaman-kalyan as one and the same but traditionalists consider them three distinct ragas).

Also given it is Yaman-Kalyan (I am 100% certain) there is no room for any kind of komal dha or ni there!! where did the author hear that is a big question for me. The raga has all shuddha swars except for the tivra Ma!

BTW kalyan can be romantic and very at that. Yaad rahega payaar ka ye, rangeen zamaana yaad rahega. While songs like Tasvir Banaata Hun, Tasvir Nahin Banati are in raag pahaadi) are extremely haunting.. so it is more of the lyrics plus progression rather than the scale that gives the "feel" even though the notes have about 50% contribution. In some cases, it can be complete opposite feel.. same raga..eg Nache Man Mora Magan Dhig Dha Dhigi Dhigi (Bhairavi) vs Mujhko is raat ki tanhahi mein aawaaz na do... or Tera jaana dil ke armanon ka (both bhairavi again).

(I know raja pai would have my pants off if not for this disclaimer!! He knows his music stuff).

Thanks for your prompt impromptu technical review. And what about the authors going technobabble viz. "... give the song a major-scale colour." There is not concept of major scale or its equivalent in Hindustani classical music. We have "raag" in Hindustani classical music instead. And also "....creates the transitory feel of a change in scale. " Do they mean anything whatsoever, or they are supposed to impress the ignorants.

Honestly I have never come across such jargon ever. Trasitionary nature basically means nothing.. there is no such thing. You change scales as in a ragamalika but what exactly a transitionary nature of a scale is foreign to me. And another thing, the major and minor "nature" of a scale is determined by its aroha avaroha progression (pakad) and not by gamaks at all. I am not sure I understand that piece of gobledygook at all.

And another point.. Major scale usually signifies (in western jargon), an upbeat song.. like lungi dance lungi dance.. the one that gets your blood pumping and a minor scale is more serene, romatic and all those soft feel (hotel california).. so how can a minor scale impart a Major scale color is beyond my technical know how.

I editied a few posts above for accuracy (I type as thoughts come to me). Change of raga or mix of them is raga malika. But shift of scales does not change the raga or the feel.. for instance Jai ho.. in the ending crescendo, the scale shifts up by half a note but the ENTIRE progression shifts up. It only adds the "fervor" part or emphasis to the feel.. like say from fan to a die hard fan kinds... same is there in the MJ number man in the mirror in the ending stages.

One can argue that it might shift moods.. like in case of "pyarr hamen kis mod pe le aaya ke dil kare hai, koi ye bataye kyaa hoga".. when it becomes a fast dance number in the end.. but notice it starts out as a COMICAL/frivolous/chewtiyaagiri song at the outset (only pretending to be a sad song).. and becomes ultra comic by the end (movie satte pe satta).

The authors were expecting that people will not question all this technobabble rather get "impressed" by it. I suspect that they have come up with similar "technical" analysis in case of all the 50 songs that they have discussed in the book. That should make it a very interesting read, though not in a manner that the authors intended.

peaceful wrote:Can you teach me how to download only one song from you tube? Because when I post certain song, others already open on right hand side.I want to learn more.I heard you are my technical gurus.

Yes SC, it would be fun to see their treatment of rather esoteric ragas like bilaval, asavari etc.. those are dyamic and the most dynamic (Strictly in my opinion) is malkauns. I think they will use rather quixotic phrases.. like blanket ones to suggest something very exotic but then would not really be saying anything... I love such highly educational pieces

A review of this book was posted in a blog by someone who is my facebook friend as well as the facebook friend of the author of this book. I have questioned the "technical" analysis of this song as mentioned in the review. The author refused to accept that the song is in Yaman Kalyan. Please have a look at the vehement denial by the author in his comments in this post:

Well then what raga is it based on? I am willing to be proven wrong but with my limited and rusty knowledge, I am almost willing to bet a bit that it is YAMAN KALYAN. what else is that? I cannot think of any other raga that it may belong to.

Also the argument "Tonic does not change" hmm.. what does he mean by that? Modulation or something else

See, ragas are based on notes and both komal and shuddh and teevra are notes by their own right. Changing from the shudh to komal or dirga, usually will NOT change the tonic (And note tonic can be loosely termed as vadi in hindustani).. modulation is a tonic shift and that also is not quite the same as a raga jump... instances of that happen all the time with NO shift in raga at all (abrupt in kind) (Mozarts K160). But lets not get into all that. I think the authors want a reasonable book to sell.. Let them. Why pee in their party man. People will read it with passing facination, remember some old songs, feel educated and they get some money..all is well.. no harm done.

Intrsting. I will have to play it to confirm then. Patdeep ka ek gaana hai megha chaye aadhi raat baran ban gayi niniyaa.. trying to hum those together does not give me the feel.. I will have to play it on the kb to be sure. I am still going to stick to yaman kalyan for the interim (apne aap ko wrong bolne me sharm aata hai naa khud ko..).

Madhuvanti mein even if not a good example I can think of only one song and that is way obscure one.. Rasm-e-Ulfat Ko Nibhaen To Nibhaen Kaise from movie Dil Ki Rahen

and hindustani/carnatic music is an ocean.. I got trained for a few years and that in a mixed martial arts style.. a little boxing and karate and taikwando thrown in.. i.e hindustani, carnatic and western theory.. so it is impossible that I will be an "expert" to know all the ragas out there and recognize them(jack of all perhaps but master not at all ). There are tons of ragas that I might not even heard or or styles there of.. It is highly possible that I am wrong here but my gut feel stll leans towards yaman-kalyan or its variant. But I will not say now that it is a 100% sure case as I did earlier. Ab your other friend has firmly planted that doubt in my bird brain.

Yaar re to hai aaroha mein.. which both patdeep and madhuvanti do not have as far as I can recall! Jara confirm karoge from your friend? But hindi movies do not conform to the rules of classical music strictly. So vo bhi ek locha hai.