Posts Tagged ‘MGL’

MGL Health care and Life Sciences division provides you an excellent opportunity to excel yourself in advanced bioinformatics by learning and understanding the exclusive industry accepted tools and technology in Bio-informatics as a part of training

Over the past six years, MGL has been conducting certified bioinformatics training programs for students from leading academic institutions. Our intention is not only to provide these candidates with greater exposure to quality training, but also to offer them career guidance in this rapidly burgeoning field. Upon successful completion of this training program, many of our former students have now started their professional careers and have also commenced publishing their projects in international conferences.


  • To expose students to engineering experience, a real’ working environment and get them acquainted with the organization structure, business operations and administrative functions which are not taught in classroom
  • To have hands-on experience in their related field so that they can relate and reinforce what has been taught at their university and also share the experience gained from industry in their classrooms.
  • To foster cooperation and to develop synergetic collaboration between industry and the university in promoting a knowledgeable society
  • To gain exposure on drug discovery data and procedural flow management and implementation and technical report writing in projects
  • To provide exposure for the student towards the prospective future employers
  • To apply the concept of Bioinformatics efficiently in biotechnology labs
  • To teach concept of intellectual properties and its importance in the organization and in the country’s growth to the students

Learning Outcome

  • Gain exposure to the actual working environment in the industry and the business
  • Develop awareness of the importance and the capability of adapting to the working environment and culture of a job
  • Possess enhanced communication and team-working skills.
  • Develop awareness of the requirements and expectation of industry on employees
  • Relate and apply the knowledge learned in the university for IP led work in Industry

Course Offerings

Crash Course (1 week)
Basics of bioinformatics and various bioinformatics tools
Training with projects (2 to 6 months – 300 hours to 1000 hours)
Advanced bioinformatics training including projects spanning 1 to 2 months or 3 to 6 months
Combo Courses (2 months- 300 hours)
In-silico drug designing procedures and PERL programming language with practical

* These courses are intended for candidates who have either completed or currently pursuing their graduation or post graduation in the Biological discipline or Quantitative Science


  • PERL and Bioinformatics – PERL Basics, Intermediate and Advanced, Biological databases, Sequence analysis and alignment, Evolutionary analysis

For further clarifications,
Email: m.rajesh@mgl.com


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Hariharan VG, SOA Architect, writes…

I strongly believe that this is the right time to discuss the future of IT. Almost all IT players are feeling the heat of IT slowdown. The world economy is melting down; most of the business sectors have crashed. And everyone is wondering why this is happening when they have the best IT teams?

IT has demonstrated major enlargement for the past 20 years in terms of new technologies, tools, methodologies and standards. Most of modern tools and technologies have been adopted, developed and implemented by major business players, but still IT is not completely able to help organizations predict the market, financial standing and strategies. Is IT inefficient to forecast the future market and financial strategy? Certainly not; so far IT just played a supporting role for enterprises. It is clearly proves that even though IT as sector has superior, but still it is not considered as backbone of enterprise business.

Business strategy drives IT strategy

Most of the enterprise case studies show that IT strategies and policies are defined and derived based on enterprise business strategies. This means that in most of the cases business strategies drive IT strategy and policy without IT actually playing any major role in driving business strategies. But business and IT should work together for defining enterprise strategies for predicting slowdown. Ideally, if it is a singular enterprise strategy, this would give more room for IT to play major role in predicting potential of enterprises. Service Oriented Architecture is the best architecture approach that can help implement enterprise strategies and predict future requirements and actions to handle the world market.

SOA – Key player

Service Oriented Architecture is an architectural approach, which involves business and IT strategies defining enterprise businesses. When I say architecture, I’m not talking about an application or system architecture, but rather about an enterprise business architecture. Implementing SOA requires 70% of tools / technologies and 30% of management methodologies. SOA implementation technologies include Web Services, Security and Messaging standards, ESB (Enterprise Service Bus), Master Data Management, Data Mashup, Data Integration, BPM (Business Process Management), BPEL (Business Process Execution Language), Work Flow, Web Portal and Data Warehousing. SOA management methodologies include Governance, SLA, Policies and Implementation strategy, Business Activity Monitoring and Management and Project Management. I am not saying all the above are required for each enterprise, but still it can be adopted based on enterprise business plan and needs.

Since SOA approach dismantles the enterprises business as services and processes, it is easy to monitor and manage the performance and efficiencies of business processes. In earlier application approaches, entire enterprise systems used to built as single units. So management did not have control to identify the weakness of business. But SOA’s business activity monitoring and management helps identify the weakness of business process to rectify that immediately.

Since the enterprise business is built as pieces of services, it is effortless to remove or plugin new/existing modules and processes. Any economic and market change can be adopted immediately with the existing enterprise process which could drastically reduce the slowdown risk.

Governance, SLAs and policies help implement the SOA approach in the enterprise without creating an impact at the resource and management level. Service level agreements are ensuring prediction of weak service areas and identification of reasons behind the weaknesses. Policies and standards also help the enterprise implement standards and procedures, which will give them better control for management to make right decisions at right time.

Tools selection

The critical part of SOA implementation is selecting the right software tool for appropriate need. I would suggest referring Eric Roch’s blog entry on SOA tools.

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This year MGL Unplugged had the privilege of covering the memorable concerts that took place during the 34th Year Arts Festival organized by Kartik Fine Arts; not just as sponsors of the event, but more so as fans of a beloved traditional art form. We have tried to capture the essence of these concerts, as well as the spirit of artists who have so diligently kept us entertained for over a month.

It has been our intention to capture the spirit of Carnatic music through MGL Unplugged and we hope that our recollection of Chennai’s musical journey in December has attenuated your senses both visually and expressively. Since most of the concerts were scintillating with rich performances by a diverse crop of musicians, we have no doubt that this experience will stay embedded in our memory.

As we have been saying so, music is an expression of society’s culture and we consider our patronization of this illustrious art form to be more than just corporate social responsibility. We almost felt obliged to lend our support to Kartik Fine Arts in hope that it’s spirit will resonate melodies in MGL’s corporate world!

We also would like to remind our dear readers about the associated musician’s portal – hellomusician.com that lets musicians utilize this free space for showcasing their profiles in a digital repository to the entire virtual audience. As a technology solutions provider, MGL proudly supports each and every one of these musicians with zeal to hopefully cultivate their legacies. Whether it would be through websites, portals, CBT, WBT, e-learning, digital media repositories or eCommerce, we certainly hold the credibility to integrate a technology backbone into musicians’ creative logs!

We do request all the Carnatic musicians in Chennai to approach us for further information on how we can team up to spread the mystique and beauty of Carnatic music.

A legendary poet once said that music expresses that which cannot be put into words and that which cannot remain silent. At MGL Unplugged, we try to find a balance between the two…for the sake of Chennai’s ever-growing Carnatic fanbase and more importantly, for music itself.

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2007011900960301Hyderabad Brothers – Vocal

S. Varadarajan – Violin

Karaikudi R. Mani – Mridangam

V. Suresh – Kanjira

The evening began with the crowd eagerly anticipating the day’s performance. With the critically-acclaimed Hyderabad Brothers behind the screen and their co-artists on the stage getting ready with their instruments, the hall was buzzing with excitement.

Niravathi Sukadha – Ravichandrika – Adi was the first piece to be performed. Chitta Swaram was rendered in a more traditional fashion as the accompaniments tried to gloss over the rhythms with dynamic strokes.

Their version of ‘Teliyaleru Rama’, Dhenuka (Adi) literally moved the audience and tugged at our heartstrings as the Raga along with the verses of Thyagaraja created a unique feeling of stepping towards the almighty ones. It basically showcased the devotional aspects of the Carnatic music. It was in full Bhava when Hyderabad Brothers gave finishing touches of the Raga as Karaikudi R Mani carried the piece with his unique stokes.

Lathangi was really modernized and I need to mention that it was another unique facet of today’s concert. Never-before heard sangathis were spotted by Hyderabad Brothers and interpreted beautifully. Varadarajan added his flavor with his strings, as he was able to strike perfect rhythm. ‘Aparadha Moolan’ fulfilled the desires of the audience, as did Swaram while rendering a faster pace for the item. Korvai was drenched in reverbs with rhythmic passion. KRM, as usual, added more creativity to the item with due support from Suresh.

Rithi Gowlai, Nannuvidachi and Gaanamoorthe were a few amongst the most familiar pieces, which the audience could recognize and enjoy to the fullest. Seshachari even rendered the fabulous Harikambhoji with more unique touches in Raga. The Raga by itself is an embodiment of divine Carnatic music and is also the primary concern in ‘Tamil Pann’.

So melodious and enjoying it was that when Seshachari even showed varieties of it and indicated the flexibility of the Raga. The Hyderabad Brothers possess a very versatile style of singing even though their appearance is simple and traditional. The famous ‘Dhinamani Vamsa’ was the hit of the day. They modulated the song to let the audience feel the essence of music. Had the stage ever been prone for experiments, this time they tested more of their knowledge in mathematics and it is sad to notice that they were unsuccessful.

karaikudirmaniTrying Misra Koraipu led them into trouble even with KRM helped them with his favourite snippets. KRM has worked more on the Koraipu and his repertoire of various Koraipu (Misra Koraipu, Thisra Koraipu etc) is admirable and fairly sufficient for any artist to think rationally and explore the beauty of this wonderful art. So was his Thani when he attempted to play more unique and elegant rhythmic pieces and let Suresh to turn back to the audience. Suresh was in a spirit of entertaining as he played more calculations to integrate with KRM. It was almost a mess when KRM attempted to showcase a different Mohara Korvai, but that was compensated with his spirit to perform more on stage. Ethanai Sonnalum, Saveri was next and finally Alasaara Parithapam was the concluding piece of the day.

As one knows, music can be endless like the ocean. I personally think that musicians should try to capture as many seashells as they can! It’s their confidence level and continued effort that gains them the edge they need as performers and understanding their own capability and fluency for the moment is the key aspect of any performance art. Cultural organizations should take care to engage the right kind of artists to entertain their audience. In general, the quality of performance is directly proportional to the density of the crowd!

Artist-Rasika Twine: It’s the duty of every musician to entertain every audience at all levels. On the other hand, the Rasikas should also raise themselves to understand the music, enjoy and appreciate the artist for their right versions. Of course they form the primary feedback for the artists’ growth. If one knows how to achieve their adoration, he/she will stay ever in the minds of the rasikas like our yesteryears’ stalwart Madurai Mani Iyer whose music was enjoyed and appreciated even by music teetotalers!

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2007011900030302Gayathri Girish – Vocal

V. Sanjeev – Violin

K Sivakumar – Mridangam

Sri Sundar Kumar – Kanjira

The evening started with a CD release of ‘Raga Manjari’ by vocalist Gayathri Girish. Sri Ragunathan, who orchestrated the album, received the first copy and spoke a few words highlighting Gayathri’s past performances and her abilities to present unique musical themes.

The concert began with a Panthuvarali Varnam (Saami Ninee), which was followed by Seethapathey Namanasuna as Gayathri was looking to settle down with her melodious reverbs for the rest of the evening. It was Virutham in Madhyamavathi that grabbed the attention of the audience, as they were vocally impressed by the song – Aaadhathu Asangaathu. Some of them even started humming the tune! When the masterpiece ‘Oothukadu Venkatasubaiyer’ began, I recalled ‘Pithukuli Murugadas’ who once popularized this. Gayathri herself was proficient in rendering Saahithya with Bhava – the exquisite ingredients of Carnatic music. I guess music is a devotional language, which can communicate beyond limits to reflect one’s inner self.

Mesmerizing melodies in Sahaana were clear evidence that Gayathri put forth her efforts to impress the Rasikas with the magnitude of her voice. It was a good attempt and well supported by Sanjeev on violin. He sounded so melodious, which elevated the performance. Also his bowing style gave us the feel of a heavenly sonata. A good teamwork always pays for its success. Giripai, the Krithi was in its full shape when Gayathri sang to brighten up the beauty of Saahithya. Sivakumar and Sundar Kumar were so enthusiastic and resumed with key rhythmic phrases to brace the presentation.

Gayathri then rendered Chintaye Mahalinga Moorthim – a fast paced Krithi to show up her acumen in music pedagogy. She has inherited this talent from her guru Sri T N Seshagopalan, who is versatile in music.

Kalyani – the queen of the day’s concert paved more scope for Gayathri to captivate the audience. She emphasized more on Raga lakshana spindled with melodies utilizing the jeeva swaras Dha, Nee. The alapana associated by flashes of familiar Sangathis was also interesting to hear and I must say, Sanjeev followed her perfectly. His musical strings tied the audience together in silence and enjoyment. Modulations were perfect as he captured the glimpses from her rendition and then improvised. Just goes to show you that a violin requires more continuous notes to be played in order to remain harmonious.

“Raave Parvatha Raja Kumari” in Misra Jampai was rendered in a more traditional fashion. Saahithyam was very clearly pronounced. She sang Neraval at a first pace and rapidly took over to the second and further rendered Swaram and a smart korvai. Sivakumar was precision in his version of Misra Jampai (10 Aksharas). He cleared his rounds with cleanly swept Korvais. Sundarkumar carried the same pace and then showed more varieties with furns and Korvai. Thisra nadai was interesting, to say the least. Finally both of them harmonized to play Mohara and Korvai and that were really awesome.

On a digressive note, Kartik Fine Arts is serving the community of music lovers and musicians with the spirit to develop the sacred arts of our Indian culture. Of course it’s a great endeavor to satisfy every element of this magnitude. In bygone eras, this could have been a mammoth task, as it demands more financial support to run these events. But now, it’s an era of corporate culture aligning with organizations like Kartik Fine Arts and support such events in order to bring in a rich cultural experience into the companies, especially to its employees and their near and dear.

Next in the show was a Ragamaalika ‘Needhaan Thunai’ composing of Ragas Neelambari, Vasantha Bhairavi, Gowri Manohari, Saraswathy, Sriranjani, Mohana Kalyani, Durga, Jyothiswaroopini. Gayathri sang the stanzas, which carried out the names of the respective Ragas. It is quite easy for anyone to know the raga by carefully listening to the piece. She handled the swara in an ascending and descending fashion of the different ragas (Starting from Neelambari – Jythiswaroopini – Neelambari). She was able to establish the charisma of the Ragamalika.

Later she sang ‘Irakam Varamal Ponathenna’ in Behag and concluded her session with Thillana in Sindhubhairavi. It was a thoroughly satisfying concert as each one of us left the hall with a smile on our faces and a tune in our hearts.

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In our continued sponsorship of 34th Year Art Festival 2008 organized by Kartik Fine Arts, MGL has developed a web portal called www.hellomusician.com to promote Indian classical music and also to showcase artists’ profiles and events.

MGL has primarily designed and developed the portal to act as a community for Carnatic Musicians / Artists and for those interested in getting in touch with them. Hello Musician enables both aspiring and established musicians to post their profile, portfolio and dates and to also share their experiences with the entire community and the rest of the world!

Even thought this would be the first time that such a digital launchpad has been created for promoting local musicians in Chennai, Hello Musician is still a free source that acts as a digital repository for the public to know more about Indian Carnatic musicians and other related information.

For a few years, soothsayers everywhere have predicted a dwindling in crowds for Carnatic music concerts. A few have them have even more drastic predictions for this classical genre of Indian art. Our recent visits to the Narada Gana Sabha Hall and Bharathiya Vidya Bhavan Hall have given us enough evidence to disbelieve any such negative insinuations!

The crowd has been electric, the organizers efficient and the musicians always in an inspired state to create beautiful music. And with the launch of Hello Musician, we hope…or rather believe that this would lend a hand in uniting these talented musicians and eventually the Carnatic music communities.

It is with great pleasure that MGL and Kartik Fine Arts invite all the musicians to take part in this social network and contribute their biographies to make it livelier.

For further queries, contact Krishnan Chandrasekhar at c.krishnan@mgl.com

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S. Mahathi – Vocals

Melakaveri Thyagarajan – Violin

Sankaranarayanan – Mridangam

Anirudh Athreya – Kanjira

When I entered the hall, I could hear the sounds of ‘Valachi’ Raga Alapana going on. Mahathi, a charming young artist, was on stage adorned with the righteous spirit of presenting pure Carnatic ensembles. The crowd had almost filled up the hall and I could even see a few Rasikas were desperately looking for seats. However the organizers were nice enough to accommodate their demands with few extra seats. ‘Jaalanthara Supida’ was one of the highlights of the day as the rendering of the swara was both spicy and redolent. Mahathi thrived with the Krithi while she pronounced the verses with clarity. Melakaveri Thyagarajan supported her commendably on strings.

She then carried out with Mukhari (Endraiku Siva Kripai varumo). The expressions were both authentic and made a great visual too!

The next item Naasigabhooshini (Maaravairai Ramani), a Vivaadhi type (Seventieth Melakartha raga) that commemorated with her bold attempts was made livelier. Mahathi could have been a bit short on rendering the raga (as commented by one of the audience next to me). But she showed more innovative modulations that keyed up the audience and got them in a frenzied state! I think it’s a healthy trend to be more liberal in experimenting and I am glad that the current generation does it on the stage with no hassles. She also sounds bold and melodious and when it comes to sheer entertainment value, I must say that in that regard she never fails to please the audience. And her stage manners were surely encouraging to the co-artists too.

‘Nee Dhan Mechikolla Vendum’, Sriranjani came out with elegance. Sriranjani, which is said to be the raga that suits all moments looked even brighter with her mellifluous Sangathis. Thyagarajan blended with her sangathis while Sankar and Anirudh were resounded the rhythm to much enjoyment. In a nutshell, it was a stirring performance from the crew.

There comes the main highlight of the day and that was Kambhodi (O Rangasai). She handled the raga with a delicate gentleness. Kambhodi, a Gana Raga, always attempts to inscribe good vibrations in the mind and spirit. Adhering to that was her understanding of the raga. During Raga Vinyasam, she eclipsed each level to eventually reach Adhara Swaras with remarkable dynamism. Thyagarajan bowed his best to help her sustain on Mel Sadhjamam and further. More expressions poured out as she began to enjoy and sing in unison with the strings. Thyagarajan presented the Raga with more sangathis and modulation to match her euphoric performance.

Krithi was in its full swing as she explored more rounds of Sangathis with short phrases while landing directly at the Swara. Even without the Neraval, she gained more confidence to showcase her talent in Laya. She sang a few rounds of Thisram patterns. The final lap was the Kanda Koraipu and Thisra Korvai. She quickly cleared her rounds and handed over the stage to Sankar.

Shankar took over Thani in Thisram showing varieties of his brilliance. Mathematically, he sounded perfect. Anirudh played his part handling the one-handed instrument with more dynamics than one would think is possible. He even revealed the inheritance of such talents – his Grandfather, Sri Nagarajan, Kanjira! And finally, they honoured the stage with ‘Thisra Mohara’ and Chathusra Korvai.

Showcasing brilliance in presentation is more pleasing than just arriving at iterative mathematics in Carnatic music. If one wants to be more successful amidst the competitive scale of the music circle, it’s highly important to be more careful on stage with presentation skills that the audience demands rather than showing more calculated effort, which the audience may not recognize. Especially for percussionists, it is their perfect rhythm and distinct vibrations that only can gain audience response. Presentation skill with subtle mathematics gains more response and that’s a fact!

Back to the show, Mahathi concluded the session with a piece ‘Isai Amudhile’ in Desh Raga followed by a noticeable Thillana piece composed by Dr. Rukmini Ramani in Raga Suriya. If I had to summarize the day’s performance, I would say that the fruits of Mahathi’s labour and creativity yielded excellent rewards for all the Carnatic music fans in the audience. My heart well-wishes to the crew.

Artist-Critic twine: Exactly a year ago (December 18, 2007), one of our beloved colleagues at Mascon Global Limited – Kapil Elango – passed away in a fatal car accident. We would like to dedicate this review in memory of our Kapil who brought more smiles to us than we could possibly imagine.

You will live through each and every one of our memories, dear friend.

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