Briefly discuss the musical training of Ranganayaki Rajagopalan (veena player in “Sarasiruha” (“To the Goddess Saraswati”)

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• As a four-year old child she was discovered to be naturally talented by a veena virtuoso (Karaikudi Sambasiva Iyer) who took her into his home as his pupil in the traditional musical apprenticeship (gurukula system). She did not have a "normal childhood," but practiced daily under her master and was subjected to years of rigorous training. (She called it "devil's practice.") By age twelve she was accompanying her guru on the concert stage and giving solo recitals as well. She is admired as a "musician's musician" and considered "one of the great veena virtuosi of her time."

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Months before a play begins rehearsal, the designers and directors often meet to discuss the production's look and style as well as the interpretation of the playwright's script. What is this meeting called?

What will be an ideal response?

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