Praveshika-I Vocal _ Instrument

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					                                                                

                      Praveshika-I
           Vocal & Instrumental (Swar Vadya)
                         Paper-I
                        Practical
                                                             MM-100
1-   Elementary Knowledge of ten Thats.

2-   Alankar in five major That:
     Bilawal, Kalyan, Bhairav, Kafi, Asawari

3-   Study of one chota Khyal/Razakhani Gat/Drut Composition with
     Sargam and tan/Toda in each of the following Ragas
     Yaman, Khamaj, Bhoopali, Bhairav, Asawari, Bilawal/Alahia
     Bilawal.

4-   Knowledge of the following Talas with Dugun & Chaugun
     Layakaries

     (i)    Trital   (ii)   Jhaptal   (iii)    Kaharawa.




                                 1
                                                                        
                            Praveshika-II
                            (Swar Vadya)
                               Paper-I
                             Musicology
                                                                     M.M.-50
  1.     Brief history of Indian Music Ancient, Medieval, and Modern
         period.
         Hkkjrh; laxhr ds izkphu] e/; rFkk vk/kqfud dky dk laf{kIr
         bfrgklA
  2.     Short definitions of the following terms:
         Shruti, Swar, Saptak, Suddha, Vikrita, Komal, Teevra, Aroha,
         Avaroha, Pakad, Tan, Toda, Vadi, Samvadi, Anuvadi, Vivadi,
         fuEu dh laf{kIr ifjHkk"kk %&
         Jqfr] Loj] lIrd] 'kq) fod`r] dksey] rhoz] vkjksg] vo’ks"k] idM+]
         rku] rksM+k] oknh] lEoknh] vuqoknh] fooknhA
  3.     Detailed description of one’s own instrument and its various parts.
         vius ok| ,oa mlds vaxks dk foLr`r o.kZuA
  4.     Brief introduction of the following terms
         Maseetkhani Gat, Razakhani Gat, Taal, Theka, Laya, Matra, Sam,
         Khali, Bhari.
         fuEu dk laf{kIr ifjp; %&
         elhr[kkuh xr] jt+k[kkuh xr] rky] Bsdk] y;] ek=k] le] [kkyh] HkjhA
  5.     Tuning of one’s own instrument.
         vius ok| dks feykus dh fof/kA
  6.     Notation writing of composition of your course.(Compulsory)
         vius ikB~;Øe dh jpukvksa dk Lojfyfi ys[ku ¼vfuok;Z½A
  7.     Description and comparison of prescribed Ragas.
         p;fur jkxksa dk rqyukRed v/;;uA
  8.     Life Sketch of Pt. Vishnu Narayan Bhatkhande, Pt. Vishnu
         Digamber Paluskar. *
         ia0 fo".kq ukjk;.k Hkkr[k.Ms] ia0 fo".kq fnxEcj iyqLdj dk thou
         o`RrA
  9.     Knowledge of the following Talas with Dugun & Chaugun
         Layakaries in addition to previous years course.
     (i)    Dadra          (ii) Ektal         (iii) Tilwara
     foxr o"kZZ ds ikB~;Øe ds lkFk fuEu rkyks dh nqxqu rFkk
pkSxqu y;dkfj;ksa dk KkuA
     (i)    nknjk          (ii) ,drky         (iii) fryokM+k

                                     2
*(Note: Amended as per the Academic Council meeting dated 14th July, 2007)


                                                                             
                    Praveshika -II
          Vocal & Instrumental (Swar Vadya)
                       Paper-II
                       Practical
                                                                    M.M-150

1- Alankars in remaining That :
   Khamaj, Todi, Poorvi, Marwa, Bharivi

2- Vilambit Khyal/Maseethkhani Gat/Vilambit Composition with Alap
   and Tans/Toda in prescribed Ragas of Yaman, Bhoopali, Bhairav,
   Asawari, Kahmaj, Bilawal/Alahia Bilawal, in addition to the previous
   years course.

3- One Dhrupad with Thah, Dugun in any one of the Prescribed Ragas.
   (for Vocal)
   One composition in Kaharwa Taal for Instrumental music.

4- Knowledge of Elementary Bol Patterns of right hand of Instruments

5- Knowledge of the following Talas with Dugun & Chaugun Layakaries
   in addition to previous years course.
   (i)   Dadra         (ii) Ektal        (iii) Tilwara




                                    3
                                                                              
                            Parichaya -I
                           (Swar Vadya)
                              Paper-I
                            Musicology
                                                                    M.M.-100


1-    Karnatik and Hindustani system of Music.

2-    Short definitions of the following technical terms:
      Nad and its Characteristics, Alap, Meend, Ghaseet, Soot, Kana,
      Ashraya Raga, Swar Malika, Sargam, Alankar, Lakshan Geet

3-    Description and comparison of prescribed Ragas.

4-    Life sketches of Pt. Bhatkhande, Pt. Vishnu Digamber Pluskar, Ut.
      Allaudeen Khan, Pt. S. N. Ratanjankar.*

5-    Graha, Ansha, Nyas, Apanyas, Swaras, Vadi, Samvadi, Anuvadi
      and Vivadi.

6-    Detailed study of Thaat-Raga system.

7-    Notation of writing compositions of your course. (compulsory).

8-    Knowledge of following Tals with Dugun and Chaugun layakaris
      in addition to previous years course.
      (i)       Chautaal            (ii) Dhamar   (iii) Roopak
      (iv)       Teevra.

*(Note: Amended as per the Academic Council meeting dated 14 th July, 2007)




                                    4
                                                                    
                         Parichaya-I
                        (Swar Vadya)
                          Paper-II
                          Practical
                                                            M.M-200

1.   Study of following Ragas with Vilambit and Drut Khyal/Maseet
     Khani and Razakhani Gat/Vilambit and Drut composition with
     Alap and Tanas/Todas. Brindavani Sarang, Jaunpuri, Malkuns,
     Bihag, Desh, Bhimpalasi, Bhupali.

2.   Study of the following Ragas with one chota Khyal/Razakhani
     Gat/Drut Tilak Kamod, Bhairavi.

3.   Composition in any Taal other than Teentaal


4.   Knowledge of following Tals with Dugun and Chaugun layakaris
     in addition to previous years course.
     (i) Chautaal           (ii) Dhamar    (iii) Roopak
     (iv) Teevra.




                                5
                                                                       

                        Parichaya -II
                        (Swar Vadya)
                           Paper-I
                         Musicology
                                                             M.M.-100

1-   Pt. Vyankatmakhi and his seventy two Melakartas.

2-   Origin of Ragas and their number according to Jatis i.c. Audma,
     Shaduva, Sampurna.

3-   Rag-Ragini Paddhati.

4-   Short definition of the following : Maseet Khani & Raza Khani,
     Khyal, Gamak, Varna, Jatis, Sthai, Antra, Sanchari, Abhog, Poorva
     Rag-Uttar Raga, Poorvangvadi-Uttrangvadi Ragas, Sandhi Prakash
     Ragas, Suddha, Chayalag and Sankeerna Ragas.

5-   Time theory of Ragas (Time Circle)

6-   Notation writing of compositions of prescribed Ragas.
     (Compulsory)

7-   Description and comparison of prescribed Ragas.

8-   Knowledge of following Tals with Dugun and Chaugun layakaris
     in addition to previous years course.
     (i) Deepchandi         (ii) Ada Chautaal    (iii) Sool
     (iv) Panjabi           (v) Sitarkhani




                                 6
                                                                     

                   Parichaya -II
        Vocal & Instrumental (Swar Vadya)
                     Paper-II
                     Practical
                                                                M.M.-200

1.   Study of following Ragas with Vilambit and Drut Khyal/Maseet
     Khani and Razakhani Gat/Vilambit and Drut composition with
     Alap and Tanas/Todas Pooriya Dhanashree, Jaijaivanti, Hameer,
     Gaud Sarang, Kedar, Bageshwari, Marwa.

2.   Study of the following Ragas with one chota Khyal/Razakhani
     Gat/Drut composition with Alap Tanas/Todas.
        Bahar, Shankara, Kalingda, Hindol

3.   One Dhrupad and One Dhamar with Thah Dugun and Chaugun
     Layakaris in different prescribed Ragas (for Vocal)
       Composition in any tala other than teen tala for the student of
       instrumental music

4.   Knowledge of following Tals with Dugun and Chaugun layakaris
     in addition to previous years course.
     (i) Deepchandi         (ii) Ada Chautaal    (iii) Sool
     (iv) Panjabi           (v) Sitarkhani




                                 7
                                                                       
                           Prabuddha -I
                           (Swar Vadya)
                              Paper-I
                            Musicology
                                                                M.M.-100

 1- Comparative study of Shruti and Swar according to different authors
    and period. Views of Bharat, Sarangdev, Ahobal, Shrinivas and Pt.
    Bhatkhande on the historical and tonal aspects of Shruti Swar Sthans.

 2- Study of notes by length of the string of Veena. Suddha and Vikrit
    notes of Medieval and Modern Granthkars. Relations between notes,
    Length and Frequency.

 3- Description of Shadaja Gram, Madhyam Gram, Nibaddha and
    Anibaddha Gaan.

 4- Introduction to Carnatic Music : Raga and Taal system.

 5- Study of the following terms :-
    Geet, Gandharva, Gaan, Nayaki, Gayaki, Maargi, Deshi, Grama Raag,
    Up Raag, Bhasha, Vibhasha, Antar Bhasha, Ragang, Bhashang,
    Kriyang, Upang, , Gayak, Nayak, Kalawant, Gandharv, Pandit,
    Vaggeyakar.

6-   Life sketch and contributions of following renowned Instrumentalists
            1-    Ustad Allaudin Khan       2-    Ustad Inayat Khan
            3-    Pt. Gajanan Rao Joshi 4-        Pt. Pannalal Ghosh
            5-    Ustad Bundu Khan

7-   Essay on any current topic of music.




                                    8
                                                                        
                             Prabuddha –I
                             (Swar Vadya)
                               Paper-II
                            Applied Theory
                                                                   M.M-100

1- Detailed description and comparison of the following Raags :-
   (i) Lalit       (ii) Kamod      (iii) Ramkali          (iv) Poorvi
   (v) Multani     (vi) Darbari Kanhada            (vii) Miyan Malhar
   (viii) Madhuvanti

2- Study of following Raags with Chota Khyal/Razakhani Gat/Drut
    composition with Taan and Todas.
   (i) Durga (Bilawal) (ii) Peelu         (iii) Sohani

3- Notation of Masitkhani/Vilambit Gat/Khyal and Razakhani/Drut
   Gat/Khyal in the prescribed Raags (Compulsory)

4- Study of the following terms :-
   Baaj, Jod, Alaap, Ladi, Lad Lapet, Lad-Guthav, Sanyukt Swar,
   Zamzama, Ghaseet, Gitkari, Krintan

5- Knowledge of following Tals with Dugun and Chaugun layakaris in
   addition to previous years course.
      (i)    Pancham Sawari (ii) Shikhar       (iii) Yati Shikhar
      (iv) Ada Chautaal

6- Knowledge of one’s own Instrument.

7- Four fold classification of Indian instruments




                                      9
                                                                       
                       Prabuddha –I
                       (Swar Vadya)
                         Paper-III
                  Practical (Stage & Viva)
                                                                   M.M.160
1- Study of following Ragas with Vilambit and Drut Khyal/Maseet
   Khani and Razakhani Gat/Vilambit and Drut composition with Alap
   and Tanas/Todas. Lalit, Kamod, Ramkali, Poorvi, Multani, Darbari,
   Mian Malhar, Madhuvanti,

2- Study of the following Ragas with one choota Khyal/Razakhani Gat/
   Drut composition with Alap Tanas/Todas.
         Durga, Peelu, Sohini

3- One composition other than teen tala with alap, tan and toda.

4- Knowledge of following Tals with Dugun and Chaugun layakaris in
   addition to previous years course.
   (i)    Pancham Sawari (ii) Shikhar       (iii) Yati Shikhar
   (iv) Ada Chautaal




                                  10
                                                                      
                          Prabuddha -II
                          (Swar Vadya)
                             Paper-I
                           Musicology
                                                               M.M.-100

 1- A comparative study of Moorchhana, the ancient musical modes.
 2- Detailed study of following musical forms :- Khyal, Tappa, Thumri,
      Tarana, Chaturanga, Lakshangeet, Saragam, Kajri, Chaiti, Savan,
      Bowl, Bhatiyali, Kirtan, Kriti, Jawali, Varnam, Padam, Tillana,
      Pallavi, Anupallavi, Charanam, Chittaswaram.
 3- The concept of ancient Raag lakshan, Jati ke lakshan, Raagalap,
      Roopkalaap, Alapti, Avirbhav, Tirobhav, Swasthans, Akshiptika
4- History of Indian Music from the period of Sarang Dev to Modern
      era.
5- Knowledge of Rudra, Gajjhampa, Brahama, Matt with their Thekas.
6- Life sketch and contributions of following renowned instrumentalists.
 (i)       Ustad Hafiz Ali Khan
 (ii)      Ustad Vilyat Khan
 (iii)     Prof. V. G. Jog
 (iv)      Pt. Ram Narayan
 (v)       Pt. Hari Prasad Choirasiya

7-   Concept of Raag-Rasa and aesthetic in Indian Music.
8-   Essay on any current topic of music.




                                                                           
                                                                           


                                  11
                                                                           
                                                                      
                        Prabuddha –II
                         (Swar Vadya)
                           Paper-II
                        Applied Theory
                                                                M.M.-100
1- Detailed description and comparison of the following Ragas :-
   (i)   Shuddha Kalyan (ii) Chhayanat (iii) Basant
   (iv) Todi          (v) Gaud Malhar          (vi) Pooriya
   (vii) Kalawati     (viii) Shree

2- Study of following Raags with Chota Khyal/Razakhani Gat/Drut
   Composition with Taan and Todas.
       (i) Adana      (ii) Jogia  (iii) Paraj

3- Notation of Masitkhani/Vilambit Gat/Khyal and Razakhani/Drut Gat/
   Khyal in the prescribed Raags (Compulsory).

4- The origin, history and contribution of different Gharanas/Parampara,
   their Baaj (Style) of concerned Instrument.

5- Taan/Toda and its kind and description of Shuddha, Koot, Mishra Bol,
   Gamak, Tanas with examples.

6- Knowledge of one’s own instrument.

7- Writing of complex Layakari i.e.1½, 1¼, 1¾ of tala prescribed in
   syllabus.

8- Identification of Raga from a given combination of notes and to write
   Alap of the same Raga.




                                 12
                                                                      
                        Prabuddha –II
                        (Swar Vadya)
                           Paper-III
                    Practical (Stage &Viva)
                                                             M.M.-160
1-   Study of following Ragas with Vilambit and Drut Khyal/Maseet
     Khani and Razakhani Gat/Vilambit and Drut composition with Alap
     and Tanas/Todas.
     Shuddha Kalyan, Chayanat, Basant, Todi, Pooriya, Gaud Malhar,
     Shree, Kalawati.

2-   Study of the following Ragas with one Razakhani Gat/      Drut
     composition with Alap Tanas/Todas.
     Adana, Jogia, Paraj

3-   One composition other than teen tala with alap, tan and toda.

4-   Knowledge of following Tals with Dugun and Chaugun layakaris in
     addition to previous years course.
     (i)    Gaj Jhampa         (ii) Matta     (iii) Brahama
     (iv) Rudra




                                    13
                                                                           
                        Parangat - I
                   Vocal & Swar Vadya
                          Paper-I
                Musicology (History of Music)
                                                                  M.M.-100

1-      Detailed study of Ancient, Medieval and Modern Swar-Gram:
     (a) Ancient        (i)   Vedic System      (ii) Bharat System
                        (iii) Sharangdev System
     (b) Medieval (i)         Southern System (ii) Northern System
     (c) Modern         (i)   Thaat System      (ii)

2-      Detailed Study of the following Granthas:-
        (i)   Sangit Parijat by Pt. Ahobal.
        (ii) Raag Tatwa Vibodh by Pt. Sriniwas.
        (iii) Swarmelkalanidhi by Pt. Ramamatya.
        (iv) Raag Tarangini by Pt. Lochan.
        (v) Chaturdandi Prakashika by Pt. Vyankatmakhi.

3-      Study of different Gharanas with their main characteristics. (Vocal
        & Instrumental)

   History of Music from time of Sangeet Ratnakar to modern era (for
   Vocal)
4-    Importance of Chhandshastra in Music.(for Instrumental Music)

5-       Contribution of the following exponents in the field of Music:-
     (i)   Bharat        (ii) Sarang Dev (iii) Amir Khusro
     (iv) Tansen

6-      An essay on any subject of general interest with reference to Indian
        Music.




                                    14
                                                                     

                          Parangat - I
                         (Swar Vadya)
                           Paper-II
                        Applied Theory
                                                                M.M.-100

1- Detailed and comparative theoretical study of the following Ragas
   with Gayaki and varieties of Jhala Aalapchari, Tihais and Taan/Todas/
   Maseet khani Gat/Khyal in Vilambit and Razakhani/Drut Gat/Khyal.
   (i) Shyam Kalyan         (ii) Shuddha Sarang        (iii) Maru Bihag
   (vi) Bhatiyar            (v) Jhinjoti               (vi) Megh
   (viii) Jog

2- Study of following Ragas with Chota Khyal/Razakhani Gat/Drut
   Composition with Taan and Todas.
   (i) Nayaki-Kanhada      (ii) Madhumad Sarang (iii) Sur Mallhar.

3- Study of Sound, its production and Propagation, Frequency, Pitch,
   Intensity, Timber, Amplitude, Waves, Transverse and Longitudinal,
   Resonance, Echo, Reverberation.

4- Detailed study of Raganga System.

5- Measurement of musical intervals according to Indian as well as
   Western theories of frequency & Severt system.

6- Importance of intonation (kaku) in Indian classical music.

7- Introduction to western music.

8- Composing a Gat by a given Bol pattern.




                                    15
                                                                     
                          Parangat - I
                         (Swar Vadya)
                           Paper-III
                         Practical-Viva
                                                              M.M.-160

1- Detailed elaboration of following Ragas with Vilambit and Drut
   Khyal/Maseet Khani and Razakhain Gat/Vilambit and Drut
   eomposition with Alap and Tanas/Todas.
   (i) Shyam Kalyan          (ii) Shuddha Sarang     (iii) Maru Bihag
   (iv) Bhatiyar             (v) Jhinjhoti/Devgiri   (vi) Megh
   (vii) Jog

2- Study of the following Ragas with one choota Khyal/Razakhani Gat/
   Drut composition with alap Tanas/Todas.
   (i) Nayakai Kanhada      (ii) Madhumad Sarang (iii) Soor Malhar

3- One Dhrupad and One Dhamar with Thah Dugun and Chaugun
   Layakarie in different prescribed Ragas. (for Vocal) one composition
   other than Teen tala (for Instrumental Music), with Alap, Taan and
   Toda.

4- Analysis of the Ragas prescribed in the course.




                         Parangat - I
                        (Swar Vadya)
                          Paper-IV
                      Stage Performance
                                                               M.M.-80




                                  16
Students have to select one Raag from detailed & one Raga from non
detailed category and one composition other than Teen Taal. As prescribed
in paper-III

                                                                             
                          Parangat - II
                       Vocal & Swar Vadya
                             Paper-I
                           Musicology
                                                                   M.M.-100

   1- Detailed study of the following Music Texts.
        (i)     Raga Vibodh by Pt. Somnath.
        (ii) Anup Sangit Ratnakar by Pt. Bhavbhatt.
        (iii) Raga Koumadi by Pt. Shreekantha.
        (iv) Shreemat Lakshya Sangitam by Pt. Bhatkhande.
        (v) Abhinav Raga Manjari Pt. Bhatkhande.
        (vi) Pranav Bharti by Pt, Omkarnath Thakur
        (vii) Bharat ka Sangit Siddhant by Pt. K. C. Brihaspati.

   2- Detailed study of Harmony and Melody and it’s use in Indian classical
      music.

   3- A brief study of sound acoustics for musical performance-
      microphone, music system etc.

   4- Detailed study of Ancient and Modern Prabandh Gaan.

   5- History of Indian Classical Music from Vedic period to Modern era.

   6- History of Raag – Ragini paddhati and Janya Janak padhati in detail.

   7- Detailed and comparative study of ancient and modern Alap Gayan.

   8- An essay on any subject of general interest with reference to Indian
      Music.




                                     17
                                                                       
                         Parangat – II
                         (Swar Vadya)
                           Paper-II
                        Applied Theory
                                                               M.M.100

1- Detailed and comparative theoretical study of the following Raags
   with Aalapchari, Tihais, Taan/Todas and Jhala in Maseetkhani/
   Vilambit Gat/ Khyal and Razakhani/Drut Gat/Khyal.
   (i) Rageshri       (ii) Nand           (iii) Ahir Bhairava
   (iv) Ramdasi Malhar       (v) Gujari Todi     (vi) Kaushi Kanhada
   (vii) Bilas Khani Todi (viii) Abhogi          (ix) Keerwani

2- Study of following Raags with Chota Khyal/Razakhani Gat/Drut
   Composition with Taan and Todas.
   (i) Shahana        (ii) Gauri(Bhairav)    (iii) Narayani

3- Notation of Maseetkhani & Razakhani Gat with Taan Toda of the
   prescribed Ragas.

4- Study of Scales, Tempered Scale, Enharmonic Scale and Chromatic
   Scale, Major Scale and Minor Scale.

5- Consonance and Dissonance.

6- Indian Classical Music-its applications and importance

7- Study of sound culture of the concerned Instrument and its importance
   in rendering the Indian Classical Music.




                                 18
                                                                    
                         Parangat – II
                         (Swar Vadya)
                           Paper-III
                         Practical-Viva
                                                              M.M.160

1. Detailed elaboration of following Ragas with Vilambit and Drut
    Khyal/ Maseetkhani and Razakhani Gat/Vilambit and Drut
    composition with Alap and Tanas/Todas.
(i) Rageshree         (ii) Kaunsi Kanhada      (iii) Gurjari Todi
(iv) Bilaskhani Todi (v) Ramdasi Malhar        (vi) Abhogi
(vii) Ahir Bhairav    (viii) Nanda
(ix) Basant Mukhari/ Naryani       (x) Kirwani

2. Study of the following Ragas with one choota Khyal/Razakhani Gat/
   Drut composition with alap Tanas/Todas
   (i) Shahana                          (ii) Gouri (Bhairv Thaat)
   (iii) Basant Mukhari/Narayani
   *Basant Mukhari (for Vocal), Narayani (for Instrumental)

3. One composition other teen tala with Alap, Tana & Todas.

4. Analysis of the Ragas Prescribed in course.


                        Parangat – II
                       (Swar Vadya)
                          Paper-IV
                     Stage Performance
                                                              M.M.-80




                                 19
Students have to select one Raag from detailed & one Raga from non
detailed category and one composition other than Teen Taal. As prescribed
in paper-III




                       THUMRI PART-I
                          Practical
                                                                    M.M.-
   1- Study and practical of Alankar, Aroha, Avroha with Alaap in the
      following Raags :-
      (i) Khamaj         (ii) Bhairavi           (iii) Gara
      (iv) Desh          (v) Kafi                (vi) Peelu
      (vii) Tilang       (viii) Pahadi           (ix) Jogia
      (x) Maj Khamaj (xi)

   2- Study of four Bol banaw ki Thumri and two Bol bant (Bandish) ki
      Thumri in the prescribed Raags.

   3- Two Dadara in any two of the prescribed Raags.

   4- Study of Bhajan and Holi.

   5- Study of the following Taals and their Thekas.
      (i) Teentaal             (ii) Deepchandi
      (iii) Punjabi            (iv) Dadra

   6- Knowledge of National Anthem, traditional Bhajan and patriotic
      songs.




                                    20

				
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