Praveshika-I Vocal & Instrumental (Swar Vadya) Paper-I Practical

MM-100

12-

Elementary Knowledge of ten Thats. Alankar in five major That: Bilawal, Kalyan, Bhairav, Kafi, Asawari 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. Knowledge of the following Talas with Dugun & Chaugun Layakaries
(i)

3-

4-

Trital

(ii)

Jhaptal

(iii)

Kaharawa.

Praveshika-II (Swar Vadya) Paper-I Musicology

1.

2.

3.
4.

5. 6. 7. 8.

9.

M.M.-50 Brief history of Indian Music Ancient, Medieval, and Modern period. Hkkjrh; laxhr ds izkphu] e/; rFkk vk/kqfud dky dk laf{kIr bfrgklA 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] voks"k] idM+] rku] rksM+k] oknh] lEoknh] vuqoknh] fooknhA Detailed description of ones own instrument and its various parts. vius ok| ,oa mlds vaxks dk foLr`r o.kZuA 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 Tuning of ones own instrument. vius ok| dks feykus dh fof/kA Notation writing of composition of your course.(Compulsory) vius ikB~;e dh jpukvksa dk Lojfyfi ys[ku vfuok;ZA Description and comparison of prescribed Ragas. p;fur jkxksa dk rqyukRed v/;;uA 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 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~;e ds lkFk fuEu rkyks dh nqxqu rFkk pkSxqu y;dkfj;ksa dk KkuA (i) nknjk (ii) ,drky (iii) fryokM+k
*(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

Parichaya -I (Swar Vadya) Paper-I Musicology

M.M.-100

12-

Karnatik and Hindustani system of Music. Short definitions of the following technical terms: Nad and its Characteristics, Alap, Meend, Ghaseet, Soot, Kana, Ashraya Raga, Swar Malika, Sargam, Alankar, Lakshan Geet Description and comparison of prescribed Ragas. Life sketches of Pt. Bhatkhande, Pt. Vishnu Digamber Pluskar, Ut. Allaudeen Khan, Pt. S. N. Ratanjankar.* Graha, Ansha, Nyas, Apanyas, Swaras, Vadi, Samvadi, Anuvadi and Vivadi. Detailed study of Thaat-Raga system. Notation of writing compositions of your course. (compulsory). Knowledge of following Tals with Dugun and Chaugun layakaris in addition to previous years course. (i) Chautaal (ii) Dhamar (iii) Roopak (iv) Teevra.

34-

5-

678-

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

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. Study of the following Ragas with one chota Khyal/Razakhani Gat/Drut Tilak Kamod, Bhairavi. Composition in any Taal other than Teentaal Knowledge of following Tals with Dugun and Chaugun layakaris in addition to previous years course. (i) Chautaal (ii) Dhamar (iii) Roopak (iv) Teevra.

2.

3.

4.

Parichaya -II (Swar Vadya) Paper-I Musicology

M.M.-100
1-

Pt. Vyankatmakhi and his seventy two Melakartas. Origin of Ragas and their number according to Jatis i.c. Audma, Shaduva, Sampurna. Rag-Ragini Paddhati. 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. Time theory of Ragas (Time Circle) Notation writing of compositions of prescribed Ragas. (Compulsory) Description and comparison of prescribed Ragas. 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

234-

5678-

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

2.

3.

4.

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

7-

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 ones own Instrument.

7- Four fold classification of Indian instruments

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 History of Indian Music from the period of Sarang Dev to Modern era. Knowledge of Rudra, Gajjhampa, Brahama, Matt with their Thekas. 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 Concept of Raag-Rasa and aesthetic in Indian Music. Essay on any current topic of music.

456-

78-

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 ones own instrument. 7- Writing of complex Layakari i.e.1, 1, 1 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)

1M.M.-160 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. Study of the following Ragas with one Razakhani Gat/ composition with Alap Tanas/Todas. Adana, Jogia, Paraj Drut

2-

34-

One composition other than teen tala with alap, tan and toda. 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 1Detailed 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) 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. Study of different Gharanas with their main characteristics. (Vocal & Instrumental)

2-

3-

History of Music from time of Sangeet Ratnakar to modern era (for Vocal) 4Importance 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 An essay on any subject of general interest with reference to Indian Music.

6-

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 its use in Indian classical music. 3- A brief study of sound acoustics for musical performancemicrophone, 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.

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