Courses :
U.G. (Vocal & Instrumental Tabla)
P.G. (Vocal & Instrumental)
HINDUSTANI CLASSICAL MUSIC VOCAL/INSTRUMENT SITAR/TABLA
1. Admission Criteria: A Student must have passed ten plus two (intermediate) examination or its equivalent along with music or one who has not learnt music at school and at the plus two level (Intermediate) should have passed Madyayama or its equivalent examination in music along with the plus two (Intermediate) in general education. A student will be permitted to offer only that subject of music in which he has done his plus two with music or Madhyama or equivalent.
2. A talented student may also be admitted to B.A. Music, if he/she is found successful in test conducted by the department of music of this university.
Year and Distribution of Papers
Part-I: Examination
- 2 Theory Papers 50 Marks
- 2 Practical Papers 100 Marks
Examination will be held at the end of each year through
1. written examination on theoretical papers and
2. Practical examination of performances on each practical paper.
The written examination will be of 3 hours duration for each paper of 25 marks. For practical examination there should be at least two examiners for each paper the teacher who teaches the subjects-paper and one external expert, one from the department and one from outside the department.
PAPER-I : STUDY OF RAGAS, TECHNICAL TERMS AND BIOGRAPHIC AND MUSICIANS
1. Study of theoretical details of Ragas prescribed for practical course of Ist year
and their comparative study.
2. Study of Theoritical details of TALAS prescribed for practical course of Ist year.
3. Definition of techincal terms:
Nad, Swara, Shruti, Sthana, Saptak, Asthak, Purvanga,
Uttaranga, Varna,Alankar, Vadi, Samvadi, Anuvadi, Vivadi.
4. General Knowledge of following terms;
Raga, Thata, Meenda (sut), Ghaseet, Kritntana Jamjama, Khatka, Murk and their characteristics.
5. Khayal, Dhrupad, Tarana, Tappa, Thumri, Hori, Chaturang, Geet, Bhajan, Gazal.
6. General Knowledge of the Biographics and the contributions of the following musicians
Swami Haridas, Tansen, Nayak Baiju, Nayak Gopal, Jaidev
PAPER-II : BASED OF PRACTICAL PAPER AND ESSAY
1. Definition and explanations of elementary terms related to music.
2. Writing of notions of songs (Bandish)/Gat prescribed in the practical course of Ist year
(with short alaps and tans/vistars and toras)
3. Writing of Talas notions with Dwigun and chougun layakari:
(Trita, Ektal, Jhaoptal Dadra, Kaharva)
4. Explanations of Raga-Lakshans.
5. Merits and demerits of Vocalist/Instrumentalist.
6. Essay on any general topic related to music.
COURSE IN HINDUSTANI CLASSICAL VOCAL/INSTRUMENTAL MUSIC
PAPER-I : PRACTICAL M.M. 50
1) Study of the following Ragas:
1. Yaman 2. Alhaiya Bilawal
3. Khambaj 4. Bahirav
5. Kafi 6. Ashavari
7. Bhairavi 8. Bhupali
9. Durga 10. Brindavani Sarang
(a) Four Vilambit Kheyalas/Masheetkhani Gats in any of te above mentioned Ragas.
(b) Lakshan Geets, Sargams and Madhyalaya Kheyalas. Rajakhani Gats with Alap,
Tana/Toras in all the above Ragas.
2. Study of the following Talas:
1. Trital 2. Ektal
3. Choutal 4. Jhaptal
5. Dadra 6. Kaharva
Note: Composition of the prescribed seven ragas may preferably be taught in the talas in the mentioned above.
PAPER-II : PRACTICAL M.M. 50
1. Intensive study of any two Ragas covering Vilambit and Drut Kheyalas/Gats out of the Ragas
prescribed in practical paper-I.
2. Study of two Dhrupads and two Dhamars with Dwingun and Chougun Laya/Study of four
Madhyalaya Gats in Talas of the than Trital out of Ragas prescribed in practical paper-I.
3. Study of Thumari, Tarana, Bhajan, Ghazal, Folk Song, Patriotic song, Prayer, one from each.
4. Ability to demonstrate (orally by giving Tali and Khali on hand) Talas prescribed in
practical paper-I with their Dwingun and Chougun.
TABLA AND MRIDANG
PAPER-I : THEORY M.M. 25
Theory papers are common for Tabla and Mridang
1. History of the origin of Tabla and Mridang.
2. Technique of producing the syllabus (Verna) on Tabla and Banya (Duggi) individually joint.
3. Definitions of the following terms:
Sangeet, Tat Vadya, Avanaddya Vadya, Ghan Vadya, Sushir Vadya, Laya Tal, Matra Sam,
Tali, Khali, Vighag, Avartan, Theka, Vilambit, Madhya, Barabar, Dugun, Tigun, Chougun, Layas.
4. Life history and contributions of the following Mestros.
Ut. Wajid Hussain Khalifa, Pt. Sakharam, Pt. Ayodhya Prasad.
5. Detailed Study about Kaal, Marg, Grah, Jati and Kala.
6. Contribution of Pt. Bhatkhande and Pt. V.D. Palushkar in Music.
PAPER-II : THEORY M.M. 25
1. Method of writing notation of all Talas prescribed in Practical paper I & II.
2. Definitions and explanations of the distinctive features and application of the following:
3. Comparative Study of the features and application of Damaar, Bedamoar and Chakkardar Tihai.
4. Application of different Talas in Thumari Gayan and their notations.
5. Essay on any general topic related to music.
PAPER-I : PRACTICAL M.M. 50
1. Practice of producing different syllabus (Varna) on Tabla and Banya.
2. Study of the Thekas of the following Talas in Barabar and Dugun Laya with oral rendring.
3. Trital, Jhapta, Tihari, Quida, gats, Tukdas and Mukras in Trital, Jhaptal and Ektal with Paltas
in each.
4. Oral rendering of the Tihai, Quida, Mukharas learnt with Tali and Khali.
5. Practice of tuning the Tabla dn Mirdang.
PAPER-II : PRACTICAL M.M. 50
1. Study of the Thekas with simple composition and their oral rendering in the following Talas:
Choutal, Sooltal, Rupak, Adachoutal, Dhamar
2. Practice of tuning the Tabla or Mridang.
3. At least four variations of the Thekas of Dadra and Kaharva.
4. Solo playing in Trital, Jhaptal and Sooltal with simple Quida, Gats, Tukda, Mukda with
oral renderings.
HINSUDTANI CLASSICAL VOCAL/INSTRUMENT SITAR/TABLA
YEAR AND DISTRIBNUTION OF PAPERS
Part – II :
2 Theory papers
2 Practical Papers
PAPER-I (THEORY): STUDY OF RAGAS AND MUSICAL SOUND
1. Study of theoretical details of Ragas prescribed for practical course of 2nd year and 3rd year
comparative study
2. Study of theoretical details of Talas prescribed for practical course of 2nd year.
3. Study of following technical terms:
Swar, Shruti, Gram, Raga, That, Alankar, Alap, Tan and its varieties, Lakshan Geet Malika.
4. Elementary study of medium Sound, Musical Sound and Noise, Vibratory Motion, Frequency, Pitch,
Magnitude and Timber of quality Duration, Interval, Scale Octave, Major-tone, Minor-tone,
Semi-tone.
5. General knowledge and comparative study of North Indian Classical Music and Karnatak
Classical Music.
6. General knowledge of various folk Songs as Kajri, Baul, chaity, Bhatiali Mand, Garba, Lavani,
Hori etc.
7. Biographics and contributions of following Musicians:
(i) Pandit V.N. Bhatkhande (ii) V.D. Paluskar (iii) Amir Khusro (iv) Alauddin Khan (v) Inayat Khan.
PAPER –II (THEORY) : BASED ON PRACTICAL PAPER AND ESSAY
1. Writing of notations of songs (Bandish.Gat) prescribed in the practical course of 2nd year
(with alaps, Tans.Vistar and Toras)
2. Writing of TALAS in Tigun and Ada layakaris: (Tilwada, Dhamar, Rupak, Jhumra and Sool Tal)
3. Writing of Dharupand and Dhamar with Dwigun. Tigun and Chougun layakaris.
4. Study of following technical terms- Gandharva, Gan, Vrinda, Vaggeyakar, Gayak, Nayak,
Shikshakar, Anukar, Varieties of Raga (Shuddha, Chhayalag and Sankina)
5. General knowledge of Gram, Moorchhana, Jati and their varieties.
6. As essay of any general topic related to music.
PAPER-I : PRACTICAL
1. Study of the Following Ragas:
- Bihag
- Hamir
- Kedar
- Desh
- Bageshree
- Bhimpalasi
- Malkouns
- Jounpuri
- Kalingada
- Deshkar
(a) Four Vilambit Kheyalas. Maseetkhani Gats in any of the above mentioned Ragas.
(b) Lakshan Geet, Sargam and Madhyalaya Kheyala/Rajakhani Gat with Alaps, Tanas/Toras
in all the above mentioned Ragas.
2. Study of the following Talas :
- Tilwada
- Jhumra
- Dhamar
- Sool Tal
- Rupak
- Tivra
Theka with Trigun and Dedhgun (3/2) layakari of the above Talas.
PAPER-II PRACTICAL
1. Intensive study of any two Ragas as choice covering Vilambit and Drut Kheyalas/Gats our
of the Ragas prescribed in practical Paper-I.
2. Study of two Dhrupads and two Dhamars with Trigun and Dedhgun Laya/Study of four Madhyalaya
Gats in Talas other than Trital out of the Ragas prescribed in practical paper-I
each.
4. Ability to demonstrate (orally by giving Tali and Khali on hand) Talas prescribed in practical
paper-I with their Trigun and dedhgun (3/2) Laya.
5. Guided listening of audio and video recordings; Radio and T.V. National Programmes of eminent
musicians with particular reference to the songs and ragas prescribed for the course.
6. Knowledge of all the Ragas. Talas and theory portion of B.A. (Hons.) First Year Syllabus.
TABLA AND MRIDANG
PAPER-I (THEORY) THEORY PAPERS ARE COMMON FOR TABLA AND MIRDANG
1. Merits and demerits of Tabla and Mridang player.
2. Definition and principles of application of the following terms Laggi, Lari, Paran, Uthan, Peshkar.
3. General knowledge and practical usefulness of different Tal Vadyas (Percussion Instrument).
4. Writing of Tals in ½ Lay Karies prescribed in practical paper Ist.
5. Life history and contribution of the following.
Ahmed Jan Thieakua, Habbiuddin Khan, Kanthe Maharaj, Ram Sahaya, Ut, Nathu Khan.
6. Writing Notation of all the Talas Prescribed in Paper-Ist.
PAPER-II THEORY
1. Comparative study of the different Bajs of Table
2. Writing notation of all the Talas prescribed in the practical paper I and Ii with their Dugun, Tigun & Chougun.
3. Definitions and knowledge of the application of the following.
Kayada, Rela, Tukda, Tihaie, Chakradar
4. Comparative study about Northern and Southern Tal system of India.
5. Essay on any general topic to music.
PAPER-I : PRACTICAL
1. Ability of play Thekas of the prescribed Talas of first year in Dugun and Chougun Layas.
2. Advanced playing in Trital, Jhaptal, Dadra and Kaharva.
3. Two advanced quidas, for Tukdas, two relas, two Mukhars and simple Tihais in Trital, Ektal
and Jhaptal.
4. Variations of the Thekas of Dadra and Kaharva.
5. Oral renderings of fall Talas and Bols.
PAPER-II : PRACTICAL
1. Study of relas in Rupaktal and Ektal.
2. Advanced study of solo playing inJhaptal.
3. Advanced Quidas, Gats, Mukhdas, Relas, Tukdas and Tihais in Teiral.
4. Study of Thekas of (1) Deepchandi (2) Jhumra (3) Teora and (4) Pancham Sawari.
5. Solo playing in Ektal and Rupaktal.
6. Oral Renderings of all Talas and Bols prescribed in Second year.
HINSUDTANI CLASSICAL VOCAL/INSTRUMENT SITAR/TABLA
Admission Criteria: A student must have passed ten plus two (Intermediate) examination or its equivalent along with music or one who has not learnt music at school and at the plus two level (Intermediate) should have passed Madhyama or its equivalent examination in music along with the plus two (Intermediate) in general education. A student will be permitted to offer only that subject of music in which he has done his plus two with music of Mahyama or.
A telented student may also be admitted to B.A. Music, if he/she is found successful in test conducted by the department of music of this university.
YEAR AND DISTRIBUTION OF PAPERS
Part-III
2 Theory paper 50 Marks
2 Practical Paper 100 Marks
Examination:
Examination will be held at the end of each year through (a) written examination on theoretical paper and (b) Practical examination of performances on each practical paper.
The Written examination will be of 3 hours duration for each paper of 25 marks. For practical examination there should be at least two examiners for each paper the teacher who teacher the subjects-paper and one external expert, one from the department and one from outside the department.
PAPER-I : STUDY OF RAGAS AND THEIR CLASSIFICATION
1. Study of theoretical details of Rangs and Talas prescribed for practical course of the 3rd year
and their comparative study.
2.1. Reading and writing of notations of songs (Bandish/Gats) prescribed in practical
course of the 3rd year.
2.2 Writing of Talas in notations with Chougun, 2/3 and 3/4 Layakaris along with Layakaris
prescribed in the 1st and 2nd years.
3. Study of Shruti Swars :
1. Definition of shruti, its charcteristics, Samvad-Vivad and their relation with shruti.
2. Introduction to chatuch-Sarana as stated by Bharat and Sarangdev.
3. Methods of placing the Shudha and Vikrit Swars on Veena by Ahobal by and pandit
Srinivas their classification.
4. Classification of Rags (Raga Vargikaran)
1. Gram-Raga, Deshi Raga Vigikaran
2. Raga-Ragini Vargikaran
3. Thata-Raga Vargikaran
4. Mele-Raga Vargikaran
5. Raganga-Rag Vargikaran
5. Elementary knowledge of Grams, Moorchhanas and their characteristics and varieties
PAPER-II : HISTORY AND DEVELOPMENT OF MUSIC, ANALYSIS OF THE STYLES OF GHARANAS
1. Nibaddh-Anibaddh – Alpti (Ragalap and Rupakalapi) their definitions and varieties.
2. Analysis of the styles of the following Gharanas and their history
1. Gwalior, Agra, Kirana, Patiala, Jaipur
2. Senia Gharana of Instrumental Music
3. Development of the Gayaki and Gatkari Styles of Inst. ruminate Music.
History and Development of their Musical Instruments offered (only for students of instrumental music)
3. Biographies and contributions of following Musician
- Sadagang-Adarang
- Haddu-hassu Khan
- Pandit V.N. Bhatkhande
- Pandit V.D. Paluskar
- Inayat Khan
- Alauddin Khan
- Wazir Khan
- Pandit Onkarnath Thakur
- Ustad Fiayyaz Khan
- Ustad Abdul Kafim Khan
4. Contributions of the following Granthkaras (Authors)and introduction of any two Granthas(Titles)
- Matanga-Brihaddeshi
- Abhinav Gupta- Dhanyaloka
- Maharana Kumbha-Sangeet Raj
- Ramamtya-Swarmela Kalanidhi
- Venkatmukhi chaurdani Prakashika
5. Essay of any one of the following topics:
- Guru Shishya Parapara Vs Institutions System of Music Teaching.
- Music and Literature
- Role of Music in National Integraion.
- Place of Music in the development of personality.
- Place of Music in Fine Arts.
- The bearing of Folk Music on classical music.
- Propagation of Music through Audio-visual aids.
- Importance of Music festival/Seminars/ Conferences.
- Evolution of Notation system.
- Importance of Music in General Education.
Books Recommended:
1. Kramik Pushtak Malika Part I, II, III & IV by Pt. V.N. Bhatkhande.
2. Sangitanjali Part I, II, III, IV, & by Pt. V.N. Parvardhan
3. Sangitanjali Part I, II, III, IV, & by Pt. V.N. Parvardhan
4. Ragabodh Part I, II & III by Dr. B.P. Deodhar
5. Thantrinad Part I by Dr. Lalmani Misra
6. Sitar Malika (Hathras)
7. Sitar Vadan by S.G. Vyas
8. Mridanga-Tabla Vadan by Pt. Govinda Rao
9. Tabla Vigyan by Dr. Lalmani Misra
10. Tabla Shastar by Godbole
11. Sangit Visharad (Hathras)
12. Sitar Marg Part I & II by S.P. Banerjee
13. Sangit Bodh by Dr. Sarat Chandara Paranjape
14. Dhwani aur Sangit by Prof. L.K. Singh
15. Hindustani Music-An Outline of its physics & Aesthetics by G.H. Ranade.
16. Sangit Shastra Part I & II by M.N. Saxena
17. Tan Sangraha Vol. I & III by S.N. Ratanjankar
18. Tan Malika by Raja Bhaiya Puchwale
19. Hamare Sangit Ratna by Laxmin Barayan Garg
20. Vishnu Digambar Paluskar by Pt. Vinaya Chandra Modgalaya.
21. Vishnu Narayan Bhatkhande by Pt. S.N. Ratanjankar
22. Gharana by Vaman Rao H. Deshpande.
23. Sangit Paribhasha by Pt. Ratanjhankar
24. Rag O Rap by Swam Prajnananda
25. Sangit O Sanskrit by Swami Prajnananda
Paper I : Practical
1. Study of the following Ragas:
- Shudha Kalayan
- Chayanat
- Ramkali
- Jaijaiwanti
- Pooriya
- Basant
- Bahar
- Darbari Kanada
- Miyan ki Malhar
- Miyan ki Todi
a. Four Vilambit Kheyalas/Maseetkhani Gats in any of the above mentioned Ragas.
b. Lakshan geets, Sargams and Madhayalaya Kheyalas/Rajakhani Gats with Alpas.
Tans/Toras in all the above Ragas.
2. Study of the following Tales:
- Adachautal
- Dipchandi
- Sawari
- Punjabi Trital
- Jat Tal
- Brahma Tal
(Thekas with Chougun, 2/3 and ¾ layakaris of the above talas)
Paper II : Practical
1. Intensive Study of any Ragas as choice Ragas covering Vilambit and Drut Kheyalas/ gats out of
the Ragas prescribed in practical paper- I
2. Study of the two Dhrupads and two dhamars with Dwigun, Trigum, Chaugun and a few
"Upaj"/Study of four Madhayala gats in Talas othe than trital out of the Ragas
prescribed in practical paper-I
3. Study of one Chaturang, one Tarana, One Bhajan, One Gazal, One Folk Song, One Karnataka,
Kriti, One Prayer.
4. Ability of demonstrate (orally by giving ali and khali on hand) Talas Prescribed in practical
paper-I with their prescribed layakri.
5. Experience in creative music composition. Five Compositions to be composed notated and
presented in the form of dissertation, before final examination.
6. Knowledge of the Ragas, Talas and theory portion of B.A. (Hons.) Part I and Part II.
Note: Additions and alterations in course content may be made by the respective University, Department and Institutions for betterment but the duration of the course, paper numbers and marks should be the same.
TABLA AND MRIDANG
PAPER-I (THEORY) THEORY PAPERS ARE COMMON FOR TABLA AND MRIDANG M.M. 25
1. Definition and knowledge of application of the following: Gat-Quida, Bant and Chalan.
2. Knowledge of Jati Bheda (Tisra, Chatasra, Misra, Khanda and Sankiran).
3. Study of Adi, Kuwadi, Biadi and Savai Laya.
4. Writing in notation of all Talas, Bols etc. Prescribed for third year practical course
along with their different Layakaris.
5. Comparative study of North Indian and the Sourth Indian Tal systems and notation system.
6. Theoretical details of all practical portions of the syllabus
PAPER-II : THEORY M.M. 25
1. Definition principles and importance of Upad in Tabla or Mridang playing.
2. Comparative study of the Tal Lipi system of Pandit Bhatkhanda and Pandit Vishnu Digambar.
3. General knowledge and the study of distinctive features of different Gharanas of
Tabla of Mridang.
4. Comparative study of the different modern trends of Tabla or Mridang playing.
5. System of accompaniment with Thumri; Gazal Dadra and other light music as distrct form
the system of accompaniment with Kheyal and other classical vocal and instrument
music System of accompaniment in Dhrupad and Dhamar with Mridang.
6. Life history and contributions of the following:
Ustand Kale Khan, Ustad Shammu Khan, Ustad Munne Khan, Ustad Mashit Khan.
PAPER-I : PRACTICAL M.M.50
1. Advanced study of Peshkara, Quidas, Gats Mukhdas Tukdas and Relas (at lest in each)
with Paltas in Trital.
2. Four Tukadas and two parans (simple and chakradar) with advanced types of Tehais in
Choutal and Sooltal.
3. Tukras Gats, Relas, Mukhdas, Quidas (two each) and advanced Tehais in Rupak, Pancham
Sawari, Deepchandi and Jhumra.
4. Thekas in the following Tals in Barabar, Dungan, Trigun and Chougun Layas with simple
Tukdas and Tihais: Matta, Gajajampa, Shikahar, Rudra, Jhampa.
5. Oral renderings in all Talas and Bols Prescribed.
PAPER-II : PRACTICAL M.M. 50
- Solo demonstration along with oral renderings in any two Tals of the course selected by the student.
- Solo demonstration along with oral renderings in any two of the course selected by the examiner.
M.A./M. Mus. IN HINDUSTANI MUSIC : VOCAL/ INSTRUMETAL
Admission Criteria
B.A. (Hons.)/B.Mus.(Hons.) or B.A., B.Sc., B.Com. along with diplomas like Sangit Visharad/ Sangit Prabhakar/Sangit Vid or equivalent (with 55% marks in Practical Papers) following by admission test.
Year wise distribution of papers:
3 Practical Papers : 300 Marks
2 Theory Paper : 200 Marks
Second Year M.A./M.Mus.
3 Practical Papers : 300 Marks
2 Theory Paper : 200 Marks
Each paper is divided into 2 sections of 50+50 = 100
M.A./M. Mus. IN HINDUSTANI MUSIC : VOCAL/ INSTRUMETAL
First Year
Theory Paper I 100 Marks
General and Applied Music Theory
Section 'A'
Applied theory of Music
1. Theoretical study of the Ragas prescribed in Practical Paper – I of M.A./ M. Mus. 1st Year : 10
2. To compose and write notation of given piece of verse/bols of instrumental music in a Gat : 15
3. Writing of Mukatlaps and tanas/boltanas/tihais in the Ragas prescribed for the 1st year : 10
4. An essay of about 600 words on a given topic related to music : 15
Section 'B'
1. Knowledge of the Raganga classification and intensive study of the following Ragangas:
Kalyan, Bilwal, Bhairav, Kafi, Sarang, Bihag and Malhar : 25
2. Genesis of Music (Indian and Western views about development of music : 25
Theory Paper II
History and Aesthetics of Music
Section 'A'
1. Vedic music, Music of the Ramayana and the Mahabharata, The Puranas, Prati Sakhyas and Shikshas : 15
2. Music of Jains, Buddhists, Maurya and Gupta Age : 15
3. Music at the time of Bharata, Matanga and Sharnag Deva;
knowledge of 'Swarprastar' "Khanda Meru" & "Nashtoddishthi" : 20
Section 'B'
Aesthetics
1. Definition of Rasa and its varieties (according to Bharata and Abhinav Gupra) : 20
2. Ancient principles regarding relationship of Music with Rasa and its concept
(Swar-Rasa, Laya-Rasa, Raga-Rasa and Chhanda Tal-Rasa : 20
3. General Idea of the Western Philosophy of Arts and Aesthetics : 10
M.A./M. Mus. IN HINDUSTANI MUSIC : VOCAL/ INSTRUMETAL
First Year
Practical Paper-I
From the following intensive study of only five Ragas classified under
(A) and five classified under (B) for General Study.
1. Kalyan A. Shyamkalyan (I)
B. Puriya Kalayan (G)
2. Bilawal A. Devgiri Bilawal (I)
B. Yamani Bilawal (G)
3. Bhairav A. Ahir Bhairav (I)
B. Bairagi (G)
4. Kafi A. Ragesri (I)
B. Dhanasri (G)
5. Sarang A. Suddha Sarang (I)
B. Madmad Sarang(G)
6. Bihag A. Maru Bihag (I)
B. Bihagada (G)
7. Malhar A. Sur Malhar (I)
B. Megh Malhar (G)
In intensive study all five ragas with Vilambit kheyala/Maseet Khani Gat and two Madhyalaya Kheyalas/Rajakhani Gats are to be learnt, where as in the Ragas of general study for development of Raga in Alap and Tanas/Toras with at least ten Madhyalaya composition, preferable in other Tala then Trital are to be learnt practical demonstration – cum-Viva-Voce examination will be held.
P.S. knowledge of Ragas, Talas and theory protion of previous course (B.A./B.Mus.) (3 year duration) is essential.
M.A./M. Mus. IN HINDUSTANI MUSIC : VOCAL/ INSTRUMETAL
First Year
Practical Paper-II 100Marks
Stage Performance
7. A student is required to prepare any one Raga from the Ragas of intensive study in the practical paper – II as his/her choice of Raga and perform it for not less than 30 minutes before an invited audience, Alap, Jod, Jhala, Maseetkhani and Rajakhani Gat for Instrumental Music (any one from five detailed may sing N.D. and D) should give at least 5 name. 60
8. To Dhrupads and Two Dhamars gats in Talas other than Tintal for Instrumental Music, along with layakaris and Upajas are to be learnt from the Ragas prescribed in practical paper one. Out of these at least one Dhrupad/Dhamar, one Gat in Tala other than Tintal, will have to be presented at the time of stage performance with layakaris and Upaja. It is recommended that Pakhawaj accopaniment may be provided for Dhrupad/Dhamar singing. 25
9. A Thumri/Tappa/Dhun (for instrumental music) may be prepared in any one of the following Rangas:
Khamaj, Kafi, Tilang, A student is supposed to perform Thumri/ Tappa / Dhun with its gayaki during stage performance. 15
Practical Paper – III
Revision of the Basic Ragas, and Light & Folk Styles and Creative Music
An intensive study of only seven from the following basic Ragas with Alap, Vilambit, and Drut compositions. 60
1. Yaman
2. Alhaiya Bilawal
3. Bhairav
4. Marwa
5. Purvi
6. Miya Ki Todi
7. Jaunpuri
8. Malkosh
9. Bihag and
10. Kedar
Second Year
Theory Paper – I 100
History and Acoustics and Voice Culture
Section 'A'
History (from the post Sharangdev period to modern period)
1. The relation of Indian Music during the middle ages with other musical system. Evaluation of the prevalent view regarding influence of foreign music on Indian music. 10
2. The rationale of ancient classification of Indian musical instruments: Historical knowledge of the following musical instruments. 10
Mattakokila, Chitra, Bipanchi, Ghosha,Ekatantari, Kinnari, Tritantari, Mridanga, Patah, Hudakka Vanshi, Madhukari, Kansya Tala and Ghanta. 10
3. An introduction of the Swara and Raga chapers of "Swarmela Kalanidhi" and "Chaturdandi Prakasika" 10
4. Comparative study of the Hinduatani and Karnataka Music systems with special reference to Swara, Raga, Tala and compositional patterns. 10
5. The contribution to music of the following musicians/musicologists Sourindra mohan Tagore, William Jones Cap. Willard, E. Clements, Deval, Krishnananda Vyas, Rabindra Nath Tagore, Fox Strangways, Moula Box, Krishnadhan Banerjee, Appa Tulsi, Raja Nawab Ali, V.D. Paluskar, V.N. Bhatkhande, Omkarnath Thakur, K.C.D. Brishpati and Prof. P.L. Sharma. 10
Section 'B'
Acoustics and Voice Culture
7. Principles of hearing- listening and physiology of ear, 25 general principles of acoustics and study of the ancient and modern(Hindustani and Karnataka)basic scales major minor and semitones. 25
8. General Principles of voice culture 25
Study of Light and Folk Styles
At least one composition in each of the following forms-Rabindra Sangit & Bhajan, Gazal, Geet, Folk Song, 5 Dhuns (for instrumental Music students) 25
The student has to submit five own compositions in the form of Dissertation along with notations before final practical examination. 15
Second Year
Theory Paper-II 100 Marks
Applied Music Theory and Musical Compositions
Section 'A'
Applied Music
1. Theoretical study of the Ragas prescribed in practical paper-IV.
2. To compose and write notation of a given piece of verse/bols of instrumental music in a Gat. 15
3. Writing of mukta Alapas and Tans,Bol Tans,Tihais in the Ragas prescribed for the second year.10
4. General knowledge of Margi and Deshi Tal systems and their comparison with current Tal systems. 15
Section 'B'
1. Knowledge of the Raganaga classification and intensive study of the following Ragangas:
Tori, Kanada, Gauri, Nat, Ashawari, Sree and Ragas not grouped in any particular Anga.
2. Nibaddha Gan and its varieties (from prabandha to modern compositions in instrumental Music.
Practical Paper – I 100 Marks
From the following intensive and detailed study of only five angas classified under (A) and five Angas classified under (B) for General Study.
1. Todi Anga :
(i) Bilaskhani Todi
(ii) Bhopla Todi
2. Kanada Anga:
(i) Kaunshik Kanada
(ii) Sahana Kanada
3. Gouri Anga
(i) Gorui (Bhairava Thata)
(ii) Narayani
4. Nata Anga:
(i) Shuddha Nata
(ii) Nata-Bhairava
5. Ashavari Anga
(i) Komal Ashavari
(ii) Gandhari
6. Shri Anga:
(i) Shri
(ii) Jaitashri
7.Ragas not grouped in any particular Anga
(i) Jog
(ii) Jogkauns
Note : "Intensive" and "General" study means the same as mentioned in practical paper- I of First Year (M.A./M/Mus. Part- I) . Practical demostration cum Viva-Voce examination will be held.
P.S. knowledge of Ragas, Talas and theory portion of previous course (B.A./B.Mus/) (3 year duration) is essential.
Practical Paper- II 100 Marks
Stage Performance
1. A student is required to prepare any one Raga from the Ragas of intensive study in the practical paper – II as his/her choice of Raga and perform it for not less than 30 minutes before an invited audience, Alap, Jod, Jhala, Maseetkhani and Rajakhani Gat for Instrumental Music (any one from five detailed may sing N.D. and D) should give at least 5 name. 60
2. To Dhrupads and Two Dhamars gats in Talas other than Tintal for Instrumental Music, along with layakaris and Upajas are to be learnt from the Ragas prescribed in practical paper one. Out of these at least one Dhrupad/Dhamar, one Gat in Tala other than Tintal, will have to be presented at the time of stage performance with layakaris and Upaja. It is recommended that Pakhawaj accopaniment may be provided for Dhrupad/Dhamar singing.
A Thumri/Tappa/Dhun (for instrumental music) may be prepared in any one of the following Rangas: like Desh/Pilu/ Bhairavi, A student is supposed to perform Thumri/ Tappa / Dhun with its gayaki during stage performance. 15
Second Year
Practical Paper – III 100
Revision of the Basic Ragas, and Light & Folk Styles and Creative Music
1. An intensive study of only seven from the following basic Ragas with Alap, Vilambit, and Drut compositions. 60
(i) Bhupali
(ii) Suddha Kalyan
(iii) Miyaki Malhar
(iv) Darbari Kanada
(v) Chhayanat
(vi) Bhimpalasi
(vii) Puriya
(viii) Puriya – Dhanashri
(ix) Multani
(x) Lalit
2. Study of lifeth and folk styles :
One composition each form the following styles is to be studied:
(i) Rabindra Sangit
(ii) Bhanan
(iii) Gazal
(iv) Geet
(v) Regional Folk Songh
Five Dhuns (for instrumental music)
3. The student has to submit five own composition in the form of dissertation along with notation before final practical examination.
SYLLABUS FOR M.A. / M.MUS. COURSE IN TABLA AND MRIUDANG (PAKHAWAJ)
(Theory Papers are common for Tabla and Mridang)
First Year
Theory Paper-1
1. Study of rhythm in general and its application to music and dance.
2. Comparative study of the ancient and modern Tala system. Study of Shastraas of Tala. Knowledge of Tala system as given in "Natya Shastra" and "Sangit Ratnakar" and their changes in medieval and modern period.
3. Knowledge of Geetika, Ekkala, Dwikala and Chatus kala, Kala Matra, Laya, Kriya, Graha, Pani, Marga, Tal, Deshi Tal of the ancient Tala systems.
4. Tala Prastar i.e. formation of Tala byt mathematical process and the total number of Talas derivable from a given number of matras.
5. Critical study of the different Gharanas of Tabla / Mridang with reference to their style (Baj) of playing.
6. Importance of Tala-Vadyas (Percussion instruments) in Indian Classical Music as compared to that of Western Music.
7. Difference in the construction of Indian percussion instruments like Tabla Banya, Mridang etc. as compared to the various types of drums used in Western music.
Theory Paper-II (First Half (50 marks))
1. Basic principles of Aesthetics
2. Emotional expression through music
3. Definition of Rasa and its varieties according to Bharat and Abhinave Gupta
4. Ancient principles regarding relationship of music with Rasas (Swar-rasas, Laya-rasa, Raga-rasa and Chhanda rasa)
5. General knowledge of the western theories of Aesthetics of music
Second Half (50 Marks)
1. A brief cultural history of India with special reference to music from the Vedic period to modern period
2. Knowledge of the ancient Musicology from selected Sanskrit texts of Bharata (Natya Shastra), Sarang Dev (Sangit Ratnakar), Matanga (Brihadesshi). Kowledge of `swaraprastara`, "Khandamaru", and "Nashtoddisti".
3. History of the development of Dhrupad, Dhamar, Kheyal, thumri and Tappa and Voval Music and Drut and Vilambit Gats of Instrumental Music and the system of accompaniment in Tabla or Mridang
4. History of the origin of drum as given in Natya Shastra
5. History of the origin and evolution of Tabla or Mridang
Practical Paper-1
1. Comprehensive study of Trital, Jhaptal, Ektal, Rupak and Adachoutal with with at least two, Peshkars, Quidas, Paltas, Gats, Tukdsa, relas, and Chakradar tihais in the style of different Gharanas of Tabla.
2. One Gat in Akilaya and Tisra and Misra Jati Layas in each Tala mentioned above.
3. Tihais bothe bedam and Damdar in all the Talas mentioned above.
4. One Manjhedhar gat in all the prescribed Talas.
5. Oral renderings of the above mentioned Talas and Bols.
Practical Paper-II
1. Comprehensive study of Trital, Rupak, Sooltal, Pancham sawari, Choutal and Dhamar with at least two Peshkara, Quidas, Paltas, Gats, Tukdas, Relas, and Chakradar tihais in the styles of different of Ajrada, Farrukhabad and Delhi Gharanas.
2. One Gat of Kuwadi Laya and Khanda and Chatasra Jatis in each of the above mentioned Talas.
3. two Mukhdas of advanced pattern in different Layakaris in each Tala prescribed Talas.
4. Damdar and Bedam tihais in all the above mentioned talas
5. One Kamal-Ki-Gat and one Framaishi Gat in all the above mentioned Talas
6. Oral renderings of all the above mentioned and Bols
Practical Paper-III First Half (50 marks)
1. Solo demonstration in any one of the following talas selected by the students:
(i) Trital
(ii) Jhaptal
(iii) Ruapak
(iv) Adachoutal
(v) Ektal
(vi) Dhamar
(vii) Soolatal
2. Solo demonstration of different Laggi, Lari, Rau and Angusthana in any one of the following Talas: Darda, Kaharve, Khumali, Sitarkhani and Deepchandi
Second Half (50 marks)
1. Solo demonstration in any one of the following Talas mentioned in No. 1 of first half selected by the examiner
2. Solo demonstration of different Laggi, Lari, Rau and Angusthana in any one of the following Talas: Darda, Kaharve, Khumali, Sitarkhani and Deepchandi
M.A./ M. MUS. IN TABLA OR MRIDANG
Second Year (Theory Papers are common for Tabla and Mridang)
Theory Paper-I
1. Detailed study of the ten Pranads (Dasha-Pran) of Tala with special reference to Graha, Jati and yati
2. Study of the following Layakaris and ability to write in notation the Layakaris in any Theka prescribed in the course: Poungun (3/4), Swaagun (5/4), Pounedugun (7/4), Swaadugun (9/4), dhaigun (5/2), Pounetingun (11/4), Sawatingun (13/4)
3. Definition and explanation of the following terms:
(i) Choupalli Gat
(ii) Farmayashi Gat
(iii) Darjewali Gat
(iv) Charbag
(v) Kamali
(vi) Chakradar Paran
(vii) Udan-ki-Fard
(viii) Stutu-Paran of Pakhawaj
4. General knowledge of the different Classical and Folk Tal-Vadya (Percussion Instruments of North and South India and their application in different types of music
5. Ability to write in notation all the talas and ols prescribed for practical papers along with their prescribed layakaris
6. Life History and contribution to music of the following:
- Ustad Manne Khan
- Ustad Abid Hussain Khan
- Pt. Ram Sahai
- Ustad Ahmad Jan thirakwa
- Ustad Fakirbaksha
- Ustad Kale Khan
- Ustad Mashit Khan
- Pt. Kanthe Maharaj
- Pt. Nana Saheb Panse
- Pt. Kodau Singh
- Ustad Munir Khan
- Pt. Parvat Singh
- Pt. Ghanshyam Pakhawaji
- Sri Durlabh Chandra bhattacharya
- Sri Jnan Prakash Ghosh
Second year
Theory Paper-II
Essays on the following topics:
1. North Indian and South Indian music with special reference to the Tala systems and Tal lipi.
2. The necessity and origin of various Talas having same Matra
3. Ancient and modern style of accompaniment and solo performance in Tabla or Mridang
4. Tabla or Pakhawaj playing as a compulsory subject for all music students in educational institutions
5. The place of "Upaj and Creativity" in accompaniment and solo performance
6. Importance of the knowledge of theoretical aspects of Tabla or Pakhawaj playing
7. Importance of Tal-Lipi (Notation)
8. Role of rhythm in every day life
9. Aesthetical value of various compositions of different Gharanas of Tabla or Pakhawaj
10. Laya and its various forms as the base of all music
11. Contribution of Pt. Bhatkhande and Pt. Vishnu Digambar to music and particularly in the evolution of Tal-lipi
12. importance of various aspects of Bol compositions in the Tala system
Note: Such other broad topics may be included for essay writing
Practical Paper-I
1. Comprehensive study of Trital, Shikhartal, Lakshmi, Gaja-Jhampa and Pancham Sawari with Peshkar, Quida, Paltas, Gats, Tukdas and Relas in the style of Banaras and Punjab Gharanas
2. One Tripalli Gat and one Choupalle Gat in Adi and vilambit laya in each Tala mentioned above (both simple and Chakradar)
3. Two Mukhdas of advanced pattern in each of the above talas in different Layakaris
4. tihais both Bedam and Damdar of different patterns in the above mentioned Talas
5. Oral renderings of all the above mentioned Talas and Bols with their Layakaris
Practical Paper-II
1. Advanced study of all the Talas and Bols earnt
2. Study of decorative "Bharva" in Ati-Vilambit Laya in the following Talas:
Tilwada, Jhumra, Adachoutal, Jhaptal, Trital and Ektal
3. Uthan with at least two Mohras, Tukdas, Chakradar Tukdas and Chakradra Tihais in Farodesta and Sooltal
4. Study of Choupalli Gat, Farmayashi Gat, Darje-wali Gat, Charbag, Kamali, Chakradar Paran and Udan-ki-Farad in Trital
5. Ablity to compose advanced Tukdas, Mukhdas, Mohoras, tihais in different Talas prescribed in the course
6. Study of decorative Laggi, Lari Rau and Angustana in Dadra, Kaharve, Dhumali, Sitarkhani and Deepchandi.
7. Study of "Laharas" of Harmonium in different Talas and in Ragas suitable for playing in the morning, evening and night performance.
Practical Paper-III First Half (50 marks)
1. Solo demonstration in any one of the following Talas selected by the students:
1) Tilwada
2) Jhumra
3) Trital
4) Mattatal
5) Pancham Sawari
6) Gaja Jhempa
2. Solo demonstration of different Laggi, Lari, Rau and Angusthana in any one of the following Talas: Dadra, Kaharve, Dhumali, Sitarkhani and Deepchandi
Second Half (50 marks)
1. Solo demonstration in any one of the following Talas mentioned in No. 1 of first half selected by the examiner
2. Accompaniment with Vocal/Instrumental/Dance Performance.