Vocal of Degree
Vocal of Degree
MM-100
12-
nl FkkVksa dk izkjafHkd KkuA Elementary Knowledge of ten Thats. Ikap eq[; FkkVksa esa vyadkj fcykoy] dY;k.k] HkSjo] dkQ+h] vklkojh Alankar in five major That: Bilawal, Kalyan, Bhairav, Kafi, Asawari fuEu jkxksa esa ,d NksVk [;ky@jtk[kkuh xr@nqzr jpuk dh rku rksM+k lfgr v/;;uA 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, Alehiya Bilawal. f=rky] >irky o dgjok dk KkuA Knowledge Trital, Jhaptal, Kaharawa.
3-
4-
1- fganqLrkuh laxhr dk laf{kIr bfrgklA Brief history of Indian Music 2- fuEu dh ifjHkk"kk,sa %& Jqfr] Loj] lIrd] oknh] leoknh] vuqoknh] fooknh] idM+] rky] rhozk] Bsdk] 'kq)] fod`r] dksey] rhozk Loj] vkjksgh] vojksgh] [kkyh] Hkjh] ek=k Definition of the following terms :Shruti, Swar, Saptak, Vadi, Samvadi, Anuvadi, Vivadi, Pakad, Taal, Teevra, Theka, Suddha, Vikrit, Komal, Teevra, Swar, Arohi, Avrohi, Khali, Bhari, Matra 3- laxhr ds fuEu 'kCnksa dk laf{kIr ifjp; /kqzin] /kekj] [;ky] ljxe] y{k.kxhr Brief introduction of the following terms of singing : Dhrupad, Dhamar, Khyal, Sargam, Lakshangeet 4- izfl} laxhrJ o laxhr 'kkL=h;ksa dk thou o`Rr ia- ch0 ,u0 Hkkr[k.Ms] ia0 fo".kq fnxEcj iyqLdj Life sketches of eminent musicians and musicolofists : Pt. V.N. Bhatkhande, Vishnu Digamber Paluskar. 5- [;ky jpuk dh Lojfyfi Notation og Khayal composition (Compulsory) 6- of.Zkr jkxksa dk ifjp; o rqyukRed v/;;uA Description and comparison of prescribed Ragas. 7- iz;ksxkRed ikB~;dze esa of.kZr rkyksa dh Bkg] nqxqu o pkSxqu y;dkfj;kW lfgr KkuA Knowledge of Tals with Thah, Dugun and Chaugun layakaris as per practical course.
[kekt] rksM+h] iwohZ] ekjok] HkSjoh Practice of Alankars in remaining That : Khamaj, Todi, Poorvi, Marwa, Bhairavi
2- fiNys o"kZ ds jkxksa dks tksM+rs gq, fuEu jkxksa es
foyafcr [;ky@elhr[kkuh xr@ foyafcr jpuk vkyki dk rku rksM+k lfgr v/;;uA Vilambit Khyal/Maseethkhani Gat/Vilambit Composition with Alap and Tans/Toda in prescribed Ragas of Yaman, Bhoopali, Bhairav, Asawari, Kahmaj, Bilawal/Alihiya Bilawal, in addition to the previous years course. 3- Bkg o nqxqu lfgr fdlh ,d of.kZr jkx esa ,d /kqzin One Dhrupad with Thah, Dugun in any one of the Prescribed Ragas. 4- fiNys o"kZ ds rkyksa lfgr ,drky] nknjk] fryokMk rkyksa ds Bsds dk Kku Knowledge of Ektal, Dadra, Tilwara with their Thekas in addition to the previous years course.
12-
fgUnqLrkuh o dukZVd laxhr i}frA Karnatik and Hindustani system of Music. fuEu 'kCnksa dh ifjHkk"kk,sa %& vkyki] ehan] ?klhV] lwr] dkuk] vk'kk;Z jkx] Loj ekfydk] ljxe] vaydkj] y{k.k xhr Short definitions of the following technical terms: Nad and its Characteristics, Alap, Meend, Ghaseet, Soot, Kana, Ashraya Raga, Swar Malika, Sargam, Alankar, Lakshan Geet of.kZr jkxksa dk fooj.k o rqyukRed v/;;uA Description and comparison of prescribed Ragas. izfl} laxhrKksa o laxhr 'kkL=h;ksa dk thou o`RrA ia0 Hkkr[k.Ms] ia0 fo".kq fnxEcj iyqLdj Life sketches of Pt. Bhatkhande, Pt. Vishnu Digamber Pluskar. fuEu lkaxhfrd 'kCnksa dk laf{kIr ifjp;A xzg] va'k] U;kl] vU;kl] Lojl] oknh] leoknh] vuqoknh] fooknh Graha, Ansha, Nyas, Apanyas, Swaras, Vadi, Samvadi, Anuvadi and Vivadi. FkkV jkx i}fr dk foLr`r KkuA Detailed study of Thaat-Raga system. [;ky jpuk dh Lojfyfi
34-
5-
67-
Notation of Khyal/Composition. (compulsory). 8izk;ksfxd ikB~;dze ds vuqlkj fuEu rkyksa dh nqxqu o pkSxqu lfgr Kku %& pkSrky] /kekj] :id] rhozk Knowledge of following Tals with Dugun and Chaugun layakaris as per practical course. Chautaal, Dhamar, Roopak, Teevra.
1.
fuEu jkxksa dk foyafcr o nzqr [;ky@elhr[kkuh o jtk[kkuh xr@foyafcr o nzqr jpuk dk vkyki] rku] rksM+k flgr v/;;u %& o`ankouh lkjax] tkSuiqjh] ekydqal] fcgkx] ns'k] Hkheiyklh] Hkwikyh 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. fuEu jkxksa esa ,d NksVk [;ky@jtk[kkuh xr@nqzr jpuk dh vkyki rku@rksM+k lfgr v/;;u %& fry] dkeksn] ns'kdkj Study of the following Ragas with one chota Khyal/Razakhani Gat/Drut Tilak Kamod, Deshkar ikB~;dze esa of.kZr fofHkUu jkxksa esa ls Bkg] nqxqu o pkSxqu y;dkfj;ksa lfgr ,d /kqzin o ,d /kekj xk;u Composition in any Taal other than Teentaal fiNys o"kZ ds ikB~;dze dks lEefyr djrs gq, pkSrky] /kekj] :id o rhozk rkyksa ds Bsds lfgr KkuA 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.
ia0 O;DBreq[kh dh FkkV jkx i}fr dh vo/kkj.kk o ia0 fo".kq ukjk;.k Hkkr[k.Ms dh vk/kqfud nl FkkV&jkx i}frA The concept of Thata Raga system of Pt. Vyankatmakhi and the modern theory of ten - Thata-Raga-Paddhati of Pt. V.N. Bhatkhande. tkfr ds vuqlkj vkSM+o] "kkM+o] lEiw.kZ jkxksa dh mRifRr o mudh la[;kA Origin of Ragas and their number according to Jatis i.c. Audav, Shadav, Sampurna. jkx&jkfxuh i)frA Rag-Ragini Paddhati. iwokZ jkx] mRrj jkx] iwokZxkSM+h] mRrjkaxkof/k] laf/k] izdk'k jkx] 'kq) Nk;kykx ,oa ladh.kZ jkx Poorva Rag-Uttar Raga, Poorvangvadi-Uttrangvadi Ragas, Sandhi Prakash Ragas, Suddha, Chayalag and Sankeerna Ragas. fgnqLrkuh laxhr esa jkxks dk le;&fl)karA Time theory of Ragas in Indian Music [;ky@jpuk@xr dk Lojfyfi ys[ku vko';d
2-
34-
56-
Notation of Khyal/Composition/Gat of Ragas (Compulsory) 78ikB~;dze ds jkxksa dk fooj.k o rqyukRed v/;;uA Description and comparison of prescribed Ragas. fuEu rkyks dk nqxqu o pkSxqu lfgr Kku % nhipanh] vkM+k pkSrky] 'kwyrky] iatkch Knowledge of following Tals with Dugun and Chaugun layakaris in addition to previous years course. (i) Deepchandi (ii) Ada Chautaal (iii) Sool Taal (iv) Panjabi
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.
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 38
5-
Ustad
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. 9
Khani and Razakhani Gat/Vilambit and Drut composition with Alap and Tanas/Todas. Lalit, Kamod, Ramkali, Poorvi, Multani, Darbari, Mian Malhar, Madhuvanti, Shuddha Kalyan, Chayanat, Basant, Todi, Pooriya, Gaud Malhar, Shree, Kalawati. 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 (iv) Ada Chautaal
(iii)
Yati Shikhar
10
456-
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.
78-
11
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 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.
12
8- Identification of Raga from a given combination of notes and to write Alap of the same Raga.
M.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
2-
3-
History of Music from time of Sangeet Ratnakar to modern era (for Vocal) 4Importance of Chhandshastra in Music.(for Instrumental Music) 5Contribution of the following exponents in the field of Music:-
14
(i)
6-
Amir Khusro
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.
15
6- Importance of intonation (kaku) in Indian classical music. 7- Introduction to western music. 8- Composing a Gat by a given Bol pattern.
16
17
Music.
(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
18
7- Study of sound culture of the concerned Instrument and its importance in rendering the Indian Classical Music.
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.
Parangat II
19
20