GURU NANAK DEV UNIVERSITY AMRITSAR

Transcription

1 FACULTY OF VISUAL & PERFORMING ARTS SYLLABUS FOR M.A. MUSIC (HONS.) (VOCAL) (SEMESTER: I-IV) EXAMINATIONS: GURU NANAK DEV UNIVERSITY AMRITSAR Note: (i) Copy rights are reserved. Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time.

2 Programme Code: MUB (V) SEMESTER I: 1 M.A. MUSIC (HONS.) VOCAL (SEMESTER SYSTEM) Course No. C/E/I Course Title Credits L T P Total Credits MUL (V) 401 C THEORETICAL SURVEY OF 3 1 O 4 INDIAN MUSIC MUL(V)402 C HISTORY OF INDIAN MUSIC MUL(V)403 C BIOGRAPHICAL AND ANALATICAL STUDY OF INDIAN CLASSICAL MUSICIANS MUP (V) 421 C STAGE PERFORMANCE MUP (V) 422 C ADVANCE STUDY OF RAGAS MUP (V) 423 C SEMINAR (MUSIC APPRICIATION) BASED ON POWER POINT I INTER DISPLINARY (ANY DEPTT.) OTHER THAN MUSIC Total Credits Programme Code: MUB (V) SEMESTER II: Course No. C/E/I Course Title Credits Total Credits L T P MUL (V)451 C STUDY OF RAGA AND 3 1 O 4 AESTHETIC MUL(V)452 C A CRITICAL STUDY OF GRANTHAS MUL(V)453 C THEORETICAL STUDY OF FOLK MUSIC OF PUNJAB MUP (V) 471 C STAGE PERFORMANCE MUP (V) 472 C ADVANCE STUDY OF RAGAS MUP (V) 473 C SEMINAR (MUSIC APPRICIATION) BASED ON POWER POINT I INTER DISPLINARY (ANY DEPTT.) OTHER THAN MUSIC Total Credits

3 Programme Code: MUB (V) SEMESTER III: 2 M.A. MUSIC (HONS.) VOCAL (SEMESTER SYSTEM) Course No. C/E/I Course Title Credits L T P Total Credits MUL (V) 501 C SCIENTIFIC STUDY OF INDIAN 3 1 O 4 VOCAL MUSIC MUL(V) 502 C STUDY OF GURMAT SANGEET MUL(V)503 C INDIAN CINEMATIC MUSIC MUP (V) 521 C STAGE PERFORMANCE MUP (V) 522 C ADVANCE STUDY OF RAGAS MUP (V) 523 C SEMINAR (MUSIC APPRICIATION ) BASED ON POWER POINT I INTER DISPLINARY (ANY DEPTT.) OTHER THAN MUSIC Total Credits Programme Code: MUB (V) SEMESTER IV: Course No. C/E/I Course Title Credits L T P Total Credits MUL (V) 551 C INDIAN MUSIC AND 3 1 O 4 AESTHETICS MUL(V)552 C ESSAYS ON INDIAN MUSI C MUL(V)553 C SURVEY OF INDIAN CLASSICAL INSTRUMENTS MUP (V) 571 C STAGE PERFORMANCE MUP (V) 572 C ADVANCE STUDY OF RAGAS MUP (V) 573 C SEMINAR (MUSIC APPRICIATION) BASED ON POWER POINT I INTER DISPLINARY (ANY DEPTT.) OTHER THAN MUSIC Total Credits

4 3 M.A. MUSIC (HONS.) VOCAL (SEMESTER SYSTEM) INSTRUCTIONS: I. Each written paper in Minor I & II shall be of one hour duration and practical paper shall be of 15 minutes duration each. II. Each written paper in Major shall be of three hour duration and practical paper shall be of 30 minutes duration each III. Harmonium will not be allowed as an accompaniment in Inst.

5 4 M.A. MUSIC (HONS.) VOCAL (SEMESTER I) Paper: MUL-(V) 401 (Theory) THEORETICAL SURVEY OF INDIAN MUSIC 1. Write short notes on the following in the context of musicology:- Aptitude, Interest, Learning, Memory, musicology, environment, imitation. 2. Detailed study of Moorchana. 3. Critical survey of ancient to medieval Rag Vargikaran (Classification of Ragas). I 1. Shruti as defined by Bharat and Bhatkhande. 2. Comparative study of Rag, Shailies and Thata of Uttari and Dakshini systems of Music. 3. Importance of swarit (Key note) in Music. 4. Detailed study of Geeti Gaan. II Note: The paper setter will set five questions. All questions are compulsory. 1. Detailed knowledge of Staff Notation & its relevance in Indian Music. 2. Contribution of Sufi Saints towards music. 3. Ten Paraans of Tala. 4. The devine power of music.

6 Books Recommended: 5 M.A. MUSIC (HONS.) VOCAL (SEMESTER I) 1. Bhartia Kanth Sangeet Dr. Arun Mishra Avam Vadya Sangeet Kanishka Publishers,New Delhi Sangeet Visharad Basant, Sangeet Karyala Hathras Nibandh Sangeet Laxmi Naryan Garg Sangeet Karyala Hathras Punjab Ki Sangeet Parampara Dr. Geeta Pental, Radha Publication, Nedw Delhi Bhartia Sangeet Main Vigianik Upkarnon Ka Paryog Aneeta Gautam Kanishka Publishers,New Delhi Bhartia Sangeet Ka Adhiyatmik Dr. Rajiv Verma & Neelam Parikh. Sawroop. Amar Granth Parkashan Indian Music in professional Dr. Manju Shree Chowdry. And academic Institutions Sanjay Parkashan,New Delhi.1999.

7 6 M.A. MUSIC (HONS.) VOCAL (SEMESTER I) Paper: MUL-(V) 402(Theory) HISTORY OF INDIAN MUSIC 1 Historical Development of Indian Classical Music during ancient to medieval period. 2 Historical development of Quawaali Gayan Shallie. 3. Historical background of learning Indian Classical Music. I 1. Historical development of Gazal Gayaki. 2. Development of Indian Music after independence. 3. Historical development of Swar from Vedic to Medieval period. I 1. Contribution of Shri Guru Gobind Singh Ji in Indian Music. 2. Relation of Chhand and Music in singing styles of Gurmat Sangeet. 3. Sikh religion & other contemporary religious musical traditions of Punjab. 4. Importance of music in Shri Guru Granth Sahib. Books Recommended: 1. Bhartia Kanth Sangeet Dr. Arun Mishra Avam Vadya Sangeet Kanishka Publishers,New Delhi Sangeet Visharad Basant, Sangeet Karyala Hathras On Indian Music Pt. Debu howdery Roshan Press, Sangeetayan Seema Johri Radha Publication, Nedw Delhi Nibandh Sangeet Laxmi Naryan Garg Sangeet Karyala Hathras Hamare Sangeet Ratan Sangeet Karyala Hathras Gurmat Sangeet Parbandh Dr. Gurnam Singh, Pbi. Uni. Patiala Te Parsar 8. Punjab Ki Sangeet Parampra Dr. Geeta Paintal Radha Publication, New Delhi

8 7 M.A. MUSIC (HONS.) VOCAL (SEMESTER I) Paper: MUL-(V) 403 (Theory) BIOGRAPHICAL AND ANALATICAL STUDY OF INDIAN CLASSICAL MUSICIANS Note: The paper setter will set three questions. All questions are compulsory. Biographical Study and contribution towards Indian classical music of the followings musicians: 1. Pt. Shankar Pandit (Vocal) 2. Ustad Bismilla Khan (Shehnai) 3. Pt. Kanthey Maharaj Ji (Tabla) Note: I The paper setter will set three questions. All questions are compulsory. Biographical and Study and contribution towards Indian classical music of following musicians: 1. Vidushi Girija Devi (Vocal) 2. Pt. Shiv Kumar Sharma (Santoor) 3. Ustad Zakir Hussain (Tabla) II Note: The paper setter will set five questions. All questions are compulsory. Biographical Study and contribution towards Indian classical music of following musicians: 1. Ustad Ameer Khan (Vcoal) 2. Ustad Alaudeen Khan (Sarod) 3. Ustad Habibudeen Khan (Tabla) 4. Guru Rajinder Gangaani (Dance)

9 8 M.A. MUSIC (HONS.) VOCAL (SEMESTER I) Paper: MUP-(V) 421 (Practical) STAGE PERFORMANCE 1. Ability to sing the alankars of ten thaats. 2. One Drut khyal with proper Alaap Taan 3. Tarana, Tirvat and Chaturang I 1. One Vilambit and Drut khyal of your own choice with proper singing style. 2. Ability to play the thekas of Ektal, Teental, Jhaptal on tabla with vocalist and instrumentalist. II 1. One Vilambit and Drut khyal with proper singing style in raga other than choice of second minor. 2. Recite on hand and ability to play following thekas on tabla: Rupak, Tilwada, Chautal and Dhammar.

10 9 M.A. MUSIC (HONS.) VOCAL (SEMESTER I) Paper: MUP-(V) 422(Practical) ADVANCE STUDY OF RAGAS 1. Two Drut khyals in ragas Jog and Kalawati. 2. Critical and detailed study of above mentioned ragas and non detailed ragas Tilang and Jansammohini. I 1. Any one Vilambit khyal and two Drut khyals with proper singing styles in ragas Bhimplasi and Shudh Sarang. 2. Critical and detailed study of above mentioned ragas. II 1. One Vilambit khyal and three Drut khyals with proper singing styles in ragas Ahir Bhairav, Durga and Kalyan. 2. Full definition and few alaps in non detailed ragas Bhairav, Asa and Shudh Kalyan.

11 10 M.A. MUSIC (HONS.) VOCAL (SEMESTER I) Paper: MUP-(V) 423 (Practical) SEMINAAR MUSIC APPRICIATION BASED ON POWER POINT

12 11 M.A. MUSIC (HONS.) VOCAL (SEMESTER II) Paper: MUL-(V) 451 (Theory) STUDY OF RAGAS AND AESTHETICS Note: i The paper setter will set three questions. All questions are compulsory. ii Syllabus of Paper-VIII regarding practical will also be sent to the examiner for setting the question paper. 1. Critical study of prescribed Ragas. 2. Study of Melody & Harmony in various forms of musical compositions. 3. Basic Principles of Thematic Music. I 1. The role of Laykaries in different Gayan Shaillies 2. Definition and Principles of aesthetics in music 3. Notation of prescribed Talas : Ektal, Jhaptal, Teental, Rupak, Tilwara, Chautal and Dhamar. II 1. Indian Music in Professional and Academic Institutions. 2. Critical Study and significance of different musical terms in Shri Guru Granth Sahib s. Sangeet Parbandh System : Rag, Rahao, Mohalla, Ank, Yatti. 3. Analysis of Aesthetics in the context of Indian Cinema s Music. 4. Importance of Kaku in Indian Classical Music. Books Recommended: 1. Bhartia Kanth Sangeet Dr. Arun Mishra Avam Vadya Sangeet Kanishka Publishers,New Delhi Sangeet Visharad Basant, Sangeet Karyala Hathras On Indian Music Pt. Debu Chaudhary Roshan Press Nibandh Sangeet Laxmi Naryan Garg Sangeet Karyala Hathras Bhartia Sangeet Main Aneeta Gautam Vigianik Upkarnon Ka Paryog Kanishka Publishers,New Delhi Bhartia Talo Ka Arun Kumar Sen Shastriya Vivechan Madhaya Pardesh Academy,Bhopal Indian Music in Professional Dr. Manju Shree Chowdry and Academic Institutions Sanjay Parkashan,New Delhi Indian Concept of Rhythem A.K. Sen Knishka Publishers,New Delhi Man and Music in India Rashmi Goswami Indian Institute at Advance Study Gurmat Sangeet Parbandh Dr. Gurnam Singh te Parsar Punjabi University, Patiala.2002

13 12 M.A. MUSIC (HONS.) VOCAL (SEMESTER II) Paper: MUL-(V) 452 (Theory) A CRITICAL STUDY OF GRANTHAS A critical study of following Granths as: 1. Brehdeshi : Matang 2. Sangeet Ratnakar : Sharangdev I A critical study of following Granths as: 1. Rag Tatav Vibodh : Shri Niwas 2. Sawarmale Kalanidhi : Ramamatya II 1. Natya Shastra : Bharat 2 Pranav Bharati. : Pt. Omkar Nath Thakur6. Sangeet Parijat 3. Sangeet Parijaat : Pt. Ahobal. Books Recommended: 1 Sangeet Ratnakar : Sharangdev, Sangeet Karyalaya Hathrash, Brehdeshi : Matang Publication Scheme, Jaipur, Uttart Bhartia Sangeet Pangtion : V.N. Bhatkhande Sangeet Karyalaya Hathrash, Ka Tulnatamak Adhayan Sawar Mala Kalanidhi : Ramamatya Sangeet Karyalaya Hathrash, Naitya Shastra : Bharat Chokhamba Sanskrit Sansthan Varanasi, 1985.

14 13 M.A. MUSIC (HONS.) VOCAL (SEMESTER II) Note: Paper: MUL-(V) 453 (Theory) THEORETICAL STUDY OF FOLK MUSIC OF PUNJAB i The paper setter will set three questions. All questions are compulsory. 1. Origin and development of folk music of Punjab 2. Historical development of Vaar, folk singing style of Punjab. 3. Detailed study of folk dances of Punjab. I Biographical and analytical study of following Punjab,s folk artists. 1. Asa Singh Mastana 2. Bibi Surinder Kaur 3. Lal Chand Yamala Jatt II Note: The paper setter will set five questions. All questions are compulsory. 1. Detailed study of Taal Vadya used in Punjabi Folk Music. 2. Detailed study of Suwar Vadya used in Punjabi Folk Music 3. Detailed knowledge of Merrital Song of Punjab with special reference to Ghoriyan & Suhaag. 4. Detailed knowledge of Punjabi Folk Songs related to season and Festivals of Punjab.

15 14 M.A. MUSIC (HONS.) VOCAL (SEMESTER II) MUP-(V) 471 (Practical) STAGE PERFORMANCE 1. One Drut khyal with proper Alaap Taan 2. Tuning of Tanpura 3. Dhrupad or Dhammar in different layakaris I 1. One Vilambit and Drut khyal of your own choice with proper singing style. 2. Ability to demonstrate and recite the thekas of Ektal, Jhaptal on hand with Dugun, Tigun and Chaugun Layakaris. II 1. One Vilambit and Drut khyal with proper singing style in raga other than choice of second minor. 2. Ability to demonstrate and recite the thekas of Rupak and chautal on hand with Dugun, Tigun and Chaugun Layakaris.

16 15 M.A. MUSIC (HONS.) VOCAL (SEMESTER II) MUP-(V) 472 (Practical) ADVANCE STUDY OF RAGAS 1. Two Drut khyals in ragas Malkauns and Puriya Kalyan 2. Critical and detailed study of above mentioned ragas and non detailed ragas Puriya and Chandarkauns. I 1. Any one Vilambit khyal and two Drut khyals with proper singing styles in ragas Bageshwari and Maru Bihag. 2. Critical and detailed study of above mentioned ragas and non detailed ragas named Rageshwari & Bihag. II 1. One Vilambit khyal and three Drut khyals with proper singing styles in ragas Megh Malhar,Darbari Kanada and Nat Bhairav. 2. Full definition and few alaps in non detailed ragas Madhmadh Sarang, Adana and Charukeshi.

17 16 M.A. MUSIC (HONS.) VOCAL (SEMESTER II) MUP-(V) 473 SEMINAAR MUSIC APPRICIATION BASED ON POWER POINT

18 17 M.A. MUSIC (HONS.) VOCAL (SEMESTER III) MUL-(V) 501 (Theory) SCIENTIFIC STUDY OF INDIAN VOCAL MUSIC 1. Principles of Indian Music: Drone., Frequency, pitch, intensity, timber. 3. Write short note on following: a) Sangatkari b) Fusion Music c) Back-ground music Pop Music d) Rabindra Sangeet e) Avirbhav Tirobhav f) Sound arrangement I 1. Correct intonation of swars in various ragas. 2. Voice culture and its importance in layranics. 3. Various methods of teaching Vocal music with the help of audio video aids. 4. Methods and techniques of Saam-Gaan. II 1. Interaction between vocal & Instrumental music. 2. Role of psychology in teaching and learning music. 3. Raag Lakshans of Indian Music and practical uses of its helping elements. 4. Detailed study of Gram. Books Recommended: 1. Bhartia Kanth Sangeet Dr. Arun Mishra Avam Vadya Sangeet Kanishka Publishers,New Delhi Sangeet Visharad Basant, Sangeet Karyala Hathras On Indian Music Pt. Debu Chaudhary Roshan Press, Nibandh Sangeet Laxmi Naryan Garg Sangeet Karyala Hathras Bhartia Sangeet Main Aneeta Gautam Vigianik Upkarnon Ka Paryog Kanishka Publishers,New Delhi Bhartia Talo Ka Arun Kumar Sen. Shastriya Vivechan Madhaya Pardesh Academy,Bhopal Indian Music in Professional Dr. Manju Shree Chowdry And Academic Institutions Sanjay Parkashan,New Delhi Indian Concept of Rhythem A.K. Sen Knishka Publishers,New Delhi Man And Music in India Rashmi Goswami Indian Institute at Advance Study.1992.

19 18 M.A. MUSIC (HONS.) VOCAL (SEMESTER III) MUL-(V) 502 (Theory) A STUDY OF GURMAT SANGEET 1. Musical elements in Rag Mala in the context of Guru Granth Sahib. 2. Element and Gayan Shallies of folk music in Gurmat Sangeet. 3. Different classical singing styles of Gurmat Sangeet. I 1. Contribution of Shri Guru Nanak Dev Ji towards Indian Music. 2. The contribution of Bhagtas Bani towards music in the context of Shri Guru Granth Sahib. 3. The Banies of Bhattas in Gurmat Sangeet. II 1. Contribution of Sufi Saints in the field of Gurmat Sangeet. 2. Critical and comparative study of different singing styles of Gurmat Sangeet. 3. Salient features of Kirtan Chowki. 4. Critical Studies of Ragas used in Shri Guru Granth Sahib. Books Recommended: 1. Sikh Musicology : Dr. Gurnam Singh Krishka Publication, New Delhi. 2. Gurmat Sangeet Parbandh Te Pasar : Dr. Gurnam Singh Pbi. Uni.,Patiala, Bhagat Rag Ratnawali : Prof. Tara Singh Gurmat Sangeet Public Parkashan, Patiala, Guru Nanak Dev Ji Te Sangeet : Dr. Jagir Singh Lok Sangeet Parkashan, Chandigarh, Bharti Sangeet ka Itihas : Dr. Joginder Sharma & Bachiter Singh Punjabi University, Patiala, Shri Guru Granth Sahib Rag Ratnawali : Prof. Tara Singh Punjabi Universtiy, Patiala, Punjab Ki Sangeet Prampara : Dr. Geeta Pantel Radha Publication, New Delhi, 1988.

20 19 M.A. MUSIC (HONS.) VOCAL (SEMESTER III) Note: Paper: MUL-(V) 503 (Theory) INDIAN CINEMATIC MUSIC i The paper setter will set three questions. All questions are compulsory. 1. Origin & development of Indian Cinema. 2. Classical and Semi Classical singing styles used in Indian Cinema. 3. Contribution of Devotional Music in Indian Cinema. I Note : The paper setter will set three questions. All questions are compulsory. Biographical Study and contribution of the following Music Directors : 1. Naushad 2. R.D. Berman 3. A.R. Rahman II Note : The paper setter will set five questions. All questions are compulsory. Biographical Study and contribution of the followings singers : 1. Mohd. Rafi 2. Mukesh 3. Lata Mangeshkar 4. Kavita Krishna Murti

21 20 M.A. MUSIC (HONS.) VOCAL (SEMESTER III) MUP-(V) 521(Practical) STAGE PERFORMANCE 1. One Drut khyal with proper Alaap Taan 2. Partal Gayaki ( A Partal from sri Guru Granth Sahib) I 1. One Vilambit and Drut khyal of your own choice with proper singing style. 2. Bhajan/ Geet/ Gazal on Harmonium. II 1. One Vilambit and Drut khyal with proper singing style in raga other than choice of second minor. 2. Ability to tune Tabla.

22 21 M.A. MUSIC (HONS.) VOCAL (SEMESTER III) MUP-(V) 522 (Practical) ADVANCE STUDY OF RAGAS 1. Two Drut khyals in ragas Shree and Hansdhwani 2. Critical and detailed study of above mentioned ragas and non detailed ragas Jaitshree and Shankara. II 1. Any one Vilambit khyal and two Drut khyals with proper singing styles in ragas Madhuwanti and Kedar. 2. Critical and detailed study of above mentioned ragas II 1. One Vilambit khyal and three Drut khyals with proper singing styles in ragas Miyan ki todi, Sham Kalyan and Abhogi Kanda 2. Full definition and few alaps in non detailed ragas Abhogi, Kamodh and Gujari todi

23 22 M.A. MUSIC (HONS.) VOCAL (SEMESTER III) MUP (V) 523 -SEMINAR MUSIC APPRICIATION BASED ON POWER POINT

24 23 M.A. MUSIC (HONS.) VOCAL (SEMESTER IV) MUL-(V) 551 (Theory) INDIAN MUSIC & AESTHETICS 1. Principles of Alap in Classical Music. 2. Raga and Rasa 3. Job Avenues & Opportunities in music. I 1. Aesthetic & Music 2. Dhyanas of Raga picture. 3. Detailed study of different Gayan Shallies of Indian Classical Music. II 1. Basic Principles of Aesthetics in Vrind Gaan and Smooh Gaan. 2. Historical development of Indian film Sangeet 3. Principles of Taan in Classical Music. 4. The concept of Saarna Chatushtai. Books Recommended: 1. Bhartia Kanth Sangeet Avam Vadya Sangeet : Dr. Arun Mishra Kanishka Publishers,New Delhi On Indian Music : Pt. Debu Chaudhary Roshan Press, Bhartia Talon Ka Shastriya Vivechan : Arun Kumar Sen. Madhaya Pardesh Academy,Bhopal Indian Music in Professional and Academic Insitutions : Dr. Manju Shree Chaudhary Sanjay Parkashan, New delhi Indian Concept of Rythem : A.K. Sen Kanishka Publishers, New Delhi Sangeet Main Sondhriya Bodh : Uma Garg Sanjay Parkashan, New Delhi

25 24 M.A. MUSIC (HONS.) VOCAL (SEMESTER IV) MUL-(V) 552 (Theory) ESSAY ON INDIAN MUSIC 1. Inter-relation between music and paintings. 2. Relation between Music & Yoga 3. Sangeet Samiksha. I 1. The Role of Media in music. 2. Vartman Gayan Sangeet Shiksha Ke Gun aur Dosh. 3. Sahityak or Sangeet. II 1. Instrument-Tabla as solo vadan. 2. Music therapy. 3. Manch Pardarshan. 4. Psycho, Socio effects of music. Books Recommended: 1. Sangeet Nibhandh : Sangeet Karyala Hathras (U.P), Bharti Kanth Aur Vadya Sangeet : Dr. Arun Mishra Knishka Publication, New Delhi, Sangeetayan : Dr. Seema Johri Radha Publication, New Delhi, Punjab Ki Sangeet Parampra : Dr. Geeta Paintel Radha Publication, New Delhi, Bhartiya Sangeet Shikshan Parnali : Dr. Madhu Bala Sexsena Hariyana Avom Uska Vartman Savroop Sahitya Academy, Chandigarh, Patanjali Yog Sutter : Geeta Press Gorakhpur, Sangeet Nibandh Mala : Seema Johri Peush Publication, Kabir Nagar, Shahdra, 2001.

26 25 M.A. MUSIC (HONS.) VOCAL (SEMESTER IV) Paper: MUL-(V) 553 (Theory) SURVEY OF INDIAN CLASSICAL INSTRUMENTS Note: The paper setter will set three questions. All questions are compulsory. Origin, development of following instruments and their important in Indian Classical Music. 1. Pakhawaj 2. Bansuri (Flute) 3. Veena I Note: The paper setter will set three questions. All questions are compulsory. Origin, development of following instruments and its important in Indian Classical Music. 1. Tabla 2. Shehnai 3. Sitar II Note: The paper setter will set five questions. All questions are compulsory. Origin, development of following instruments and its important in Indian Classical Music. 1. Violin 2. Harmonium 3. Sarangi 4. Tanpura

27 26 M.A. MUSIC (HONS.) VOCAL (SEMESTER IV) MUP-(V) 571 (Practical) STAGE PERFORMANCE 1. One Drut khyal with proper Alaap Taan 2. Thumri I 1. One Vilambit and Drut khyal of your own choice with proper singing style. 2. Tuning of Tanpura. II 1. One Vilambit and Drut khyal with proper singing style in raga other than choice of second minor. 2. Ability to sing any light composition with harmonium

28 27 M.A. MUSIC (HONS.) VOCAL (SEMESTER IV) MUP-(V) 572 (Practical) ADVANCE STUDY OF RAGAS 1. Two Drut khyals in ragas Gorakh Kalyan and Ramkali 2. Critical and detailed study of above mentioned ragas and non detailed ragas Kalingra and Narayani. I 1. Any one Vilambit khyal and two Drut khyals with proper singing styles in ragas Puriya Dhanasri and Jogkauns. 2. Critical and detailed study of above mentioned ragas II 1. One Vilambit khyal and three Drut khyals with proper singing styles in ragas Hameer Jai Jai Wanti and Bairagi 2. Full definition and few alaps in non detailed ragas Kedar, Maajh and Jogiya.

29 28 M.A. MUSIC (HONS.) VOCAL (SEMESTER IV) MUP (V) 573 (SEMINAR) MUSIC APPRICIATION BASED ON POWER POINT