Level Semester Wise credits Total Credits Bachelor s program

Transcription

1 Implementation of Choice Based Credit System Department of Music (Vocal & Instrumental) The M. S. University of Baroda (Appendix A) A general framework for Bachelor s Program shall as follows. Level Semester Wise credits Total Credits Bachelor s program The credit framework for the Core course, Elective course and the foundation course for a semester shall be as follows. Course Credit Lecture Practicle % Marks Core Compulsory TheoryPrinciples of Music I %+70% Core Compulsory Theory II Study of Ragas I I %+70% Core Compulsory Practical IIntensive Practical study of %+70% Ragas I Core Compulsory Practical IIPractical Tradition and %+70% composition of Ragas I I Elective Open General History of Music I %+70% (Vocal/Sitar/Violin)/Tabla/Dance/Drama) Foundation Compulsory English I (SEM I, III, V) %+70% Foundation Elective Cultural Heritage of India /Applied 30%+70% 02 Physics / Psychology/Indian Aesthetics/Western Aesthetics I (SEM II, IV, VI) 1

2 Year Year 1 Core Compulsory-1 : Theory I Principle of Music I Credit 3 Semester 1 Vocal / Sitar / Violin Hours 45 To improve knowledge of student in Principles of Music OBJECTIVES To study Shruti - Swar & essential of Ragas. To introduce Musical compositions. Musical Sound and Noise: Naad, Ahat and Anahat Naad, Pitch, Intensity, Timbre, Unmusical Sound, Noise. Musical Notes:- Naad, Shruti, Swara, Shuddha and Vikrut Swaras, Saptak, Sthana, (Mandra, Madhya,Tara) Shruti & Swar: 22 Srutis, The present Sruti-Swara arrangement, 12 notes in a Saptak, Thata, Mela, 10 Thatas of Pt. Bhatkhande system, Ashraya Raag. Essentials of Raag: Vadi, Samvadi, Anuvadi, Vivadi, Jati, Varjya Swara, Vakra Swara Aroha Avaroha, Pakad. Musical compositions: Sargamgeet, Laxangeet, Cheeza, Khyal (Bada Khyal, Chhotakkhyal), Gat (Massetkhani, Razakhani, Sthayi, Antara, Sanchari, Abhog. Tala, Matra, Khand, Sama, Khali, Bhari, Bol, Theka. 12 hours One written Assessment(Minor) 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Vasant: Sangeet Visharad 5) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 2

3 Year Year 1 Core Compulsory-2 : Theory II Study of Ragas I Credit 3 Semester 1 Vocal / Sitar / Violin Hours 45 To introduce basic technique for improving knowledge as per theoretical and OBJECTIVES practical aspects of the Ragas Prescribed Provide knowledge to become a good performer To introduce minute aspects of Gharanas Study of the Ragas Detailed theoretical study of the Ragas prescribed for the practical study. Comparative study of the Ragas Sam-Akrutic Ragas prescribed for Practical study. Sam-Prakrutic Ragas prescribed for Practical study. Alap Swaravistar, Alap, Tana and its different varieties, in the Ragas of the practical study. Writing notation Writing notation of Cheezas (Gats for instrumental Music) Writing notation of Talas as prescribed. 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Vasant: Sangeet Visharad 5) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 12 hours 3

4 Year Year 1 Core Elective-1 : Intensive Practical Study of Ragas Credit 6 Semester 1 Vocal I / Sitar I / Violin I (Practical-3 credit & Theory-3 credit=6 credit) Hours 150 To introduce Theoretical aspects of Ragas and bandishes. OBJECTIVES Provide knowledge of introductory solo playing & Singing. Provide knowledge of Padhant and basic concepts of Riyaz. Detailed study of the following Raga 30 hours Detailed study of the following Rags with Alap, Swara vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Yaman Theoretical aspects of Thata., Theoretical aspects in solo Singsngplaying. The oretical aspects of Padhant.,Theoretical aspects of different Bandishes / Gatas. Theoretical aspects of playing & singing style of different Gharana. Theoretical Techniques of Riyaz. Intensive study of the following Raga 40 hours Intensive study of the following Rags with Alap, Swara vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Bhairav Elementary knowledge of solo performance. Vilambeet laya bandishes: Different Tanas with Tihai. b)two advance Bandish / Gatas with palatas ended with tihai. Madhya laya bandishes / Gatas Detailed and intensive study of the following raga:- One Thumari / 40 hours Bandish or Razakhani Gat in Raag KHAMAJ Basic knowledge of Taals(Tevra & Sooltaal) Introduction of bandishes of above taals. Detailed and intensive study of the following raga :- One Dhrupad only Bandish or one Composition set to the Taal other then Teentaal or Razakhani gat from prescribed ragas of paper. Elementary study of padhant of Roopak,Dadra,Teentaal in Single,Double, Tigun & Chaugun. Padhant of Bandishes.a)Vilambeet lay b)madhya lay c)drut lay 40 hours One written Assessment(Minor) 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Vasant: Sangeet Visharad 5) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 4

5 Year Year 1 Core Elective-2 : Practical Tradition and Composition of Ragas Credit 6 Semester 1 Vocal I / Sitar I / Violin I (Practical-3credit & Theory-3 credit=6 credit) Hours 150 To introduce Theoretical aspects of tradition and bandishes. OBJECTIVES Provide knowledge of introductory solo playing & singing. Provide knowledge of Padhant and basic concepts of Riyaz. One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani Gat with Alap and Tana in i) Bhupali Practical knowledge in reference to theoretical aspects Theoretical aspects of Ragas. Theoretical aspects in solo playing & singing. Theoretical aspects of Padhant. Theoretical aspects of different Bandishes / Gatas. Theoretical aspects of playing style of different Gharana. Theoritical Techniques of Riyaz. (Note: All theoretical aspects of this practical paper included in first unit) One more Chhota Khyal or Razakhani Gat, with Alap and Tana in i)vibhas ii) Alhaiya Bilaval Elementary knowledge of solo performance in Zaptaal Vilambeet laya bandishes with paltas ended with Tihai. Madhya laya bandishes with paltas ended with tihai. Drut laya bandishes: Detailed and intensive study of the following raga:- One Thumari / Bandish or Razakhani Gat in Raag Kafi Basic knowledge of Taals(Tevra & Sooltaal) Introduction of bandishes of above taals. Detailed and intensive study of the following raga :- One Dhamar only Bandish or one Composition set to the Taal other then Teentaal or Razakhani gat from prescribed ragas of paper. Elementary study of padhant of Roopak,Dadra,Teentaal in Single,Double, Tigun & Chaugun. Padhant of Bandishes.a)Vilambeet lay b)madhya lay c)drut lay 30 hours 40 hours 40 hours 40 hours One class test(theory) One written Assessment(Minor) 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Pt. Vinayakrao Patwardhan: Rag Vigyaan Part I to V 5) Vasant: Sangeet Visharad 6) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 7) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 8) Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 5

6 Year Year 1 Elective Open : Appreciation of Vocal I / Sitar I / Violin I Credit 4 Semester 1 Hours 60 To introduce basic concepts basic varna and taals. OBJECTIVES To help students understand the relationship between table and other field of music. Provide auto-biography of modern times of vocalist/sitar/violin & tabla player. Music (Sangeet) Definition, interrelation between Gayan, Vadan and Nartan. Playing Trital on Tabla: Detailed study of the Talas studied up till now with Thaya Dugaun and Chaugun.Study of the following Talas Tilwada, Dhamar, Deepchandi. Meaning of varna, Development of varna, Technique of producing different varnas on tabla jointly and individually The two systems of Indian music (Hindustani and Karanatic) and their main characteristics. Voice Culture Study of: (1) Sargam Exercises (2) Sargam Patterns to study rhythms (3) Scale exercises. Detailed knowledge of the Talas under practical study with Dugun and Chaugun., History of Pakhawaj, Elementry knowledge of Pakhawaj. Anciant History of Pkhawaj, Developement Of Pakhawaj. Different opinions (Mythological and other) about the origin of music. The relation between folk music and classical music. VOCAL: One Dhrupad in Ragas Kafi or One Chatarang in Des INSTRUMENTAL: One Thumri in Bhairavi or One or Dhun in: Khamaj. Swaravistar, Alap, Tanas of different varieties in the prescribed ragas. General Survey of the evolution and development music from Vedic period to the present age with particular reference, to Shruti, Swara, Grama, Muchhana, Jati and Raga. Light Songs (Vocal & Instrumental) (a) Jana Gana Mana (b) Vande Mataram Short life sketch and contribution of the following musicians and musicologists, Amir Khusru, Tansen, Sadarang, Ustad Abdul Karim Khan, Ustad Faiyazkhan. 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 6) Vasant: Sangeet Visharad 7) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 12 hours 6

7 Year Year 1 Core Compulsory-1 : Principle of Music II Credit 3 Semester 2 Vocal / Sitar / Violin Hours 45 To study Rag samay OBJECTIVES To study Melkartas & Thata System To study Tal System Raga Samaya Poorvang, Uttarang, Poorvangvadi,Uttarangvadi, Sandhiprakash Raga, Seasonal Raga.Varna Sthayi, Arohi, Avarohi, Sanchari, Alankars, Paltas, Kana Swara, Sparsh Swara Meend Vilom, Avilom, Ghaseet, Soot, Khatka, Murki, Krintan, Zamzama, Andolan, Gamak. 12 hours 72 Melakartas (Thata) of Pt. Vyankatmakhi. 32 Thatas of Hindustani Music. Corresponding names of the 12 notes & 10 Thatas in Hindustani and Karanatic systems. Tala, Matra, Khand, Sama, Khali, Bhari, Bol, Theka. Laya, Vilambit, Madhya, Drut, Thaya, Dugun,Chaugun. One written Assessment(Minor) 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Vasant: Sangeet Visharad 6) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 7

8 Year Year 1 Core Compulsory-2: Study of Ragas II Credit 3 Semester 2 Vocal / Sitar / Violin Hours 45 To enhance knowledge of Ragas under practical study. OBJECTIVES To introduce comparative study of Ragas. To Knowledge of teaching method ( Guru shishya parampara and modern method) Writing notation of Cheezas (Gat for inst. Music) and Talas as Prescribed. Detailed theoretical study of the Ragas prescribed for the practical. Detailed knowledge of the Talas under practical study with Dugun and Chaugun. Study of Talas Dadra, Keharwa, Trital, Ektal, Jhaptal, Chautal, Roopak. Comparative study of teaching method (Guru shishya parampara and modern method): Introduction of Guru shishya Parampara teaching method. Introduction of modern style of teaching method. Comparative study of both teaching method. Comparative study of the Rags, Sam-Akrutic and Sam-Prakrutic Ragas studied. Comparative study : Basic Introduction of both instruments.compare of Technical aspects of instruments. Comparative study of Compositions of instruments. Swaravistar, Alap, Tana and its different varieties, in the Ragas of the practical study Notation of alap and Bolalap Composition: Introduction of Raga with reference to Alap. Writing notation of Cheezas (Gats for inst. Music) and Talas as prescribed Detail study of Riyaz :Technical terms of Riyaz. Ancient method of riyaz system.modern riyaz system with electronic equipments. Principles of Riyaz.Comparative study of both style of Riyaz system.pattern of Riyaz in each Gharana. 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Vasant: Sangeet Visharad 6) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 12 hours 8

9 Year Year 1 Core Elective-1 : Intensive Practical Study of Vocal II / Sitar II / Credit 6 Semester 2 Violin II (Practical-3 credit & Theory-3 credit=3credit) Hours 150 To introduce Theoretical aspects of Ragas and bandishes. OBJECTIVES Provide knowledge of introductory solo playing & singing. Provide knowledge of Padhant and basic concepts of Riyaz. Detailed & intensive study of the following Rags Bihag. with Alap, Swara vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Practical knowledge in reference to theoretical aspects: Theoretical aspects of the Raga.Theoretical aspects in solo playing. Theoretical aspects of different bandishes. Theoretical aspects of playing style of different Gharana. Theoritical Techniques of Riyaz. (Note: All theoretical aspects of this practical paper included in first unit) Detailed & intensive study of the following Rags with Alap, Swara vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Malkauns. Elementary knowledge of solo performance in Roopak; Vilambeet laya bandishes: with paltas ended with Tihai. Madhya laya bandishes: paltas ended with tihai. Drut laya bandishes: :- One Thumari / Bandish or Razakhani Gat in Raag Durga & Bhairavi Basic knowledge of Taals(Tevra & Sooltaal) Introduction of bandishes of above taals. Detailed and intensive study of the following raga :- One Dhrupad only Bandish or one Composition set to the Taal other then Teentaal or Razakhani gat from prescribed ragas of paper. Elementary study of padhant of Roopak,Dadra,Teentaal in Single,Double, Tigun & Chaugun. Padhant of Bandishes.a)Vilambeet lay b)madhya lay c)drut lay 30 hours 40 hours 40 hours 40 hours 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Vasant: Sangeet Visharad 6) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 9

10 Year Year 1 Core Elective-2 : Practical Tradition and Composition of Ragas Credit 6 Semester 2 Vocal II / Sitar II / Violin II (Practical-3 credit & Theory-3 credit=3credit) Hours 150 To introduce Theoretical aspects of tradition and bandishes. OBJECTIVES Provide knowledge of introductory solo playing. Provide knowledge of Padhant, Nikas and basic concepts of Riyaz. One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani Gat with Alap and Tana in i) Bageshree Practical knowledge in reference to theoretical aspects: Theoretical aspects of Raga.Theoretical aspects in solo playing & singing. Theoretical aspects of Padhant.Theoretical aspects of different bandishes. Theoretical aspects of playing style of different Gharana.Theoritical Techniques of Riyaz. (Note: All theoretical aspects of this practical paper included in first unit) Unit II One more Chhota Khyal or Razakhani Gat, with Alap and Tana in i) Bhimpalasi Elementary knowledge of solo performance Vilambeet laya bandishes: with paltas ended with Tihai. Madhya laya bandishes: with paltas ended with tihai. Drut laya bandishes: One Thumari / Bandish or Razakhani Gat in Raag Desh & Vrundavani Sarang Basic knowledge of Taals(Tevra & Sooltaal) Introduction of bandishes of above taals. Detailed and intensive study of the following raga :- One Dhamar only Bandish or one Composition set to the Taal other then Teentaal or Razakhani gat from prescribed ragas of paper. Elementary study of padhant of Roopak,Dadra,Teentaal in Single,Double, Tigun & Chaugun. Padhant of Bandishes.a)Vilambeet lay b)madhya lay c)drut lay. One written Assessment(Minor) 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Vasant: Sangeet Visharad 6) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 30 hours 40 hours 40 hours 40 hours 10

11 Year Year 1 Elective Open : Appreciation of Vocal II / Sitar II / Violin II Credit 4 Semester 2 Hours 60 OBJECTIVES To introduce basic concepts of Gharana. To help students to understand Laya in different form of music. Provide auto-biography of Musician & Musicologists. Study of following Talas: 1. Dadra 2. Keharava 3. Trital 4. Zaptal 5. Ektal 6. Chautal 7. Roopak Forms of composition in the modern age: Dhrupad,Dhamar (Hori), Khyal, Tarana, Trivat, Chaturang, Sadara, Swaramalika, Thumri, Tappa, Dadra. Voice Culture Study of : Alankars atleast ten alankaras in all Ragas of varying nature Sight singing or playing of written notations, and writing notations on listening. Musicologists of modern age Pt. Bhatkhande, Pt. Paluskar, Acharya, Brahaspati, Pt. Omkarnath Thakur, Pt. Vinayakrao, Patwardhan, Pt. S. N. Ratanjankar, VOCAL: One Dhrupad in Ragas Bhairavi or One Chatarang in Kafi INSTRUMENTAL: One Thumri in Khanmaj or One Thumari or Dhun in Kafi. Musicians of modern age Pt. Ravishankar, Ustad Vilayatkhan, Ustad Ali Akbar Khan, Prof. V. G. Jog, Pt. Gajananrao Joshi, Ustad Ahmed Jan Thirakhwa, Ustad Amir Hussain Khan, Pt. Gyanprakash Ghosh Light Songs (Vocal & Instrumental) Six light Songs to include Bhajan, Bhaktigeet, Garaba etc. (Gujarati, Hindi or Marathi). Forms of composition during the ancient period 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Vasant: Sangeet Visharad 6) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 11

12 Year Year 2 Core Compulsory-1 : Theory I Principle of Music Credit 3 Semester 3 Section I Applied Physics; Section II Music. Vocal / Sitar / Violin Hours 45 To introduce basic definitions of Physical Phenomena of Sound OBJECTIVES To improve knowledge of student in Principles of Music To introduce Raga Classification Production and propagation of sound. Stationary Waves, Nodes and Antinodes. Transverse vibrations in string, Sonometer, Mede s experiment, combination of tones, Phenomenon of beats, Vibrations of air. Columns. Mechanism of transmission-wave motion. Longitudinal and transverse wave motion. Musical sound and noise. Pitch intensity and timbre. The determination of the velocity of sound Speed of transmission of sound-arage s Experiment Elementary distinction between pitch and frequency of sound. Source and its relations with the velocity of sound. Siren Savart s wheel. Detailed study of the time theory of Ragas Its principles and relation to aesthetics, Raga-Samay Siddhant, Classification of Ragas according to the Gayan Samya, Ardhwadarshak Swara, Raga-Samaya Chakra. Classification of Ragas: a) Raga-Ragini b) Mela-Raga c) Ragang-Raga d) Shuddha-Chhayalage-Sankirna. 12 hours One written Assessment(Minor) 1) Pt.Harishchandra Shrivastav Raga Parichaya 2) Pt. Bhatkhande Sangit Shashtra 3) Lalit kishor Singh Dhwani aur Sangeet 4) Arvind Mohan Dhwani aur Kampan 12

13 Year Year 2 Core Compulsory-2 : Theory II Study of Ragas Credit 3 Semester 3 Vocal / Sitar / Violin Hours 45 To introduce basic technique for improving knowledge as per theoretical and OBJECTIVES practical aspects of the Ragas Prescribed Provide knowledge to become a good performer To introduce minute aspects of Gharanas Study of the Ragas Detailed theoretical study of the Ragas prescribed for the practical study. Comparative study of the Ragas Sam-Akrutic Ragas prescribed for Practical study. Sam-Prakrutic Ragas prescribed for Practical study. Alap Swaravistar, Alap, Tana and its different varieties, in the Ragas of the practical study. Writing notation Writing notation of Cheezas (Gats for instrumental Music) Writing notation of Talas as prescribed. 1)Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2)Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3)Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4)Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5)Vasant: Sangeet Visharad 6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 12 hours 13

14 Year Year 2 Core Compulsory-3 : Theory IIIHistory of Music Credit 3 Semester 3 Vocal / Sitar / Violin Hours 45 To introduce basic history of Music. OBJECTIVES To introduce basic history of Vocalist & Instrumentalist of North Indian Music. Provide auto-biography of exponents of Musicologists Study of Natya Shastra Pt. Bharata s Natyashastra with reference to the following. Chatushta Sarana Pramanshruti, Grama, Murchhana, Jatigana, Prabandha. Vagyeyakar Merits & Demerits of Vagyeykar Gamakas Good points (Guna-Dosha) of a vocalist and instrumentalist Study of the Granthakaras Medival period- Pt. Lochana, Pt. Ahobal, with reference to their Shruti- Swara arrangement. Length of Swaras on an open string. Mela-Ragas arrangement. Study of the Granthakaras Shrimallakshasangitam by Pt. Bhatkhande 1) Acharya Bharat Natyashashtra 2) Vasant Sangeet Visharad 3) Pt. Bhatkhande Sangit Shashtra 4) Pt Ahobal Sangeet Parijata 5) Pt lochan Ragatarangini 12 hours 14

15 Year Year 2 Core Elective-1 : Intensive Practical Study of Ragas III Credit 3 Semester 3 Vocal / Sitar / Violin (Practical-2 credit & Theory-1credit=3credit) Hours 75 To introduce Theoretical aspects of Ragas and bandishes. OBJECTIVES Provide knowledge of introductory solo playing & Singing. Provide knowledge of Padhant and basic concepts of Riyaz. Detailed study of the following Raga Detailed study of the following Rags with Alap, Swara vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Shudhdha Kalyan Theoretical aspects of Thata., Theoretical aspects in solo Singsngplaying. The oretical aspects of Padhant.,Theoretical aspects of different Bandishes / Gatas. Theoretical aspects of playing & singing style of different Gharana. Theoretical Techniques of Riyaz. Intensive study of the following Raga Intensive study of the following Rags with Alap, Swara vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Kedar Elementary knowledge of solo performance. Vilambeet laya bandishes: Different Tanas with Tihai. b)two advance Bandish / Gatas with palatas ended with tihai. Madhya laya bandishes / Gatas Detailed and intensive study of the following raga One more Chhota Khyal or Razakhani Gat in Raag (i) Poorvi (ii) Marwa (iii) Aasavari Detailed and intensive study of the following raga :- One Dhrupad only Bandish or one Composition set to the Taal other then Teentaal or Razakhani gat from prescribed ragas of paper. Elementary study of padhant of Roopak,Dadra,Teentaal in Single,Double, Tigun & Chaugun. Padhant of Bandishes.a)Vilambeet lay b)madhya lay c)drut lay 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Vasant: Sangeet Visharad 6) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 15

16 Year Year 2 Core Elective-2 : Practical Tradition and Composition of Ragas Credit 3 Semester 3 Vocal / Sitar / Violin (Practical-2 credit & Theory-1credit=3credit) Hours 75 To introduce Theoretical aspects of tradition and bandishes. OBJECTIVES Provide knowledge of introductory solo playing & singing. Provide knowledge of Padhant and basic concepts of Riyaz. One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani Gat with Alap and Tana in (i) Hansdhawni Practical knowledge in reference to theoretical aspects Theoretical aspects of Ragas. Theoretical aspects in solo playing & singing. Theoretical aspects of Padhant. Theoretical aspects of different Bandishes / Gatas. Theoretical aspects of playing style of different Gharana. Theoritical Techniques of Riyaz. (Note: All theoretical aspects of this practical paper included in first unit) One more Chhota Khyal or Razakhani Gat, with Alap and Tana in (i) Jaunpuri Elementary knowledge of solo performance in Zaptaal Vilambeet laya bandishes with paltas ended with Tihai. Madhya laya bandishes with paltas ended with tihai. Drut laya bandishes: One Chhota Khyal or Razakhani Gat i) Hamir (ii) Keadr (iii) Patdeep Basic knowledge of Pakhawaj Taals(Chautaal & Dhamar) Introduction of bandishes of above taals. Detailed and intensive study of the following raga :- One Dhamar only Bandish or one Composition set to the Taal other then Teentaal or Razakhani gat from prescribed ragas of paper. Elementary study of padhant of Roopak, Dadra, Teentaal in Single, Double, Tigun & Chaugun. Padhant of Bandishes.a)Vilambeet lay b)madhya lay c)drut lay 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Vasant: Sangeet Visharad 6) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 16

17 Year Year 2 Core Elective-3 : Stage Performance Credit 3 Semester 3 Vocal / Sitar / Violin (Practical-2 credit & Theory-1 credit=3credit) Hours 75 To introduce Theoretical aspects of stsge performance. OBJECTIVES Introductory knowledge of sequence of bandishes in solo playing. Introductory knowledge of accompaniment with instrumental and vocal music. For stage performance any five ragas can be chosen from core elective I & core elective II, being most popular and suitable for performance in vocal as well as instrumental music. The students will have to prepare at least 5 Ragas out of the prescribed Ragas for their own choice and the examiner s choice. The total duration of the third paper will be 30mts. Introduction of stage performance in reference to theoretical aspects Stage manners. Theoretical aspects in solo playing and Accompaniment. System of solo playing of different Gharana. Techniques of producing different bandishes. (Note: All theoretical aspects of this practical paper included in first unit) Solo Performance: Candidate choice of any one taals from syllabus. Knowledge of sequence of solo,nikas of Bandishes. Solo Performance: a) Candidate choice of any one Raga from syllabus. b) Examiners choice of any one Raga from syllabus. Basic knowledge of Accompaniment with Instrumental and Vocal Music: Basic Knowledge of accompaniment. One written Assessment(Minor) 1)Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2)Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3)Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4)Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5)Vasant: Sangeet Visharad 6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 17

18 Year Year 2 Elective Open : Appreciation of Vocal / Sitar / Violin Credit 4 Semester 3 Hours 60 To introduce basic concepts basic varna and taals. OBJECTIVES To help students understand the relationship between table and other field of music. Provide auto-biography of modern times of vocalist/sitar/violin & tabla player. Detailed study of the Talas studied up till now with Thaya Dugaun and Chaugun. Study of the following Talas Tilwada, Dhamar, Deepehandi Meaning of varna. Development of varna. Technique of producing different varnas on tabla jointly and individually Detailed knowledge of the Talas under practical study with Dugun and 12 hours Chaugun. History of Pakhawaj Elementry knowledge of Pakhawaj. Anciant History of Pkhawaj. Developement Of Pakhawaj. Swaravistar, Alap, Tanas of different varieties in the prescribed ragas. Short life sketch and contribution of the following musicians and musicologists Amir Khusru, Tansen, Sadarang, Ustad Abdul Karim Khan, Ustad Faiyazkhan. 1) Pt.Girishchandra Shrivastav (2001) Taal-Kosh, 2) Pt.Girishchandra Shrivastav (1989) Taal Parichay(Part 1,2 & 3) 3) Pt. Bhatkhande Sangeet Shashtra 18

19 Year Year 2 Core Compulsory-1 : Principle of Music Credit 3 Semester 4 Vocal / Sitar / Violin Section I Applied Physics; Section II Music. Hours 45 Provide basic knowledge of Harmony, Discord & Idea of Resonance, Resonators OBJECTIVES Provide knowledge of principles of old treatise To introduce prachin Alapgana Harmony and Discord Musical interval. Different Musical interval. Introduction to measurement of intervals by Cants Savarts. Major tone, Minore tone, Semi tone, Limma. Octave Major and Minor Diatonic Scales. Sharp and flat notes. Temperament in music. Equally tempered scales. History of Indian Musical Scales. Physical significance of Structure of human throat and ear. General principles of acoustics of buildings. Elementary ideas-resonance and resonators. Organ pipes. Reed, Stationary Waves, Nodes andantinodes. Transverse vibrations in string, Memberanes.. Kunt s tube experiment, Chladini s figures, Mono Metric flame. Arithamatic relations of Sruties. Fundamental and overtones. Stroboscopic disc. Principles of Raga according to the old treatises of Hindustani Music Graha, Ansha, Nyas, Apanyasa Mandra, Tara, Alpatwa, Bahutwa, Shadavatwa, Audavatwa. Its relation with the modern system. Prachin Alapgana Ragalap, Roopakalap, Alapti, Akshiptika, Nibaddha, Anibaddha Gana, Avirbhava, Tirobhava. One written Assessment(Minor) 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Vasant: Sangeet Visharad 4) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 12 hours 19

20 Year Year 2 Core Compulsory-2: Study of Ragas Credit 3 Semester 4 Vocal / Sitar / Violin Hours 45 To enhance knowledge of Ragas under practical study. OBJECTIVES To introduce comparative study of Ragas. To Knowledge of teaching method ( Guru shishya parampara and modern method) Detailed theoretical study of the Ragas prescribed for the practical. Comparative study of teaching method (Guru shishya parampara and modern method): Introduction of Guru shishya Parampara teaching method. Introduction of modern style of teaching method. Comparative study of both teaching method. Comparative study of the Rags, Sam-Akrutic and Sam-Prakrutic Ragas studied. Comparative study : Basic Introduction of both instruments. Compare of Technical aspects of instruments. Comparative study of Compositions of instruments. Swaravistar, Alap, Tana and its different varieties, in the Ragas of the practical study Notation of alap and Bolalap Composition: Introduction of Raga with reference to Alap. Writing notation of Cheezas (Gats for inst. Music) and Talas as prescribed Detail study of Riyaz : Technical terms of Riyaz. Ancient method of riyaz system. Modern riyaz system with electronic equipments. Principles of Riyaz. Comparative study of both style of Riyaz system. Pattern of Riyaz in each Gharana. 1)Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2)Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3)Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4)Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5)Vasant: Sangeet Visharad 12 hours 20

21 6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) Department of Music (Vocal & Instrumental) Year Year 2 Core Compulsory-3 : History of Music IV Credit 3 Semester 4 Vocal / Sitar / Violin Hours 45 To introduce history of Indian Classical Music. OBJECTIVES To introduce basic history. Auto-biography of exponents of Musician & Musicologist Study of Pt. Sharangadeva s Sangit Ratnakar with reference to the following. Chatushta Sarana Pramanshruti, Grama, Murchhana, Jatigana, Prabandha. Introduction of history of origin of Indian Classical Music Definition of music. History of ancient to modern music Vagyeyakar, Gamakas, bad points (Guna-Dosha) of a vocalist and instrumentalist 12 hours Study of the Granthakaras of the medival period-pt. Hridayanarayan deva and Pt. Shrinivas with reference to their Shruti-Swara arrangement, length of Swaras on an open string. Mela-Ragas arrangement Study of contribution of Pt. Bhatkhande and Pt. Paluskar, to Hindustani Music 1) Acharya Bharat Natyashashtra 2) Sharangdev Sangeet Ratnakar 3) Pt. Bhatkhande Sangit Shashtra 4) Vasant Sangeet Visharad 21

22 Year Year 2 Core Elective-1 : Intensive Practical Study of Vocal / Sitar / Violin Credit 3 Semester 4 (Practical-2 credit & Theory-1credit=3credit) Hours 75 To introduce Theoretical aspects of thekas and bandishes. OBJECTIVES Provide knowledge of introductory solo playing & singing. Provide knowledge of Padhant and basic concepts of Riyaz. Detailed & intensive study of the following Rags Puriya Dhanashree with Alap, Swara vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Practical knowledge in reference to theoretical aspects: Theoretical aspects of the Raga. Theoretical aspects in solo playing. Theoretical aspects of different bandishes. Theoretical aspects of playing style of different Gharana. Theoritical Techniques of Riyaz. (Note: All theoretical aspects of this practical paper included in first unit) Detailed & intensive study of the following Rags with Alap, Swara vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Ramkali Elementary knowledge of solo performance in Roopak; Vilambeet laya bandishes: with paltas ended with Tihai. Madhya laya bandishes: paltas ended with tihai. Drut laya bandishes: Detailed and intensive study of the following ragas with Tana, One more Bada Khyal or Massethhani Gat, one more chhota Khyal or Razakhani Gat. (i)shankara (ii) kamod (iii) Soahani Detailed and intensive study of the following raga :- One Dhrupad only Bandish or one Composition set to the Taal other then Teentaal or Razakhani gat from prescribed ragas of paper. Elementary study of padhant of Roopak,Dadra,Teentaal in Single,Double, Tigun & Chaugun. Padhant of Bandishes.a)Vilambeet lay b)madhya lay c)drut lay 1)Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2)Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3)Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4)Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5)Vasant: Sangeet Visharad 6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2 22

23 Year Year 2 Core Elective-2 : Practical Tradition and Composition of Ragas IV Credit 3 Semester 4 Vocal / Sitar / Violin (Practical-2 credit & Theory-1credit=3credit) Hours 75 To introduce Theoretical aspects of tradition and bandishes. OBJECTIVES Provide knowledge of introductory solo playing. Provide knowledge of Padhant, Nikas and basic concepts of Riyaz. One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani Gat with Alap and Tana in Jaijaivanti Practical knowledge in reference to theoretical aspects: Theoretical aspects of Raga. Theoretical aspects in solo playing & singing. Theoretical aspects of Padhant. Theoretical aspects of different bandishes. Theoretical aspects of playing style of different Gharana. Theoritical Techniques of Riyaz. (Note: All theoretical aspects of this practical paper included in first unit) Unit II One more Chhota Khyal or Razakhani Gat, with Alap and Tana in Chhaya Nat Elementary knowledge of solo performance Vilambeet laya bandishes: with paltas ended with Tihai. Madhya laya bandishes: with paltas ended with tihai. Drut laya bandishes: One Chhota Khyal or Razakhani Gat i) Basant (ii) Bahar (iii) Hindol i Introduction of bandishes of above Ragas. Detailed and intensive study of the following raga :- One Dhamar only Bandish or one Composition set to the Taal other then Teentaal or Razakhani gat from prescribed ragas of paper. Elementary study of padhant of Roopak,Dadra,Teentaal in Single,Double, Tigun & Chaugun. Padhant of Bandishes.a)Vilambeet lay b)madhya lay c)drut lay 1)Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2)Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3)Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4)Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5)Vasant: Sangeet Visharad 6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2 23

24 Year Year 2 Core Elective-3 : Stage Performance Vocal / Sitar / Violin Credit 3 Semester 4 (Practical-2 credit & Theory-1 credit=3credit) Hours 75 To introduce Theoretical aspects of stage performance. OBJECTIVES Introductory knowledge of sequence of bandishes in solo playing. Introductory knowledge of accompaniment with instrumental and vocal music. For stage performance any five ragas can be chosen from core elective I & core elective II, being most popular and suitable for performance in vocal as well as instrumental music. The students will have to prepare at least 5 Ragas out of the prescribed Ragas for their own choice and the examiner s choice. The total duration of the third paper will be 30mts. Introduction of stage performance in reference to theoretical aspects: Stage manners. Theoretical aspects in solo playing and singing. How to Padhant. System of solo playing of different Gharana. Techniques of producing different bandishes. (Note: All theoretical aspects of this practical paper included in first unit) Solo Performance: Candidate choice of any one Raga from syllabus. Solo Performance: Examiners choice of any one Raga from syllabus. Basic knowledge of Accompaniment with Instrumental and Vocal Music: Basic Knowledge of accompaniment with Instrumental Music Basic Knowledge of accompaniment with Vocal Music 1)Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2)Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3)Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4)Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5)Vasant: Sangeet Visharad 6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2 24

25 Year Year 2 Elective Open : Appreciation of Vocal / Sitar / Violin Credit 4 Semester 4 Hours 60 To introduce basic concepts of Gharana of tabla and taals. OBJECTIVES To help students to understand Laya in different form of music. Provide auto-biography of modern times of tabla player Detailed study of the Talas studied up till now with Thaya Dugaun and Chaugun. Study of the following Talas Tiwara, Panjabi, Dhumali Basic Introduction of Tabla Garana : Meaning of word gharana. Development of gharana. Detailed knowledge of the Talas under practical study with Dugun and Chaugun. Notation System; Elementry knowledge of notation system. Notation of following taals in single and double speed. a)dadra b)kaharva c)roopak d)teentaal Swaravistar, Alap, Tanas of different varieties in the prescribed ragas. Short life sketch and contribution of the following musicians and musicologists Gopal Nayak, Ustad Hassu-Haddu Khan, Ustad Allauddin Khan, Ustad Munir Khan. 1)Shri L.N Garg Humare Sangeet ratna 2)Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3)Vasant: Sangeet Visharad 4) Pt Girishchandra Srivastava Taal Parichaya 25

26 Year Year 3 Core Compulsory-1 : Theory I Principle of Music V Credit 3 Semester 5 Vocal / Sitar / Violin (Practical- 0 credit & Theory-3 credit= 3 credit) Hours 45 To introduce Concept of Shruti and its interpretations in ancient period OBJECTIVES To improve knowledge of student in Principles of Music To introduce of Indian & Western Music scales & Notation systems Concept of Shruti in Indian Music and ancient interpretations: Detailed study of Shruti in Indian Music Interpretation of Praman Shruti by Baharat Muni in Natya Shastra, and measurement of shruti. Study of Western Music scales: Study of Tempered & Natural scales. 12 hours Indian & Western Music scales & concept of Moorchhana System: Introduction of scales in Indian & Western music. Moorchhana System & Contemporary Indian Music scales Staff Notation system: Scales in Western Music. Staff Notation of Music. Writing of Swaramalika in staff notation One written Assessment(Minor) 1)Pt. Harishchandra Shrivastav Raga Parichaya 2)Pt. Bhatkhande Sangit Shashtra 3)Pt. L. N. Garg Sangeet Visharad 4)Sri S.C Paranjapee Sangeet Bodh 5)Prof L.K Singh Dhwani aur Sangeet 26

27 Year Year 3 Core Compulsory-2 : Theory II Study of Ragas V Credit 3 Semester 5 Vocal / Sitar / Violin (Practical- 0 credit & Theory-3 credit= 3 credit) Hours 45 To introduce basic technique for improving knowledge as per theoretical and OBJECTIVES practical aspects of the Ragas Prescribed Provide knowledge to become a good performer Introduction to Writing Notation Study of the Ragas: Detailed of the Ragas prescribed for the practical study. Comparative study of the Ragas Comparative study of the Ragas studied up till now. Study of stages in Raga improvisation: Swaravistar, Alap Tanas with different varieties in the Ragas learnt up till now. Writing notation: Notation writing of Cheezes (Gats for Inst. Music) and Talas studied under practical course. Study of the following Talas with Dugun, Tigun and Chaugun Trital, Ektal, Jhaptal, Chautal, Dhamar. One written Assessment(Minor) 1) Pt. Harishchandra Shrivastav Raga Parichaya 2) Pt. Bhatkhande Kramik Pustak Malika 3) Pt. L. N. Garg Sangeet Visharad 4) Pt V.N Patwardhan Raag Vigyan 12 hours 27

28 Year Year 3 Core Compulsory-3 : Theory III History of Music IV Credit 3 Semester 5 Vocal / Sitar / Violin (Practical- 0 credit & Theory-3 credit= 3 credit) Hours 45 Introduction to basic history of Carnatic Music. OBJECTIVES To introduce basic history of Vocalist & Instrumentalist of Carnatic Music. Introduction to Musical forms and its compositions of Indian Music, traditions and Gharanas of Khayal Introduction to Carnatic Music with reference to Scale: The main corresponding scales of Hindustani and Carnatic music. Introduction to Carnatic Music with reference to Taal: The Tala system in Carnatic music 7 main Talas and 5 Jatis of each. Conversion of North Indian Talas into Carnatic system. Detailed study of the forms of Musical compositions and history of the principle Gharanas in Hindustani Music: Dhrupad Dhamar:- Characteristics of the form. Four Banis and Gharanas. The main exponents of Dhrupad. Khyal:- Rising of the Khyal. Reasons of its popularity. Main characteristics of Khyal. History of the main Gharanas of Khyal with special characteristics of the respective Gharanas. Main contemporary exponents of Khyal. (Delhi, Agra, Gwalior, Kirana and Jaipur Gharanas). Introduction to Lighter varieties of compositions: Characteristics of folk songs in general with particular reference to Gujarati folk songs. Regional varieties of folk songs i.e. Kajri, Chaiti, Zula, Lawani, Bhatiyali and their characteristics. 1) Pt. Harishchandra Shrivastav Raga Parichaya 2) Pt. Bhatkhande Sangit Shashtra 3) Shri S.C Paranjapee Bhartiya Sangeet Ka Itihaas 4) Shri S.C Paranjapee Sangeet Bodh 5)Prof V.C Deshpande Indian music tradition 12 hours Department of Music (Vocal & Instrumental) Year

29 Year 3 Core Elective-1 : Intensive Practical Study of Ragas V Credit 5 Semester 5 Vocal / Sitar / Violin (Practical- 3 credit & Theory-2 credit= 5 credit) Hours 98 To introduce Theoretical aspects of Ragas and bandishes. OBJECTIVES Provide knowledge of introductory solo playing & Singing. Provide knowledge of Padhant and basic concepts of Riyaz. Detailed study of the following Raga 24 hours Detailed study of the following Rags with Alap, Swara vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat.Miyan Ki Malhar Theoretical aspects of Thata., Theoretical aspects in solo Singsngplaying. Theoretical aspects of Padhant., Theoretical aspects of different Bandishes / Gatas. Theoretical aspects of playing & singing style of different Gharana. Theoretical Techniques of Riyaz. Intensive study of the following Raga 24 hours Intensive study of the following Rags with Alap, Swara vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat Darbari Kanhada Elementary knowledge of solo performance. Vilambeet laya bandishes: Different Tanas with Tihai. b)two advance Bandish / Gatas with palatas ended with tihai. Madhya laya bandishes / Gatas Detailed and intensive study of the following raga One more Bada Khyal 25 hours or Massethhani Gat, one more Chhota Khyal or Razakhani Gat with Tana. (i) Adana (ii) Gaud Malhar (iii) Dhani Basic knowledge of Taals(Tevra & Sooltaal) Introduction of bandishes of above taals. One Dhurpad only Bandish or one Composition set to the Taal other then Teentaal or Razakhani gat from prescribed ragas of paper. Elementary study of padhant of Roopak,Dadra,Teentaal in Single,Double, Tigun & Chaugun. Padhant of Bandishes.a)Vilambeet lay b)madhya lay c)drut lay 25 hours 1) Pt.Girishchandra Shrivastav Raga Parichaya 2) Pt. Bhatkhande Kramik Pustak Malika 3) Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 4) Pt V.N Patwardhan raag Vigyan 5) Dr B.R Deodhar Raag bodh 6) T.R Devangan Bela vigyan 29

30 Year Year 3 Core Elective-2 : Practical Tradition and Composition of Ragas V Credit 5 Semester 5 Vocal / Sitar / Violin (Practical- 3 credit & Theory-2 credit= 5 credit) Hours 98 To introduce Theoretical aspects of tradition and bandishes. OBJECTIVES Provide knowledge of introductory solo playing & singing. Provide knowledge of Padhant and basic concepts of Riyaz. One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani Gat with Alap and Tana in i) Puriya Practical knowledge in reference to theoretical aspects Theoretical aspects of Ragas. Theoretical aspects in solo playing & singing. Theoretical aspects of Padhant. Theoretical aspects of different Bandishes / Gatas. Theoretical aspects of playing style of different Gharana. Theoritical Techniques of Riyaz. (Note: All theoretical aspects of this practical paper included in first unit) One more Chhota Khyal or Razakhani Gat, with Alap and Tana in i) Lalit Elementary knowledge of solo performance in Zaptaal Vilambeet laya bandishes with paltas ended with Tihai. Madhya laya bandishes with paltas ended with tihai. Drut laya bandishes: One Chhota Khyal or Razakhani Gat i) Shree (ii) Tilang (iii) Piloo Basic knowledge of Pakhawaj Taals(Chautaal & Dhamar) Introduction of bandishes of above taals. One Dhamar only Bandish or one Composition set to the Taal other then Teentaal or Razakhani gat from prescribed ragas of paper. Elementary study of padhant of Roopak,Dadra,Teentaal in Single,Double, Tigun & Chaugun. Padhant of Bandishes.a)Vilambeet lay b)madhya lay c)drut lay 24 hours 24 hours 25 hours 25 hours 1) Pt.Girishchandra Shrivastav Raga Parichaya 2) Pt. Bhatkhande Sangit Shashtra 3) Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 4) Shri S.N Ratanjankar Abhinav Geet Manjari 5) Dr B. R Deodhar raag Bodh 30

31 Year Year 3 Core Elective-3 : Stage Performance IV Credit 3 Semester 5 Vocal / Sitar / Violin (Practical - 2 credit & Theory-1 credit = 3 credit) Hours 60 To introduce Theoretical aspects of stage performance. OBJECTIVES Introductory knowledge of sequence of bandishes in solo playing. Introductory knowledge of accompaniment with instrumental and vocal music. For stage performance any five ragas can be chosen from core elective I & core elective II, being most popular and suitable for performance in vocal as well as instrumental music. The students will have to prepare at least 5 Ragas out of the prescribed Ragas for their own choice and the examiner s choice. The total duration of the third paper will be 30mts. Introduction of stage performance in reference to theoretical aspects Stage manners. Theoretical aspects in solo playing and Accompaniment. System of solo playing of different Gharana. Techniques of producing different bandishes. (Note: All theoretical aspects of this practical paper included in first unit) Solo Performance: Candidate choice of any one taals from syllabus. Knowledge of sequence of solo, Nikas of Bandishes. Solo Performance: a) Candidate choice of any one Raga from syllabus. b) Examiners choice of any one Raga from syllabus. Basic knowledge of Accompaniment with Instrumental and Vocal Music: Basic Knowledge of accompaniment. One written Assessment(Minor) 31

32 Year Year 3 Core Compulsory-1 : Theory I Principle of Music VI Credit 3 Semester 6 Vocal / Sitar / Violin (Practical- 0 credit & Theory-3 credit= 3 credit) Hours 45 To introduce Concept of Shruti and its interpretations in ancient period OBJECTIVES To improve knowledge of student in Principles of Music To introduce of Indian & Western Music scales & Indian Music Notation systems Concept of Shruti in Indian Music and ancient interpretations: Detailed study of Shruti in Indian Music Interpretation of Praman Shruti by Pt. Sharang Dev Sangeet Ratnakar, and measurement of shruti. Study of Western Music scales: Study of Diatonic and Chromatic scales. 12 hours Comparison of Indian and Western Music scales & Introduction of Staff Notation. Comparative Study of Indian and Western Music scales. Introductory knowledge of staff-notation system Two main Notation systems of North Indian Music: The two main notation systems in North Indian Music, i.e. Pt. Bhatkhande and Pt. Paluskar system. One written Assessment(Minor) 1)Pt. Harishchandra Shrivastav Raga Parichaya 2)Pt. Bhatkhande Sangit Shashtra 3)Pt. L. N. Garg Sangeet Visharad 4)Sri S.C Paranjapee Sangeet Bodh 5)Prof L.K Singh Dhwani aur Sangeet 32

33 Year Year 3 Core Compulsory-2 : Theory II Study of Ragas VI Credit 3 Semester 6 Vocal / Sitar / Violin (Practical- 0 credit & Theory-3 credit= 3 credit) Hours 45 To introduce basic technique for improving knowledge as per theoretical and OBJECTIVES practical aspects of the Ragas Prescribed Provide knowledge to become a good performer Introduction to Writing Notation Study of the Ragas: Detailed study of Ragas prescribed for practicals. Comparative study of the Ragas: Comparative study of the Ragas studied up till now. Study of stages in Raga improvisation: Swaravistar, Alap Tanas with different varieties in the Ragas learnt up till now. Writing notation: Notation writing of Cheezes (Gats for Inst. Music) and Talas studied under practical course. Study of the following Talas Jhoomara, Adachoutal, Gajajhampa, Matta, Shikhar. 1) Pt. Harishchandra Shrivastav Raga Parichaya 2) Pt. Bhatkhande Kramik Pustak Malika 3) Pt. L. N. Garg Sangeet Visharad 4) Pt V.N Patwardhan Raag Vigyan 12 hours 33