Praveshika-I Vocal Paper-I Practical

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.

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Praveshika -II Vocal Paper-I Theory (Musicology)

M.M-50

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.

Praveshika -II Vocal Paper-II Practical

M.M-150 1- 'ks"k ikWp FkkVksa es vyadkj vH;kl %&

[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.

Parichaya -I (Swar Vadya) Paper-I Musicology

M.M.-100

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

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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.

Parichaya-I (Swar Vadya) Paper-II Practical

M.M-200

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.

Parichaya -II (Swar Vadya) Paper-I Musicology

M.M.-100
1-

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-

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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

Parichaya -II Vocal & Instrumental (Swar Vadya) Paper-II Practical

M.M.-200 1.

Study of following Ragas with Vilambit and Drut Khyal/Maseet Khani and Razakhani Gat/Vilambit and Drut composition with Alap and Tanas/Todas Pooriya Dhanashree, Jaijaivanti, Hameer, Gaud Sarang, Kedar, Bageshwari, Marwa. Study of the following Ragas with one chota Khyal/Razakhani Gat/Drut composition with Alap Tanas/Todas. Bahar, Shankara, Kalingda, Hindol One Dhrupad and One Dhamar with Thah Dugun and Chaugun Layakaris in different prescribed Ragas (for Vocal) Composition in any tala other than teen tala for the student of instrumental music Knowledge of following Tals with Dugun and Chaugun layakaris in addition to previous years course. (i) Deepchandi (ii) Ada Chautaal (iii) Sool (iv) Panjabi (v) Sitarkhani

2.

3.

4.

Prabuddha -I (Swar Vadya) Paper-I Musicology

M.M.-100
1- Comparative study of Shruti and Swar according to different authors

and period. Views of Bharat, Sarangdev, Ahobal, Shrinivas and Pt. Bhatkhande on the historical and tonal aspects of Shruti Swar Sthans. 2- Study of notes by length of the string of Veena. Suddha and Vikrit notes of Medieval and Modern Granthkars. Relations between notes, Length and Frequency.
3- Description of Shadaja Gram, Madhyam Gram, Nibaddha and

Anibaddha Gaan.
4- Introduction to Carnatic Music : Raga and Taal system.

5- Study of the following terms :Geet, Gandharva, Gaan, Nayaki, Gayaki, Maargi, Deshi, Grama Raag, Up Raag, Bhasha, Vibhasha, Antar Bhasha, Ragang, Bhashang, Kriyang, Upang, , Gayak, Nayak, Kalawant, Gandharv, Pandit, Vaggeyakar. 6Life sketch and contributions of following renowned Instrumentalists 1- Ustad Allaudin Khan 2Ustad Inayat Khan 38

Pt. Gajanan Rao Joshi 4Bundu Khan 7-

Pt. Pannalal Ghosh

5-

Ustad

Essay on any current topic of music.

Prabuddha I (Swar Vadya) Paper-II Applied Theory

M.M-100

1- Detailed description and comparison of the following Raags :(i) Lalit (ii) Kamod (iii) Ramkali (iv) Poorvi (v) Multani (vi) Darbari Kanhada (vii) Miyan Malhar (viii) Madhuvanti 2- Study of following Raags with Chota Khyal/Razakhani Gat/Drut composition with Taan and Todas. (i) Durga (Bilawal) (ii) Peelu (iii) Sohani
3- Notation of Masitkhani/Vilambit Gat/Khyal and Razakhani/Drut

Gat/Khyal in the prescribed Raags (Compulsory) 4- Study of the following terms :Baaj, Jod, Alaap, Ladi, Lad Lapet, Lad-Guthav, Sanyukt Swar, Zamzama, Ghaseet, Gitkari, Krintan 5- Knowledge of following Tals with Dugun and Chaugun layakaris in addition to previous years course. (i) Pancham Sawari (ii) Shikhar (iii) Yati Shikhar (iv) Ada Chautaal
6- Knowledge of ones own Instrument. 9

7- Four fold classification of Indian instruments

Prabuddha I (Swar Vadya) Paper-III Practical (Stage & Viva)

M.M.160 1- Study of following Ragas with Vilambit and Drut Khyal/Maseet

Khani and Razakhani Gat/Vilambit and Drut composition with Alap and Tanas/Todas. Lalit, Kamod, Ramkali, Poorvi, Multani, Darbari, Mian Malhar, Madhuvanti, 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

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Prabuddha -II (Swar Vadya) Paper-I Musicology

M.M.-100
1- A comparative study of Moorchhana, the ancient musical modes.

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.

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Prabuddha II (Swar Vadya) Paper-II Applied Theory

M.M.-100

1- Detailed description and comparison of the following Ragas :(i) Shuddha Kalyan (ii) Chhayanat (iii) Basant (iv) Todi (v) Gaud Malhar (vi) Pooriya (vii) Kalawati 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.

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8- Identification of Raga from a given combination of notes and to write Alap of the same Raga.

Prabuddha II (Swar Vadya) Paper-III Practical (Stage &Viva)

1-

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

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Parangat - I Vocal & Swar Vadya Paper-I Musicology (History of Music)

M.M.-100 1Detailed study of Ancient, Medieval and Modern Swar-Gram: (a) Ancient (i) Vedic System (ii) Bharat System (iii) Sharangdev System (b) Medieval (i) Southern System (ii) Northern System (c) Modern (i) Thaat System (ii) Detailed Study of the following Granthas:(i) Sangit Parijat by Pt. Ahobal. (ii) Raag Tatwa Vibodh by Pt. Sriniwas. (iii) Swarmelkalanidhi by Pt. Ramamatya. (iv) Raag Tarangini by Pt. Lochan. (v) Chaturdandi Prakashika by Pt. Vyankatmakhi. Study of different Gharanas with their main characteristics. (Vocal & Instrumental)

2-

3-

History of Music from time of Sangeet Ratnakar to modern era (for Vocal) 4Importance of Chhandshastra in Music.(for Instrumental Music) 5Contribution of the following exponents in the field of Music:-

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(i)
6-

Bharat (ii) (iv) Tansen

Sarang Dev (iii)

Amir Khusro

An essay on any subject of general interest with reference to Indian Music.

Parangat - I (Swar Vadya) Paper-II Applied Theory

M.M.-100 1- Detailed and comparative theoretical study of the following Ragas with Gayaki and varieties of Jhala Aalapchari, Tihais and Taan/Todas/ Maseet khani Gat/Khyal in Vilambit and Razakhani/Drut Gat/Khyal. (i) Shyam Kalyan (ii) Shuddha Sarang (iii) Maru Bihag (vi) Bhatiyar (v) Jhinjoti (vi) Megh (viii) Jog 2- Study of following Ragas with Chota Khyal/Razakhani Gat/Drut Composition with Taan and Todas. (i) Nayaki-Kanhada (ii) Madhumad Sarang (iii) Sur Mallhar.
3- Study of Sound, its production and Propagation, Frequency, Pitch,

Intensity, Timber, Amplitude, Waves, Transverse and Longitudinal, Resonance, Echo, Reverberation. 4- Detailed study of Raganga System. 5- Measurement of musical intervals according to Indian as well as Western theories of frequency & Severt system.

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6- Importance of intonation (kaku) in Indian classical music. 7- Introduction to western music. 8- Composing a Gat by a given Bol pattern.

Parangat - I (Swar Vadya) Paper-III Practical-Viva

M.M.-160 1- Detailed elaboration of following Ragas with Vilambit and Drut Khyal/Maseet Khani and Razakhain Gat/Vilambit and Drut eomposition with Alap and Tanas/Todas. (i) Shyam Kalyan (ii) Shuddha Sarang (iii) Maru Bihag (iv) Bhatiyar (v) Jhinjhoti/Devgiri (vi) Megh (vii) Jog 2- Study of the following Ragas with one choota Khyal/Razakhani Gat/ Drut composition with alap Tanas/Todas. (i) Nayakai Kanhada (ii) Madhumad Sarang (iii) Soor Malhar 3- One Dhrupad and One Dhamar with Thah Dugun and Chaugun Layakarie in different prescribed Ragas. (for Vocal) one composition other than Teen tala (for Instrumental Music), with Alap, Taan and Toda. 4- Analysis of the Ragas prescribed in the course.

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Parangat - I (Swar Vadya) Paper-IV Stage Performance

M.M.-80 Students have to select one Raag from detailed & one Raga from non detailed category and one composition other than Teen Taal. As prescribed in paper-III

Parangat - II Vocal & Swar Vadya Paper-I Musicology

M.M.-100 1- Detailed study of the following Music Texts. (i) Raga Vibodh by Pt. Somnath. (ii) Anup Sangit Ratnakar by Pt. Bhavbhatt. (iii) Raga Koumadi by Pt. Shreekantha. (iv) Shreemat Lakshya Sangitam by Pt. Bhatkhande. (v) Abhinav Raga Manjari Pt. Bhatkhande. (vi) Pranav Bharti by Pt, Omkarnath Thakur (vii) Bharat ka Sangit Siddhant by Pt. K. C. Brihaspati. 2- Detailed study of Harmony and Melody and its use in Indian classical music. 3- A brief study of sound acoustics for musical performancemicrophone, music system etc. 4- Detailed study of Ancient and Modern Prabandh Gaan.
5- History of Indian Classical Music from Vedic period to Modern era.

6- History of Raag Ragini paddhati and Janya Janak padhati in detail.

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7- Detailed and comparative study of ancient and modern Alap Gayan.

8- An essay on any subject of general interest with reference to Indian

Music.

Parangat II (Swar Vadya) Paper-II Applied Theory

M.M.100 1- Detailed and comparative theoretical study of the following Raags with Aalapchari, Tihais, Taan/Todas and Jhala in Maseetkhani/ Vilambit Gat/ Khyal and Razakhani/Drut Gat/Khyal. (i) Rageshri (ii) Nand (iii) Ahir Bhairava (iv) Ramdasi Malhar (v) Gujari Todi (vi) Kaushi Kanhada (vii) Bilas Khani Todi (viii) Abhogi (ix) Keerwani
2- Study of following Raags with Chota Khyal/Razakhani Gat/Drut

Composition with Taan and Todas. (i) Shahana (ii) Gauri(Bhairav)

(iii) Narayani

3- Notation of Maseetkhani & Razakhani Gat with Taan Toda of the prescribed Ragas. 4- Study of Scales, Tempered Scale, Enharmonic Scale and Chromatic Scale, Major Scale and Minor Scale. 5- Consonance and Dissonance.
6- Indian Classical Music-its applications and importance

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7- Study of sound culture of the concerned Instrument and its importance in rendering the Indian Classical Music.

Parangat II (Swar Vadya) Paper-III Practical-Viva

M.M.160
1. Detailed elaboration of following Ragas with Vilambit and Drut

Khyal/ Maseetkhani and Razakhani Gat/Vilambit and Drut composition with Alap and Tanas/Todas. (i) Rageshree (ii) Kaunsi Kanhada (iii) Gurjari Todi (iv) Bilaskhani Todi (v) Ramdasi Malhar (vi) Abhogi (vii) Ahir Bhairav (viii) Nanda (ix) Basant Mukhari/ Naryani (x) Kirwani 2. Study of the following Ragas with one choota Khyal/Razakhani Gat/ Drut composition with alap Tanas/Todas (i) Shahana (ii) Gouri (Bhairv Thaat) (iii) Basant Mukhari/Narayani *Basant Mukhari (for Vocal), Narayani (for Instrumental)
3. One composition other teen tala with Alap, Tana & Todas.

4. Analysis of the Ragas Prescribed in course.

Parangat II
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(Swar Vadya) Paper-IV Stage Performance

M.M.-80 Students have to select one Raag from detailed & one Raga from non detailed category and one composition other than Teen Taal. As prescribed in paper-III

THUMRI PART-I Practical

M.M.1- Study and practical of Alankar, Aroha, Avroha with Alaap in the following Raags :(i) Khamaj (ii) Bhairavi (iii) Gara (iv) Desh (v) Kafi (vi) Peelu (vii) Tilang (viii) Pahadi (ix) Jogia (x) Maj Khamaj (xi) 2- Study of four Bol banaw ki Thumri and two Bol bant (Bandish) ki Thumri in the prescribed Raags. 3- Two Dadara in any two of the prescribed Raags. 4- Study of Bhajan and Holi. 5- Study of the following Taals and their Thekas. (i) Teentaal (ii) Deepchandi (iii) Punjabi (iv) Dadra 6- Knowledge of National Anthem, traditional Bhajan and patriotic songs.

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