· web viewdefinition of taal and laya, elements of taal, taal, matra taal,...

1

HEMCHANDRACHARYA NORTH GUJARAT UNIVERSITY, PATANBA (MUSIC) CBCS Syllabus 2011

Document code : SYLLABUS BAMUS2011Revision No: 00Name of Faculty ARTSFaculty Code ARProgramme Name : MUSICProgramme Code : BAMUSEffective from: JUNE-2011

2

Sem

CC

Old Paper Code

New Paper Code

Paper Type

Paper Name

Marking scheme Total

Credit Remarks

External InternalThe

Pra

The

Pra

1

CCM 101

BAMUS101CC CC

Principles Of Music- I (POI)

70 30 100

1

CCM 102

BAMUS1S02CC CC

Detail Study Of Raag – I (DSI)

70 30 100

1CCM 103

BAMUS1013CC

CC History Of Music – I (HOI)

70 30 100

1

CCM/PRA 104

BAMUS101PR

PR Practical Paper – I (Basic Study) (PRI)

70 30 100 Any One Paper From BAMUS101PR- BAMUS103PR

1

CCM/PRA 105

BAMUS102PR

PR Practical Paper – II (Extensive Study) (PII)


1

CCM/PRA 106

BAMUS103PR

PR Practical Paper – III (Light Classical Varieties) (III)


3

Sem

CC

Old Paper Code

New Paper Code

Paper Type

Paper Name

Marking schemeTotal

Credit Remarks


Pra

The

Pra

2

CCM 201

BAMUS201CC CC

Principles Of Music- II (PII)

70 30 100

2 CCM 202

BAMUS202CC CC

Detail Study Of Raag – II (DII)

70 30 100

2 CCM 203

BAMUS203CC

CC History Of Music – II (HII)

70 30 100

2 CCM/PRA 204

BAMUS 201PR

PR Practical Paper – I (Basic Study) (PRI)


2 CCM/PRA 205

BAMUS202PR



2 CCM/PRA 206

BAMUS203PR

PR (Light Classical Varieties) (III)


4

Sem

CC

Old Paper Code

New Paper Code

Paper Type

Paper Name

Marking schemeTotal

Credit Remarks


Pra

The

Pra

3

CCM 301

BAMUS301CC CC

Principles Of Music – III (POF)

70 30 100

3

CCM 302

BAMUS302CC CC

Detail Study Of Raag – III (DSR)

70 30 100

3 CCM 303

BAMUS303CC CC

History Of Music – III (HOF)

70 30 100

3 CCM/PRA 304

BAMUS301PR

PR

Practical Paper – I (Basic Study) (PRI)


3 CCM/PRA 305

BAMUS302PR

PR

Practical Paper – II (Extensive Study) (PII)


3 CCM/PRA 306

BAMUS303PR

PR

Practical Paper – III (Light Classical Varieties) (III)


5

Sem

CC

Old Paper Code

New Paper Code

Paper Type

Paper Name

Marking schemeTotaL

Credit Remarks


Pra

The

Pra

4

CCM 401

BAMUS401CC CC

Principles Of Music – IV (PIV)

70 30 100

4 CCM 402

BAMUS402CC CC

Detail Study Of Raag – IV (DIV)

70 30 100

4 CCM 403

BAMUS403CC CC

History Of Music – IV (HIV)

70 30 100

4 CCM/PRA 404

BAMUS401PR

PR



4 CCM/PRA 405

BAMUS402PR

PR

Practical Paper – II (Extensive Study) (PII)


4 CCM/PRA 406

BAMUS403PR

PR

(Light Classical Varieties) (III)


6

Sem

CC

Old Paper Code

New Paper Code

Paper Type

Paper Name

Marking schemeTotal

Credit Remarks


Pra

The

Pra

5CCM 501

BAMUS501CC CC

Principles Of Music (POV)

70 30 100

5 CCM 502

BAMUS502CC CC

Detail Study Of Raag (DSV)

70 30 100

5 CCM 503

BAMUS503CC CC

History Of Music (HOV)

70 30 100

5 CCM/PRA 504

BAMUS501PR

PR

Practical Paper – I (PRI)


5 CCM/PRA 505

BAMUS502PR

PR

Practical Paper – II (PII)


5 CCM/PRA 506

BAMUS503PR

PR

Practical Paper – III (III)


7

Sem

CC

Old Paper Code

New Paper Code

Paper Type

Paper Name

Marking schemeTotal

Credit Remarks


Pra

The

Pra

6

CCM 601

BAMUS601CC CC

Principles Of Music (PVI)

70 30 100

6 CCM 602

BAMUS602CC CC

Detail Study Of Raag (DVI)

70 30 100

6 CCM 603

BAMUS603CC CC

History Of Music (HVI)

70 30 100

6 CCM/PRA 604

BAMUS601PR

PR



6 CCM/PRA 605

BAMUS602PR



6 CCM/PRA 606

BAMUS603PR

PR Practical Paper – III (Light Classical Varieties) (III)


8

HEMCHANDRACHARYA NORTH GUJARAT UNIVERSITY, PATANProgramme code : BAMUS Programme Name : MusicCourse Code BAMUS101CC Semester : 1

Principles Of Music- I (POI)Course type : Core Complusory Total Credit : 04

Teaching time (hours) Examination Marking schemeTheory

(hrs)Practical

(hrs)Internal(Marks)

External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1 Musical sound & Noise – Naad (Ahat & Anahat), Pitch,Intensity, timber, Unmusical Sound & Noise (sangeet Upayogi aur un-upayogi dhwani). 04

2 0.2 Musical Notes- Naad, Shruti, Swar (Shuddha & Vikrut Swar) Saptak aur uske prakar.

3 0.3 What is Raag & Formation of Raag. How it is derived ? raag & its types (Rag Jati) Ashray Raag.

4 0.4 Definition of Thaat and 10 main Thaat of North Indian Classical Music.

5 0.5 Elements & essential of raags (i.e.Vadi, Samvadi, Anuvadi, Vivadi, Varjya Swar, Vakra Swar,Jati, Aroha, avroha & Pakad)

6 0.6 Definition of Taal and Laya, Elements of Taal, Taal, Matra Taal, Matra,Khand,Sam,Khali,Bhari,Bol, Theka, Types of Laya – Vilambit, Madhya & Drut & Layakari-Dugun, Tigun, Chaugun

HEMCHANDRACHARYA NORTH GUJARAT UNIVERSITY, PATAN

9

Programme code : BAMUS Programme Name : MusicCourse Code BAMUS102CC Semester : 1

Detail Study Of Raag – I (DSA)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1 Detailed study of all the prescribed Raags for the practical study. 04

2 0.2 Comaparative Study of Samakrutik & Samprakrutik Raags.

3 0.3 Swarvistar, Aalap, Taans, of different varities in the prescribed Raags.

4 0.4 Writing Notations of Cheezes ( Badakhayal & Chhota Khayal) & Taals as prescribed Raags.

5 0.5 Detailed knowledge of Taals under practical study with Dugun.

6 0.6 Study of Taals : Dadra, Kaharwa, TreeTaal, Ektal,

10


History Of Music – I (HOI)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.

Marks

W + %

Credit

1 0.1 Music (sangeet) – Defination, Interrelation between Gayan, Vadand & Nartan. 04

2 0.2 The two Systems of Indian Music (Hindustani & Karnatic) & their main characteristics.

3 0.3 Different opinions (Mythological & other) about the origin of Music. The relation between Folk Music & Classical Music.

4 0.4 Forms of composition in the modern age- Drupad, Dhamar(Hori), Khayal, & Thumri.

5 0.5 Musicians & Musicologists of modern age & their Life Sketches – Pt. Bhatkhande, Pt. Paluskar, Pt. Omkarnath Thakur, Pt. Ravishankar & Ut. Ahemed Jaan Thirakwa.

11

HEMCHANDRACHARYA NORTH GUJARAT UNIVERSITY, PATANProgramme code : BAMUS Programme Name : MusicCourse Code BAMUS101PR Semester : 1

Practical Paper – I (Basic Study) (PRI)Course type : Practical Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.

Marks

W + %

Credit

1 0.1Detailed and intensive study of the following raags with Aalap, Swar vistar, Sargam, Taan, One BadaKhayal or Masitkhani Gat. & One Chhota Kyayal or Razakhani Gat.(i) Yaman (ii) Bihag

04

12


Practical Paper – II (Extensive Study) (PRII)Course type : Practical Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.

Marks

W + %

Credit

1 0.1 One Badakhayal & Chhota Khayal or Razakhani Gat with Aalap & Taan in(i) Bhupali 04

2 0.2 One Chhota Kyayal or Razakhani Gat with Aalap & Taan ini) Hamir (ii) Bageshri, iii) Brindawani sarang

3 0.3 (i) One Swarmalika Or One Laxan Geet for Vocal Music

13


Practical Paper – III (Light Classical Varieties) (III)Course type : Practical Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

UnitNo.

TopicNo. Content Hrs

.

Marks

W + %

Credit

1 0.1 Study of Taal : Dadra, Kaharwa, Teen Taal, 04

2 0.2 Sargam Exercise and Alankar with Dugun with Taal

3 0.3 One Dhrupad in Raag Bhairavi

4 0.4 OneThumri in Raag Khamaj

5 0.5 Light Song (Any of Student’s Choice)

14


Principles Of Music- II (PII)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1 22 Shrutis & the present Shruti swar Arrangement, 12 notes In a saptak. 04

2 0.2 Musical Compositions: Sargam Geet, Laxan Geet, Khayal (bada khayal & Chhota khayal), Gat(Masitkhani Gat & razakhani Gat), Sthayi, Antara, Sanchari, Abhog.

3 0.3 Time Theory pf Raag (Samay) – Poorvang, Uttarang, Poorvangvadi raag, Uttarangvadi raag,Sandhiprakash raags, Seasonal raags. Importance of “Ardhwa Darshak Madhyam”

4 0.4 Definitions & Short Notes: Varna – Sthayi, Arohi, Avarohi, sanchari, Alankar(palta), Kana swar, sparsh swar, Meend, Ghaseet, Soot, Khatka, Murki, zamzama, Andolan, Gamak.

5 0.5 72 Mel Derived by Pt. Vyankat Makhi according to Karnatik Music And Corresponding names of the Norte notes of the 10 Thaats in Hindustani & Karnatic Music Systems.

6 0.6 32 Thaats Derived by Pt. Bhatkhande according to Hindustani Music


15


Detail Study Of Raag – II (DII)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs. Marks

W + %Credi

t

1 0.1 Detailed study of all the prescribed Raags for the practical study. 04

2 0.2 Comaparative Study of Samakrutik & Samprakrutik Raags.

3 0.3 Swarvistar, Aalap, Taans, of different varities in the prescribed Raags.

4 0.4 Writing Notations of Cheezes ( Badakhayal & Chhota Khayal) & Taals as prescribed Raags.

5 0.5 Detailed knowledge of Taals under practical study with Dugun.& Chaugun Jhaptal, Chautal & Rupak

16


History Of Music – II (HII)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1General survey of the evolution and development of music from vedic period to the present age with particular reference to Shruti, Swar, Gram, Murchhana, Jati & Raag.

04

2 0.2 Forms of composition during the ancient periods. Prabandh & Jati Gayan.

3 0.3 Relation between Folk Music & Classical Music,

4 0.4 Forms of com[positions during the Modern age: Tarana, Tirvat, Chatarang, Tappa, Dadra

5 0.5 Musicians & Musicologists of modern age & their Life Sketches -Pt. Vinayakrao Patvardhan, Pt. S N Ratanjankar, Ut. Ali Akbar Khan, Prof. V G. Jog, Ut. Amir Hussain Khan,

17




(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1Detailed and intensive study of the following raags with Aalap, Swar vistar, Sargam, Taan, One BadaKhayal or Masitkhani Gat. & One Chhota Kyayal or Razakhani Gat.(i) Bhairav (ii) Malkauns

04

18


Practical Paper – II (Extensive Study) (PII)Course type : Practical Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1One Badakhayal & Chhota Khayal or Razakhani Gat with Aalap & Taan in(i) Alhaiya Bilawal ii) Bhimpalasi

04

2 0.2 One Chhota Kyayal or Razakhani Gat with Aalap & Taan ini) jaunpuri (ii) Poorvi, iii) Marwa

3 0.3 (i) One Swarmalika Or One Laxan Geet for Vocal Music

19


(Light Classical Varieties) (III)Course type : Practical Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

UnitNo.


.MarksW + % Credit

1 0.1 Study of Taal : Jhap Taal, Chautal, Rupak, Ektaal, 04

2 0.2 Sargam Exercise and Alankar with Dugun with Taal

3 0.3 One Dhrupad in Raag Brindabani Sarang

4 0.4 OneThumri in Raag Bhairavi

5 0.5 Light Song (Any of Student’s Choice)

20


Principles Of Music – III (POF)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 Section – I Applied Physics (Marks for Section – I is 35) 04

1.1

Study of Sound: Production & propagation of sound. Speed of transmission of sound – Arage’s experiment for the determination of the velocity of sound. Mechanism of transmission- wave motion. Longitudinal & Transverse wave motion. Elementary ideas – Resonance & Resonators. Organ Pipes, Reed, Stationary Waves Nodes & Anti Nodes. Transverse vibrations in string. Sonometer, Melde’s experiment, combination of tones, Phenomenon of Beats, Vbrattion of air columns, Membrances. Kunt’s tube experiments, Chaldini’s figures Mono metric flame.

1.2

Musical Sound & Noise:Pitch intensity and timber. Elementary distinction between pitch and frequency of sound. Source and its relation with the velocity of sound. Siren Savart’s wheel. Musical interval. Different Musical Interval. Introduction to measurement of intervals by Cants Savarts, Major Tone, Minor 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. Arithmetic relations of shruties. Fundamental and overtones. Stroboscopic disc.

2 Section – II PRINCIPLES OF MUSIC (THEORY) (Marks for Section – II is 35)

2.1 Detailed study of the Time theory of raags, its principles & relation to aesthetics, raaag – samay siddhant, classification of raag according to the gayan Samay, Ardhwadarshak Swar, Raag Samay Chakra.

2.2 Classification of Raags (a) Raag-raagini, (b) Mela-Raag (c) Raagang raag (d) Shuddh Chhayalag Sankirna.

2.3 10 Principles of Raag according to the old treatises of Hindustani Music – Graha, Ansh, Nyas, Apanyas, Mandra, Taar, Alpatva, Bahutva, Shadatva, Audatva. Its relation with the modern system.


21


Detail Study Of Raag – III (DSR)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1 Detailed theoretical study of the Raags prescribed for the Practical. 14 04

2 0.2 Comaparative Study of Samakrutik & Samprakrutik Raags prescribed for the Practical.

14

3 0.3 Swarvistar, Aalap, Taans, & its different varieties in the Raags of Practical Study.

14

4 0.4 Writing Notations of Cheezes (Gat for Instrumental Music) & Taals as prescribed.

14

5 0.5 Detailed study of the Taals studied up till now with Tigun, Dugun & Chaugun. (Study of Taals : Tilwada, Dhamar, Sultal)

14

22


History Of Music – III (HOF)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1Study of Pt.Bharat’s Natyashashtra and Pt. Sharangdeva’s sangeetRatnakar with reference to the following :“Chatushta Sharana” “Pramanshruti” Gram, Murchhana, Jatigana, Prabandha

04

2 0.2 Vagyeykar, Gamakas, Good and bad points (Guna-Dosha) of a vocalist and instrumentalist.

3 0.3 Short Life sketch and contribution of the following musicians and musicologists.Amir Khushro, Gopal Nayak, Tansen, sadarang, Ustad Hassu Haddu Khan, Ustad Abdul Karim Khan, Ut. Faiyaz Khan

23




(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic


W + %Credi

t

1 0.1Detailed and intensive study of the following raags with Aalap, Swar vistar, Sargam, Taan, One BadaKhayal or Masitkhani Gat. & One Chhota Kyayal or Razakhani Gat.(i) Yaman (ii) BAGESHREE

04

24




(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1 One Chhota Khayal or Razakhani Gat with Aalap & Taan in(i)Shuddh Kalyan (ii) Kedar, (iii) Puriya Dhanashri 04

2 0.2 One Chhota Kyayal or Razakhani Gat with Aalap & Taan inDeshkar (ii) Kamod (iii) Adana (iv)

25




(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

UnitNo.


.

Marks

W + %

Credit

1 0.1 Study of rendering different Tala-Aksharas on tabla in simple Tree Taal, Dadara, 04

2 0.2 Study of the following Talas with their bols ; All the Taals learnt in FY & Deepchandi,Roopak,

3 0.3 Voice culture & Swar Gyan through (i)Sargam Exercises (ii) Sargams Patterns to study Rhythms (iii) Scale Exercise (iv) Alankar (v) Practice in singing written Music (Sight singing or playing and writing notation), (vi) Application of Alankaras to Ragas (vii) Simple Bol-Taana Exercises

4 0.4 One Dhrupad and One Dhamar with Alap and Gayaki in : Hindol, Shankara, Adana,

5 0.5 VOCAL : (a) One Thumari with suitable improvisation in Raag Khamaj.

6 0.6 INSTRUMENTAL: Thumari / Dhun with improvisation in Raag Khamaj.

7 0.7 Three Bhajans or Folk Songs or light songs, out of which one should be in Raag Kalingada and another in Tilang.

26


Principles Of Music – IV (PIV)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 Section – I Applied Physics (Marks for Section – I is 35) 04

1.1

Sound – General RelationshipElementary idea of Doppler’s Principle, Physical significance of Harmony & Discord structure of human throat and ear. General principles of acoustics of buildings. Principles of radio and television.Experiments: (Practical) (Non Evaluative)(1)Resonance: Determination of velocity of sound.(2)Sonometer: Verification of the Law of transverse vibrations of strings.(3)Resonators: Verifying the Law of Resonator.(4)Rotating Drum Method: Determination of frequency of tuning fork.(5)Measurement of string length & air in musical instruments & establishment of musical intervals.

1.2

Section – II PRINCIPLES OF MUSIC (THEORY) (Marks for Section – II is 35)Prachin Aalap Gaan : Raagaalap, Roopakalap, Alapti, Akshiptika, Nibaddha, Anibaddha Gana, Avirbhav, Tirobhav.Alapgana at present : Alap in Aakar, Nom Tom Alap, Bol Alap, Swar Alap, Swarvistar in stahyi, Antara, Sanchari, Abhog..

2 Section – II PRINCIPLES OF MUSIC (THEORY) (Marks for Section – II is 35)Prachin Aalap Gaan : Raagaalap, Roopakalap, Alapti, Akshiptika, Nibaddha, Anibaddha Gana, Avirbhav, Tirobhav.Alapgana at present : Alap in Aakar, Nom Tom Alap, Bol Alap, Swar Alap, Swarvistar in stahyi, Antara, Sanchari, Abhog..


27


Detail Study Of Raag – IV (DIV)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1 Detailed theoretical study of the Raags prescribed for the Practical. 14 04

2 0.2 Comaparative Study of Samakrutik & Samprakrutik Raags prescribed for the Practical.

14

3 0.3 Swarvistar, Aalap, Taans, & its different varieties in the Raags of Practical Study.

14

4 0.4 Writing Notations of Cheezes (Gat for Instrumental Music) & Taals as prescribed

14

5 0.5 Detailed study of the Taals studied up till now with Tigun, Dugun & Chaugun.(Study of Taals : Deepchandi, Tiwra, Panjabi, Dhumali)

14

28


History Of Music – IV (HIV)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic


W + %Credi

t

1 0.1Study of the Granthkars of the medieval period- Pt.Lochana, Pt.Ahobal, Pt.Hridaynarayan Deva, and Pt.Shrinivas with reference to their Shruti-Swar arrangement, length of swaras on an open string. Mela-ragas arrangement.

04

2 0.2 Study of “Shrimallakshangitam” by Pt. Bhatkhande and contribution of Pt. Bhatkhande and Pt. Paluskar to Hindustani Music.

3 0.3 Short Life sketch and contribution of the following musicians and musicologists.Ut. Allaudin Khan, Ut. Nasiruddin Khan(Dagar), Ut. Natthukhan, Ut.Natthukhan, Ut.Munir khan.

29




(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1Detailed and intensive study of the following raags with Aalap, Swar vistar, Sargam, Taan, One BadaKhayal or Masitkhani Gat. & One Chhota Kyayal or Razakhani Gat.

i. Bihag (ii) MALKAUNS

04

30




(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic


W + %Credi

t

1 0.1 One Chhota Khayal or Razakhani Gat with Aalap & Taan in(i)Chhayanat (ii) JaiJaiwanti (iii)Ramkali 04

2 0.2 One Chhota Kyayal or Razakhani Gat with Aalap & Taan in Shankara (v) Basant (vi) Miyan ki Todi

31




(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

UnitNo.

TopicNo. Content Hrs. Marks

W + % Credit

1 0.1 Study of rendering different Tala-Aksharas on tabla in simple JhapTaal, & Ektaal. 04

2 0.2 Study of the following Talas with their bols ; All the Taals learnt in FY & Tivra, Jhoomara, & Adachautal

3 0.3 Voice culture & Swar Gyan through (i)Sargam Exercises (ii) Sargams Patterns to study Rhythms (iii) Scale Exercise (iv) Alankar (v) Practice in singing written Music (Sight singing or playing and writing notation), (vi) Application of Alankaras to Ragas (vii) Simple Bol-Taana Exercises.

4 0.4 One Dhrupad and One Dhamar with Alap and Gayaki in : Deshkar, Durga, or Tilak-Kamod

5 0.5 VOCAL : (a) One Thumari with suitable improvisation in Raag Bhairavi

6 0.6 INSTRUMENTAL: Thumari / Dhun with improvisation in Raag Bhairavi

7 0.7 Three Bhajans or Folk Songs or light songs, out of which one should be in Raag Kalingada and another in Tilang

32


Principles Of Music (POV)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1 Detailed study of Shruti in Indian Music – Interpretation of “Praman Shruti” by different Granthakaras, different ways of measuring shruti. 04

2 0.2 Study of Tempered, natural, Diatonic and Chromatic scales.

3 0.3 Comparative study of scales in Indian and Western Music.

33


Detail Study Of Raag (DSV)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1 Detailed study of Raags prescribed for practicals. 14 04

2 0.2 Comaparative Study of Samakrutik & Samprakrutik Raags studied up till now

14

3 0.3 Swarvistar, Aalap, Taans, & its different varieties in the Raags of Practical Study; studied up till Now.

14

4 0.4 Writing Notations of Cheezes (Gat for Instrumental Music) & Taals as prescribed in practical study.

14

5 0.5 Study of the following taals with dugun, tigun, & Chaugun - Tree Taal, Ek Taal, Jhap taal,

14

6 0.6 Study of the following talas : Jhoomara, Adachautal.

34


History Of Music (HOV)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic


W + %Credi

t

1 0.1

Introduction to South Indian Music :The main corresponding scales of Hindustani & Karnatic Music.The 72 Melkaratas of the South. Derivation of Raags from a Mela(Thaat, derivation of total raags possible from 72 Melas(technically)). The main Raags of South Indian Music

04

2 0.2 The Taal System in Karnatic Music – 7 main Taals & 5 Jatis of each. Conversion of North Indian Taals in to Karnatic System

3 0.3 The main point of the exposition, presentation, & appreciation in Karnatic Music. Out line of the history of Karnatic Music.

4 0.4 The main composers & main contemporary exponents in Karnatic Music. THEIR LIFE SKETCHES

35


Practical Paper – I (PRI)Course type : Practical Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1Detailed and intensive study of the following raags with Aalap, Swar vistar, Sargam, Taan, One BadaKhayal or Masitkhani Gat. & One Chhota Kyayal or Razakhani Gat.(i) Yaman (ii) Bageshri

04

36


Practical Paper – II (PII)Course type : Practical Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic


W + %Credi

t

1 0.1One Bada Khayal or Masitkhani Gat & one Chhota Khayal with Aalap & Taan in(i) Miya Malhar (ii) Multani

04

2 0.2 One Chhota Kyayal or Razakhani Gat with Aalap & Taan in(i) Gaud Sarang (ii) Bahar

37


Practical Paper – III (III)Course type : Practical Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

UnitNo.


W + % Credit

1 0.1Study of the following taals with practical rendering of Thekas : (i) Vilambit & Drut Tree Taal

04

2 0.2 (i) Training of Meend & Swar – Andolan (ii) Training Nom Tom Aalap (iii) Practice of 3 swar & 4 swar Taans (iv) Practice of Advanced Taans & Bol Taans

3 0.3 VOCAL: One Dhrupad and One Dhamar with Alap and Gayaki in : Gaud Malhar, Hamir,INSTRUMENTAL: Compositions set in taal other than tree taal in the following raags : Gaud Sarang, Multani, Jayjaywanti,

4 0.4 VOCAL: One Thumri with proper expression in : Khamaj and One Thumari with simple rendering in Jogiya, Three Bhajans or Folk Songs or Light Songs in Gujarati/Hindi

38


Principles Of Music (PVI)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1 Notation of Music – The two main Notation System in North Indian Music i.e. Pt. Bhatkhande and Pt. Paluskar System. 04

2 0.2 Introductory knowledge of staff notation system.

3 0.3 Writing of Swarmalika in Staff Notation OR STAFF NOTATION TO BHATKHANDE OR PALUSKAR SYSTEM.

39


Detail Study Of Raag (DVI)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1 Detailed study of Raags prescribed for practicals. 14 04

2 0.2 Comaparative Study of Samakrutik & Samprakrutik Raags studied up till now.

14

3 0.3 Swarvistar, Aalap, Taans, & its different varieties in the Raags of Practical Study; studied up till Now.

14

4 0.4 Writing Notations of Cheezes (Gat for Instrumental Music) & Taals as prescribed in practical study.

14

5 0.5 Study of the following taals with dugun, tigun, & Chaugun - Chautal, Dhamar.

14

6 0.6 Study of the following talas : Gajajhampa, Matta, Shikhar

40


History Of Music (HVI)Course type : Core Complusory Total Credit : 04


(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic


W + %Credi

t

1 0.1

Detailed study of the forms of Musical Compositions & the history of the principle Gharanas in Hindustani Music. Dhrupad Dhamar : Characteristics of the Form. Four Banis & Gharanas. The main exponents of Dhrupad. Khayal: Rising of the khayal. Reason of its popularity. Main Characteristics of Khayal. Story of the Main Gharanas of Khayal & its special characteristics of the respective Gharana. Main contemporary exponents of Khayal ( Delhi, Agra, Gwalior, Kiran & Jaypur).

04

2 0.2 THUMARI : The history of the form. The main characteristics of thumari. i.e. Banaras, Jaypur & Punjab. The main contemporary exponents of Thumari.History and the characteristics of Tarana, Tirvat, Tappa, Chaturang, Kawwali, Naat, Ghazal, Masitkhani Gat & Razakhani Gat.Lighter varieties of compositions: Characteristics of folk songs in general with particular reference to Gujarati folk songs.

3 0.3 Regional varieties of folk songs i.e. Kajari, Chaiti, Zula, Lewani, Bhatiyali & their characteristics. Devotional songs : Bhajan, Abhang, Kirtan, Aarti, etc.Modern Songs: Bhavgeet, Ravindra Sangit, Gazals, in Hindi, Marathi, Gujarati Lyrics

41




(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic

No.Content Hrs

.MarksW + %

Credit

1 0.1Detailed and intensive study of the following raags with Aalap, Swar vistar, Sargam, Taan, One BadaKhayal or Masitkhani Gat. & One Chhota Kyayal or Razakhani Gat.(i) Todi (ii) Jaunpuri iii) Malkauns

04

42




(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

Unit

No.

Topic


W + %Credi

t

1 0.1 One Bada Khayal or Masitkhani Gat & one Chhota Khayal with Aalap & Taan in Darbari Kanada (iii) Puriya (iv) Lalit 04

2 0.2 One Chhota Kyayal or Razakhani Gat with Aalap & Taan in(i)Paraj (ii) Shree (iii) Sohini

43




(hrs)Practical


External(Marks)

Total(Marks)

4 X 15 = 60 30 70 ( Paper of 3 hrs) 100

UnitNo.


W + % Credit

1 0.1Study of the following taals with practical rendering of Thekas : (i) Vilambit & Drut Ektaal (iii) Vilambit & Drut Zumara

04

2 0.2 (i) Training of Meend & Swar – Andolan (ii) Training Nom Tom Aalap (iii) Practice of 3 swar & 4 swar Taans (iv) Practice of Advanced Taans & Bol Taans

3 0.3 VOCAL: One Dhrupad and One Dhamar with Alap and Gayaki in : Jaijaiwanti, Miya Malhar, Sohini, Malkauns, TodiINSTRUMENTAL: Compositions set in taal other than tree taal in the following raags : Sohini, Miya Malhar, Malkauns

4 0.4 VOCAL: One Thumri with proper expression in : BHAIRAVI and One Thumari with simple rendering in PILOO, Three Bhajans or Folk Songs or Light Songs in Gujarati/Hindi

· web viewdefinition of taal and laya, elements of taal, taal, matra taal,...

Documents