Jamshedpur Women’s College, Jamshedpur An Autonomous & constituent unit of Kolhan University, Chaibasa, Jharkhand Accredited with Grade ‘A’ by NAAC & awarded with CPE status by UGC
Department Of Music
Syllabus for B. A. (Hons.) Music (Vocal) Hindustani
THREE YEAR FULL TIME PROGRAMME
Prepared in the consonance of Jamshedpur Women’s College Under Graduation Programme Regulation: 2020
LOCF (Learning Outcomes Curriculum Framework) Syllabus
(Choice Based Credit System) Effective from academic session: 2020-2021
Jamshedpur Women’s College, Jamshedpur Page 1 of 65 Eligibility Criteria for Admission
The candidate seeking admission in B.A (Honours) Music course must have obtained at least 45% marks in the subject concerned at the Intermediate / equivalent examinations. The students passing Intermediate / equivalent examination in Science securing 45% shall be eligible for admission in B.A (Honours) Music. The criteria for admission under the heads Undergraduate programmes shall be the minimumpass marks at the last lower examination. A separate panel for SC/ST and OBC students, based on merit shall be prepared separately. In case some seats remain unfilled by any ofthese above three categories (ST/SC/OBC) of students the vacant seats shall be filled up inthe following manner :– a. Against the vacant seats of SC, the ST candidates be admitted b. Against the vacant seats of ST, the SC candidates if available, be admitted c. If no candidates of SC and ST are available for admission, the vacant seats be filled upby the students belonging to OBC in addition to their quota. d. If the specific reservation quota for SC/ST/OBC remains unfilled, the admission ofgeneral category students are made in order of merit. A weightage of 10% marks shall be given to the employees/wards of employees of the College (Ward would mean – daughter/wife/dependent own sisters) subjects to be the Conditions that if should not exceed 10 per cent of the total seats. A weightage 5% in total marks obtained at the last examination shall be given to all the girls students (Except in Women College) including those who belong to reservation categories. However, the benefit on account of such a weightage in marks shall be restricted to 50% of the total sanctioned seats. NCC cadets holding “C” Certificate are given weightage of 5% marks over the marks obtained at their respective examination and 3% weightage on “B” Certificate in matter of admission. The Scouts & Guide recipient of Rastrapati Award shall be given weightage of 5% marks on total marks obtained in the last examination. A weightage of 2% marks shall be given to trained First Class third stage of Jharkhand State institute of Scout and Guide. In additional to the above 3% of seats may be allotted for outstanding sports person cultural activates / NSS of all categories who represented the National/State/University at the University College/School level. 2% seats shall be reserved for widows / wards of armed forces personnel and the reservation policy shall be as stipulated in the Ministry of Defense Letter No. 3547/AS(R)/94 dated 03/06/1994.
Jamshedpur Women’s College, Jamshedpur Page 2 of 65 3% seats shall be reserved for differently abled persons (Persons with physical disability) which will be distributed as below : a. 1% for persons with vision impairment, b. 1% for the persons with hearing impairment c. 1% persons with locomotor disability d. 3% seats, over and above the sanctioned strength, will be reserved for meritorious students participating in Youth Festival.
The principal is authorized to admit the wife/daughter of military personnel in active service whose family is residing in territorial jurisdiction of Jamshedpur Women’s College in addition to regular sanctioned number of sheet. The principal is authorized to admit physically handicapped students in UG class in addition to regular sanctioned number of seats. However, the college administration has right to fix the minimum cut off much above to ensure the quality admission.
Faculty of Arts and Humanities
The performance of the learners shall be evaluated into two components. The learner’s performance shall be assessed by Continuous Internal Assessment with 30% marks in the first component by conducting the Semester End Examinations with 70% marks in the second component.
Evaluation type Marks for the course.
a. Assignments/Projects/Posters/Quiz/Seminar- 15 Marks b. Viva-Voce -10 marks c. Classroom attendance and active participation with leadership qualities, good manners and articulation in routine class instructional deliveries (case studies/seminars/presentation) - 5 marks
End-Semester Examination (ESE)
a. The question paper for the ESE will be got set by the Controller of Examinations of the Jamshedpur Women’s College by a panel as he/she deems appropriate. The question paper will be moderated by a teacher from the concerned Department nominated by the Head of the Department. b. A candidate who does not pass the ESE in any course or is not able to appear due to some reason shall be permitted to appear in such failed course in the subsequent semester as the case may be. c. The examinees will be allotted three hours for answering these questions.
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The question papers for the End Semester Examination (ESE) may have the following patterns:-
S.N Pattern Marks
A 10 objective type questions (MCQ/True-False/Fill in the Blanks 10 x 2 = 20 etc.) for Two mark each.
B 8 short answer (250 words) type questions, of which 4 have to be 4 x 5 = 20 answered for 5 marks each.
C 4 questions of long answer (400 words) type, of which 2 have to be 2 x 15 = 30 answered for 15 marks each.
Total = 70
To be eligible for appearing in the final semester exam, a student must have to pass in all subjects/coursesin previous semesters.
Attendance and Condonation
a. Candidates selected for admission to a programme shall have to pursue studies, undertake academic work and appear in the examinations in all the semesters under conditions prescribed by the College.
b. Instructions in each course shall be in the form of lectures, tutorials, seminars, problem sessions, case studies, group discussions etc. according to needs of each course as may be decided by the Board of Studies concerned. In laboratory courses, instruction shall be in the form of practical work. Practical include laboratory work, fieldwork, project work/dissertation, workshop practice, surveying, extension work and map-work, if any, prescribed in the course concerned.
c. Therefore, each course shall be treated as an independent unit for the purpose of calculation of attendance.
d. A student shall be required to attend a minimum of 75% of the total instruction hours in a course including tutorials and seminars in each semester.
e. The Head of the Department concerned may condone shortage of a student in attendance below 75% but above 60% in a semester for special reasons to be recorded in writing. A student whose deficiency in attendance in a course is not condoned by the Head of the Department or is not condonable shall not be eligible to appear in the end-semester examination in that course. A student who fails to secure minimum 60% attendance in a course shall be required to repeat that course.
Jamshedpur Women’s College, Jamshedpur Page 4 of 65 f. Students engaged in Extra-Curricular Activities (ECA) may be exempted from 75% of attendance, but not below 60% of attendance in any case. g. The Principal will be the final authority to reconsider the percentage of absentees. LETTER GRADE AND GRADE POINT a. Jamshedpur Women’s College adopts absolute grading method for awarding grades in a course. b. The College implements a 10-point grading system with the following letter grades as given below:
Grades and Grade Points –
Letter Grade Grade Point Marks Percentage O (Outstanding) 10 100% A++ (Excellent) 9 90% to 99.99%
A+ (Excellent) 8 80% to 89.99% A (Very Good) 7.5 75% to 79.99% B+ (Good) 7 70% to 74.99% B (Above Average) 6 60% to 69.99% C (Average) 5 50% to 59.99% P (Pass) 4 40% to 49.99% F (Fail) 0 Less than 40% Ab (Absent) 0 a. A student obtaining Grade F shall be considered failed and will be required to reappear in the examination. b. For non credit courses ‘Satisfactory’ or “Unsatisfactory’ shall be indicated instead of the lettergrade and this will not be counted for the computation of SGPA/CGPA. c. The College can decide on the grade or percentage of marks required to pass in a course and also the CGPA required to qualify for a degree taking into consideration the recommendations of the statutory professional councils such as AICTE, MCI, BCI, NCTE etc., d. Symbol ‘N’ in the grade column will indicate that the student has not appeared in the End- semester examination on account of low attendance e. Symbol ‘X’ in the grade column will indicate that the student was absent in the End-semester examination. f. Marks sheet issued to a student getting grade F or symbols N or X in any of the courses shall be marked ‘Provisional’.
Jamshedpur Women’s College, Jamshedpur Page 5 of 65 g. Symbol ‘U’ in the grade column will indicate that the student was found guilty of using unfair means in the examinations.
EXTRA-CURRICULAR ACTIVITIES (ECA) a. One Credit each shall be awarded for participation in NCC / NSS, Games & Sports and Cultural events on fulfillment of the requirements. b. The minimum requirements for earning the credits under Extra-curricular activities shall be as follows:- Name of the S.No Minimum Requirements Activity a. The cadet should have been involved in minimum 75% of the regular activities as per the annual schedule. 1 NCC b. The cadet should have participated in minimum one NCC Camp. c. The Cadet should have passed the regular NCC test and should be eligible for the award of NCC Certificate.
a. The volunteer should have been involved in minimum 75% of the regular activities as per the annual schedule. NSS 2 b. The volunteer should have participated in minimum one NSS
Special Camp organised in the adopted village.
a. The student should have been participated in minimum 75% of the Games & Games and sports activities as per the annual schedule. 3 Sports b. The student should have participated in minimum one event at College or University level competitions and should have secured minimum 3rd place a. The student should have participated in the regular college level Cultural cultural programmes. 4 Activities b. The student should have secured minimum 3rd place in the College
or University level Competitions a. The credits of ECA shall not be considered for the minimum number of Credits to be earned by the students for the award of Degree. b. The concerned wing shall have to maintain the relevant records proving the effective participation in the respective activities as per the existing norms of that wing. c. The In-charge of the concerned wing shall have to send the list of students who have fulfilled the requirements satisfactorily to the Controller of Examination by the last week of February in VI semester. d. The Jamshedpur Women’s College reserves the discretion to evolve and revise a system/policy about ECA/General Interest/Hobby/Sports/NCC/NSS/related courses on its own from time to time.
Jamshedpur Women’s College, Jamshedpur Page 6 of 65 GRADE CARD
The College under its seal shall issue to the students a grade card on completion of each Semester, which shall contain the following information:- a. Name of College. b. Title of undergraduate Programme c. Number of Semester. d. Name and Register Number of student. e. Code number, Title and Credits of each course registered in the Semester. f. Consolidated Grade, grade point, letter grade and Credit point in each course opted in each Semester. g. The total credits, total credit points and SGPA in the Semester h. Details of the audited courses, if any, taken in the Semester.
a. Format of the FINAL GRADE CARD and provisional certificate will be prepared by the committee constituted for the purpose by the order of the Principal. Degree shall be awarded to successful candidates in the ensuing convocation.
b. The Overall Grade Card issued at the end of the final Semester shall contain the details of all courses taken during the entire programme including those taken over and above the prescribed minimum credits for obtaining the degree. Apart from CGPA of the programme, the cumulative grades obtained for Core, Common, Complementary, and Open Courses and the grades obtained for additional courses shall be shown separately in the overall grade card.
c. The college shall develop a mechanism to provision for compensating credits earned by a learner through SWAYAM Portal.
Jamshedpur Women’s College, Jamshedpur Page 7 of 65 Course Structure CHOICE BASED CREDIT SYSTEM IN B.A. HONOURS HINDUSTANI VOCAL MUSIC
SEM Ability Enhancement Skill Enhancement Elective: Discipline Specific Elective CORE COURSE(14) Course Elective Generic Compulsory SEC (4) DSE(4) GE(4) Course(AECC) (2) As As Proposed by Proposed college by college CC 1 (Theory): Theory of Indian (English/MIL Music Communication)/ GE-1 I CC 2 (Practical) : Stage Performance Environmental & Viva-Voce Science CC 3 (Theory): Theory of Indian Environmental Music Science/(English/MIL GE-2 CC 4 (Practical) : Stage Performance II Communication & Viva-Voce CC 5 (Theory): Historical Study of SEC – I Indian Music Hindustani music GE-3 III CC 6 (Practical) : Stage Performance Vocal
CC 7 (Practical) :Viva - Voce (Project &Practical) CC 8 (Theory) : life & Contribution SEC – II of Musicians Hindustani music GE-4 IV CC 9 (Practical) : Stage Performance Vocal
CC 10 (Practical) : Viva -Voce (Project &Practical) DSE -I A - Hinndustani Music Vocal Thumri- Dadra(Theory)
DSE –II A - Hinndustani Music CC 11 (Theory): History of Indian Vocal Thumri- Dadra ( Practical)
Music DSE -I B - Hindustani Music – V CC 12 (Practical) : Stage Percussion (Tabla) (Theory )Tala Performance & Viva-voce System
DSE –II B - Hindustani Music – Percussion(Tabla)(Practical) Tala System CC 13 Theory : Applied Theory DSE -III A - Hinndustani Music of Music Vocal Thumri- Dadra(Theory) VI DSE –IVA - Project & Viva-voce CC 14 Practical : Stage DSE -III B - Hindustani Music – Performance & Viva-voce Percussion (Tabla) (Theory ) Tala System
DSE –IVB - Project & Viva-voce
These courses shall be offered to the students of B.A. Honours Music other than their own discipline. The candidate may choose any one of the courses offered.
Jamshedpur Women’s College, Jamshedpur Page 8 of 65 CHOICE BASED CREDIT SYSTEM SYLLABUS FOR B.A. (HONS.) HINDUSTANI MUSIC VOCAL MARKS DISTRIBUTION AND CREDIT
PART- I SEM PAPER CODE TITLE OF THE PAPER MARKS CREDIT UGCCMUSCC101 THEORY OF INDIAN MUSIC THEORY =70+30 6 UGCCMUSCC102 STAGE PERFORMANCE & VIVA-V0CE PRACTICAL =100 6 I AECC-1 ENGLISG/MIL. COMMUNICATION THEORY =50 4 GE-1 THEORY OF INDIAN MUSIC (THEORY+PRACTICAL) THEORY+PRACTICAL=75+25 6
UGCCMUSCC201 THEORY OF INDIAN MUSIC THEORY =70+30 6 UGCCMUSCC202 STAGE PERFORMANCE & VIVA-V0CE PRACTICAL =100 6
AECC-1 II ENVIRONMENTAL SCIENCE THEORY =50 4
GE-1I THEORY OF INDIAN MUSIC (THEORY+PRACTICAL) THEORY+PRACTICAL=75+25 6 PART -II HISTORICAL STUDY OF INDIAN MUSIC UGCCMUSCC301 THEORY =70+30 6
UGCCMUSCC302 STAGE PERFORMANCE PRACTICAL =100 6
III UGCCMUSCC303 VIVA-V0CE. PRACTICAL =100 6
SEC-I HINDUSTANI MUSIC VOCAL PROJECT+PRACTICAL=50 4 GE-3 THEORY OF INDIAN MUSIC THEORY+PRACTICAL=100 6
UGCCMUSCC401 LIFE & CONTRIBUTION OF MUSICIANS THEORY =70+30 6
UGCCMUSCC402 STAGE PERFORMANCE PRACTICAL =100 6
UGCCMUSCC403 VIVA-V0CE. PRACTICAL =100 6 IV SEC-II HINDUSTANI MUSIC VOCAL PROJECT+PRACTICAL=50 4 GE-4 THEORY OF INDIAN MUSIC THEORY+PRACTICAL=100 6
PART-III UGCCMUSCC501 HISTORICAL STUDY OF INDIAN MUSIC THEORY =70+30 6
UGCCMUSCC502 STAGE PERFORMANCE & VIVA-V0CE PRACTICAL =100 6
HINDUSTANI MUSIC VOCAL V DSEC-I THEORY =70+30 6 THUMRI DADRA(THEORY) HINDUSTANI MUSIC VOCAL DSEC-II PRACTICAL=100 6 THUMRI DADRA(PRCATICAL)
UGCCMUSCC601 APPLIED THEORY OF MUSIC THEORY =70+30 6 UGCCMUSCC602 STAGE PERFORMANCE & VIVA-V0CE PRACTICAL =100 6 HINDUSTANI MUSIC VOCAL VI DSEC-III THEORY =70+30 6 THUMRI DADRA(THEORY) DSEC-IV PROJECT PROJECT =100 6 TOTAL CREDIT 148
Jamshedpur Women’s College, Jamshedpur Page 9 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -I PAPER: CC - 101 (THEORY) THEORY OF INDIAN MUSIC
Course Objective
To initiate a relative beginner into the world of Hindustani music, where he is made aware of the rich cultural heritage of India that Indian classical music is. To teach her the very basics of Indian music, such as sound, notes, scales, tempo, rhythm etc, so that his foundation can be made strong. To discuss in detail the two notation systems of Hindustani music, that is essential for reading a composition. To make the student aware of the life and contribution of two legends – Pt. Bhatkhande and Pt. Paluskar, credited with the revival of Hindustani Classical Music
Course Learning Outcome
The student will come to know what the basic terminologies of Indian music are, which will help him in the proper understanding of not just Hindustani music, but also Indian music as a whole. Having understood the basic concepts like Laya (tempo), Tala (rhythmic cycle), Alap (tonal elaborations), the student will be on course to becoming a performing artiste in Hindustani music. The student will develop the ability to read and write the notations of compositions according to a well-defined notion system, which in turn, will help him in learning new compositions by various composers of Hindustani music. They will grasp the various theoretical aspects of the prescribed ragas, like how it arises, what are the general grammatical rules that govern the ragas in this course, etc. They come to understand the concept of Tala and the use of various talas in Hindustani music, especially ragas.
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Jamshedpur Women’s College, Jamshedpur Page 10 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -I PAPER: CC - 101 (THEORY) THEORY OF INDIAN MUSIC Credit: 6 Internal Assessment: 30 End-Sem: 70 Full Marks: 100 UNIT - 1 Definition of the following terms:- Sangeet, Swara, Naad, Saptak, Laya, Raga, Varna, Aroha, Avaroh, Vadi,Samvadi, Anuvadi, Vivadi, Varjita Swar, Jati, That, Taal, Laya, Vibhag,Avartan, Matra, Sam, Khali, Aalap, Taan, Sthayee, Antara.
UNIT - 2 a) Detailed and Comparative study of the Prescribed Ragas- (Appendix-I) b) Notation of the composition (Vilambit khayal/ Chhota Khayal) of the Prescribed Ragas in (Appendix-I) Alhaiya Bilabal Yaman Bhupali c) Notation of the composition (Chhota Khayal) Des Kafi Vrindavani Sarang
UNIT - 3 Ability to write the notation of the following talas in dugun, tigun and chaugun & comparative study of the talas with each other.
Teental Dadra Kaharwa Basic knowledge of Vilambit Ektaal
UNIT - 4 Study of the Biographies and the contribution of the legendary Musicians:- Pandit V D Paluskar Pandit V N Bhatkhande UNIT -5 Detailed and Comparative study of notation system of Pt. V.D Paluskar and Pt. V.N Bhatakhande. Physical Description of Tabla & Tanpura.
Jamshedpur Women’s College, Jamshedpur Page 11 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -I PAPER: CC - 102 (PRACTICAL) STAGE PERFORMANCE & VIVA-VOCE
Course Objective
To teach the student the fundamentals of singing breathing exercises to enhance lung capacity for singing etc. To demonstrate tonal exercises, such as palta-s and alankar-s, vital for both singing and playing. To initiate his training in the realm of performance, with the most basic of all ragas, like Yaman and Bhairav.
Course Learning Outcome
The student will be able to achieve dexterity of the voice (singing) and hand (playing), through regular practice of the tonal exercises at home. The students will know how to tune their respective instruments – Tanpura for vocal Students. Having learnt the Notation system in the Theory, the student will able to read and learn new compositions in the prescribed ragas. They will grasp the various grammatical aspects of the prescribed ragas, like how they arise, what are the respective rules that govern these ragas, how the notes move in the ragas, what are the performing times of the ragas etc. They will possess a fairly good idea of how a raga is to be performed after learning the basic ragas.
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JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -I PAPER: CC - 102 (PRACTICAL) STAGE PERFORMANCE & VIVA-V0CE
Credit: 6 Full Marks: 100
Vilambit and Drut khayal in any raga with simple vistar, alap and taan from the prescribed ragas in Appendix-I. One Chhota khayal with taan and boltaan from the prescribed ragas in Appendix-I. One Swarmalika/ One Lakshangeet from the prescribed Ragas. Presentation of one semi-classical/ Devotional /Rabindra sangeet or any light composition (non-film). Ability to recite the prescribed Taal with taali and khali along with the dwigun layakari. Identification of Shudha and Vikruta Notes. Basic knowledge of playing Harmonium with simple Alankars. Basic knowledge of Vilambit Ektaal.
Note- Notation Book has to be submitted by students for Internal Assesment.
Books Recommended- 1. Sangeet Visharad- Basant 2. Bhartiya Sangeet ka Itihas – Sarat Chandra Pranjpayee 3. Natya Shastra – Bharat Muni 4. Indian Music – Thakur Jaidev Singh 5. Kramik Pustak Mallika – V. N. Bhatkhande, Part II & III 6. Raag Vigyan – V. N. Patwardhan 7.
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JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -II PAPER: CC - 201 (THEORY) THEORY OF INDIAN MUSIC
Course Objective
To initiate the student to the rich history of Indian music, through the study of ancient Musical concepts. To teach him the concept of every raga being performed according to a specific timeto introduce him to the basic concepts of Western music To enable the student to fully grasp the elements of Instrumental music, used in the art of playing a raga To make the student aware of the life and contribution of two legends – Ustad. Amir Khan and Ustad Badey Ghulam Ali Khan, credited with the revival of Hindustani Classical Music.
Course Learning Outcome
The student will come to know how ragas were performed in ancient times. He will learn the principles governing the Time Theory of Ragas, in that every raga is to be performed according to a designated time. This will enhance his understanding of the raga and their associated moods. The student will appreciate the pioneering work done by the aforementioned legends of Hindustani music, and how the state of modern music is a direct result of their tireless efforts in reviving the dying art. The student will be able to read compositions written in Western notation system and will also be able to make a comparative analysis with the notation system of Hindustani music.
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JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -II PAPER: CC -201 (THEORY) THEORY OF INDIAN MUSIC Credit: 6 Internal Assessment: 30 End-Sem: 70 Full Marks: 100 UNIT - 1 Definition of the following terms:-
Shruti, Grama, Murchana, Ashray Raga, Parmel Prabeshak raga, Sandhiprakash raga,Ardhwadashak raga, Gamak, Murki, Khatka, Meend, Kan Swar, Grah, Ansh, Nyas swar,
UNIT - 2 a) Detailed and Comparative study of the Prescribed Ragas- (Appendix-II) b) Notation of the composition (Vilambit khayal/ Chhota khayal) of the Prescribed Ragas in (Appendix-II) Bihag Bhairav Bhimpalasi c) Notation of the composition (Chhota Khayal) Durga, Khamaj Tilak Kamod
UNIT - 3 Ability to write the notation of the following talas in dugun, tigun and chaugun & Comparative study of the talas with each other. Jhaptaal Ektal Rupak Detailed knowledge of Vilambit Ektal.
UNIT - 4 Time - Theory of Ragas. Nada, Its verities and its magnetic timber and pitch.
UNIT - 5 Biography and Contribution of the following music scholars:- Ustad Amir Khan Ustad Bade Ghulam Ali khan Pt. Ravi Shankar Pt. Bhimsen Joshi
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JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -II PAPER: CC - 202 (PRACTICAL) STAGE PERFORMANCE & VIVA-V0CE
Course Objective
To continue to focus on the basics of singing/playing. To encourage the student to attempt to improvise while singing/playing. To focus on his learning of newer talas. To further his training in performance, with other basic ragas as prescribed.
Course Learning Outcome The basics of the student will get further strengthened. The student will start to gain self-belief, and make attempts to improvise while performing a raga. The student will begin to gain some command over increasingly complex talas. With other basic ragas, the student will understand how to use the flat and sharp notes in ragas with varied tonal phrases. He will gain confidence with the Tabla accompanying him in performances of larger time duration.
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JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -II PAPER: CC - 202 (PRACTICAL) STAGE PERFORMANCE & VIVA-V0CE
Credit: 6 Full Marks: 100
Vilambit and Drut khayal in any raga with simple vistar, alap and taan from the prescribed ragas in Appendix-II. One Chhota khayal with taan and boltaan from the prescribed ragas in Appendix-II. One Swarmalika / One Lakshangeet from the prescribed Ragas. Presentation of one semi-classical/ Devotional /Rabindra sangeet or any light composition (non-film). Ability to recite the prescribed Taal with taali and khali along with the dwigun layakari. Identification of Shudha and Vikruta Notes. Basic knowledge of playing Harmonium with simple Alankars. Basic knowledge of Vilambit Ektaal.
Note- Notation Book has to be submitted by students for Internal Assesment.
Books Recommended- 1. Sangeet Visharad- Basant 2. Bhartiya Sangeet ka Itihas – Sarat Chandra Pranjpayee 3. Natya Shastra – Bharat Muni 4. Indian Music – Thakur Jaidev Singh 5. Kramik Pustak Mallika – V. N. Bhatkhande, Part II & III 6. Raag Vigyan – V. N. Patwardhan
Jamshedpur Women’s College, Jamshedpur Page 17 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -III PAPER: CC - 301 (THEORY) HISTORICAL STUDY OF INDAIN MUSIC
Course Objective
To develop the interest of the students in musicology by introducing them to the ancient texts of music. To teach them about the various musical instruments from the ancient to the modern times. To focus on the ancient musical forms that was the precursor to the current musical forms.
Course Learning Outcome
The student will come to know about the origin of many current musical forms of singing in Hindustani music, such as Dhrupad, Dhamar and Khayal. This knowledge is useful for further study of musicology as well as for purposes of research. He will understand how various musical instruments of India are made, and are categorized on the basis of solids, animal skin, wind and metallic strings. This will enhance his knowledge, and will be beneficial in future research on musical instruments. He will gain valuable knowledge on the various musical forms, as they existed in ancient India, and how they gave rise to some of the musical forms that are sung today, such as Dhrupad, Dhamar and Khayal. The student will gain parallel knowledge about the musical forms of Karnatak music, which will be useful not only while hearing a Karnatak concert, but also for the purpose
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JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -III PAPER: CC - 301 (THEORY) HISTORICAL STUDY OF INDAIN MUSIC Credit: 6 Internal Assessment: 30 End-Sem: 70 Full Marks: 100 UNIT - 1 Definition of the following terms:- Nibaddha gaan, Anibaddha gaan, Prabandha, Ragalaap, Roopakalap, Alpatwa, Bahutwa, Sudhha,Chhayalag, Sankirna Raga, Gayaak, Nayak, Vaggeyakar,Margi,Desi.
UNIT - 2 a) Detailed and Comparative study of the Prescribed Ragas- (Appendix-III) b) Notation of the composition (Vilambit khayal/ Chhota khayal) of the Prescribed Ragas in (Appendix-III) Malkouns Bageshwari Asavari Patdeep c) Notation of the composition (Chhota Khayal). Deshkar Bhairavi Piloo
UNIT- 3 Detailed study of the ancient texts – Natya Shastra Brihaddeshi Sangeet Parijat Sangeet Ratnakar
UNIT - 4 Classification of Indian Musical Instruments. Detailed study of Shruti. Ancient & Modern Shruti positions. Qualities and defects of the Vocalist.
UNIT – 5 Ability to write the notation of the following talas in dugun, tigun and chaugun & comparative study of the talas with each other. Deepchandi Dhamar
Jamshedpur Women’s College, Jamshedpur Page 19 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -III PAPER: CC - 302 (PRACTICAL) STAGE PERFORMANCE
Course Objective
To focus more on the Stage Performance of the student To encourage the student to attempt to improvise while singing/playing. To focus on his learning of newer talas
Course Learning Outcome
The student will develop the confidence to perform a raga for a long duration of time. The student will be able to sing new compositions in new talas
Jamshedpur Women’s College, Jamshedpur Page 20 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -III PAPER: CC - 302 (PRACTICAL) STAGE PERFORMANCE
Credit: 6 Full Marks: 100
Vilambit and Drut khayal in any two ragas with simple vistar, alap and taan from the prescribed ragas in Appendix-III. One Chhota khayal with vistar, taan and boltaan from the prescribed ragas in Appendix-III. One Swarmalika from the prescribed Ragas. Presentation of one semi-classical/ Devotional /Rabindra sangeet or any light composition (non-film). Ability to recite the prescribed Taal with taali and khali along with the dwigun & tigun layakari. Basic knowledge of playing of Tanpura.
Note- Notation Book has to be submitted by students for Internal Assesment.
Jamshedpur Women’s College, Jamshedpur Page 21 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -III PAPER: CC - 303 (PRACTICAL) VIVA-VOCE
Course Objective To focus more on the Viva-Voce of the student. To teach new compositions based on various talas
Course Learning Outcome The student will be able to explain the grammatical rules of a raga in detail. He will develop the confidence to differentiate between similar ragas. The student will be able to sing new compositions in new talas
Jamshedpur Women’s College, Jamshedpur Page 22 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -III PAPER: CC - 303 (PRACTICAL) VIVA-VOCE
Credit: 6 Full Marks: 100
Detailed and comparative study of the prescribed ragas Appendix-III Dhrupad & Dhamar in any of the prescribed Ragas in Appendix-III with alap & layakari of sthayi. Practical Demonstration of prescribed tala in different layakari. Basic knowledge of Tanpura & Tabla and its tuning. Knowledge to recite a given pattern of alankar of suddha and Vikrit swar. Questionnaire from External /Internal Examiners.
Note- Notation Book has to be submitted by students for Internal Assesment.
Books Recommended 1. Sangeet Visharad- Basant 2. Bhartiya Sangeet ka Itihas – Sarat Chandra Pranjpayee 3. Natya Shastra – Bharat Muni 4. Sangeet Ratnakar – Sharangdeva 5. Sangeet Bodh- Sharad Chandra Pranjpayee 6. Indian Music – Thakur Jaidev Singh 7. Kramik Pustak Mallika – V. N. Bhatkhande, Part II & III 8. Raag Vigyan – V. N. Patwardhan 9. Ragini Trivedi - Ragvibodha Mishrabani, Vol. I & II
Jamshedpur Women’s College, Jamshedpur Page 23 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -III SKILL ENHANCEMENT COURSE SEC -I: HINDUSTANI MUSIC (VOCAL) (PROJECT & PRACTICAL)
Cousre Objective The above SEC (SKILL ENHANCEMENT COURSE) has been designed in such a way that the performance aptitude or skill of the students is enhanced with the help of field visits, recording techniques and guided listening sessions. The main focus of the project work is to groom and improve student’s level in writings as well as reading skills. The project work helps gaining in-depth study on the chosen topic and to help students understands the basic research methodologies Course Learning Outcome
The students learn to carry out a research on the life and contribution of various musicians and musicologists and present the collected data and material in the form of a well prepared report/brief dissertation The students get to know the approach and process of research, beneficial in M.Phil. And Ph.D. programmes later.
Jamshedpur Women’s College, Jamshedpur Page 24 of 65
JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -III SKILL ENHANCEMENT COURSE SEC -I: HINDUSTANI MUSIC (VOCAL) (PROJECT & PRACTICAL)
Credit: 4 Full Marks: 50
UNIT- 1 Power Point Presentation of Various parts of Tanpura and Tabla and the technique of tuning it. Or Field visit to Doordarshan/All India Radio/Radio FM/National Archives/Sangeet Research Academy (Kolkata).
UNIT-2 Presentation of Vocal Music in Group & Solo such as – Light Music (Geet/Ghazal/Bhajan) Raga based film songs.
UNIT-3 Ability to play Thekas of following Talas on Tabla Teental Kaherwa Dadra UNIT-4 Ability to play ten Alankars and National Anthem in harmonium. Ability to play ten alankar of suddha and vikrit swar in different Taal.
UNIT-5 Ability to demonstrate the above Talas using hands.
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JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -IV PAPER: CC - 401 (THEORY) LIFE & CONTRIBUTION OF MUSICIANS
Course Objective
To discuss about the life and works of legendary musicians of Karnatak music. To talk about the many works of famous Western music composers. To discuss the contribution of Hindustani musicians of the medieval and modern eras.
Course Learning Outcome
The student will come to know about the works of the Karnatak music composers, popularly known as Trinity. He will be able to comprehend the magnitude of the many works and compositions of the famous Western composers like Beethoven and Mozart. The student will know about the life and contribution of legends like Amir Khusrau and Tansen, and how their works have shaped the present Hindustani music.
Jamshedpur Women’s College, Jamshedpur Page 26 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -IV PAPER: CC - 401 (THEORY) LIFE & CONTRIBUTION OF MUSICIANS Credit: 6 Internal Assessment: 30 End-Sem: 70 Full Marks: 100 UNIT-1 a) Detailed and Comparative study of the Prescribed Ragas- (Appendix-IV) b) Notation of the composition (Vilambit khayal/ Chhota khayal) of the Prescribed Ragas in (Appendix-IV) Hameer Jounpuri Shankara Marwa c) Notation of the composition (Chhota khayal) Kedar Bahar Sohini
UNIT- 1 Life and contribution of Karnatak Musicians Trinity – Thyagaraja, Muthuswamy Dikshitar, Shyama Sastri,
UNIT-2 Life and contribution of Western Musicians – Bach, Beethoven, Mozart.
UNIT- 3 Life sketch and contributions of the Medieval-era Musicians – Jaidev, Amir Khusrau, Sadarang – Adarang, Pt. Omkar Nath Thakur, Rabindranath Tagore.
UNIT- 4 Life sketch and contributions of the Modern-era Musicians (instrumentalists) - Allauddin Khan, Vilayat Khan, Ravi Shankar. Shivkumar Sharma
UNIT- 5 Study of the following talas in detail – Tilwada & Jhoomra Comparative study of the talas with each other Ability to write the notation of the talas in dugun, tigun and chaugun
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JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -IV PAPER: CC - 402 (PRACTICAL) STAGE PERFORMANCE
Course Objective To focus more on the Stage Performance of the student. To encourage the student to attempt to improvise while singing/playing. To focus on his learning of newer talas.
Course Learning Outcome The student will develop the confidence to perform a raga for a long duration of time. The student will be able to demonstrate the finer nuances of raga in a detailed performance. The student will have the opportunity to showcase his skill in semi-classical and folk genres of music
Jamshedpur Women’s College, Jamshedpur Page 28 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -IV PAPER: CC - 402 (PRACTICAL) STAGE PERFORMANCE Credit: 6 Full Marks: 100
Vilambit and Drut khayal in any two ragas with simple vistar, alap and taan from the prescribed ragas in Appendix-IV. One Chhota khayal with vistar, taan and boltaan from the prescribed ragas in Appendix-IV. Presentation of one semi-classical/ Devotional /Rabindra sangeet or any light composition (non-film). Ability to recite the prescribed Taal with taali and khali along with the dwigun & tigun layakari. Basic knowledge of playing and tuning of Tanpura. Basic knowledge of Vilambit Ektaal & Tilwada.
Note- Notation Book has to be submitted by students for Internal Assesment.
Jamshedpur Women’s College, Jamshedpur Page 29 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -IV PAPER: CC - 403 (PRACTICAL) VIVA-VOCE
Course Objective To focus more on the Viva-Voce of the student. To teach new compositions based on various talas
Course Learning Outcome The student will be able to explain the grammatical rules of a raga in detail. He will develop the confidence to differentiate between similar ragas. The student will be able to sing new compositions in new talas
Jamshedpur Women’s College, Jamshedpur Page 30 of 65
JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -IV PAPER: CC - 403 (PRACTICAL) VIVA-VOCE Credit: 6 Full Marks: 100
Detailed and comparative study of the prescribed ragas Appendix-IV Dhrupad-Dhamar or Sadra composition in any of the prescribed Ragas in Appendix-IV with alap & layakari of sthayi. Practical Demonstration of prescribed tala in different layakari. Basic knowledge of Tanpura & Tabla and its tuning. Knowledge to recite a given pattern of alankar of suddha and Vikrit swar. Questionnaire from External /Internal Examiners.
Note- Notation Book has to be submitted by students for Internal Assesment.
Books Recommended 1. Sangeet Visharad- Basant 2. Bhartiya Sangeet ka Itihas – Sarat Chandra Pranjpayee 3. Natya Shastra – Bharat Muni 4. Sangeet Ratnakar – Sharangdeva 5. Sangeet Bodh- Sharad Chandra Pranjpayee 6. Indian Music – Thakur Jaidev Singh 7. Kramik Pustak Mallika – V. N. Bhatkhande, Part II & III 8. Raag Vigyan – V. N. Patwardhan 9. Ragini Trivedi - Ragvibodha Mishrabani, Vol. I & II 10. Hamare Sangeet Ratna – Prabhulal Garg
Jamshedpur Women’s College, Jamshedpur Page 31 of 65
JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -III SKILL ENHANCEMENT COURSE SEC -II: HINDUSTANI MUSIC (VOCAL) (PROJECT & PRACTICAL)
Cousre Objective The above SEC (SKILL ENHANCEMENT COURSE) has been designed in such a way that the performance aptitude or skill of the students is enhanced with the help of field visits, recording techniques and guided listening sessions. The main focus of the project work is to groom and improve student’s level in writings as well as reading skills. The project work helps gaining in-depth study on the chosen topic and to help students understands the basic research methodologies Course Learning Outcome
The students learn to carry out a research on the life and contribution of various musicians and musicologists and present the collected data and material in the form of a well prepared report/brief dissertation The students get to know the approach and process of research, beneficial in M.Phil. And Ph.D. programmes later.
Jamshedpur Women’s College, Jamshedpur Page 32 of 65
JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -IV SKILL ENHANCEMENT COURSE SEC –II: HINDUSTANI MUSIC (VOCAL) (PROJECT & PRACTICAL) Credit: 4 Full Marks: 50
UNIT- 1
Attending Music Conferences/Listening of Radio Sangeet Sammelans / National Programmes of Music (On-line/Off Line) and writing reviews or reports of the same. Or Power Point Presentation on the Life and Contributions of five great Indian Musicians.
UNIT-2 Presentation of Vocal Music in Group & Solo such as –
Patriotic Song Raga based film songs.
UNIT-3 Ability to play Thekas of following Talas on Tabla- Roopak Jhap tal Ektaal
UNIT-4 Ability to demonstrate the above Talas using hands.
UNIT-5 Ability to play and sing a folk song of Jharkhand.
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JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -V PAPER: CC - 501 (THEORY) HISTORY OF INDIAN MUSIC
Course Objective To teach the student about Indian music and its various aspects during the Vedic times To talk about musical references that is found in various ancient texts, such as Ramayana, Mahabharata and Puran To discuss in detail how ragas have been classified since the ancient times To talk about the works of the medieval authors
Course Learning Outcome The student will come to know about Indian music during the Vedic times. He will thus understand its progress and development from then to now. It will enhance his knowledge in the field of musicology, and also help him in the field of research in ancient Indian music. He will understand how music was sung and played during the times of Ramayana and Mahabharata. He will gain knowledge about the works of medieval authors, and understand how the svara systems and ragas have evolved to their modern-day avatars
Jamshedpur Women’s College, Jamshedpur Page 34 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -V PAPER: CC - 501 (THEORY)
HISTORICAL STUDY OF INDIAN MUSIC Credit: 6 Internal Assessment: 30 End-Sem: 70 Full Marks: 100 UNIT- 1 a) Detailed and Comparative study of the Prescribed Ragas- (Appendix-V) b) Notation of the composition (Vilambit khayal/ Chhota khayal) of the Prescribed Ragas in (Appendix-V) Puriya dhanashri Jaijaiwanti Kamod Multani
c) Notation of the composition (Chhota khayal) Hindol Puria Tilang Purvi
UNIT- 2 General historical study of Indian music from the ancient historical period Prehistoric period. Music in Vedic period. General historical study of Indian music from the Ramayana and Mahabharata period
UNIT- 3 General study of the Indian music from the medieval period Allaudin Khilji period Akber period Aurangzeb period
UNIT-4 General study of the Indian music from the modern period Thaat Raga classification by Pt. V.N Bhatkhandey. Sarana Chatustayi
UNIT- 5 Ability to write the notation of the following talas in dugun, tigun and chaugun, aad laya & comparative study of the talas with each other. Sooltala Adachautala Pancham Sawari
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JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -V PAPER: CC - 502 (PRACTICAL) HISTORY OF INDIAN MUSIC STAGE PERFORMANCE & VIVA-VOCE
Course Objective
To focus on the professionally performing ability of the student, in conjunction with his capability to understand the intricacies of various ragas, at a higher level To teach the students the proper way of doing Alap or tonal elaborations before the start of Dhrupad To encourage the students to think and perform like an artiste, with thoughtful and aesthetic improvisations. To differentiate between similar ragas like Kedar and Kamod.
Course Learning Outcome
The student will gain self-belief in performing a raga, after practising its finer details He will also be able to demonstrate how to separate similar sounding ragas He will be able to sing Dhrupad and Dhamar with an in-depth knowledge of its style of performance
Jamshedpur Women’s College, Jamshedpur Page 36 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -V PAPER: CC - 502 (PRACTICAL) HISTORY OF INDIAN MUSIC STAGE PERFORMANCE & VIVA-VOCE Credit: 6 Full Marks: 100
Vilambit and Drut khayal in any two ragas with simple vistar, alap and taan from the prescribed ragas in Appendix-V. Two Chhota khayal with vistar, taan and boltaan from the prescribed ragas in Appendix-V. One tarana from the the prescribed ragas in Appendix-V. Dhrupad and Dhamar in any of the Prescribed Ragas with dwigun ki laykari of Sthai. Ability to sing and show the critical difference between similar ragas Critical analysis and comparative study of prescribed ragas including previous year’s ragas. Presentation of one semi-classical/ Devotional /Sugam Sangeet. Ability to recite the prescribed taal with dwigun, tigun, and in Aad layakari. Basic knowledge of tuning of Tanpura. Basic knowledge of Vilambit Ektaal & Jhumra.
Note- Notation Book has to be submitted by students for Internal Assesment.
Jamshedpur Women’s College, Jamshedpur Page 37 of 65
Reference Books:-
Bhatkhande, V.N., (Part I, Jan, 2000), Kramik Pustak Malika, Hathras, U.P., Sangeet Karyalya. Bhatkhande, V.N., Part-II (Nov. 2002), Kramik Pustak Malika, Hathras, U.P., Sangeet Karyalya. Bhatkhande, V.N., (Part III, 2002), Kramik Pustak Malika, Hathras, U.P., Sangeet Karyalya. Bhatkhande, V.N., (Part IV, 1970), Kramik Pustak Malika, Hathras, U.P., Sangeet Karyalya.
Patvardhan, V.R., (Part-I, 2001), Rag Vigyan, Pune, MR, Publisher-Dr. Madhusudhanan Patwardhan. Patvardhan, V.R., (Part-II, 1996), Rag Vigyan, Pune, MR, Publisher-Dr. Madhusudhanan Patwardhan. Patvardhan, V.R., (Part-III, 1991), Rag Vigyan, Pune, MR, Publisher-Dr. Madhusudhanan Patwardhan. Patvardhan, V.R., (Part-IV, 1959), Rag Vigyan, Pune, MR, Publisher-Dr. Madhusudhanan Patwardhan. Thakur, Omkar Nath, (Part-I, 1977), SangeetanjaliBombay, MR, Pandit Omkar Nath Thakur Estate. Thakur, Omkar Nath, (Part-II, 1975), Sangeetanjali, Bombay, MR, Pandit Omkar Nath Thakur Estate. Thakur, Omkar Nath, (Part-III, 2005), Sangeetanjali, Bombay, MR, Pandit Omkar Nath Thakur Estate. Thakur, Omkar Nath, (Part-IV, 2003), Sangeetanjali, Bombay, MR, Pandit Omkar Nath Thakur Estate Mishra, Lalmani, ( 1979 ), Tantrinada, Kanpur, U.P. Sahitya Ratnalaya
Jamshedpur Women’s College, Jamshedpur Page 38 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -V DISCIPLINE SPECIFIC ELECTIVE DSE – 1 (THEORY) HINDUSTANI MUSIC VOCAL THUMRI-DADRA
Course Objective The main objective of this paper is to develop an overall understanding into the students about the Thumri & Dadra styles of singing. Therefore in theory paper students learn a brief history of Thumri & its styles. To write down the Notation of composition is also taught, so that the students can remember the composition well. Students will know the descriptions of the Ragas which are prescribed in practical paper. Students will also know how to write down the talas with Layakaries. The understanding of the tuning of Tanura and ability to write it down will also be taught.
Course Learning Outcome Students learn and understand the various styles of thumries. Students learn and able to write the notation of Thumri and Dadra. Students learn the description of prescribed Ragas. Writing of Talas with various layakaries in Notation. Students learn about the tuning of Tanpura.
Jamshedpur Women’s College, Jamshedpur Page 39 of 65
JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -V DISCIPLINE SPECIFIC ELECTIVE DSE – 1 (THEORY) HINDUSTANI MUSIC – VOCAL THUMRI-DADRA (TD) Credit: 6 Internal Assessment: 30 End-Sem: 70 Full Marks: 100 UNIT -1 A brief History of Thumri and Dadra. UNIT-2 Notation and detailed knowledge of the following raga (Appendix-I) Bhairavi Khamaj Kafi UNIT -3 Detailed study of different style of Thumri and its Characteristics. UNIT -4 Biography of the following singers:- Girija devi Begham akhtar Ustad Bade Ghulam Ali Khan Ustad Nazakat Salamat Ali Khan UNIT-5 Detailed study of following talas with theka, dugun, tigun and chaugun layakari. Deepchandi Kaharwa Addha
Jamshedpur Women’s College, Jamshedpur Page 40 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -V DISCIPLINE SPECIFIC ELECTIVE DSE – II (PRACTICAL) HINDUSTANI MUSIC – VOCAL THUMRI-DADRA (TD)
Course Objective Thumri-Dadra course is taught to the students of Hindustani Music Hons. When they are in 2nd year of B.A. (Hons.). The main objective of this course is to equip a student with a new skill i.e. two new musical forms-Thumri & Dadra. Music is a practical oriented subject and hence a student will learn and also will demonstrate it in front of examiners. The students will get to know about two styles of Thumri singing & also will be able to demonstrate at least one Thumri & one Dadra in end semester exams. They will also learn &demonstrate a few talas which are related to Thumri singing. Students will be able to understand the tuning of Tanpura.
Course Learning Outcome Students learn the introduction of two styles of Thumri singing. Students know and are able to demonstrate the prescribed Ragas. Students learn and are able to demonstrate one Thumri & one Dadra in Prescribed Ragas. Students learn to demonstrate the various talas and their layakaries. Students learn the skill to tune the Tanpura. Students are able to demonstrate Thumri & Dadra for not less than 20 minutes.
Jamshedpur Women’s College, Jamshedpur Page 41 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -V DISCIPLINE SPECIFIC ELECTIVE DSE – II (PRACTICAL) HINDUSTANI MUSIC VOCAL THUMRI-DADRA STAGE PERFORMANCE & VIVA-VOCE Credit: 6 Full Marks: 100
One Thumri & Dadra in any one of the prescribed ragas from (Appendix-I) One Thumri / Dadra from Hindi Film based on any raga. Demonstration of the following talas with theka, dugun, tigun and chaugun by hand beats :- Deepchandi, Kaharva ,Addha . Playing of tanpura is compulsory
Note- Notation Book has to be submitted by students for Internal Assesment.
Jamshedpur Women’s College, Jamshedpur Page 42 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -V DISCIPLINE SPECIFIC ELECTIVE DSE – I (THEORY) HINDUSTANI MUSIC – PERCUSSION (TABLA) TALA SYSTEM
Course Objective The students are taught primarily the techniques and art of playing Tabla in this course. Music being a primary form of Art is a very specialized subject, which needs specialized training too, especially the Practical, i.e. Tabla playing. Different Talas, finger techniques and compositions are taught in an age-old 'Oral tradition', imbibing this vital element of teaching-learning from the traditional 'Guru-Shishya Parampara', wherein both the teacher and the students sit on the carpeted floor facing each other, and the students repeat all that the teacher plays/ demonstrates practically. The students are encouraged to improvise after learning the basic techniques, be it in the slow elaborations of different Thekas, or in the fast presentation of compositions. The students are taught to keep in mind the aesthetics of the tala, playing style, clarity of bols and the overall performance in the mind at all times. The students, thus, get trained towards becoming young budding Solo performing artistes and accompanists as well.
Course Learning Outcome The students of this course get to know the Structure, Tuning, Syllables and playing techniques of Tabla. The students get the knowledge of the following technical terms- Laya, Taal, Matra, Theka, Tali, Khali, Vibhag, Sam, Avartan, ,Thah, Dugun, Tigun, Chaugun, Peshkaar, Uthaan, Kayada, Rela, Palta, Mukhda, Tukda, Paran, Tihai. The students learn about different talas like Teentala, Ektala, Choutala, Dhamar. Students get to learn the notation system given by Pt. V.N. Bhatkhande. Students develop the ability to write notations of Theka and composition in prescribed talas with Dugun, Tigun and Chaugun.
Jamshedpur Women’s College, Jamshedpur Page 43 of 65
JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -V DISCIPLINE SPECIFIC ELECTIVE DSE – I (THEORY) HINDUSTANI MUSIC – PERCUSSION (TABLA) TALA SYSTEM
Credit: 6 Internal Assessment: 30 End-Sem: 70 Full Marks: 100
UNIT- 1 Knowledge about Structure, Tuning, Syllables and playing techniques of Tabla.
UNIT-2 Knowledge of the following terms:- Laya , Taal , Matra, Theka,Tali , Khali , Vibhag , Sam , Avartan , Thah ,Dugun , Tigun , Chaugun , Peshkaar , Uthaan , Kayada , Rela, Palta ,Mukhda , Tukda , Paran, Tihai
UNIT-3 Knowledge of following talas: Teentala, Ektala, Choutala, Dhamar
UNIT-4 Notation system given by Pt. V.N.Bhatkhande
UNIT-5 Notation of Theka and composition in prescribed talas with Dugun, Tigun and Chaugun
Jamshedpur Women’s College, Jamshedpur Page 44 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -V DISCIPLINE SPECIFIC ELECTIVE DSE – II (PRACTICAL) HINDUSTANI MUSIC – PERCUSSION (TABLA) STAGE PERFORMANCE & VIVA-VOCE
Course Objective
The students are taught primarily the techniques and art of playing Tabla in this course. Music being a primary form of Art is a very specialized subject, which needs specialized training too, especially the Practical, i.e. Tabla playing. Different Talas, finger techniques and compositions are taught in an age-old 'Oral tradition', imbibing this vital element of teaching-learning from the traditional 'Guru-Shishya Parampara', wherein both the teacher and the students sit on the carpeted floor facing each other, and the students repeat all that the teacher plays/ demonstrates practically. The students are encouraged to improvise after learning the basic techniques, be it in the slow elaborations of different Thekas, or in the fast presentation of compositions. The students are taught to keep in mind the aesthetics of the tala, playing style, clarity of bols and the overall performance in the mind at all times. The students, thus, get trained towards becoming young budding Solo performing artistes and accompanists as well. Along with the practical the theory about the Tabla instrument, different Talas, and also the study of Indian percussion music and its various aspects, in both the historical and the modern context, is also taught, for students to better understand the techniques and musical content that they are learning, and gradually develop a research-oriented mind tuned to asking questions related to any topic. The library of the Department is well-equipped and there are books for a student to refer for supplementary information.
Course Learning Outcome
The students of this course get to know the various syllables and playing techniques of Tabla. The students learn the different Varnas (Bol) of Tabla. Students develop the ability to play “TeTe”, “Tiraki”,”Dhumkit” compositions of Tabla Along with “Tukdas” and “Parans”of Tabla.
Jamshedpur Women’s College, Jamshedpur Page 45 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -V DISCIPLINE SPECIFIC ELECTIVE DSE – II (PRACTICAL) HINDUSTANI MUSIC – PERCUSSION (TABLA) STAGE PERFORMANCE & VIVA-VOCE
Credit- 6 Maximum Marks- 100
UNIT-1 Prescribed Talas – Teentala, Choutala, Keharwa & Dadra
UNIT- 2 Various syllables and playing techniques of Tabla.
UNIT-3 Basic playing techniques of Teentala of Tabla. “Te Te‟ and one “Tirakit” composition of Tabla with four variations and Tihai.
UNIT- 4 Knowledge of two “Tukras‟ and Two “Parans‟ of Tabla
UNIT-5 Five variations of Theka with Tihai in Teentala.
UNIT-6 Ability to play Keharwa and Dadra Tala.
Note- Notation Book has to be submitted by students for Internal Assesment.
Jamshedpur Women’s College, Jamshedpur Page 46 of 65
JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -VI PAPER: CC - 601 (THEORY) APPLIED THEORY OF MUSIC
Course Objective To focus on the Gharana system, this gives every performing artiste his identity. To discuss about the various Gharanas and styles in Instrumental music. To study about the salient features of the Bani system of Dhrupad To discuss about the various musical forms of Hindustani music
Course Learning Outcome The student will come to know about the salient features of the Gharana system, as also the specialties of prominent Gharanas like Gwalior, Agra, and Delhi Gharanas etc. The student will gain knowledge about the various styles of playing instrumental music that will help him to enjoy the concerts, and will also encourage him to carry out research on the styles of various musical instruments of Hindustani music. The student will come to know about the various musical forms of vocal music, such as Khayal, Tarana and Thumri. This knowledge will help him to become a better stage performer of Hindustani music. He will finish his education in graduation with a complete knowledge of twenty-six ragas, spanning all the six semesters.
Jamshedpur Women’s College, Jamshedpur Page 47 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -VI PAPER: CC - 601 (THEORY) APPLIED THEORY OF MUSIC Credit: 6 Internal Assessment: 30 End-Sem: 70 Full Marks: 100 UNIT- 1
a. Detailed and Comparative study of the Prescribed Ragas- (Appendix-VI ) b. Notation of the composition (Vilambit khayal/ Chhota khayal) of the Prescribed Ragas in (Appendix-VI ) Miyan ki Todi Darbari kanhada Lalit Sudhha kalian
c. Notation of the composition (Chhota khayal) Adana Goud sarang Chhayanat Goud malhar UNIT-2 Knowledge of Western Music- Time value, bar lines, Time signature, Treble clef, Bass clef. Tone & semi tone Natural scale, Tempered scale, chromatic scale Intervals, Melody & Harmony. UNIT-3 Knowledge of Carnatic Music Introduction of Carnatic swara and tala. Definition of Padam, Kirtanam, Vernam, Javeli, Pallavi, Jatiswaram, Tillana UNIT-4 Study of the following Gharanas:- Gwalior Agra Jaipur Kirana Patiala UNIT- 5 Study of Hindustani musical forms:- Dhrupad, Dhamar, Khayal, Sadra, Tarana, Chaturang, Trivat, Tappa, Thumri, Dadra.
Jamshedpur Women’s College, Jamshedpur Page 48 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -VI PAPER: CC - 602 (PRACTICAL) STAGE PERFORMANCE& VIVA-VOCE
Course Objective To focus on revising all the ragas that the student has learnt in the previous semesters To enhance the difficulty level of the ragas, and teach the student complex ragas To be able to make a comparison of one raga with similar ragas of all the six semesters To assess the ability of the student to play his instrument on various talas
Course Learning Outcome
He will have the knowledge of twenty-six ragas that he has learnt in all the six semesters combined. He will be able to perform complex ragas with self-confidence. He will be able to differentiate between similar sounding ragas of all the semesters. The student will have thorough knowledge of all the talas that he has learnt in the last five semesters.
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JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -VI PAPER: CC - 602 (PRACTICAL) STAGE PERFORMANCE& VIVA-VOCE
Credit: 6 Full Marks: 100
Vilambit and Drut khayal in any two ragas with simple vistar, alap and taan from the prescribed ragas in Appendix-VI. Two Chhota khayal with vistar, taan and boltaan from the prescribed ragas in Appendix-VI. One tarana from the the prescribed ragas in Appendix-VI. Dhrupad and Dhamar in any of the Prescribed Ragas with dwigun ki laykari of Sthai . Ability to sing and show the critical difference between similar ragas Critical analysis and comparative study of prescribed ragas including previous year’s ragas. Presentation of one semi-classical/ Devotional /Sugam Sangeet. Ability to recite the prescribed Taal with dwigun, tigun, and in Aad layakari. Basic knowledge of tuning of Tanpura. Basic knowledge of Vilambit Ektaal & Jhumra.
Note- Notation Book has to be submitted by students for Internal Assesment.
Jamshedpur Women’s College, Jamshedpur Page 50 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -VI DISCIPLINE SPECIFIC ELECTIVE DSE – III (THEORY) HINDUSTANI MUSIC VOCAL THUMRI-DADRA
Course Objective The main objective of this paper is to develop an overall understanding into the students about the Thumri & Dadra styles of singing. Therefore in theory paper students learn a brief history of Thumri & its styles. To write down the Notation of composition is also taught, so that the students can remember the composition well. Students will know the descriptions of the Ragas which are prescribed in practical paper. Students will also know how to write down the talas with Layakaries. The understanding of the tuning of Tanura and ability to write it down will also be taught.
Course Learning Outcome Students learn and understand the various styles of thumries. Students learn and able to write the notation of Thumri and Dadra. Students learn the description of prescribed Ragas. Writing of Talas with various layakaries in Notation. Students learn about the tuning of Tanpura.
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JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -VI DISCIPLINE SPECIFIC ELECTIVE DSE – III (THEORY) HINDUSTANI MUSIC – VOCAL THUMRI-DADRA (TD)
Credit: 6 Internal Assessment: 30 End-Sem: 70 Full Marks: 100 UNIT-1 Give a brief history of Harmonium, Sarangi and Tabla.
UNIT-2 Notation and detailed knowledge of the following raga (Appendix-II) Des Piloo Pahadi
UNIT-3 Biography of the following:- Pt. Ramnarayan (Sarangi) Pt. Chhanulal Mishra Ustad Zakir Hussain Ustad Barkat Ali Khan
UNIT-4 Detailed study of Chaiti, kajri and Sohar.
UNIT-5 Detailed study of following talas with theka, dugun, tigun and chaugun layakari. Dadra Chachar Jat tal
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JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -VI DISCIPLINE SPECIFIC ELECTIVE DSE – IV (PROJECT & VIVA-VOCE)
Credit: 6 Full Marks: 100
Course Objective
The main focus of the project work is to groom and improve student’s level in writings as well as reading skills. The project work helps gaining in-depth study on the chosen topic and to help students understands the basic research methodologies.
Course Learning Outcome
Ability to demonstrate basic of research methodologies · The student understands the importance of reading skills as well as writing skills The students get to know the approach and process of research, beneficial in M.Phil. And Ph.D. programmes later.
CONTENT OF PROJECT WORK
Discipline specific project work of not less than 4000 words, Topic chosen in consultation with the teachers on the commencement of the semester VI
Jamshedpur Women’s College, Jamshedpur Page 53 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -VI DISCIPLINE SPECIFIC ELECTIVE DSE – III (THEORY) HINDUSTANI MUSIC - PERCUSSION (TABLA) NOTATION WRITING SKILL Credit: 6 Internal Assessment: 30 End-Sem: 70 Full Marks: 100
Course Objective The main focus of the course is to establish a better understanding of the Tabla/Pakhawaj to the students of other music disciplines. Therefore, the course comprises of the basic theoretical aspects for achieving better understanding. This helps the students of the other disciplines to attain theoretical knowledge, skill and idea about the instruments.
Course Learning Outcome Knowledge about the brief history of various Gharanas of Tabla. Knowledge of structural details of Tabla and its various parts. Students get the ability to write notation of the Theka of various tala Ability to write notation of advance composition in Teentaal and Chautala Students get the ability to write notation of different layakaries of Dadra and Keherwa talas . Knowledge about Rupak/TevraTaal
Jamshedpur Women’s College, Jamshedpur Page 54 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -VI DISCIPLINE SPECIFIC ELECTIVE DSE – III (THEORY) HINDUSTANI MUSIC - PERCUSSION (TABLA) NOTATION WRITING SKILL Credit: 6 Internal Assessment: 30 End-Sem: 70 Full Marks: 100
UNIT- 1 Brief history of Gharanas of Tabla.
UNIT- 2 Drawing sketch of Tabla with its various parts.
UNIT-3 Description of prescribed talas.
UNIT- 4 Writing notation of the thekas of the prescribed talas with Thah, Dugun & Chaugun.
UNIT-5 Writing notation of Kayada, Rela, Palta, Tihai and Chakradar Tukra/ Paran in Teentala/ Chautala.
Note- Notation Book has to be submitted by students for Internal Assesment.
Jamshedpur Women’s College, Jamshedpur Page 55 of 65 JAMSHEDPUR WOMEN’S COLLEGE B.A. (HONS.) HINDUSTANI MUSIC VOCAL SEMESTER -VI DISCIPLINE SPECIFIC ELECTIVE DSE – IV (PROJECT & VIVA-VOCE)
Credit: 6 Full Marks:100 Course Objective
The main focus of the project work is to groom and improve student’s level in writings as well as reading skills. The project work helps gaining in-depth study on the chosen topic and to help students understands the basic research methodologies.
Course Learning Outcome
Ability to demonstrate basic of research methodologies · The student understands the importance of reading skills as well as writing skills The students get to know the approach and process of research, beneficial in M.Phil. And Ph.D. programmes later.
CONTENT OF PROJECT WORK
Discipline specific project work of not less than 4000 words, Topic chosen in consultation with the teachers on the commencement of the semester VI
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Jamshedpur Women’s College, Jamshedpur Page 56 of 65 Jamshedpur Women’s College Jamshedpur A Constituent Autonomous College of Kolhan University A grade College by NAAC, Bangalore College with Potential for Excellence by University Grant Commission
Department Of Music Syllabus for B. A. (Genric Elective) Music (Hindustani Vocal) THREE YEAR FULL TIME PROGRAMME Prepared in the consonance of Jamshedpur Women’s College Under Graduation Programme Regulation: 2020 LOCF (Learning Outcomes Curriculum Framework) Syllabus (Choice Based Credit System) Effective from academic session: 2020
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GENERIC ELECTIVE
SLLABUS OF B.A. (GE) MUSIC HINDUSTANI VOCAL SEMESTER – I GE – I (THEORY)
THEORY OF INDIAN MUSIC Full Marks- 75
Credit-4
UNIT - 1 Definition of the following terms:- Sangeet, Swara, Naad, Saptak, Aroha, Avaroh, Vadi, Samvadi, Vivadi, Varjita Swar, Jati, that, Sam, Khali, Sthayee, Antara.
UNIT - 2 a. Theoretical knowledge of the Prescribed Ragas- (Appendix-I) b. Notation of the composition (Chhota Khayal) of the Prescribed Ragas in (Appendix-I) Alhaiya Bilabal Yaman Bhupali UNIT - 3 Detailed study of the oprescribed Taal in dugun layakari.
Teental Dadra Kaharwa
UNIT - 4 Study of the Biographies and the contribution of the legendary Musicians:- Pandit V D Paluskar Pandit V N Bhatkhande
UNIT -5 Detailed study of Bhatkhande swarlipi paddhati.
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GENERIC ELECTIVE
SLLABUS OF B.A. (GE) MUSIC HINDUSTANI VOCAL SEMESTER – I GE – I (PRACTICAL)
STAGE PERFORMANCE & VIVA-VOCE Full Marks- 25
Credit-2
Chhota khayal in any raga with simple vistar and taan from the prescribed ragas in Appendix-I. One Sargam Geet and One Lakshangeet from the prescribed Ragas. Presentation of any sugam sangeet (Geet/Bhajan) Ability to recite the prescribed Taal with taali and khali along with the dwigun layakari. Identification of Shudha and Vikruta Notes. Basic knowledge of playing Harmonium with Alankars.
Note- Notation Book has to be submitted by students for Internal Assesment.
Jamshedpur Women’s College, Jamshedpur Page 59 of 65 GENERIC ELECTIVE
SLLABUS OF B.A. (GE) MUSIC HINDUSTANI VOCAL SEMESTER – II GE – II (THEORY)
THEORY OF INDIAN MUSIC
Full Marks- 75 Credit-4 UNIT - 1 Definition of the following terms:- Shruti, Grama, Murchana, Ashray Raga, Parmel Prabeshak raga, Sandhiprakash raga,Ardhwadashak raga, Gamak, Murki, Khatka, Meend, Kan Swar, Grah, Ansh, Nyas swar,
UNIT - 2 a) Theoretical knowledge of the Prescribed Ragas- (Appendix-II) b) Notation of the composition (Chhota khayal) of the Prescribed Ragas in (Appendix-II) Bihag Bhairav Bhimpalasi UNIT - 3 Detailed study of the oprescribed Taal in dugun layakari. Jhaptaal Ektal, Rupak UNIT - 4 Time - Theory of Ragas. Nada, Its verities and its magnetic timber and pitch. UNIT - 5 Biography and Contribution of the following music scholars:- Pt. Ravi Shankar Pt. Bhimsen Joshi
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GENERIC ELECTIVE
SLLABUS OF B.A. (GE) MUSIC HINDUSTANI VOCAL SEMESTER – II GE – II (PRACTICAL)
STAGE PERFORMANCE & VIVA-VOCE
Full Marks- 25
Credit-2
Chhota khayal in any raga with simple vistar and taan from the prescribed ragas in Appendix-II. One sargam geet from the prescribed Ragas. Presentation of one semi-classical/ Devotional /Rabindra sangeet or any light composition. Ability to recite the prescribed Taal with taali and khali along with the dwigun layakari. Identification of Shudha and Vikruta Notes. Basic knowledge of playing Harmonium with Alankars. Basic knowledge of Vilambit Ektaal.
Note- Notation Book has to be submitted by students for Internal Assesment.
Jamshedpur Women’s College, Jamshedpur Page 61 of 65 GENERIC ELECTIVE
SLLABUS OF B.A. (GE) MUSIC HINDUSTANI VOCAL SEMESTER – III GE – III (THEORY)
THEORY OF INDIAN MUSIC Full Marks- 75 Credit-4 UNIT - 1 Definition of the following terms:- Nibaddha gaan, Anibaddha gaan, PrabandhaAlpatwa, Bahutwa, Sudhha,Chhayalag, Sankirna Raga, Gayaak, Nayak, Vaggeyakar,Margi,Desi. UNIT - 2 a. Detailed study of the Prescribed Ragas- (Appendix-III) b. Notation of the composition (Vilambit khayal/ Chhota khayal) of the Prescribed Ragas in (Appendix-III) Malkouns Bageshwari Asavari UNIT- 3 Detailed study of the ancient texts – Natya Shastra Sangeet Ratnakar UNIT - 4 Classification of Indian Musical Instruments. Qualities and defects of the Vocalist. UNIT – 5 Ability to write the notation of the following talas in dugun, tigun and chaugun & comparative study of the talas with each other. Choutaal Dhamar Detailed knowledge of Vilambit Ektal.
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GENERIC ELECTIVE
SLLABUS OF B.A. (GE) MUSIC HINDUSTANI VOCAL SEMESTER – III GE – III (PRACTICAL)
STAGE PERFORMANCE & VIVA-VOCE
Full Marks- 25
Credit-2
Vilambit and Drut khayal in any ragas with simple vistar, alap and taan from the prescribed ragas in Appendix-III. One taran in teental from the prescribed Ragas. Presentation of one semi-classical/ Devotional /Rabindra sangeet or any light composition. Ability to recite the prescribed Taal with taali and khali along with the dwigun & tigun layakari. Basic knowledge of playing Tanpura. Basic knowledge of Vilambit Ektaal.
Note- Notation Book has to be submitted by students for Internal Assesment.
Jamshedpur Women’s College, Jamshedpur Page 63 of 65 GENERIC ELECTIVE
SLLABUS OF B.A. (GE) MUSIC HINDUSTANI VOCAL SEMESTER – IV GE – IV (THEORY)
THEORY OF INDIAN MUSIC
UNIT-1 History of Indian Music – Ancient Period, Medieval Period and Modern Period.
UNIT-2 Detailed study of the Prescribed Ragas- (Appendix-IV) Notation of the composition (Vilambit khayal/ Chhota khayal) of the Prescribed Ragas in (Appendix- IV) Bahar Hameer Jounpuri
UNIT-3 Detailed Study of the prescribed Taal with tigun and Aad layakari. Teen taal Jhaptaal
UNIT-4 Detailed study of Thaat Raag vargikaran.
UNIT-5 History of the following musical Gharanas- Gwalior Kirana Agra Patiala
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GENERIC ELECTIVE
SLLABUS OF B.A. (GE) MUSIC HINDUSTANI VOCAL SEMESTER – IV GE – IV (PRACTICAL) STAGE PERFORMANCE& VIVA-VOCE
Full Marks- 25 Credits- 2
Vilambit and Drut khayal in any ragas with simple vistar, alap and taan from the prescribed ragas in Appendix-IV One tarana in teental from the prescribed Ragas. Dhrupad/Dhamar in any of the prescribed Ragas from Appendix-I -IV. Presentation of one semi-classical/ Devotional /Rabindra sangeet or any light composition. Ability to recite the prescribed Taal with the dwigun, tigun and aad layakari. Basic knowledge of playing and tuning of Tanpura. Basic knowledge of Vilambit Ektaal. Questionnaire from External /Internal Examiners
Note- Notation Book has to be submitted by students for Internal Assesment.
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