JAMSHEDPUR WOMEN’S COLLEGE (A CONSTITUENT AUTONOMOUS COLLEGE OF KOLHAN UNIVERSITY) "A" GRADE COLLEGE BY NAAC, BANGALORE

DEPARTMENT OF MUSIC

CBCS SYLLABUS OF B. A. (Hons.) MUSIC (VOCAL) (SEMESTER SYSTEM) W.E.F SESSION 2017-2019

CHOICE BASED CREDIT SYSTEM 2015

CHOICE BASED CREDIT SYSTEM IN B.A HONOURS HINDUSTANI VOCAL MUSIC

SEM CORE COURSE(14) Ability Enhancement Skill Enhancement Elective: Discipline Elective Compulsory Course(SEC)2 Specific DSE(4) Generic(GE)(4) Course(AECC)

I CC 1 Theory: Theory+ of Indian Music (English/MIL GE-1 CC 2 Practical : Stage Performance Communication)/ Environmental Science

II CC 3Theory: Theory of Indian Music Environmental GE-2 CC 4 Practical : Stage Performance Science/(English/MIL Communication

III CC 5 Theory: Theory of Indian Music SEC-1 GE-3 Hindustani Music CC 6 Practical : Stage Performance (Project & Practical) CC 7 Practical :Viva Voce

IV CC 8 Theory : Theory of Indian Music SEC-2 GE-4 CC 9 Practical : Stage Performance Hindustani Music CC 10 Practical : Viva Voce (Project & Practical)

l V CC 11 Theory: Theory of Indian Music DSE-1 Hindustani Music CC 12 Practical : Stage Performance Vocal

DSE-2 Hindustani Music Vocal

VI CC 13 Theory : Theory of Indian Music DSE-3 Hindustani Music CC 14 Practical : Stage Performance Vocal

DSE-4 PROJECT & VIVA

*These courses shall be offered to the students of B.A. Honours, other than their own discipline.

CBCS Syllabus for B.A. (Hons.) Hindustani Music (Vocal)

SEMESTER - I TOTAL MARKS CREDITS Course -101 : Theory of Indian Music 80+20=100 4 Course – 102: Practical 100 8 AECC - English 50 2 GE-I (Theory + Practical) 75+25=100 6

SEMESTER - II Course -103 : Theory of Indian Music -2 80+20=100 4 Course – 104: Practical 100 8 AECC - Evs 50 2 GE-II (Theory + Practical) 75+25=100 6

SEMESTER - III Course -105 : Theory of Indian Music 80+20=100 4 Course – 106: Practical 100 8 Course – 107: Practical 100 6 SEC- I (Project+Practical) 50 2 GE-III (Theory + Practical) 75+25=100 6

SEMESTER - IV Course -108 : Theory of Indian Music 80+20=100 4 Course – 109: Practical 100 8 Course – 110: Practical 100 6 SEC- II (Project Practical) 50 2 GE-IV (Theory + Practical) 75+25=100 6

SEMESTER – V Course -111 : Theory of Indian Music 80+20=100 4 Course – 112: Practical 80+20=100 8 DSE-I (Theory +Practical) 75+25=100 6 DSE-II (Theory +Practical) 75+25=100 6

SEMESTER – VI Course -113 : Theory of Indian Music 80+20=100 4 Course – 114: Practical 80+20=100 8 DSE-III (Theory +Practical) 75+25=100 6 DSE-IV – Project & Viva 75+25=100 6

Total= 140

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-I PAPER-CC 1 Theory of Indian Music

Max Marks- 80 Credits: 5

Definition of the following terms :-

I. Sangeet, Nada, Saptak, Swara, , Shruti, Raga, Mela ( Thata), Alankar, Sthayi, Vadi, Samvadi, Anuvadi, Vivadi, Tala, Laya, Jati, Aroh, Avaroh, Pakad, Vaggeyakar, Kalavant.

II. Theoretical Knowledge of the Prescribed Ragas-

 Alhaiya Bilabal  Yaman  Khamaj  Bhairav  Bhupali

III. Notation of Composition (Vilambit khayal/ Chhota khayal) in prescribed Ragas.

IV. Detailed Study of thePrescribed taal with thah and Dwigun ki layakari-  Teental  Choutaal  Dadra  Kaharwa

V. Detailed Study of Bhatkhande Swar-lipi and Tal- lipi system.

VI. Biography and Contribution of the following-  V D Paluskar  Pandit V N Bhatkhande  Pandit Shankar  Pandit Omkarnath Thakur

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-I PAPER-CC 1I PRACTICAL (Stage Performance)

Max Marks: 100

Credits: 8

1. Vilambit and Drut khayal with simple vistar, alap and taan in all the prescribed ragas. 2. Ability to recite the prescribed taal with taali and khali along with the dwigun layakari. 3. Swarmalika and Lakshangeet in all prescribed Ragas. 4. Presentation of one semi-classical/ Devotional /Rabindra sangeet or any light composition (non-film). 5. Ability to play basic alankar (suddha swara) in harmonium.

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-II PAPER-CC III

Theory of Indian Music

Max Marks- 80 Credits: 5

Definition of the following terms-

1. Gamak, Meend, Ashray raga, Parmel prabeshak raga, Sandhiprakash raga ,Ardhwadashak raga, gayak, nayak, Taan, Vakra swar, Varjit Swar, Grah, Ansh.

2. Theoretical Knowledge of the Prescribed Ragas-

 Brindavni Sarang  Durga  Bhimpalasi  Bageshree  Ashavari

3. Notation of Composition (Vilambit khayal/ Chhota khayal) in prescribed Ragas.

4. Detailed Study of thePrescribed taal with thah and Dwigun ki layakari-  Ektaal  Jhaptaal  Roopak  Sultaal

6. Time - Theory of Ragas.

7. Biography and Contribution of the following-  Pandit  Ustad Amir Khan  Ustad  Ustad Abdul Karim Khan

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-II PAPER-CC 1V PRACTICAL (Stage Performance) Max Marks: 100 Credits: 8

1. Vilambit and Drut khayal with simple vistar, alap and taan in all Prescribed Ragas. 2. Ability to recite the prescribed taal with taali and khali along with dwigun and chowgun ki layakari. 3. Identification of Ragas from the given phrases of notes. 4. Presentation of one semi-classical/ Devotional /Rabindra sangeet or any light composition (non-film). 5. Ability to play basic alankar (suddha and vikritswara) in harmonium.

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-III PAPER-CC V Theory of Indian Music

Max Marks- 80 Credits: 5

Definition of the following terms-

1. Gram, Murchhana, Nibaddha gaan, Anibaddha gaan, Prabandha, Ragalaap, Roopakalap, Alpatwa, Bahutwa, Margi sangit, Deshisangit, Murki, Khatka.

2. Theoretical Knowledge of the Prescribed Ragas-

 Malkouns  Kedar  Patdeep  Bhairavi  Desh

3. Notation of the compositionTheoretical Knowledge of the Prescribed Ragas-

4. Detailed Study of thePrescribedtaal with thah ,Dwigun,Tigunand Chougun ki layakari-

Deepchandi Jhumra Tilwada Dhamar

5. Detailed study and diagrammatical representation of Tanpura and Tabla.

6. Classification of Indian Musical Instruments.

7. Critical study of the mathematical calculation of 72 melas and 32 thaats advocated by Pt. Vyankatmakhi and and Pt. V N Bhatkhand.

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-III PAPER-CC VI PRACTICAL (Stage Performance) Max Marks: 100 Credits: 8

1. Vilambit and Drutkhayal with proper gayaki ,vistar, alap and taan in all Prescribed Ragas. 2. Ability to recite the prescribed taal with taali and khali along with dwigunTigun and chougun ki layakari. 3. Presentation of one semi-classical/ Devotional / or any light composition (non-film). 4. Ability to playprescribed Ragas in harmonium. 5. Ability to play and sing in Tanpura.

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-III PAPER-CC VII PRACTICAL (VIVA-VOCE)

Max Marks- 80 Credits: 4

1. Dhrupad and Dhamar in any of the Prescribed Ragas ( Sthayi and Antara) 2. Ability to identify the ragas from the given phrases of notes. 3. Ability to render Tarana in any of the prescribed ragas. 4. Ability to sing sugam sangeet based on any raga. 5. Ability to play and sing in Tanpura.

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-III PAPER-SEC-I (SKILL ENHANCEMENT COURSE) PROJECT & PRACTICAL

Max Marks – 50 Credit- 2

1. Understanding various parts of Tanpura & Tabla along with the technique of tunning it. 2. Ability to play thekas of the following talas- Darda, Kaharwa, Teental 3. Ability to sing and play five Basic Alankars in Harmonium. 4. Ability to singh suddha and Vikrit swara in Tanpua. 5. Power point presentation of the life and contribution of Indian Musicians.

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-IV PAPER-CC VIII Theory of Indian Music

Max Marks- 80 Credits: 5

I. History of Indian Music – Ancient Period, Medieval Period and Modern Period. II. Theoretical Knowledge of the Prescribed Ragas-

 Bahar  Hameer  Jounpuri  Shankara III. Notation of Composition (Vilambit khayal/ Chhota khayal) in prescribed Ragas.

IV. Detailed Study of thePrescribedtaal with Aad and kuaadkilayakari-

 Ada Coutaal  Pancham sawari  Shikher Taal  Matta Taal

V. Detailed study of the following granthas-  Natya Shashtra  Sangeet parijat  Brihhadeshi  Sangeet Ratnakar

VI. Detailed study of raga vargikaran.

VII. History of the following musical -  Gwalior  Kirana  Agra  Patiala

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-IV PAPER-CC IX PRACTICAL (Stage Performance) Max Marks: 100 Credits: 8

1. Vilambit and Drutkhayal with proper gayaki ,vistar, alap and taan in all Prescribed Ragas. 2. Ability to recite the prescribed taalwithdwigun ,tigun, aad and kuaadkilayakari. 3. Presentation of one Bhajan/ Geet/ Ghazal. 4. Ability to sing National Anthem, College anthem and Kulgeet of Kolhan University. 5. Ability to show and sing the difference between the similar ragas.

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-IV PAPER-CC X PRACTICAL (VIVA-VOCE)

Max Marks- 80 Credits: 4

1. Dhrupad and Dhamar in any of the Prescribed Ragas with dwigun ki laykari. 2. Ability to show Abirbhav and Tirobhav in prescribed ragas. 3. Ability to show Alpatwa and Bahutwa in prescribed ragas 4. Ability to sing and show the critical difference between similar ragas 5. Critical analysis and comparative study of prescribed ragas including previous year’s ragas.

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-IV PAPER-SEC-II (SKILL ENHANCEMENT COURSE)

PROJECT & PRACTICAL

Max Marks – 50 Credit- 2

1. Ability to change and tune the strings of Tanpua. 2. Ability to play raga based song (Film/ Non- Film) in Harmonium. 3. Ability to identify the raga of popular song. 4. Ability to sing raga based film / non film song. 5. Power point presentation of classification of Indian Instruments.

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-V PAPER-CC XI Theory of Indian Music

Max Marks: 80 Credits: 5

I. Theoretical knowledge of the prescribed Ragas-  Kamod  Chhayanat  Miyan ki Todi  Multani  Marwa  Bihag  Ramkali II. Notation of the composition (Vilambit & Chhota Khayal) in prescribed ragas. III. 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 IV. Knowledge of Carnatic Music-  Introduction of Carnatic swara  Definition of Padam, Kirtanam, Vernam, Javeli, Pallavi< Jatiswaram, Tillana V. Detailed study of the prescribed Tala with Aad ki laykari-  Ada choutal  Pancham savari  Rudra taal  Matt taal VI. Knowledge of various forms of Hindustani Music-  Dhrupad  Dhamar  Khayal  Thumri  Dadra  Tappa  Tarana  Chaiti

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-V PAPER-CC XII PRACTICAL (Stage Performance) Max Marks: 100 Credits: 8

1. Vilambit and Drut khayal with proper gayaki including alap, vistar and taan in all prescribed ragas.. 2. Ability to recite the prescribed tala with dwigun , tigun and in aad layakari. 3. One Thumri and one Dadra in Bhairavi, Pilu, Khamaj and Desh. 4. One folk song in any regional language. 5. Comparison between similar ragas.

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-V PAPER-DSE-I ELECTIVE: DISCIPLINE SPECIFIC HINDUSTANI VOCAL THEORY

Max. Marks: 75(65+15) Credit- 6

1. Basic Knowledge and abitity to write notation of the following Raags-  Yamana  Bhairavi  Bhupali

2. Basic Knowledge of string Instruments used in Hindustani Classical Music. 3. Time Theory of Raag. 4. Diagrammatical representation of Tanpura. 5. Ability to write notation of Thekas and Dwigun, Tiguna , Chougun Laykari of the following Talas-

 Teental  Jhaptal  Kaharwa 6. Biography of the following musicians-  Lata Mangeshkar  Ustad.  Ustad  Pandit Bhimsen Joshi

SEMESTER-V PAPER-DSE-I ELECTIVE: DISCIPLINE SPECIFIC HINDUSTANI VOCAL PRACTICAL Max.Marks- 25 Credit- 2

1. Ability to sing Drut khayal in Raag Yaman, Bhairavi and Bhupali. 2. Ability to play five simple Alankar in Harmonium. 3. Ability to Identify the Taal while being played in the class room. 4. Knowledge of five film songs based on the prescribed raag. SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-V PAPER-DSE-II ELECTIVE: DISCIPLINE SPECIFIC HINDUSTANI VOCAL THEORY

Max. Marks: 75(65+15) Credit- 6

1. Basic Knowledge and abitity to write notation of the following Raags-  Kafi  Bhairav  Bihag

2. Basic Knowledge of Ten Thaats and enlist names of two ragas pertaining to each one of them. 3. Detailed study of different in Khayal Gayki. 4. Ability to write notation of Thekas and Dwigun, Tiguna , Chougun Laykari of the following Talas-

 Ektaal  Choutaal  Dadra 5. Biography of the following Bollywood Music Directors-  Shankar Jaikishan  Madan Mohan  Noushad  Lakshmikant Pyarelal 6. Importance of Taal and its impact on the Raaga.

SEMESTER-V PAPER-DSE-II ELECTIVE: DISCIPLINE SPECIFIC HINDUSTANI VOCAL PRACTICAL Max.Marks- 25 Credit- 2

1. Ability to sing Drut khayal in Raag Kafi, Bhairav and Bihag. 2. Ability to play five kathin Alankar in Harmonium. 3. Ability to Identify the Raagawhile being played or sung in the class room. 4. Knowledge of five film songs based on the prescribed raag.

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-VI PAPER-CC XIII Theory of Indian Music

Max Marks: 80 Credits: 5

1. Theoretical knowledge of the prescribed Ragas-  Goud Malhar  Bageshree  Miyan Malhar  Puria Dhanashree  Darbari  Rageshree  Chandrakouns  Purvi 2. Notation of the composition (Vilambit & Chhota Khayal) in prescribed ragas. 3. A comparative study between the ragas of previous year and the prescribed ragas 4. Ability to write an Indian music composition in staff notation system 5. Detaailed study of shruti, gram and murchhana 6. Comparative study of Hindustani and carnatic music system 7. Placement of shudda and vikrit swara on 36”inches long string of veena as advocated by Pt. Shreenivas.

8. Writing essay in the following topic-  Aesthetic impact of seasons in music  Place of music in fine art  Influence of Muslim scholar in Indian music  Impact of Radio and television in music  Interrelation between folk and classical music  Healing and curative power of music

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-VI PAPER-CC XIV PRACTICAL (Stage Performance) Max Marks: 100 Credits: 8

1. Vilambit and Drut khayal with proper gayaki of half an hour including alap, vistar and taan in all prescribed ragas 2. Ability to recite the prescribed tala of Ist, 2nd & 3rd year with dwigun , tigun and aad layakari. 3. One Thumri and one Dadra in any raga 4. One folk song in any regional language of Jharkhand (Jhumur & Karma geet) 5. One chaturang in any raga 6. One Ragmala ..

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-VI PAPER-DSE-III ELECTIVE: DISCIPLINE SPECIFIC HINDUSTANI VOCAL THEORY

Max. Marks: 75(65+15) Credit- 6

1. Basic Knowledge and abitity to write notation of the following Raags-  Bageshree  Kedar  Durga

2. Forty Principles of Hindustani Classical Music. 3. Detailed study of Sandhi Prakash Raag. 4. Diagrammatical representation of Tabla. 5. Ability to write notation of Thekas and Dwigun, Tiguna , Chougun Laykari of the following Talas-

 Dhamar  Jhumra

6. Detailed study of different forms of Hindustani Classical Music .  Dhamar  Dhrupad  Tappa  Thumri  Kajri

SEMESTER-VI PAPER-DSE-III ELECTIVE: DISCIPLINE SPECIFIC HINDUSTANI VOCAL PRACTICAL Max.Marks- 25 Credit- 2

1. Ability to sing Drut khayal in Raag Bageshree,Kedar, Durga. 2. Ability to play five simple Alankar in Harmonium. 3. Ability to recite the theka of Dhamar and Jhumra with dwugun, tigun and chougun. 4. Ability to sing any simple Thumri / Kajri

SYLLABUS FOR B.A. (HONS.) MUSIC (HINDUSTANI VOCAL)

SEMESTER-VI PAPER-DSE-IV ELECTIVE: DISCIPLINE SPECIFIC HINDUSTANI VOCAL THEORY

Max. Marks: 75(65+15) Credit- 6

1. Writing essay on the following topics-  Classical Music and Folk Music  Music and Aesthetics  Psychology of Music  Spiritual aspect of Indian Music  Music Therapy  Indian Film Music 2. Biography of the following music scholars-  Amir Khusro  Gopal Nayak  Acharya Kailash Chandra Brihaspati  Pandit Ramashraya Jha Ramrang  Ustad Allauddin Khan

3. Detailed Study of the following granthas-  Brihaddeshi  Sangit Parijat  Bharat Bhasyam  Sangit Tatnakar

4. Detailed study of folk Music of .

SEMESTER-VI PAPER-DSE-IV ELECTIVE: DISCIPLINE SPECIFIC HINDUSTANI VOCAL PROJECT & VIVA Max.Marks- 25 Credit- 2

1. A colorful Project in any of the above topics in a typed format to be submitted in the Department. 2. Viva in the Project.

NEW COURSE CBCS GENERIC ELECTIVE

SYLLABUS OF B.A. (GE) MUSIC (VOCAL)

SEMESTER – II GE – II THEORY Theory of Indian Music

Full Marks- 75 Credits- 4

Definition of the following terms-

1. Ashray raga, Parmel prabeshak raga, Sandhiprakash raga, Ardhwadashak raga, gayak, nayak, Taan, Vakra swar, Varjit swar,

2. Theoretical Knowledge of the Prescribed Ragas-

 BrindavniSarang  Durga  Bhimpalasi

3. Notation of Composition (Chhotakhayal) in prescribed Ragas.

4. Detailed Study of thePrescribed taal with thah and Dwigunkilayakari-  Ektaal  Jhaptaal

5. Time - Theory of Ragas.

6. Biography and Contribution of the following-  PanditBhimsen Joshi  Ustad Amir Khan

NEW COURSE CBCS

GE – II PRACTICAL Stage Performance & Viva-voce

Full Marks- 25 Credits- 2

1. Chhotakhayal with simple vistar, alap and taan in any one of the prescribed raga.

2. Ability to recite the prescribed taalwith taali and khali along with dwigun and chowgun ki layakari. 3. Identification of Ragas from the given phrases of notes. 4. Presentation of one semi-classical/ Devotional song. 5. Ability to play basic alankar (suddha and vikrit swara) in harmonium. 6. Notation book to be submitted for Internal Assessment.

NEW COURSE CBCS

SEMESTER – IV GE – IV THEORY

Theory of Indian Music

Full Marks- 75 Credits- 4

VIII. History of Indian Music – Ancient Period, Medieval Period and Modern Period. IX. Theoretical Knowledge of the Prescribed Ragas-

 Bahar  Hameer  Jounpuri

X. Notation of the composition (Vilambitkhayal/ Chhotakhayal) in prescribed Ragas.

XI. Detailed Study of thePrescribed taal with Aadkilayakari-

 Teen taal  Jhaptaal

XII. Detailed study of the following granthas-  NatyaShashtra  Sangeetparijat

XIII. Detailed study of raga-raaginivargikaran.

XIV. History of the following musical gharanas-  Gwalior  Kirana  Agra  Patiala

NEW COURSE CBCS

GE- IV

PRACTICAL Stage Performance & Viva-voce

Full Marks- 25 Credits- 2

6. Vilambit and Drutkhayal with proper gayaki ,vistar, alap and taan in all Prescribed Ragas. 7. Ability to recite the prescribed taalwith dwigun ,tigun, aadkilayakari. 8. Presentation of one Bhajan/ Geet/ Ghazal. 9. Ability to sing National Anthem, College anthem and Kulgeet of Kolhan University. 10. Ability to show and sing the difference between the similar ragas. 11. Notation book to be submitted for Internal Assessment.