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Vocal & Instrumental Implementation of Choice Based Credit System Department of Music (Vocal & Instrumental) Faculty of Performing Arts The M. S. University of Baroda (Appendix – A) A general framework for Bachelor’s Program shall as follows. Level Semester – Wise credits Total Credits 1 2 3 4 5 6 Bachelor’s program 24 24 24 24 24 24 144 The credit framework for the Core course, Elective course and the foundation course for a semester shall be as follows. Course Credit Lecture % Marks Practicle Core Compulsory TheoryPrinciples of Music I 03 03 + 00 30%+70% Core Compulsory Theory II Study of Ragas I I 03 03 + 00 30%+70% Core Compulsory Practical IIntensive Practical study of 06 03 + 06 30%+70% Ragas I Core Compulsory Practical IIPractical Tradition and 06 03 + 06 30%+70% composition of Ragas I I Elective Open General History of Music I 04 04 + 00 30%+70% (Vocal/Sitar/Violin)/Tabla/Dance/Drama) Foundation Compulsory English I (SEM I, III, V) 02 02 + 00 30%+70% Foundation Elective Cultural Heritage of India /Applied 30%+70% 02 Physics / Psychology/Indian Aesthetics/Western Aesthetics I 02 + 00 (SEM II, IV, VI) 1 Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2018-19 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 1 Core Compulsory-1 : Theory I Principle of Music I Credit 3 Semester 1 Vocal / Sitar / Violin Hours 45 To improve knowledge of student in Principles of Music OBJECTIVES To study Shruti - Swar & essential of Ragas. To introduce Musical compositions. Unit-1 Musical Sound and Noise: 12 hours Naad, Ahat and Anahat Naad, Pitch, Intensity, Timbre, Unmusical Sound, Noise. Musical Notes:- Naad, Shruti, Swara, Shuddha and Vikrut Swaras, Saptak, Sthana, (Mandra, Madhya,Tara) Unit-2 Shruti & Swar: 11 hours 22 Srutis, The present Sruti-Swara arrangement, 12 notes in a Saptak, Thata, Mela, 10 Thatas of Pt. Bhatkhande system, Ashraya Raag. Unit-3 Essentials of Raag: 11 hours Vadi, Samvadi, Anuvadi, Vivadi, Jati, Varjya Swara, Vakra Swara Aroha Avaroha, Pakad. Unit-4 Musical compositions: 11 hours Sargamgeet, Laxangeet, Cheeza, Khyal (Bada Khyal, Chhotakkhyal), Gat (Massetkhani, Razakhani, Sthayi, Antara, Sanchari, Abhog. Tala, Matra, Khand, Sama, Khali, Bhari, Bol, Theka. Assessment: 1.Continuous Assessment :30% One class test(Theory) One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Vasant: Sangeet Visharad 5) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 2 Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2018-19 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 1 Core Compulsory-2 : Theory II Study of Ragas I Credit 3 Semester 1 Vocal / Sitar / Violin Hours 45 To introduce basic technique for improving knowledge as per theoretical and OBJECTIVES practical aspects of the Ragas Prescribed Provide knowledge to become a good performer To introduce minute aspects of Gharanas Unit-1 Study of the Ragas 11 hours Detailed theoretical study of the Ragas prescribed for the practical study. Unit-2 Comparative study of the Ragas 11 hours Sam-Akrutic Ragas prescribed for Practical study. Sam-Prakrutic Ragas prescribed for Practical study. Unit-3 Alap 11 hours Swaravistar, Alap, Tana and its different varieties, in the Ragas of the practical study. Unit-4 Writing notation 12 hours Writing notation of Cheezas (Gats for instrumental Music) Writing notation of Talas as prescribed. Assessment: 1.Continuous Assessment :30% One class test(Theory) One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Vasant: Sangeet Visharad 5) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 3 Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year2018-19 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 1 Core Elective-1 : Intensive Practical Study of Ragas Credit 6 Semester 1 Vocal I / Sitar I / Violin I Hours 150 (Practical-3 credit & Theory-3 credit=6 credit) To introduce Theoretical aspects of Ragas and bandishes. OBJECTIVES Provide knowledge of introductory solo playing & Singing. Provide knowledge of Padhant and basic concepts of Riyaz. Unit-1 Detailed study of the following Raga 30 hours Detailed study of the following Rags with Alap, Swara – vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Yaman Theoretical aspects of Thata., Theoretical aspects in solo Singsngplaying. The oretical aspects of Padhant. ,Theoretical aspects of different Bandishes / Gatas. Theoretical aspects of playing & singing style of different Gharana. Theoretical Techniques of Riyaz. Unit-2 Intensive study of the following Raga 40 hours Intensive study of the following Rags with Alap, Swara – vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Bhairav Elementary knowledge of solo performance. Vilambeet laya bandishes: Different Tanas with Tihai. b)Two advance Bandish / Gatas with palatas ended with tihai. Madhya laya bandishes / Gatas Unit-3 Detailed and intensive study of the following raga:- One Thumari / 40 hours Bandish or Razakhani Gat in Raag KHAMAJ Basic knowledge of Taals(Tevra & Sooltaal) Introduction of bandishes of above taals. Unit-4 Detailed and intensive study of the following raga :- One Dhrupad only 40 hours Bandish or one Composition set to the Taal other then Teentaal or Razakhani gat from prescribed ragas of paper. Elementary study of padhant of Roopak,Dadra,Teentaal in Single,Double, Tigun & Chaugun. Padhant of Bandishes.a)Vilambeet lay b)Madhya lay c)Drut lay Assessment: 1.Continuous Assessment :30% One class test(Theory) One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Vasant: Sangeet Visharad 5) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 4 Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year2018-19 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 1 Core Elective-2 : Practical Tradition and Composition of Ragas Credit 6 Semester 1 Vocal I / Sitar I / Violin I Hours 150 (Practical-3credit & Theory-3 credit=6 credit) To introduce Theoretical aspects of tradition and bandishes. OBJECTIVES Provide knowledge of introductory solo playing & singing. Provide knowledge of Padhant and basic concepts of Riyaz. Unit-1 One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani 30 hours Gat with Alap and Tana in –i) Bhupali Practical knowledge in reference to theoretical aspects Theoretical aspects of Ragas. Theoretical aspects in solo playing & singing. Theoretical aspects of Padhant. Theoretical aspects of different Bandishes / Gatas. Theoretical aspects of playing style of different Gharana. Theoritical Techniques of Riyaz. (Note: All theoretical aspects of this practical paper included in first unit) Unit-2 One more Chhota Khyal or Razakhani Gat, with Alap and Tana in 40 hours i)Vibhas ii) Alhaiya Bilaval Elementary knowledge of solo performance in Zaptaal Vilambeet laya bandishes with paltas ended with Tihai. Madhya laya bandishes with paltas ended with tihai. Drut laya bandishes: Unit-3 Detailed and intensive study of the following raga:- One Thumari / 40 hours Bandish or Razakhani Gat in Raag Kafi Basic knowledge of Taals(Tevra & Sooltaal) Introduction of bandishes of above taals. Unit-4 Detailed and intensive study of the following raga :- One Dhamar only 40 hours Bandish or one Composition set to the Taal other then Teentaal or Razakhani gat from prescribed ragas of paper. Elementary study of padhant of Roopak,Dadra,Teentaal in Single,Double, Tigun & Chaugun. Padhant of Bandishes.a)Vilambeet lay b)Madhya lay c)Drut lay Assessment: 1.Continuous Assessment :30% One class test(Theory) One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV 2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV 4) Pt. Vinayakrao Patwardhan: Rag Vigyaan Part I to V 5) Vasant: Sangeet Visharad 6) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 7) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2) 8) Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 5 Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year2018-19 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 1 Elective Open : Appreciation of Vocal I / Sitar I / Violin I Credit 4 Semester 1 Hours 60 To introduce basic concepts basic varna and taals. OBJECTIVES To help students understand the relationship between table and other field of music. Provide auto-biography of modern times of vocalist/sitar/violin & tabla player. Unit-1 Music (Sangeet) – Definition, interrelation between Gayan, Vadan and 11 hours Nartan. Playing Trital on Tabla: Detailed study of the Talas studied up till now with Thaya Dugaun and Chaugun.Study of the following Talas – Tilwada, Dhamar, Deepchandi. Meaning of varna, Development of varna, Technique of producing different varnas on tabla jointly and individually Unit-2 The two systems of Indian music (Hindustani and Karanatic) and their main 12 hours characteristics. Voice Culture – Study of: (1) Sargam Exercises (2) Sargam Patterns to study rhythms (3) Scale exercises. Detailed knowledge of the Talas under practical study with Dugun and Chaugun., History of Pakhawaj, Elementry knowledge of Pakhawaj.
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