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)

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)

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)

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

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

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. Anciant History of Pkhawaj, Developement Of Pakhawaj. Unit-3 Different opinions (Mythological and other) about the origin of music. 11 hours The relation between folk music and classical music. VOCAL: One Dhrupad in Ragas Kafi or One Chatarang in Des INSTRUMENTAL: One Thumri in Bhairavi or One or Dhun in: Khamaj. Swaravistar, Alap, Tanas of different varieties in the prescribed ragas.

Unit-4 General Survey of the evolution and development music from Vedic period 11 hours to the present age with particular reference, to Shruti, Swara, Grama, Muchhana, Jati and Raga. Light Songs (Vocal & Instrumental) (a) Jana Gana Mana (b) Vande Mataram Short life sketch and contribution of the following musicians and musicologists , Amir Khusru, Tansen, Sadarang, Ustad Abdul Karim Khan, Ustad Faiyazkhan. 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. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 6) Vasant: Sangeet Visharad 7) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2)

Unit-1 Raga Samaya 12 hours Poorvang, Uttarang, Poorvangvadi,Uttarangvadi, Sandhiprakash Raga, Seasonal Raga.Varna Sthayi, Arohi, Avarohi, Sanchari, Alankars, Paltas, Kana Swara, Sparsh Swara Meend Vilom, Avilom, Ghaseet, Soot, Khatka, Murki, Krintan, Zamzama, Andolan, Gamak.

Unit-2 72 Melakartas (Thata) of Pt. Vyankatmakhi. 11 hours

Unit-3 32 Thatas of Hindustani Music. Corresponding names of the 12 notes & 11 hours 10 Thatas in Hindustani and Karanatic systems.

Unit-4 Tala, Matra, Khand, Sama, Khali, Bhari, Bol, Theka. Laya, Vilambit, Madhya, 11 hours Drut, Thaya, Dugun,Chaugun.

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. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Vasant: Sangeet Visharad 6) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2)

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 Compulsory-2: Study of Ragas II Credit 3 Semester 2 Hours 45 Vocal / Sitar / Violin To enhance knowledge of Ragas under practical study . OBJECTIVES To introduce comparative study of Ragas. To Knowledge of teaching method ( Guru shishya parampara and modern method)

Unit-1 Writing notation of Cheezas (Gat for inst. Music) and Talas as Prescribed. 11 hours Detailed theoretical study of the Ragas prescribed for the practical. Detailed knowledge of the Talas under practical study with Dugun and Chaugun. Study of Talas Dadra, Keharwa, Trital, Ektal, Jhaptal, Chautal, Roopak. Comparative study of teaching method (Guru shishya parampara and modern method): Introduction of Guru shishya Parampara teaching method. Introduction of modern style of teaching method. Comparative study of both teaching method. Unit-2 Comparative study of the Rags, Sam-Akrutic and Sam-Prakrutic Ragas 11 hours studied. Comparative study : Basic Introduction of both instruments.Compare of Technical aspects of instruments. Comparative study of Compositions of instruments. Unit-3 Swaravistar, Alap, Tana and its different varieties, in the Ragas of the 11 hours practical study Notation of alap and Bolalap Composition: Introduction of Raga with reference to Alap. Unit-4 Writing notation of Cheezas (Gats for inst. Music) and Talas as prescribed 12 hours Detail study of Riyaz:Technical terms of Riyaz. Ancient method of riyaz system.Modern riyaz system with electronic equipments. Principles of Riyaz.Comparative study of both style of Riyaz system.Pattern of Riyaz in each Gharana. 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) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Vasant: Sangeet Visharad 6) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2)

Unit-1 Detailed & intensive study of the following Rags 30 hours Bihag. with Alap, Swara – vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Practical knowledge in reference to theoretical aspects: Theoretical aspects of the Raga.Theoretical aspects in solo playing. Theoretical aspects of different bandishes. 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 Detailed & intensive study of the following Rags with Alap, Swara – vistar 40 hours Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Malkauns. Elementary knowledge of solo performance in Roopak; Vilambeet laya bandishes: with paltas ended with Tihai. Madhya laya bandishes: paltas ended with tihai. Drut laya bandishes: Unit-3 :- One Thumari / Bandish or Razakhani Gat in Raag Durga & Bhairavi 40 hours 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(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) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Vasant: Sangeet Visharad 6) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2)

Unit-1 One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani 30 hours Gat with Alap and Tana in – i) Bageshree Practical knowledge in reference to theoretical aspects: Theoretical aspects of Raga.Theoretical aspects in solo playing & singing. Theoretical aspects of Padhant.Theoretical aspects of different bandishes. 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 Unit II One more Chhota Khyal or Razakhani Gat, with Alap and Tana in 40 hours i) Bhimpalasi Elementary knowledge of solo performance Vilambeet laya bandishes: with paltas ended with Tihai. Madhya laya bandishes: with paltas ended with tihai. Drut laya bandishes: Unit-3 One Thumari / Bandish or Razakhani Gat in Raag Desh & Vrundavani 40 hours Sarang 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. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Vasant: Sangeet Visharad 6) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2)

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 II / Sitar II / Violin II Credit 4 Semester 2 Hours 60 To introduce basic concepts of Gharana. OBJECTIVES To help students to understand Laya in different form of music. Provide auto-biography of Musician & Musicologists.

Unit-1 Study of following Talas: 15 hours 1. Dadra 2. Keharava 3. Trital 4. Zaptal 5. Ektal 6. Chautal 7. Roopak Forms of composition in the modern age: Dhrupad,Dhamar (Hori), Khyal, Tarana, Trivat, Chaturang, Sadara, Swaramalika, Thumri, Tappa, Dadra. Unit-2 Voice Culture – Study of : 15 hours Alankars atleast ten alankaras in all Ragas of varying nature Sight singing or playing of written notations, and writing notations on listening. Musicologists of modern age – Pt. Bhatkhande, Pt. Paluskar, Acharya, Brahaspati, Pt. Omkarnath Thakur, Pt. Vinayakrao, Patwardhan, Pt. S. N. Ratanjankar, Unit-3 VOCAL: One Dhrupad in Ragas Bhairavi or One Chatarang in Kafi 15 hours INSTRUMENTAL: One Thumri in Khanmaj or One Thumari or Dhun in Kafi. Musicians of modern age – Pt. Ravishankar, Ustad Vilayatkhan, Ustad Ali Akbar Khan, Prof. V. G. Jog, Pt. Gajananrao Joshi, Ustad Ahmed Jan Thirakhwa, Ustad Amir Hussain Khan, Pt. Gyanprakash Ghosh Unit-4 Light Songs (Vocal & Instrumental) Six light Songs to include Bhajan, 15 hours Bhaktigeet, Garaba etc. (Gujarati, Hindi or Marathi). Forms of composition during the ancient period 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. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Vasant: Sangeet Visharad 6) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2)

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2019-20 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 2 Core Compulsory-1 : Theory I Principle of Music Credit 3 Semester 3 Section – I Applied Physics; Section – II Music. Hours 45 Vocal / Sitar / Violin To introduce basic definitions of Physical Phenomena of Sound OBJECTIVES To improve knowledge of student in Principles of Music To introduce Raga Classification

Unit-1 Production and propagation of sound. 12 hours Stationary Waves, Nodes and Antinodes. Transverse vibrations in string, Sonometer, Medes experiment, combination of tones, Phenomenon of beats, Vibrations of air. Columns. Mechanism of transmission-Wave motion. Longitudinal and transverse wave motion. Musical sound and noise. Pitch intensity and timbre. Unit-2 The determination of the velocity of sound 11 hours Speed of transmission of sound-Arages Experiment Elementary distinction between pitch and frequency of sound. Source and its relations with the velocity of sound. Siren Savarts wheel.

Unit-3 Detailed study of the time theory of Ragas 11 hours Its principles and relation to aesthetics, Raga-Samay Siddhant, Classification of Ragas according to the Gayan Samya, Ardhwadarshak Swara, Raga-Samaya Chakra.

Unit-4 Classification of Ragas: 11 hours a) Raga-Ragini b) Mela-Raga c) Ragang-Raga d) Shuddha-Chhayalage-Sankirna.

Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1) Pt.Harishchandra Shrivastav Raga Parichaya 2) Pt. Bhatkhande Sangit Shashtra 3) Lalit kishor Singh Dhwani aur Sangeet 4) Arvind Mohan Dhwani aur Kampan

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)Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5)Vasant: Sangeet Visharad 6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2)

Unit-1 Study of Natya Shastra 11 hours Pt. Bharatas Natyashastra with reference to the following. Chatushta Sarana Pramanshruti, Grama, Murchhana, Jatigana, Prabandha. Unit-2 Vagyeyakar 12 hours Merits & Demerits of Vagyeykar Gamakas Good points (Guna-Dosha) of a vocalist and instrumentalist Unit-3 Study of the Granthakaras 11 hours Medival period- Pt. Lochana, Pt. Ahobal, with reference to their Shruti- Swara arrangement. Length of Swaras on an open string. Mela-Ragas arrangement. Unit-4 Study of the Granthakaras 11 hours Shrimallakshasangitam by Pt. Bhatkhande Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1) Acharya Bharat Natyashashtra 2) Vasant Sangeet Visharad 3) Pt. Bhatkhande Sangit Shashtra 4) Pt Ahobal Sangeet Parijata 5) Pt lochan Ragatarangini

Unit-4 Detailed and intensive study of the following raga :- One Dhrupad only 20 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

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2019-20 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 2 Core Elective-2 : Practical Tradition and Composition of Ragas Credit 3 Semester 3 Vocal / Sitar / Violin Hours 75 (Practical-2 credit & Theory-1credit=3credit) 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 Gat 15 hours with Alap and Tana in – (i) Hansdhawni 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 20 hours (i) Jaunpuri 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 One Chhota Khyal or Razakhani Gat i) Hamir (ii) Keadr (iii) Patdeep 20 hours Basic knowledge of Pakhawaj Taals(Chautaal & Dhamar) Introduction of bandishes of above taals. Unit-4 Detailed and intensive study of the following raga :- One Dhamar only 20 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(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) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5) Vasant: Sangeet Visharad 6) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2)

Introduction of stage performance in reference to theoretical aspects Stage manners. Theoretical aspects in solo playing and Accompaniment. System of solo playing of different Gharana. Techniques of producing different bandishes. (Note: All theoretical aspects of this practical paper included in first unit) Unit-2 Solo Performance: 20 hours Candidate choice of any one taals from syllabus. Knowledge of sequence of solo,Nikas of Bandishes . Unit-3 Solo Performance: 20 hours a) Candidate choice of any one Raga from syllabus. b) Examiners choice of any one Raga from syllabus. Unit-4 Basic knowledge of Accompaniment with Instrumental and Vocal Music: 20 hours Basic Knowledge of accompaniment. 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. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5)Vasant: Sangeet Visharad 6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2)

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2019-20 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 2 Elective Open : Appreciation of Vocal / Sitar / Violin Credit 4 Semester 3 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 Detailed study of the Talas studied up till now with Thaya Dugaun and 11 hours Chaugun. Study of the following Talas – Tilwada, Dhamar, Deepehandi Meaning of varna. Development of varna. Technique of producing different varnas on tabla jointly and individually Unit-2 Detailed knowledge of the Talas under practical study with Dugun and 12 hours Chaugun. History of Pakhawaj Elementry knowledge of Pakhawaj. Anciant History of Pkhawaj. Developement Of Pakhawaj. Unit-3 Swaravistar, Alap, Tanas of different varieties in the prescribed ragas. 11 hours

Unit-4 Short life sketch and contribution of the following musicians and 11 hours musicologists – Amir Khusru, Tansen, Sadarang, Ustad Abdul Karim Khan, Ustad Faiyazkhan. REFERENCES 1) Pt.Girishchandra Shrivastav (2001) Taal-Kosh, 2) Pt.Girishchandra Shrivastav (1989) Taal Parichay(Part 1,2 & 3) 3) Pt. Bhatkhande Sangeet Shashtra

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2019-20 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 2 Core Compulsory-1 : Principle of Music Credit 3 Semester 4 Vocal / Sitar / Violin Hours 45 Section – I Applied Physics; Section – II Music. Provide basic knowledge of Harmony, Discord & Idea of Resonance, Resonators OBJECTIVES Provide knowledge of principles of old treatise To introduce prachin Alapgana

Unit-1 Harmony and Discord 12 hours Musical interval. Different Musical interval. Introduction to measurement of intervals by Cants Savarts. Major tone, Minore tone, Semi tone, Limma. Octave Major and Minor Diatonic Scales. Sharp and flat notes. Temperament in music. Equally tempered scales. History of Indian Musical Scales. Physical significance of Structure of human throat and ear. General principles of acoustics of buildings. Unit-2 Elementary ideas-resonance and resonators. 11 hours Organ pipes. Reed, Stationary Waves, Nodes andAntinodes. Transverse vibrations in string, Memberanes.. Kunts tube experiment, Chladinis figures, Mono Metric flame. Arithamatic relations of Sruties. Fundamental and overtones. Stroboscopic disc.

Unit-3 Principles of Raga according to the old treatises of Hindustani Music 11 hours Graha, Ansha, Nyas, Apanyasa Mandra, Tara, Alpatwa, Bahutwa, Shadavatwa, Audavatwa. Its relation with the modern system.

Unit-4 Prachin Alapgana 11 hours Ragalap, Roopakalap, Alapti, Akshiptika, Nibaddha, Anibaddha Gana, Avirbhava, Tirobhava.

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) Vasant: Sangeet Visharad 4) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2)

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2019-20 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 2 Core Compulsory-2: Study of Ragas Credit 3 Semester 4 Hours 45 Vocal / Sitar / Violin To enhance knowledge of Ragas under practical study . OBJECTIVES To introduce comparative study of Ragas. To Knowledge of teaching method ( Guru shishya parampara and modern method)

Unit-1 Detailed theoretical study of the Ragas prescribed for the practical. 11 hours Comparative study of teaching method (Guru shishya parampara and modern method): Introduction of Guru shishya Parampara teaching method. Introduction of modern style of teaching method. Comparative study of both teaching method.

Unit-2 Comparative study of the Rags, Sam-Akrutic and Sam-Prakrutic Ragas 11 hours studied. Comparative study : Basic Introduction of both instruments. Compare of Technical aspects of instruments. Comparative study of Compositions of instruments. Unit-3 Swaravistar, Alap, Tana and its different varieties, in the Ragas of the 11 hours practical study Notation of alap and Bolalap Composition: Introduction of Raga with reference to Alap. Unit-4 Writing notation of Cheezas (Gats for inst. Music) and Talas as prescribed 12 hours Detail study of Riyaz: Technical terms of Riyaz. Ancient method of riyaz system. Modern riyaz system with electronic equipments. Principles of Riyaz. Comparative study of both style of Riyaz system. Pattern of Riyaz in each Gharana. 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)Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5)Vasant: Sangeet Visharad

6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2)

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2019-20 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 2 Core Compulsory-3 : History of Music IV Credit 3 Semester 4 Vocal / Sitar / Violin Hours 45 To introduce history of Indian Classical Music . OBJECTIVES To introduce basic history. Auto-biography of exponents of Musician & Musicologist

Unit-1 Study of Pt. Sharangadevas Sangit Ratnakar with reference to the 12 hours following.Chatushta Sarana Pramanshruti, Grama, Murchhana, Jatigana, Prabandha. Introduction of history of origin of Indian Classical Music Definition of music. History of ancient to modern music

Unit-2 Vagyeyakar, Gamakas, bad points (Guna-Dosha) of a vocalist and 11 hours instrumentalist

Unit-3 Study of the Granthakaras of the medival period-Pt. Hridayanarayan deva 11 hours and Pt. Shrinivas with reference to their Shruti-Swara arrangement, length of Swaras on an open string. Mela-Ragas arrangement Unit-4 Study of contribution of Pt. Bhatkhande and Pt. Paluskar, to Hindustani 11 hours Music Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1) Acharya Bharat Natyashashtra 2) Sharangdev Sangeet Ratnakar 3) Pt. Bhatkhande Sangit Shashtra 4) Vasant Sangeet Visharad

Unit-1 Detailed & intensive study of the following Rags 15 hours Puriya Dhanashree with Alap, Swara – vistar Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Practical knowledge in reference to theoretical aspects: Theoretical aspects of the Raga. Theoretical aspects in solo playing. Theoretical aspects of different bandishes. 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 Detailed & intensive study of the following Rags with Alap, Swara – vistar 20 hours Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat. Ramkali Elementary knowledge of solo performance in Roopak; Vilambeet laya bandishes: with paltas ended with Tihai. Madhya laya bandishes: paltas ended with tihai. Drut laya bandishes: Unit-3 Detailed and intensive study of the following ragas with Tana, One more 20 hours Bada Khyal or Massethhani Gat, one more chhota Khyal or Razakhani Gat. (i)Shankara (ii) kamod (iii) Soahani Unit-4 Detailed and intensive study of the following raga :- One Dhrupad only 20 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(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)Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5)Vasant: Sangeet Visharad 6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2

Unit-1 One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani 15 hours Gat with Alap and Tana in – Jaijaivanti Practical knowledge in reference to theoretical aspects: Theoretical aspects of Raga. Theoretical aspects in solo playing & singing. Theoretical aspects of Padhant. Theoretical aspects of different bandishes. 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 Unit II One more Chhota Khyal or Razakhani Gat, with Alap and Tana in 20 hours Chhaya Nat Elementary knowledge of solo performance Vilambeet laya bandishes: with paltas ended with Tihai. Madhya laya bandishes: with paltas ended with tihai. Drut laya bandishes: Unit-3 One Chhota Khyal or Razakhani Gat 20 hours i) Basant (ii) Bahar (iii) Hindol i Introduction of bandishes of above Ragas.

Unit-4 Detailed and intensive study of the following raga :- One Dhamar only 20 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(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)Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5)Vasant: Sangeet Visharad 6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2

Unit-1 For stage performance any five ragas can be chosen from core elective I & 15 hours core elective II, being most popular and suitable for performance in vocal as well as instrumental music. The students will have to prepare at least 5 Ragas out of the prescribed Ragas for their own choice and the examiners choice. The total duration of the third paper will be 30mts. Introduction of stage performance in reference to theoretical aspects: Stage manners. Theoretical aspects in solo playing and singing. How to Padhant. System of solo playing of different Gharana. Techniques of producing different bandishes. (Note: All theoretical aspects of this practical paper included in first unit) Unit-2 Solo Performance: 20 hours Candidate choice of any one Raga from syllabus.

Unit-3 Solo Performance: 20 hours Examiners choice of any one Raga from syllabus.

Unit-4 Basic knowledge of Accompaniment with Instrumental and Vocal Music: 20 hours Basic Knowledge of accompaniment with Instrumental Music Basic Knowledge of accompaniment with Vocal Music 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)Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III 5)Vasant: Sangeet Visharad 6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2019-20 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 2 Elective Open : Appreciation of Vocal / Sitar / Violin Credit 4 Semester 4 Hours 60 To introduce basic concepts of Gharana of tabla and taals. OBJECTIVES To help students to understand Laya in different form of music. Provide auto-biography of modern times of tabla player

Unit-1 Detailed study of the Talas studied up till now with Thaya Dugaun and 15 hours Chaugun. Study of the following Talas – Tiwara, Panjabi, Dhumali Basic Introduction of Tabla Garana : Meaning of word gharana. Development of gharana.

Unit-2 Detailed knowledge of the Talas under practical study with Dugun and 15 hours Chaugun. Notation System; Elementry knowledge of notation system. Notation of following taals in single and double speed. a)Dadra b)Kaharva c)Roopak d)Teentaal Unit-3 Swaravistar, Alap, Tanas of different varieties in the prescribed ragas. 15 hours

Unit-4 Short life sketch and contribution of the following musicians and 15 hours musicologists – Gopal Nayak, Ustad Hassu-Haddu Khan, Ustad Allauddin Khan, Ustad Munir Khan. REFERENCES 1)Shri L.N Garg Humare Sangeet ratna 2)Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV 3)Vasant: Sangeet Visharad 4) Pt Girishchandra Srivastava Taal Parichaya

Unit-1 Concept of Shruti in Indian Music and ancient interpretations: 12 hours Detailed study of Shruti in Indian Music – Interpretation of Praman Shruti by Baharat Muni in Natya Shastra, and measurement of shruti. Unit-2 Study of Western Music scales: 11 hours

Study of Tempered & Natural scales.

Unit-3 Indian & Western Music scales & concept of Moorchhana System: 11 hours Introduction of scales in Indian & Western music. Moorchhana System & Contemporary Indian Music scales Unit-4 Staff Notation system: 11 hours Scales in Western Music. Staff Notation of Music. Writing of Swaramalika in staff notation Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1)Pt. Harishchandra Shrivastav Raga Parichaya 2)Pt. Bhatkhande Sangit Shashtra 3)Pt. L. N. Garg Sangeet Visharad 4)Sri S.C Paranjapee Sangeet Bodh 5)Prof L.K Singh Dhwani aur Sangeet

Unit-1 Study of the Ragas: 11 hours Detailed of the Ragas prescribed for the practical study. Unit-2 Comparative study of the Ragas 11 hours Comparative study of the Ragas studied up till now. Unit-3 Study of stages in Raga improvisation: 11 hours

Swaravistar, Alap Tanas with different varieties in the Ragas learnt up till now.

Unit-4 Writing notation: 12 hours Notation writing of Cheezes (Gats for Inst. Music) and Talas studied under practical course. Study of the following Talas with Dugun, Tigun and Chaugun – Trital, Ektal, Jhaptal, Chautal, Dhamar.

Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1) Pt. Harishchandra Shrivastav Raga Parichaya 2) Pt. Bhatkhande Kramik Pustak Malika 3) Pt. L. N. Garg Sangeet Visharad 4) Pt V.N Patwardhan Raag Vigyan

Unit-2 Introduction to Carnatic Music with reference to Taal: 12 hours The Tala system in Carnatic music – 7 main Talas and 5 Jatis of each. Conversion of North Indian Talas into Carnatic system. Unit-3 Detailed study of the forms of Musical compositions and history of the 11 hours principle Gharanas in Hindustani Music: Dhrupad Dhamar:- Characteristics of the form. Four Banis and Gharanas. The main exponents of Dhrupad.

Khyal:- Rising of the Khyal. Reasons of its popularity. Main characteristics of Khyal. History of the main Gharanas of Khyal with special characteristics of the respective Gharanas. Main contemporary exponents of Khyal. (Delhi, Agra, Gwalior, Kirana and Jaipur Gharanas). Unit-4 Introduction to Lighter varieties of compositions: 11 hours

Characteristics of folk songs in general with particular reference to Gujarati folk songs.

Regional varieties of folk songs i.e. Kajri, Chaiti, Zula, Lawani, Bhatiyali and their characteristics.

Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1) Pt. Harishchandra Shrivastav Raga Parichaya 2) Pt. Bhatkhande Sangit Shashtra 3) Shri S.C Paranjapee Bhartiya Sangeet Ka Itihaas 4) Shri S.C Paranjapee Sangeet Bodh 5)Prof V.C Deshpande Indian music tradition

Department of Music (Vocal & Instrumental) Academic Year 2020-21

Faculty of Performing Arts The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 3 Core Elective-1 : Intensive Practical Study of Ragas V Credit 5 Semester 5 Vocal / Sitar / Violin Hours 98 (Practical- 3 credit & Theory-2 credit= 5 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 24 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.Miyan Ki Malhar Theoretical aspects of Thata., Theoretical aspects in solo Singsngplaying. Theoretical 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 24 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 Darbari Kanhada 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 more Bada Khyal 25 hours or Massethhani Gat, one more Chhota Khyal or Razakhani Gat with Tana. (i) Adana (ii) Gaud Malhar (iii) Dhani Basic knowledge of Taals(Tevra & Sooltaal) Introduction of bandishes of above taals. Unit-4 One Dhurpad only Bandish or one Composition set to the Taal other then 25 hours 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(Mionor) 2.Written Examination :70% REFERENCES 1) Pt.Girishchandra Shrivastav Raga Parichaya 2) Pt. Bhatkhande Kramik Pustak Malika 3) Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 4) Pt V.N Patwardhan raag Vigyan 5) Dr B.R Deodhar Raag bodh 6) T.R Devangan Bela vigyan

Unit-1 One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani 24 hours Gat with Alap and Tana in –i) Puriya 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 24 hours i) Lalit 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 One Chhota Khyal or Razakhani Gat i) Shree (ii) Tilang (iii) Piloo 25 hours Basic knowledge of Pakhawaj Taals(Chautaal & Dhamar) Introduction of bandishes of above taals. Unit-4 One Dhamar only Bandish or one Composition set to the Taal other then 25 hours 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(Mionor) 2.Written Examination :70% REFERENCES 1) Pt.Girishchandra Shrivastav Raga Parichaya 2) Pt. Bhatkhande Sangit Shashtra 3) Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 4) Shri S.N Ratanjankar Abhinav Geet Manjari 5) Dr B. R Deodhar raag Bodh

Introduction of stage performance in reference to theoretical aspects Stage manners. Theoretical aspects in solo playing and Accompaniment. System of solo playing of different Gharana. Techniques of producing different bandishes. (Note: All theoretical aspects of this practical paper included in first unit) Unit-2 Solo Performance: 15 hours Candidate choice of any one taals from syllabus. Knowledge of sequence of solo, Nikas of Bandishes . Unit-3 Solo Performance: 15 hours a) Candidate choice of any one Raga from syllabus. b) Examiners choice of any one Raga from syllabus. Unit-4 Basic knowledge of Accompaniment with Instrumental and Vocal Music: 15 hours Basic Knowledge of accompaniment. Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Minor) 2.Written Examination :70% REFERENCES

Unit-1 Concept of Shruti in Indian Music and ancient interpretations: 12 hours Detailed study of Shruti in Indian Music – Interpretation of Praman Shruti by Pt. Sharang Dev Sangeet Ratnakar, and measurement of shruti.

Unit-2 Study of Western Music scales: 11 hours

Study of Diatonic and Chromatic scales.

Unit-3 Comparison of Indian and Western Music scales & Introduction 11 hours of Staff Notation. Comparative Study of Indian and Western Music scales. Introductory knowledge of staff-notation system

Unit-4 Two main Notation systems of North Indian Music: 11 hours The two main notation systems in North Indian Music, i.e. Pt. Bhatkhande and Pt. Paluskar system. Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1)Pt. Harishchandra Shrivastav Raga Parichaya 2)Pt. Bhatkhande Sangit Shashtra 3)Pt. L. N. Garg Sangeet Visharad 4)Sri S.C Paranjapee Sangeet Bodh 5)Prof L.K Singh Dhwani aur Sangeet

Unit-1 Study of the Ragas: 11 hours Detailed study of Ragas prescribed for practicals. Unit-2 Comparative study of the Ragas: 11 hours Comparative study of the Ragas studied up till now. Unit-3 Study of stages in Raga improvisation: 11 hours Swaravistar, Alap Tanas with different varieties in the Ragas learnt up till now.

Unit-4 Writing notation: 12 hours Notation writing of Cheezes (Gats for Inst. Music) and Talas studied under practical course. Study of the following Talas – Jhoomara, Adachoutal, Gajajhampa, Matta, Shikhar. Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1) Pt. Harishchandra Shrivastav Raga Parichaya 2) Pt. Bhatkhande Kramik Pustak Malika 3) Pt. L. N. Garg Sangeet Visharad 4) Pt V.N Patwardhan Raag Vigyan

Unit-2 Basic elements of Carnatic music performance and its history. 12 hours Introduction to composers and present exponents of Carnatic Music: i) The main points of the exposition, presentation and appreciation in Carnatic Music. Outline of the history of Karanatic Music. ii) The main composers and main contemporary exponents in Karanatic Music. Unit-3 Detailed study of the forms of Musical compositions and history of the 11 hours principle Gharanas in Hindustani Music: i) Thumri:- The history of the form. The main characteristics of thumri. Main styles of signing Thumri i.e. Banaras, Jaipur and Punjab. The main contemporary exponents of Thumri. ii) History and the characteristics of Tarana, Trivat, Tappa, Chaturang, Kawwali, Naat, Gazal, Maseetkhani Gat and Razakhani Gat. Unit-4 Introduction to Lighter varieties of compositions:- 11 hours i) Devotional songs:- Bhajan, Abhang, Kirtan, Aarti, etc. ii) Modern Songs:- Bhavageet, Ravindra Sangit, Gazals in Hindi, Marathi, Gujarati Lyrics. Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1) Pt. Harishchandra Shrivastav Raga Parichaya 2) Pt. Bhatkhande Sangit Shashtra 3) Shri S.C Paranjapee Bhartiya Sangeet Ka Itihaas 4) Shri S.C Paranjapee Sangeet Bodh 5)Prof V.C Deshpande Indian music tradition

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2020-21 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 3 Core Elective-1 : Intensive Practical Study of Ragas VI Credit 5 Semester 6 Vocal / Sitar / Violin Hours 98 (Practical- 3 credit & Theory-2 credit= 5 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 25 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. Rageshree 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 24 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. Todi 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 more Bada Khyal 25 hours or Massethhani Gat, one more Chhota Khyal or Razakhani Gat with Tana. (i)Tilak Kamod (ii) Bhinna Shadaj Basic knowledge of Taals(Tevra & Sooltaal)Introduction of bandishes of above taals. Unit-4 One Dhrupad only Bandish or one Composition set to the Taal other then 24 hours 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

Unit-1 One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani 15 hours Gat with Alap and Tana in –(i) Multani 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 20 hours Madhuwanti 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 One Chhota Khyal or Razakhani Gat i) Madhu kouns ii) Chandra kouns iii) 20 hours Paraj Basic knowledge of Pakhawaj Taals(Chautaal & Dhamar) Introduction of bandishes of above taals. Unit-4 One Dhamar only Bandish or one Composition set to the Taal other then 20 hours 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(Mionor) 2.Written Examination :70% REFERENCES 1. Pt.Girishchandra Shrivastav Raga Parichaya 2. Pt. Bhatkhande Sangit Shashtra 3. Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 4. Shri S.N Ratanjankar Abhinav Geet Manjari 5. Dr B. R Deodhar raag Bodh

Introduction of stage performance in reference to theoretical aspects Stage manners. Theoretical aspects in solo playing and Accompaniment. System of solo playing of different Gharana. Techniques of producing different bandishes. (Note: All theoretical aspects of this practical paper included in first unit) Unit-2 Solo Performance: 15 hours Candidate choice of any one taals from syllabus. Knowledge of sequence of solo, Nikas of Bandishes. Unit-3 Solo Performance: 15 hours a) Candidate choice of any one Raga from syllabus. b) Examiners choice of any one Raga from syllabus. Unit-4 Basic knowledge of Accompaniment with Instrumental and Vocal Music: 15 hours Basic Knowledge of accompaniment. Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Minor) 2.Written Examination :70% REFERENCES