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ze"* {{i-afrarFT 2J.\,-- 3i€{ €tfir6 rt-{ ffia6q s;r1r ( €.q. ) Deparlment oillusrc Doctor Harisingh Cour Vishwavidvalaya Sagar (M.p.) tqiil-q ffiari1q/ACenual Uni vers j ty) Syllabus for entrance examination for admission in M. A. Hindr"rstani N{usic Hindustari Music (Vocal) Sangeet. Shruti, S\1'ara, Saprak, La!a. Rdga. Varna, Riga ki Jari_ Audav Shada\, - Sampurar, \aad - Ndd kj Jari - Tarta. Tivrara, Gun. Aroha. Avroha. Pakad Mela (That), Ashray Rnga. Rdga- Lakshana, Alankar. Gamak. Vadi- Sam'.-'idi- Anuvadi_Vivndi. Vakra Swara, Varlrr, Swara, Khyi1, Dhrupad, Dhamar, Tarana, Thumri, Dddra- Tappa, ChatiLruns, AIap, Jor- Aiap. Taal \r,iah types atd detajls. Meend. SooL, Gamak. Murki, Kan, Kharka, Avirbhav. Ti.obha\,. Carak Ke cun Avagun, Margi Desi, Nibaddha- Aribaddha, prabandha, Kaku, Orchesrra (Vadyavrind), .l Opera (6eet Natva), Chorus (Vdndgana), Equall_v empered Scale llano:ry. MeJody. Biographies & contributiols of the follol,ing_ At]rir- Khusro, Srvani ]laridas. Tansen, L-aiyaz 'foirlar. Khal, Ameer Khan. llansirgl Pr. BiaakhaDdc. pt, V. D. paluskar, Classificaliot of Musical Instruments wiih Basic knorvledge of Inclian instruntents Bharkhande ).Ioration S),stem, TAlas Noratlon & layakaries. History oflvlusic and Gharana system Conparative study ofmusical scale ofHindustani and Karnataka paddhaij: Riea-Alhaiya Biiawal, Kafi, Bhairav, yanan, Jaunpuri, Khairaj. Bihag. \,laikauls.VrindavaniSarnang,Bageshree,.Hrupali, puriya Dhanashri Todi, Kedar, Bhimpalasi, Des, Gaud Sarang and Bahdr R6gas Tala - Teelral- Dadra, !kfi1. Jhaptil. Chaurdl, )harndr, Tir.vra. Roopak Tilri'ara ard sooit6l . General haroduction ofGranrhasj- ].lat!a Sltashtra. Sal]geet Ratnakar. History ofevolutior atd developn.lent ofTabla. pa s ofTabla, r "e4t i,\rnt P*'--" q+ifrr{.,r 1-> gitr{Ei}k6'f{ ffiq-ercq e;rr ( c.e. ) /'r@ Depanment of Music Doctor l-larisingh Gour Vishwavidyalaya Sagar (M.P.) Fi-q1-{ Mda|drq/,{C rttai Un i versiry) Kirds of Laya:-Vilambi1, N4adhya, Drut Laya. Layakaries- Adi, Kuadi and Biyadi Definition :- Tala, Mata, Sa[r , Tali, Khali and Vibhag. Gat ka]'da, Tripalli, Ciroupalli ,Nawhakka, 1lhaies, Kaydas, Paltas, Tukdas and Mukhda Rela, Chakkardar, Gat, Ladi, Laggi and Rorv, Uthan, Peshkar, Kamali and Famaishi, Baaj,/Gharana Intfoductiolr of follorving Taal:-Teentaal and Ektaal, Rupak, Matta Taal, Shikhar Taal, Gaj Jhaurpa, Rupak, kaharwa, Jhaptaal ,Dadra, R:rdra, Gajjharnpa, Adacha:1aal. Jl':oomra faal. ir Choutai Sooltal and Til\\.ada. Pancham Sar.r'ari General Infoduc:iol oi 10 Prans of faal, Ciassification of InstunentsAwanaddha Vadya, Tantra Vadya. Giar Vadya. Shushir Vadya q-2', 9l'r'z' d+ :.#rr* Page 2 af 2.

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1 Syllabus for MA (Previous) Hindustani Music Vocal/Instrumental
Syllabus for M.A. (Previous) Hindustani Music Vocal/Instrumental (Sitar, Sarod, Guitar, Violin, Santoor) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical and Theoretical Study of Ragas 70 Marks A. Historical Study of the following Ragas from the period of Sangeet Ratnakar onwards to modern times i) Gaul/Gaud iv) Kanhada ii) Bhairav v) Malhar iii) Bilawal vi) Todi B. Development of Raga Classification system in Ancient, Medieval and Modern times. C. Study of the following Ragangas in the modern context:- Sarang, Malhar, Kanhada, Bhairav, Bilawal, Kalyan, Todi. D. Detailed and comparative study of the Ragas prescribed in Appendix – I Internal Assessment 30 marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Music of the Asian Continent 70 Marks A. Study of the Music of the following - China, Arabia, Persia, South East Asia, with special reference to: i) Origin, development and historical background of Music ii) Musical scales iii) Important Musical Instruments B. A comparative study of the music systems mentioned above with Indian Music. Internal Assessment 30 marks Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of half an hour’s duration before an audience in Ragas selected from the list of Ragas prescribed in Appendix – I Candidate may plan his/her performance in the following manner:- Classical Vocal Music i) Khyal - Bada & chota Khyal with elaborations for Vocal Music. Tarana is optional. Classical Instrumental Music ii) Alap, Jor, Jhala, Masitkhani and Razakhani Gat with eleaborations Semi Classical Music iii) A short piece of classical music /Thumri / Bhajan/ Dhun /a gat in a tala other than teentaal may also be presented.
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Towards Automatic Audio Segmentation of Indian Carnatic Music
Friedrich-Alexander-Universität Erlangen-Nurnberg¨ Master Thesis Towards Automatic Audio Segmentation of Indian Carnatic Music submitted by Venkatesh Kulkarni submitted July 29, 2014 Supervisor / Advisor Dr. Balaji Thoshkahna Prof. Dr. Meinard Muller¨ Reviewers Prof. Dr. Meinard Muller¨ International Audio Laboratories Erlangen A Joint Institution of the Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU) and Fraunhofer Institute for Integrated Circuits IIS ERKLARUNG¨ Erklärung Hiermit versichere ich an Eides statt, dass ich die vorliegende Arbeit selbstständig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus anderen Quellen oder indirekt ubernommenen¨ Daten und Konzepte sind unter Angabe der Quelle gekennzeichnet. Die Arbeit wurde bisher weder im In- noch im Ausland in gleicher oder ähnlicher Form in einem Verfahren zur Erlangung eines akademischen Grades vorgelegt. Erlangen, July 29, 2014 Venkatesh Kulkarni i Master Thesis, Venkatesh Kulkarni ACKNOWLEDGEMENTS Acknowledgements I would like to express my gratitude to my supervisor, Dr. Balaji Thoshkahna, whose expertise, understanding and patience added considerably to my learning experience. I appreciate his vast knowledge and skill in many areas (e.g., signal processing, Carnatic music, ethics and interaction with participants).He provided me with direction, technical support and became more of a friend, than a supervisor. A very special thanks goes out to my Prof. Dr. Meinard Müller,without whose motivation and encouragement, I would not have considered a graduate career in music signal analysis research. Prof. Dr. Meinard Mülleris the one professor/teacher who truly made a difference in my life. He was always there to give his valuable and inspiring ideas during my thesis which motivated me to think like a researcher.
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Note Staff Symbol Carnatic Name Hindustani Name Chakra Sa C
The Indian Scale & Comparison with Western Staff Notations: The vowel 'a' is pronounced as 'a' in 'father', the vowel 'i' as 'ee' in 'feet', in the Sa-Ri-Ga Scale In this scale, a high note (swara) will be indicated by a dot over it and a note in the lower octave will be indicated by a dot under it. Hindustani Chakra Note Staff Symbol Carnatic Name Name MulAadhar Sa C - Natural Shadaj Shadaj (Base of spine) Shuddha Swadhishthan ri D - flat Komal ri Rishabh (Genitals) Chatushruti Ri D - Natural Shudhh Ri Rishabh Sadharana Manipur ga E - Flat Komal ga Gandhara (Navel & Solar Antara Plexus) Ga E - Natural Shudhh Ga Gandhara Shudhh Shudhh Anahat Ma F - Natural Madhyam Madhyam (Heart) Tivra ma F - Sharp Prati Madhyam Madhyam Vishudhh Pa G - Natural Panchama Panchama (Throat) Shuddha Ajna dha A - Flat Komal Dhaivat Dhaivata (Third eye) Chatushruti Shudhh Dha A - Natural Dhaivata Dhaivat ni B - Flat Kaisiki Nishada Komal Nishad Sahsaar Ni B - Natural Kakali Nishada Shudhh Nishad (Crown of head) Så C - Natural Shadaja Shadaj Property of www.SarodSitar.com Copyright © 2010 Not to be copied or shared without permission. Short description of Few Popular Raags :: Sanskrut (Sanskrit) pronunciation is Raag and NOT Raga (Alphabetical) Aroha Timing Name of Raag (Karnataki Details Avroha Resemblance) Mood Vadi, Samvadi (Main Swaras) It is a old raag obtained by the combination of two raags, Ahiri Sa ri Ga Ma Pa Ga Ma Dha ni Så Ahir Bhairav Morning & Bhairav. It belongs to the Bhairav Thaat. Its first part (poorvang) has the Bhairav ang and the second part has kafi or Så ni Dha Pa Ma Ga ri Sa (Chakravaka) serious, devotional harpriya ang.
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A Novel Hybrid Approach for Retrieval of the Music Information
International Journal of Applied Engineering Research ISSN 0973-4562 Volume 12, Number 24 (2017) pp. 15011-15017 © Research India Publications. http://www.ripublication.com A Novel Hybrid Approach for Retrieval of the Music Information Varsha N. Degaonkar Research Scholar, Department of Electronics and Telecommunication, JSPM’s Rajarshi Shahu College of Engineering, Pune, Savitribai Phule Pune University, Maharashtra, India. Orcid Id: 0000-0002-7048-1626 Anju V. Kulkarni Professor, Department of Electronics and Telecommunication, Dr. D. Y. Patil Institute of Technology, Pimpri, Pune, Savitribai Phule Pune University, Maharashtra, India. Orcid Id: 0000-0002-3160-0450 Abstract like automatic music annotation, music analysis, music synthesis, etc. The performance of existing search engines for retrieval of images is facing challenges resulting in inappropriate noisy Most of the existing human computation systems operate data rather than accurate information searched for. The reason without any machine contribution. With the domain for this being data retrieval methodology is mostly based on knowledge, human computation can give best results if information in text form input by the user. In certain areas, machines are taken in a loop. In recent years, use of smart human computation can give better results than machines. In mobile devices is increased; there is a huge amount of the proposed work, two approaches are presented. In the first multimedia data generated and uploaded to the web every day. approach, Unassisted and Assisted Crowd Sourcing This data, such as music, field sounds, broadcast news, and techniques are implemented to extract attributes for the television shows, contain sounds from a wide variety of classical music, by involving users (players) in the activity.
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Fusion Without Confusion Raga Basics Indian
Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap".
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Master of Performing Arts (Vocal & Instrumental)
MASTER OF PERFORMING ARTS (VOCAL & INSTRUMENTAL) I SEMESTER Course - 101 (Applied Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To critically appreciate a music concert. 2. To understand and compare the ragas and talas prescribed for practical’s. 3. To write compositions in the prescribed notation system. 4. To introduce students to staff notation. Course Content:- I. Theoretical study of Ragas and Talas prescribed for practical and their comparative study wherever possible. II. Reading and writing of Notations of compositions Alap, Taan etc. in the Ragas and Talas with prescribed Laykraries. III. Elementary Knowledge of Staff Notation. IV. Critical appreciation of Music concert. Bibliographies:- a. Dr. Bahulkar, S. Kalashastra Visharad (Vol. 1 - 4 ). Mumbai:: Sanskar Prakashan. b. Dr. Sharma, M. Music India. A. B. H. Publishing Hoouse. c. Dr. Vasant. Sangeet Visharad. Hatras:: Sangeet Karyalaya. d. Rajopadhyay, V. Sangeet Shastra. Akhil Bhartiya Gandharva Vidhyalaya e. Rathod, B. Thumri. Jaipur:: University Book House Pvt. Ltd. f. Shivpuji, G. Lay Shastra. Bhopal: Madhya Pradesh Hindi Granth. Course - 102 (General Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To study Aesthetics in Music. 2. To appreciate the aesthetic aspects of different forms of music. Course Content:- I. Definition of Aesthetics and its Application in Music. II. Aesthetical principles of Different Haran’s. III. Aesthetical aspects of different forms of Music. a. Dhrupad, Dhamar, Khayal, Thumri, Tappa etc. IV. Merits and demerits of vocalist. Bibliographies:- a. Bosanquet, B. (2001). The concept of Aesthetics. New Delhi: Sethi Publishing Company. b. Dr. Bahulkar, S. Kalashastra Visharad (Vol.
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Kothari International School Annual Academic Plan Subject-Hmv Grade-12 Session-2020-21 Weightage –Theory0-30 Marks
KOTHARI INTERNATIONAL SCHOOL ANNUAL ACADEMIC PLAN SUBJECT-HMV GRADE-12 SESSION-2020-21 WEIGHTAGE –THEORY0-30 MARKS /PRACTICAL-70 MARKS MONTH TOPIC SUB TOPICS BLOCK PERIODS MARCH THEORY- TO UNDERSTAND SHORT NOTES - THE MEANING & ALANKARA,VARNA,KA USE OF THESE 8.5 BLOCKS N,MEEND,KHATKA NOTES IN SINGING. APRIL RAGA BAGESHRI HOW TO SING SHORT NOTES- RAGA BAGESHRI 6 BLOCKS MURKI ,GAMAK WITH DRUTH LAYA ` TALA-DHAMAR RENDERING OF TAL BY HAND BEATS MAY LIFE SKETCH TO WRITE LIFE SANGEET PARIJAT SKETCH OF ABDUL DEFINITIONS- SADRA, KARIM KHAN & FAIYAJ 4.5 BLOCKS DADRA KHAN GRAM ,MURCHHANA ENABLE STUDENTS TO ,ALAP ,TANA APPLY THESE TERMS RAGA MALKOSH WHILE SINGING DRUT KHAYAL. TALA –JHAP TALA & TO STUDY RUPAK &UNDERSTAND TEEN 4.5 BLOCKS TAAL JULY TIME THEORY TO OF RAGA UNDERSTAND TALA-TILWADA THE VALUE OF THAH AND TIME IN RAGAS DUGUN TILWADA ON HAND BEATS SHORT HOW TO SING NOTE,VILAMBIT VILAMBIT 6 BLOCKS KHAYAL RAGA KHAHYALWITH BHAIRAV SIMPLE ELABORATIONS TALA DHAAMAR TO ENABLE STUDENTS HOW 6.5 BLOCKS LIFE SKETCH TO WRITE BADE NOTATION GULAMALI KHAN & TALA- KRISHNARAO DUGUN & THAH SHANKAR PANDIT AUGUST SHUDDHA AND TO UNDERSTAND VIKRIT SWARAS ABOUT SWARAS 6.5 BLOCKS RAGA BHAIRAV TO DEVELOP FOLK SONG PRACTICE OF BOOK -SANGEET SINGING RAGA RATNAKAR AND LIGHT MUSIC BRIEF STUDY OF BOOK. DHRUTH KHAYAL WITH ELLABORTATIONS 6.5 BLOCKS OF ALLAP,TAAN SEPTEMBER TO DEVELOP SHORT NOTES – KHAYAL 6 BLOCKS ALAP,TANA,SADRA,DADRA, SINGING STYLE GRAM,MURCHANA TALA TILWADA TO KNOW HOW VARIOUS PARTS OF TO SING DADRA 6 BLOCKS TANPURA TALA JHAPTAL,DHAMAR THAH ,DUGUN AND EKTAL CHAWGUNLAYA PRE – BOARD EXAMS OCTOBER PRE – BOARD EXAM 1 NOVEMBER PRE – BOARD EXAM 2 DECEMBER PRE – BOARD EXAM 3 .
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HINDUSTANI MUSIC (Vocal)
H$moS> Z§. Code No. 33 /C amob Z§. narjmWu H$moS >H$mo CÎma-nwpñVH$m Ho$ _wI-n¥ð Roll No. >na Adí` {bIo§ & Candidates must write the Code on the title page of the answer-book. ZmoQ> NOTE (I) H¥$n`m Om±M H$a b| {H$ Bg àíZ-nÌ _o§ _w{ÐV (I) Please check that this question n¥ð> 7 h¢ & paper contains 7 printed pages. (II) àíZ-nÌ _| Xm{hZo hmW H$s Amoa {XE JE H$moS (II) Code number given on the right >Zå~a H$mo N>mÌ CÎma-nwpñVH$m Ho$ _wI-n¥ð> na hand side of the question paper {bI| & should be written on the title page of the answer-book by the candidate. (III) H¥$n`m Om±M H$a b| {H$ Bg àíZ-nÌ _| (III) Please check that this question >5 àíZ h¢ & paper contains 5 questions. (IV) H¥$n`m àíZ H$m CÎma {bIZm ewê$ H$aZo go (IV) Please write down the Serial nhbo, CÎma-nwpñVH$m _| àíZ H$m H«$_m§H$ Number of the question in the Adí` {bI| & answer-book before attempting it. (V) Bg àíZ-nÌ H$mo n‹T>Zo Ho$ {bE 15 {_ZQ >H$m (V) 15 minute time has been allotted to g_` {X`m J`m h¡ & àíZ-nÌ H$m {dVaU read this question paper. The nydm©• _| 10.15 ~Oo {H$`m OmEJm & question paper will be distributed at 10.15 a.m. From 10.15 a.m.
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THEORY FY Paper I - History of Music 70 MARKS (70 Marks External + 30 Marks Internal)
BPA MUSIC (Hindustani Vocal / Sitar/Tabla) THEORY FY Paper I - History of Music 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1. Origin of music 14 2. History and development of music from vedic period to present era. 14 3. Comparative study between Hindustani Karnataka Sangeet Paddhti 14 and taal paddhati 4. Brief life sketch & contribution of 14 a. Pt. Vishnu Narayan Bhatkhande b. Pt. Vishnu Digambar Paluskar c. Pt. Omkarnath Thakur 5. History of Gharana with [Basic Introduction]. 14 Paper II - Principles of Music 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1. Technical terms : Sanget, Saptak, Ashtak, Mandra, Madhya, Taar, Shuddh, Vikrut, Chal-Achal, Varna, Alankaar, Purvang, Uttarang, Sthayi, Antara. 14 Short Notes: Naad, Swar, Shruti, Raag, Raag-Jaati, Alaap, Taan, Vaadi, Samvaadi, Anuvaadi, Vivaadi, Varjit, That Alankar, Pakad, Aaron Avroh Gram-Murchhana, Taal, Sam, Matra, Khali, Bhari, Avartana, Laya, Theka, Principles of raag formation 2. Classification of musical instruments and introduction of parts. 14 3. Types of taanas 14 4. Description of ragas and taals under practical study and their comparative study wherever possible. 14 5. Reading and writing of notations of bandish and layakaris of prescribed taals (1/2, ¼) 14 BPA MUSIC, DANCE, DRAMA (COMMON) THEORY FY Paper III – Indian Culture 35 MARKS (35 Marks External + 15 Marks Internal) Unit-1 (1) Concept of culture and civilization. Ancient Indian culture and its evolution 7 (2) Indus valley civilization. Art as an important facet of Indian culture from Indian Valley up to the 21st century. 7 (3) Division of Vedas 7 (4) Buddhism and Jainism, Mauryan India, Gupta period, Medieval Mysticism 7 (5) Indian culture as reflected in Maha Kavyas 7 BPA MUSIC, DANCE, DRAMA (COMMON) THEORY FY Paper IV – English 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1.
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MUSIC MPA Syllabus Paper Code Course Category Credit Marks
MUSIC MPA Syllabus Paper Code Course Category Credit Marks Semester I 12 300 MUS-PG-T101 Aesthetics Theory 4 100 MUS-PG-P102 Analytical Study of Raga-I Practical 4 100 MUS-PG-P103 Analytical Study of Tala-I Practical 4 100 MUS-PG-P104 Raga Studies I Practical 4 100 MUS-PG-P105 Tala Studies I Practical 4 100 Semester II 16 400 MUS-PG-T201 Folk Music Theory 4 100 MUS-PG-P202 Analytical Study of Raga-II Practical 4 100 MUS-PG-P203 Analytical Study of Tala-II Practical 4 100 MUS-PG-P204 Raga Studies II Practical 4 100 MUS-PG-P205 Tala Studies II Practical 4 100 MUS-PG-T206 Music and Media Theory 4 100 Semester III 20 500 MUS-PG-T301 Modern Traditions of Indian Music Theory 4 100 MUS-PG-P302 Analytical Study of Tala-III Practical 4 100 MUS-PG-P303 Raga Studies III Practical 4 100 MUS-PG-P303 Tala Studies III Practical 4 100 MUS-PG-P304 Stage Performance I Practical 4 100 MUS-PG-T305 Music and Management Theory 4 100 Semester IV 16 400 MUS-PG-T401 Ethnomusicology Theory 4 100 MUS-PG-T402 Dissertation Theory 4 100 MUS-PG-P403 Raga Studies IV Practical 4 100 MUS-PG-P404 Tala Studies IV Practical 4 100 MUS-PG-P405 Stage Performance II Practical 4 100 1 Semester I MUS-PG-CT101:- Aesthetic Course Detail- The course will primarily provide an overview of music and allied issues like Aesthetics. The discussions will range from Rasa and its varieties [According to Bharat, Abhinavagupta, and others], thoughts of Rabindranath Tagore and Abanindranath Tagore on music to aesthetics and general comparative.
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108 Melodies
SRI SRI HARINAM SANKIRTAN - l08 MELODIES - INDEX CONTENTS PAGE CONTENTS PAGE Preface 1-2 Samant Sarang 37 Indian Classical Music Theory 3-13 Kurubh 38 Harinam Phylosphy & Development 14-15 Devagiri 39 FIRST PRAHAR RAGAS (6 A.M. to 9 A.M.) THIRD PRAHAR RAGAS (12 P.M. to 3 P.M.) Vairav 16 Gor Sarang 40 Bengal Valrav 17 Bhimpalasi 4 1 Ramkal~ 18 Piloo 42 B~bhas 19 Multani 43 Jog~a 20 Dhani 44 Tori 21 Triveni 45 Jaidev 22 Palasi 46 Morning Keertan 23 Hanskinkini 47 Prabhat Bhairav 24 FOURTH PKAHAR RAGAS (3 P.M. to 6 P.M.) Gunkali 25 Kalmgara 26 Traditional Keertan of Bengal 48-49 Dhanasari 50 SECOND PRAHAR RAGAS (9 A.M. to 12 P.M.) Manohar 5 1 Deva Gandhar 27 Ragasri 52 Bha~ravi 28 Puravi 53 M~shraBhairav~ 29 Malsri 54 Asavar~ 30 Malvi 55 JonPurl 3 1 Sr~tank 56 Durga (Bilawal That) 32 Hans Narayani 57 Gandhari 33 FIFTH PRAHAR RAGAS (6 P.M. to 9 P.M.) Mwa Bilawal 34 Bilawal 35 Yaman 58 Brindawani Sarang 36 Yaman Kalyan 59 Hem Kalyan 60 Purw Kalyan 61 Hindol Bahar 94 Bhupah 62 Arana Bahar 95 Pur~a 63 Kedar 64 SEVENTH PRAHAR RAGAS (12 A.M. to 3 A.M.) Jaldhar Kedar 65 Malgunj~ 96 Marwa 66 Darbar~Kanra 97 Chhaya 67 Basant Bahar 98 Khamaj 68 Deepak 99 Narayani 69 Basant 100 Durga (Khamaj Thhat) 70 Gaur~ 101 T~lakKarnod 71 Ch~traGaur~ 102 H~ndol 72 Shivaranjini 103 M~sraKhamaj 73 Ja~tsr~ 104 Nata 74 Dhawalsr~ 105 Ham~r 75 Paraj 106 Mall Gaura 107 SIXTH PRAHAR RAGAS (9Y.M.
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A) Indian Music (Hindustani) (872
MUSIC Aims: One of the three following syllabuses may be offered: 1. To encourage creative expression in music. 2. To develop the powers of musical appreciation. (A) Indian Music (Hindustani) (872). (B) Indian Music (Carnatic) (873). (C) Western Music (874). (A) INDIAN MUSIC (HINDUSTANI) (872) (May not be taken with Western Music or Carnatic Music) CLASSES XI & XII The Syllabus is divided into three parts: PAPER 2: PRACTICAL (30 Marks) Part 1 (Vocal), The practical work is to be evaluated by the teacher and a Visiting Practical Examiner appointed locally Part 2 (Instrumental) and and approved by the Council. Part 3 (Tabla) EVALUATION: Candidates will be required to offer one of the parts Marks will be distributed as follows: of the syllabus. • Practical Examination: 20 Marks There will be two papers: • Evaluation by Visiting Practical 5 Marks Paper 1: Theory 3 hours ….. 70 marks Examiner: Paper 2: Practical ….. 30 marks. (General impression of total Candidates will be required to appear for both the performance in the Practical papers from one part only. Examination: accuracy of Shruti and Laya, confidence, posture, PAPER 1: THEORY (70 Marks) tonal quality and expression) In the Theory paper candidates will be required to • Evaluation by the Teacher: 5 Marks attempt five questions in all, two questions from Section A (General) and EITHER three questions (of work done by the candidate from Section B (Vocal or Instrumental) OR three during the year). questions from Section C (Tabla). NOTE: Evaluation of Practical Work for Class XI is to be done by the Internal Examiner. 266 CLASS XI PART 1: VOCAL MUSIC PAPER 1: THEORY (70 Marks) The above Ragas with special reference to their notes Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi, 1.
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