Scheme of Exmination for the Session 2012-13 Ba-I (Music
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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. -
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. -
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. -
Indo-Caribbean "Local Classical Music"
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2000 The Construction of a Diasporic Tradition: Indo-Caribbean "Local Classical Music" Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/335 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] VOL. 44, NO. 1 ETHNOMUSICOLOGY WINTER 2000 The Construction of a Diasporic Tradition: Indo-Caribbean "Local Classical Music" PETER MANUEL / John Jay College and City University of New York Graduate Center You take a capsule from India leave it here for a hundred years, and this is what you get. Mangal Patasar n recent years the study of diaspora cultures, and of the role of music therein, has acquired a fresh salience, in accordance with the contem- porary intensification of mass migration and globalization in general. While current scholarship reflects a greater interest in hybridity and syncretism than in retentions, the study of neo-traditional arts in diasporic societies may still provide significant insights into the dynamics of cultural change. In this article I explore such dynamics as operant in a unique and sophisticated music genre of East Indians in the Caribbean.1 This genre, called "tan-sing- ing," has largely resisted syncretism and creolization, while at the same time coming to differ dramatically from its musical ancestors in India. Although idiosyncratically shaped by the specific circumstances of the Indo-Caribbean diaspora, tan-singing has evolved as an endogenous product of a particu- lar configuration of Indian cultural sources and influences. -
1. Father's Name of Acharya KCD Brihaspati
A 1 1. Father's name of Acharya K.C.D. Brihaspati was : (1) Pt. Datt Ram (2) Shri Niwas (3) Pt. Ayodhya Prasad (4) Shri Govind Ram vkpk;Z dSyk'k panz nso c`gLifr ds firk uke Fkk % (1) iafMr nÙk jke (2) Jhfuokl (3) iafMr v;ks/;k izlkn (4) iafMr xksfoan jke 2. How many Talis are in Teental ? (1) 4 (2) 2 (3) 3 (4) 5 rhurky eas fdruh rkyh gS % (1) 4 (2) 2 (3) 3 (4) 5 3. Who is the writer of Sangeet Chintamani ? (1) Pt. Bhatkhande (2) K.C.D. Brihaspati (3) V. D. Paluskar (4) None of them laxhr fparkef.k iqLrd ds ys[kd dkSu gS \ (1) iafMr Hkkr[kaMs (2) dSyk'k panz nso c`gLifr (3) oh0 Mh0 iyqLdj (4) buesa ls dksbZ ugha 4. Which is birth place of Lal Mani Mishra ? (1) Kanpur (2) Delhi (3) Jaipur (4) Agra ykyef.k feJ dk tUe LFkku dkSu&lk gS \ (1) dkuiqj (2) fnYyh (3) t;iqj (4) vkxjk 94466/(A) P. T. O. 2 A 5. Which is Sandhiprakash Raga ? (1) Puriya Dhanashree (2) Bhimplasi (3) Todi (4) None of them dkSu&lk laf/kizdk'k jkx gS \ (1) iwfj;k /kukJh (2) Hkheiyklh (3) rksM+h (4) buesa ls dksbZ ugha 6. Who created Raga Todi ? (1) Amir Khusrao (2) Tansen (3) Baiju Bawara (4) Lal Mani Mishra jkx rksM+h dh jpuk fdlus dh \ (1) vehj [kqljks (2) rkulsu (3) cStw ckojk (4) ykyef.k feJ 7. Ashrya Raga of Todi Thata is : (1) Multani (2) Todi (3) Gujari Todi (4) Bhupal Todi rksM+h FkkV dk vkJ; jkx gS % (1) eqYrkuh (2) rksM+h (3) xqtjh rksM+h (4) Hkksiky rksM+h 8. -
Track Name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt
Track name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt. Bhimsen Joshi 3 HINDOLIKA Pt. Bhimsen Joshi 4 Thumri-Bhairavi Pt. Bhimsen Joshi 5 SHANKARA MANIK VERMA 6 NAT MALHAR MANIK VERMA 7 POORIYA MANIK VERMA 8 PILOO MANIK VERMA 9 BIHAGADA PANDIT JASRAJ 10 MULTANI PANDIT JASRAJ 11 NAYAKI KANADA PANDIT JASRAJ 12 DIN KI PURIYA PANDIT JASRAJ 13 BHOOPALI MALINI RAJURKAR 14 SHANKARA MALINI RAJURKAR 15 SOHONI MALINI RAJURKAR 16 CHHAYANAT MALINI RAJURKAR 17 HAMEER MALINI RAJURKAR 18 ADANA MALINI RAJURKAR 19 YAMAN MALINI RAJURKAR 20 DURGA MALINI RAJURKAR 21 KHAMAJ MALINI RAJURKAR 22 TILAK-KAMOD MALINI RAJURKAR 23 BHAIRAVI MALINI RAJURKAR 24 ANAND BHAIRAV PANDIT JITENDRA ABHISHEKI 25 RAAG MALA PANDIT JITENDRA ABHISHEKI 26 KABIR BHAJAN PANDIT JITENDRA ABHISHEKI 27 SHIVMAT BHAIRAV PANDIT JITENDRA ABHISHEKI 28 LALIT BEGUM PARVEEN SULTANA 29 JOG BEGUM PARVEEN SULTANA 30 GUJRI JODI BEGUM PARVEEN SULTANA 31 KOMAL BHAIRAV BEGUM PARVEEN SULTANA 32 MARUBIHAG PANDIT VASANTRAO DESHPANDE 33 THUMRI MISHRA KHAMAJ PANDIT VASANTRAO DESHPANDE 34 JEEVANPURI PANDIT KUMAR GANDHARVA 35 BAHAR PANDIT KUMAR GANDHARVA 36 DHANBASANTI PANDIT KUMAR GANDHARVA 37 DESHKAR PANDIT KUMAR GANDHARVA 38 GUNAKALI PANDIT KUMAR GANDHARVA 39 BILASKHANI-TODI PANDIT KUMAR GANDHARVA 40 KAMOD PANDIT KUMAR GANDHARVA 41 MIYA KI TODI USTAD RASHID KHAN 42 BHATIYAR USTAD RASHID KHAN 43 MIYA KI TODI USTAD RASHID KHAN 44 BHATIYAR USTAD RASHID KHAN 45 BIHAG ASHWINI BHIDE-DESHPANDE 46 BHINNA SHADAJ ASHWINI BHIDE-DESHPANDE 47 JHINJHOTI ASHWINI BHIDE-DESHPANDE 48 NAYAKI KANADA ASHWINI -
Syllabus of Hindustani Music (Vocal)
SHRI DEV SUMAN UTTARAKHAND UNIVERSITY BADSHAHITHAUL TEHRI GARHWAL (UTTARAKHAND) FACULTY OF MUSIC BACHELOR OF ARTS 2018-2019 AN UNDER GRADUATE PROGRAMME 1 SHRI DEV SUMAN UTTARAKHAND UNIVERSITY BADSHAHITHAUL TIHARI GARHWAL (UTTARAKHAND) BACHELOR OF ARTS 2018 DEPARTMENT OF MUSIC SYLLABUS HINDUSTANI MUSIC (VOCAL) / STRING INSTRUMENTS OF HINDUSTANI MUSIC (SITAR) & PERCUSSION INSTRUMENTS OF HINDUSTANI MUSIC (TABLA/PAKHAWAJ) (WITH EFFECT FROM 2018-19) 2 SHRI DEV SUMAN UTTARAKHAND UNIVERSITY BADSHAHITHAUL TEHRI GARHWAL (UTTARAKHAND) UNDER GRADUATE 2018 DEPARTMENT OF MUSIC SYLLABUS OF HINDUSTANI MUSIC VOCAL /STRING INSTRUMENS (SITAR) (With Effect From 2018-19) 3 Admission Criteria For B.A. Hindustan Music Vocal/Instrumental (Sitar & Tabla) Only such applicant who might have passed the qualifying examination with Music as an elective subject or who might have passed the four year course/senior diploma/Madhyma from bhathkhande or prayag sangeet samiti shall be permitted to elect music as an elective subject at the under graduate level (B.A.). However, other talented applicants desirous of studying music as an elective subject at the under graduate level may be granted the permission on the basis of their performance in an audition before the head of the department of music. 4 SYLLABUS FOR B.A. (PROG.) HINDUSTANI MUSIC (VOCAL/ INSTRUMENTAL SITAR ) PAPER TOTAL MARKS IN EACH SEMESTER MARKS DIVISION SEMESTER-I 200 (FINAL EXAMS+ASSESMENTS=Total ) Paper - I Practical 60+15 = 75 Paper - II Practical 60+15 = 75 Paper - III Theory 40+10 = 50 SEMESTER-II -
The Thaat-Ragas of North Indian Classical Music: the Basic Atempt to Perform Dr
The Thaat-Ragas of North Indian Classical Music: The Basic Atempt to Perform Dr. Sujata Roy Manna ABSTRACT Indian classical music is divided into two streams, Hindustani music and Carnatic music. Though the rules and regulations of the Indian Shastras provide both bindings and liberties for the musicians, one can use one’s innovations while performing. As the Indian music requires to be learnt under the guidance of Master or Guru, scriptural guidelines are never sufficient for a learner. Keywords: Raga, Thaat, Music, Performing, Alapa. There are two streams of Classical music of India – the Ragas are to be performed with the basic help the North Indian i.e., Hindustani music and the of their Thaats. Hence, we may compare the Thaats South Indian i.e., Carnatic music. The vast area of with the skeleton of creature, whereas the body Indian Classical music consists upon the foremost can be compared with the Raga. The names of the criterion – the origin of the Ragas, named the 10 (ten) Thaats of North Indian Classical Music Thaats. In the Carnatic system, there are 10 system i.e., Hindustani music are as follows: Thaats. Let us look upon the origin of the 10 Thaats Sl. Thaats Ragas as well as their Thaat-ragas (i.e., the Ragas named 01. Vilabal Vilabal, Alhaiya–Vilaval, Bihag, according to their origin). The Indian Shastras Durga, Deshkar, Shankara etc. 02. Kalyan Yaman, Bhupali, Hameer, Kedar, throw light on the rules and regulations, the nature Kamod etc. of Ragas, process of performing these, and the 03. Khamaj Khamaj, Desh, Tilakkamod, Tilang, liberty and bindings of the Ragas while Jayjayanti / Jayjayvanti etc. -
Durham Research Online
Durham Research Online Deposited in DRO: 10 April 2015 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Will, Udo and Clayton, Martin and Wertheim, Ira and Leante, Laura and Berg, Eric (2015) 'Pulse and entrainment to non-isochronous auditory stimuli : the case of North Indian Alap.', PLoS ONE., 10 (4). e0123247. Further information on publisher's website: http://dx.doi.org/10.1371/journal.pone.0123247 Publisher's copyright statement: Copyright: c 2015 Will et al. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk RESEARCH ARTICLE Pulse and Entrainment to Non-Isochronous Auditory -
THE RECORD NEWS ======The Journal of the ‘Society of Indian Record Collectors’, Mumbai ------ISSN 0971-7942 Volume - Annual: TRN 2007 ------S.I.R.C
THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’, Mumbai ------------------------------------------------------------------------ ISSN 0971-7942 Volume - Annual: TRN 2007 ------------------------------------------------------------------------------------------------------------ S.I.R.C. Branches: Mumbai, Pune, Solapur, Nanded, Tuljapur, Baroda, Amravati ============================================================= Feature Article in this Issue: Gramophone Celebrities-II Other articles : Teheran Records, O. P. Nayyar. 1 ‘The Record News’ – Annual magazine of ‘Society of Indian Record Collectors’ [SIRC] {Established: 1990} -------------------------------------------------------------------------------------------- President Narayan Mulani Hon. Secretary Suresh Chandvankar Hon. Treasurer Krishnaraj Merchant ==================================================== Patron Member: Mr. Michael S. Kinnear, Australia -------------------------------------------------------------------------------------------- Honorary Members --------------------------- V. A. K. Ranga Rao, Chennai Harmandir Singh Hamraz, Kanpur -------------------------------------------------------------------------------------------- Membership Fee: [Inclusive of journal subscription] Annual Membership Rs. 1,000 Overseas US $ 100 Life Membership Rs. 10,000 Overseas US$ 1,000 Annual term: July to June Members joining anytime during the year [July-June] pay the full membership fee and get a copy -
Music & Dance Examinations
MUSIC & DANCE EXAMINATIONS I. THE AIMS AND OBJECTIVES OF THE FACULTY ARE 1. To encourage the study of Performing Arts as a vocation 2. To institute degree and Junior Diploma Courses in Performing Arts 3 To produce artists of high order and to train and prepare teachers well versed in theory, practice and history of Performing Arts; 4 To conduct research and to carry on auxiliary activities such as collection and publication of manuscripts; 5. To develop a high standard of education and knowledge of the Theory of Music and aesthetics, both ancient and modern, through the study of old and new literature in Sanskrit and other languages and give training in performing arts as a vocation 6. To make special arrangements by way of extension course for those who are not otherwise qualified to be admitted to the Faculty. 7. The Faculty while serving as a repository of all forms of Music including different schools of Music and regional styles, seeks to preserve the traditional methods of teaching and in doing so makes use of all modern techniques e.g. notation and Science of voice culture. In furthering the objectives laid down above, the Faculty arranges for lectures, concerts, demonstrations and excursion tours to important centers of Music in India. II. ADMISSION TO COLLEGES/FACULTIES OF THE UNIVERSITY 1. The last date for admission to all the constituent Colleges / Faculties of the University shall be fixed each year by the Academic Council. 2. Each College/ Faculty maintained by the University shall have a separate form of application which will be serially numbered and issued by the Principal/Dean of the College /Faculty concerned, on payment of the prescribed amount of application fee or by any other officer deputed by University. -
Raga (Melodic Mode) Raga This Article Is About Melodic Modes in Indian Music
FREE SAMPLES FREE VST RESOURCES EFFECTS BLOG VIRTUAL INSTRUMENTS Raga (Melodic Mode) Raga This article is about melodic modes in Indian music. For subgenre of reggae music, see Ragga. For similar terms, see Ragini (actress), Raga (disambiguation), and Ragam (disambiguation). A Raga performance at Collège des Bernardins, France Indian classical music Carnatic music · Hindustani music · Concepts Shruti · Svara · Alankara · Raga · Rasa · Tala · A Raga (IAST: rāga), Raag or Ragam, literally means "coloring, tingeing, dyeing".[1][2] The term also refers to a concept close to melodic mode in Indian classical music.[3] Raga is a remarkable and central feature of classical Indian music tradition, but has no direct translation to concepts in the classical European music tradition.[4][5] Each raga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "color the mind" and affect the emotions of the audience.[1][2][5] A raga consists of at least five notes, and each raga provides the musician with a musical framework.[3][6][7] The specific notes within a raga can be reordered and improvised by the musician, but a specific raga is either ascending or descending. Each raga has an emotional significance and symbolic associations such as with season, time and mood.[3] The raga is considered a means in Indian musical tradition to evoke certain feelings in an audience. Hundreds of raga are recognized in the classical Indian tradition, of which about 30 are common.[3][7] Each raga, state Dorothea