Bloom’s Taxonomy Levels: 1. Remember 2. Understand 3. Application 4. Analysis 5. Evaluation 6. Creation
Programme Name: Bachelors of Performing Arts-B.P.A (TABLA)
Programme Specific Outcome (PSO)
PSO1 To educate students about basic terminologies of Tabla and its application in context to Indian Classical Music.
PSO2 To make students understand about the Structural designs, Mechanism and Dynamics about all the ancient as well as modern Indian Percussion instruments and its application with different forms of Music.
PSO3 To impart knowledge about the Origin and Development of various percussion instruments, Different Schools of Tabla, Biographies of Eminent Artists and their contribution.
PSO4 To provide the basic information about the Natyashastra and Sangeet Ratnakar in reference to Taal Adhyay.
PSO5 Enhance the student ability to think on various musical topics and book reviewing will help them to choose their further research .
PSO6 Fundamental Knowledge about each Syllable of Tabla, its sound production techniques (Nikas) according to the playing Style of Different Gharana.
PSO7 To inculcate the knowledge about the Theoretical aspects of the prescribed taals and compositions related the practical performance (Solo Playing as well as Accompaniment).
PSO8 Detailed study about the North Indian and South Indian Notation System i.e origin, development and its usability.
PSO9 To develop the performance skills among students for Playing Tabla Solo as well the sense of Accompaniment with all different forms of Music.
PSO10 To enhance the ability to Think (Creativity), Speak ( Padhant ) and Write ( Notation) effectively about Taals and Compositions of Tabla. Syllabus of Courses
The Maharaja Sayajirao University of Baroda Faculty of Performing Arts Academic Year 2019-20 Department of Tabla B.P.A.(TABLA): Regular Programme Core / Elective / Foundation Year II MVI 1313: Principles of Tabla III Credits / Hours per week 03
Year of Introduction: 2003 Semester I Maximum Marks / Grade 100 Year of Syllabus Revision: 2012 Mode of Transaction Lecture and Tutorial Course Outcome (CO) MVI 1313 CO1 Theoretical knowledge about the different compositions of tabla will leads to improve the performance skills. CO2 Make students aware about the strength and weaknesses of Tabla Player.. CO3 It provide knowledge about the notation systems of Uttar Hindustani Taal Systems. CO4 Students will develop the skill of writing different composition according to the notation system.
Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation No. Hours (%) Level s of ce to to Employa Local Gender bility (L)/ (G), (Emp)/ National Environ Entrepre (N)/ ment and neurship Regional Sustaina (Ent)/ (R)/Glob bility Skill al (G) (ES), Develop develop Human ment mental Values (SD) needs (HV)and Professio nal Ethics (PE) 1 Different Terminologies of Tabla and its usability 06 10 1 CO1 PSO1 Definitions of the following terminologies with examples Dupalli, Tripalli, Chaupalli, Laggi, Ladi, Peshkar, Paran, Uthan, Tukda. How the above mentioned terminologies can be used in solo playing as well as accompaniment? 2 Merits and demerits of Tabla player Merits of tabla player. Demerits of tabla player. 08 13 1 CO2 PSO1
3 Introduction to Uttar-Hindustani Taal Systems PSO1 A study about Pt. Paluskar Taal System. PSO2 PSO4 A study about Pt.Bhatkhande Taal System. 08 14 2, 3, 4 CO3 Comparative study of both the taal systems PSO7 PSO8 4 Notation of Taals and Bol Composition PSO Introduction of Notation system. 13 Notion of Teentaal, Roopak, Dadra, Tevra, Sooltaal in single, 08 1, 2, 3 CO4 Double, Tigun and Chaugun speed. PSO3 Notation of Different bandishes : Peshkar,Tukada,Kayada,Rela,Paran. REFERENCES 1. Tabla no Itihas ane Parampara (2001),Dr. Gaurang Bhavsar, University Granth Nirman 2. Bhartiya Taalo ka Shashtriya Vivechan (2005), Dr. Arun kumar Sen, Madhya Pradesh Hindi Granth Akadami,Bhopal. 3. Taal Parichay (part 1 to 3)(1993),Pt.Girishchandra Shrivastav. 4. Pakhawaj aur Tabla Ke Gharane Evum Parampara, Dr.Aban Mistry 5. Taal Kosh, Pt.Girishchandra Shrivastav. 6. Taal Shashtra Parichay, Dr. Manohar Bhalchandra Marathe The Maharaja Sayajirao University of Baroda Faculty of Performing Arts Academic Year 2019-20 Department of Tabla B.P.A.(TABLA): Regular Programme Core / Elective / Foundation Year II MVI 1314: Technical Terms of Credits / Hours per week 03 Percussion Instruments III Year of Introduction: 2003 Semester I Maximum Marks / Grade 100 Year of Syllabus Revision: 2012 Mode of Transaction Lecture and Tutorial Course Outcome (CO) MVI 1314 CO1 Detailed study of tihai and its mathematical aspect will enhance the perforrmance as well as creative ability. CO2 Students understand the fundamentals of different taals having equal numbers of matras.. CO3 Students will develop the skill of writing different composition according to the notation system. CO4 It will educate students about the playing techniques of different schools of Tabla.
Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation No. Hours (%) Level s of ce to to Employa Local Gender bility (L)/ (G), (Emp)/ National Environ Entrepre (N)/ ment and neurship Regional Sustaina (Ent)/ (R)/Glob bility Skill al (G) (ES), Develop develop Human ment mental Values (SD) needs (HV)and Professio nal Ethics (PE) 1 Detailed study of Tihai and its Characteristics 06 10 1 CO1 PSO1 Application of Tihai in different forms of Music Mathematical aspects of all different Tihais Self creation of all types of tihai in different Taals 2 Comparative study : pairs of taals Detail study of Taal: Teentaal-Tilwada, Roopak-Tevra, Zaptaal-Sooltaal, Chautaal- 08 13 1 CO2 PSO1 Ektaal Comparative study of following taals: a)Teentaal-Tilwada b)Roopak-Tevra c)Zaptaal-Sooltaal d)Chautaal- Ektaal 3 Notation of Taals and Bol Composition ( As per the Syllabus) PSO1 Introduction of Notation system: PSO2 PSO4 Notion of Chautaal, Tevra, Sooltaal, Zaptaal in single, 08 14 2, 3, 4 CO3 Double,Tigun and Chaugun speed. PSO7 Notation of Different bandishes : PSO8 Peshkar,Tukada,Kayada,Rela,Paran,Mukhada,Damdarand Bedam Tihai 4 Introduction to the different ‘Baaj’of Tabla. PSO Definition and origin of Baaj 13 Detail study about the following Baaj: 08 1, 2, 3 CO4 a)Paschim b) Purab PSO3
REFERENCES 1. Taal-Kosh (1996),Pt.Girishchandra Shrivastav ,Ruby Prakashan,Alahabad. 2. Tabla Pt.Arvind Mulgaonkar 3. Tablay ki Kala (2006),Prof.Sudhirkumar Saxena,Sangeet Natak Akadami, New Delhi. 4. Pakhawaj aur Tabla Ke Gharane Evum Parampara, Dr.Aban Mistry 5. Taal Prakash, Bhagvat Sharan Sharma. 6. Taal Pratyay, Dr. Sudhanshu Pande The Maharaja Sayajirao University of Baroda Faculty of Performing Arts Academic Year 2019-20 Department of Tabla B.P.A.(TABLA): Regular Programme Core / Elective / Foundation Year II MVI 1315: History of Music and Credits / Hours per week 03 Percussion Instruments I Year of Introduction: 2003 Semester I Maximum Marks / Grade 100 Year of Syllabus Revision: 2012 Mode of Transaction Lecture and Tutorial Course Outcome (CO) MVI 1315 CO1 Students gets knowledge about the terrm Gharana and its development through ages. CO2 By studing the history of pakhawaj students adds to their knowledge about its origin and development . CO3 Biographies of eminent Pakhawaj Players helps student to know about the development of different schools of pakhawaj as well as their contribution to the Playing style. CO4 Students gets detail knowledge about the development and Characteristics of Khayal Gayan which also helps them to improve their accompaniment skills.
Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation No. Hours (%) Level s of ce to to Employa Local Gender bility (L)/ (G), (Emp)/ National Environ Entrepre (N)/ ment and neurship Regional Sustaina (Ent)/ (R)/Glob bility Skill al (G) (ES), Develop develop Human ment mental Values (SD) needs (HV)and Professio nal Ethics (PE) 1 Introduction to the schools (Gharana) o c 06 10 1 CO1 PSO1 alacri a : Meaning of word Gharana. History and Development of Gharana. 2 History of Pakhawaj; Elementary knowledge of Pakhawaj. Ancient History of P khawaj. 08 13 1 CO2 PSO1 Development of Pakhawaj.
3 Famous Pakhawaj c Maestros and their PSO1 contributions : PSO2 PSO4 Biography of any four eminent pakhawaj 쀈ૅ ď players. 08 14 2, 3, 4 CO3 PSO7 쀈 R m Their contribution in field of music. PSO8 4 ƌ a ƌr i r ri a i c i PSO rƌi r a i c i 13 alacri a r a i c i 08 1, 2, 3 CO4 iic r r c a i c i PSO3
REFERENCES 1. P khawaj aur Tabla ke GHarane evam Paramparaye(2000),Dr.Aban Mistry,Swar Sadhana Sameeti ,Mumbai. 2. Bhartiya Taalo ka Shashtriya Vivechan (2005), Dr. Arun kumar Sen, Madhya Pradesh Hindi Granth Akadami,Bhopal. 3. ď Ar R 쀈ૅR R A 4. R ૅ 쀈 쀈 Sangeet Karyalay Haatras Prakashan 5. 쀈 A R ૅ 쀈Ar 6. Pakhawaj ki Utpatti, Vikas evam Vadanshailiya, Dr. Ajay Kumar The Maharaja Sayajirao University of Baroda Faculty of Performing Arts Academic Year 2019-20 Department of Tabla B.P.A.(TABLA): Regular Programme Core / Elective / Foundation Year II MVI 1316: Intensive Study of Tabla Credits / Hours per week 03 III Year of Introduction: 2003 Semester I Maximum Marks / Grade 100 Year of Syllabus Revision: 2012 Mode of Transaction Lecture and Tutorial Course Outcome (CO) MVI 1316 CO1 Students will develop their sense of Playing Solo in Teentaal systematically CO2 Students get educate about different time cycles (taals) of pakhawaj and its basic compositions . CO3 Develop playing techniques and recitation skills different taal and bandishes
Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation No. Hours (%) Level s of ce to to Employa Local Gender bility (L)/ (G), (Emp)/ National Environ Entrepre (N)/ ment and neurship Regional Sustaina (Ent)/ (R)/Glob bility Skill al (G) (ES), Develop develop Human ment mental Values (SD) needs (HV)and Professio nal Ethics (PE) 1 Practical Application in reference to theoretical aspects: 06 10 1 CO1 PSO1 Theoretical aspects of Theka Theoretical aspects of solo -playing Theoretical aspects of padhant Theoretical aspects of different bandishes Theoretical aspects of Riyaz. 2 l a rica a ri rcr in aa c R 쀈ૅ A ďA Two ૅ 쀈 kayadas with palatas ended with tihai. 08 13 1 CO2 PSO1 One rela with paltas ended with tihai. a) Mukhada b) ukada 쀈ૅ A 쀈 c) Bedam and Damdar tihai d) Chakradhar etc. 3 l a knowledge ri Tevra & Sooltaal: PSO1 Introduction of bandishes of above taals. PSO2 PSO4 Paran and Tukada in each taals etc. 08 14 2, 3, 4 CO3 PSO7
PSO8 4 Padhant and Nikas of Taals and bandishes: PSO Elementary study of padhant of Tevra, Sooltaal, Tritaal and 13 Jhoomra in Single, Double, Tigun & Chaugun. 08 1, 2, 3 CO4 Padhant of Bandishes. PSO3 a) Vilambeet lay b) Madhya lay c) Drut lay Nikas of all bandishes in appropriate fingers and proper style as per Gharana system. REFERENCES 1. Bandishe Teentaal(2012),Dr.Gaurang Bhavsar,Ascent Publication 2. Tabla ki Bandishes,Dr. Aban Mistry 3. Tabla Granth(2009)Pt.Chotelal Mishra,Kaniksh Publisher,New Delhi. 4. ď R쀈 Ar m ૅ 쀈ૅ r 5. ũ Ă A Ar R 쀈ૅ ď 쀈 Rr 6. Tabla Mrydang Vadan Paddhati, Pt. Vinayak Narayan Patwardhan The Maharaja Sayajirao University of Baroda Faculty of Performing Arts Academic Year 2019-20 Department of Tabla B.P.A.(TABLA): Regular Programme Core / Elective / Foundation Year II MVI 1317: Tradition and Credits / Hours per week 03 Composition of Tabla III Year of Introduction: 2003 Semester I Maximum Marks / Grade 100 Year of Syllabus Revision: 2012 Mode of Transaction Lecture and Tutorial Course Outcome (CO) MVI 1317 CO1 Students will develop their sense of Playing Solo in Ektaal systematically CO2 Students get educate about different time cycles (taals) of pakhawaj and its basic compositions . CO3 Develop playing techniques and recitation skills different taal and bandishes
Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation No. Hours (%) Level s of ce to to Employa Local Gender bility (L)/ (G), (Emp)/ National Environ Entrepre (N)/ ment and neurship Regional Sustaina (Ent)/ (R)/Glob bility Skill al (G) (ES), Develop develop Human ment mental Values (SD) needs (HV)and Professio nal Ethics (PE) 1 Practical Application in reference to theoretical aspects: 06 10 1 CO1 PSO1 Theoretical aspects of Theka Theoretical aspects of solo -playing Theoretical aspects of padhant Theoretical aspects of different bandishes Theoretical aspects of Riyaz. 2 l a rica a ri rcr in a c R 쀈ૅ A ďA Two ૅ 쀈 kayadas with palatas ended with tihai. 08 13 1 CO2 PSO1 One rela with paltas ended with tihai. a) Mukhada b) ukada 쀈ૅ A 쀈 c) Bedam and Damdar tihai d) Chakradhar etc. 3 Basic knowledge of Chautaal & Dhamaƌ PSO1 Introduction of bandishes of above taals. PSO2 PSO4 Paran and Tukada in each taals etc. 08 14 2, 3, 4 CO3 PSO7
PSO8 4 Padhant and Nikas of Taals and bandishes: PSO Elementary study of padhant of Dhamar, Ektaal, Tilwada and 13 Chautaal in Single,Double, Tigun & Chaugun 08 1, 2, 3 CO4 Padhant of Bandishes. PSO3 a)Vilambeet lay b)Madhya lay c)Drut lay Nikas of all bandishes in appropriate fingers and proper style as per Gharana system. REFERENCES 1. Tabla ki Bandishes,Dr. Aban Mistry 2. Mrudang Vaadan(Naath Dwara Parampara)(1983),Sangeet Natak Akadami,New Delhi 3. Tabla ki Bandishe(2007),Dr,Aaban Mistry,Sangeet Sadan Prakashan,Alahabad. 4. ď R쀈 Ar m ૅ 쀈ૅ r 5. ũ Ă A Ar R 쀈ૅ ď 쀈 Rr 6. Mrudang Sagar, Ghanshyam Shashtri The Maharaja Sayajirao University of Baroda Faculty of Performing Arts Academic Year 2019-20 Department of Tabla B.P.A.(TABLA): Regular Programme Core / Elective / Foundation Year II MVI 1318: Stage Performance I Credits / Hours per week 03 Year of Introduction: 2003 Semester I Maximum Marks / Grade 100 Year of Syllabus Revision: 2012 Mode of Transaction Lecture and Tutorial Course Outcome (CO) MVI 1318 CO1 It educate students how to perform with nagma in different time cycles and to improve their performance Ability. CO2 Students will develop the skills of accompaniment with vocal and instrumental music
Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation No. Hours (%) Level s of ce to to Employa Local Gender bility (L)/ (G), (Emp)/ National Environ Entrepre (N)/ ment and neurship Regional Sustaina (Ent)/ (R)/Glob bility Skill al (G) (ES), Develop develop Human ment mental Values (SD) needs (HV)and Professio nal Ethics (PE) 1 Introduction of stage performance in reference to theoretical aspects: Stage manners. Theoretical aspects in solo playing and Accompaniment. How to Padhant. System of solo playing of different Gharana’s of tabla. Techniques of producing different bandishes. (Note: All theoretical aspects of this practical paper included in first unit) 2 Solo Performance: Candidate choice of any one taals from syllabus. Knowledge of sequence of solo, Nikas of Bandishes. 08 13 1 CO2 PSO1 Basic knowledge of Nagma and how to play with Nagma
3 Solo Performance: PSO1 a) Candidate choice of any one taals from syllabus. PSO2 PSO4 b) Examiners choice of any one taals from syllabus. 08 14 2, 3, 4 CO3 Basic knowledge of Padhant and its application. PSO7 PSO8 4 Basic knowledge of Accompaniment with Instrumental and PSO Vocal Music: 13 Basic Knowledge of accompaniment with Instrumental Music 08 1, 2, 3 CO4 Basic Knowledge of accompaniment with Vocal Music PSO3
REFERENCES 1. Bandishe Teentaal(2012),Dr.Gaurang Bhavsar,Ascent Publication 2. Tabla ki Bandishes,Dr. Aban Mistry 3. Sangeet me Tihaiya(1984-85),Pt.Bhagvat Sharan Sharma,K.B & C.L. Agraval Prakashan,Aligadh. 4. ď R쀈 Ar m ૅ 쀈ૅ r 5. ũ Ă A Ar R 쀈ૅ ď 쀈 Rr The Maharaja Sayajirao University of Baroda Faculty of Performing Arts Academic Year 2019-20 Department of Tabla B.P.A.(TABLA): Regular Programme Core / Elective / Foundation Year II MVI 1319: Appreciation of Tabla III Credits / Hours per week 04 Year of Introduction: 2003 Semester I Maximum Marks / Grade 100 Year of Syllabus Revision: 2012 Mode of Transaction Lecture and Tutorial Course Outcome (CO) MVI 1319 CO1 Students gets basic knowledge about Luckhnow and Farrukhabad School of Tabla. CO2 By studing the history of pakhawaj students adds to their knowledge about its origin and development CO3 Students get introduce to the basic Taals and its applications in music. CO4 Students get introduce to the basic north Indian percussion instruments and its mechanism.
Unit Topic/Unit Contact Weightage BT CO PSO Element Relevan Relation No. Hours (%) Level s of ce to to Employa Local Gender bility (L)/ (G), (Emp)/ National Environ Entrepre (N)/ ment and neurship Regional Sustaina (Ent)/ (R)/Glob bility Skill al (G) (ES), Develop develop Human ment mental Values (SD) needs (HV)and Professio nal Ethics (PE) 1 Introduction of i a ri and ƌriaa Gharana. Tradition and Playing Style of both Gharana.. Knowledge of basic compositions of both Gharana. 2 History of Pakhawaj; Elementary knowledge of Pakhawaj. Ancient History of Pkhawaj. 08 13 1 CO2 PSO1 Development Of Pakhawaj.
3 rica a r c PSO1 a c a i c ci arr ƌ PSO2 PSO4 08 14 2, 3, 4 CO3 iic r r aa rla c i a laƌa rƌ r i PSO7
PSO8 4 History of North Indian Percussion Instruments PSO Elementary history of percussion instruments. 13 Draw a picture of any four instruments and define its parts in 08 1, 2, 3 CO4 detail. PSO3 Use of above Instrument in field of music.
REFERENCES 1. Taal Parichay(Part 1,2 & 3) (1989),Pt.Girishchandra Shrivastav 2. Sulabh Tabala Vadan(Two part for practical and Two part for Theory),Pt.Raghunath Talegaonkar. 3. P khawaj aur Tabla ke GHarane evam Paramparaye(2000),Dr.Aban Mistry,Swar Sadhana Sameeti ,Mumbai. 4. R y 쀈 A ૅ Rr ďm 쀈 R 5. ď 쀈 쀈 A R ď A R R 쀈r 6. The Tabla Lucknow, James Kippen