(Vocal & Instrumental) Faculty of Performing Arts the M. S

Home , Bahar (raga), Basant (raga), Desi (raga), Gara (raga), Gauri (raga), Gurjari (raga)

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 Master’s Program shall as follows.

Level Semester – Wise credits Total Credits 1 2 3 4

Master’s program 24 24 24 24 96

The credit framework for the Core course shall be as follows.

HOURS Course Credit % Marks Lecture + Practical Core Compulsory TheoryIPrinciples of Music I 03 03 + 00 30%+70% Core Compulsory Theory II Study of Ragas I 03 03 + 00 30%+70% Core Compulsory IIIHistory of Music I 03 03 + 00 30%+70% Core compulsory IV Dissertation I from Core Theory 02 02 + 00 30%+70% Prescribed Syllabus Core Compulsory Practical IIntensive Practical study of 05 02 + 05 30%+70% Ragas I Core Compulsory Practical IIPractical Tradition and 05 02 + 05 30%+70% composition of Ragas I Core Compulsory Practical III Stage Performance I 03 01 + 03 30%+70% Core Subject Total Credits 24 16 + 13 30%+70%

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2018-19 The Maharaja Sayajirao University of Baroda Master of Performing Arts : Music (Vocal / Sitar / Violin) Post – Graduate Program Year 1 Core Compulsory-1 : Theory I Principle of Music I Credit 3 Semester 1 Section I Aesthetics of Music Hours 45 Section II Acoustics of Music Vocal / Sitar / Violin (Practical- 0 credit & Theory-3 credit= 3 credit) To introduce Concept of Shruti and its interpretations in ancient period OBJECTIVES To improve knowledge of student in Principles of Music To introduce of Indian & Western Music scales & Notation systems Unit-1 Section I Aesthetics of Music 12 hours The Ras – Sutra of Acharya Bharat Muni.

Section II Acoustics of Music General Survey, Guitar, Harp, Mandolin. Quality of tone from plucked strings, Pianoforte. Unit-2 Section I Aesthetics of Music 11 hours Your aesthetical experiences of Music regarding practice, class and performances.

Section II Acoustics of Music The flute family, the Oboe, and Bassoon. Unit-3 Section I Aesthetics of Music 11 hours The staring concept of Kala (Arts) in Indian context.

Section II Acoustics of Music Consonance and Temperament. Unit-4 Section I Aesthetics of Music 11 hours Aesthetics, Atmanisth Saundarya &Vastunisth Saundarya.

Section II Acoustics of Music The Pythagorean tuning, mean-tone temperament, equal temperament, Assessment:1.Continuous Assessment:30%2.Written Examination:70%  One class test(Theory)  One written Assessment(Minor) REFERENCES 1) Acharya Bharat Natyashashtra 2) Dr Nagendra Ras Siddhant 3) Dr P.K Dixit Saras Sangeet 4) Prof B.C Deva Acoustic of Music & Speech 5) Jean James Science & music

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2018-19 The Maharaja Sayajirao University of Baroda Master of Performing Arts : Music (Vocal / Sitar / Violin) Post – Graduate Program Year 1 Core Compulsory-2 : Theory II Study of Ragas I Credit 3 Semester 1 Vocal / Sitar / Violin Hours 45 (Practical- 0 credit & Theory-3 credit= 3 credit) To introduce basic technique for improving knowledge as per theoretical and OBJECTIVES practical aspects of the Ragas Prescribed Provide knowledge to become a good performer Introduction to Writing Notation

Unit-1 Formation of different varieties of Alankaras 11 hours Formation of different varieties of Tanas

Unit-2 Formation of Alap and Swaravistar & Values of Tonic in Indian Music 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 Vol 4 2) Pt. Bhatkhande Kramik Pustak Malika 3) Pt.Ramashraya Jha Abhinav Geetanjali 4) Pt V.N Patwardhan Raag Vigyan 5) Shri S.N Ratanjankar Abhinav geet manjari

Unit-2 The main periods and main works on Music – Bharat, Sharangdeo Matang, 12 hours Abhinavagupta.

Unit-3 History of different Gharanas-Senia, Dagar, Delhi, Lucknow, Gwalior, Agra, 11 hours Rampur. Unit-4 History and the tradition of Dhrupad-Dhamar, Khyal, Tarana. 11 hours Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1) Acharya Sharangdev : Sangeet Ratnakar 2) Acharya Matang : Brihaddeshi 3) Acharya K.C.D Brihaspati : Bharat ka Sangeet Siddhant 4) Acharya K.C.D Brihaspati : Dhrupad aur uska Vikas 5) Dr S.C Paranjape : Sangeet Bodh

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts year2018-19 The Maharaja Sayajirao University of Baroda Master of Performing Arts : Music (Vocal / Sitar / Violin) Post – Graduate Program Year 1 Core Elective-1 : Intensive Practical Study of Ragas I Credit 5 Semester 1 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. Megh Malhar , Narayani 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. Bhupal Todi, Aahir 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 Bada Khyal or 25 hours Massethhani Gat, one Chhota Khyal or Razakhani Gat with Tana. (i) Kalawati (ii) Charukeshi (iii) Bhairavi Basic knowledge of Taals(Tevra & Sooltaal)Introduction of bandishes of above taals. Unit-4 Introductyion to Four Scales / Ragas out of which study of any one 25 hours sacle/Ragawith bandish /Gat fronm following i Ranajani Kalyan ii Gun Ranjanai iii Jan Sammohini iv Saraswati Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1)Pt.Hairishchandra Shrivastav : Raga Parichaya vol 4 2)Pt. Bhatkhande : Kramik Pustak Malika 3)Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 4) Pt Ramashraya Jha : Abhinav Geetanjali 5) Dr S.N Ratanjankar : Abhinav Geet Manjari 6) Raja Nawab Ali : Marifunnagamat

Department of Music (Vocal & Instrumental) Faculty of Performing Arts The Maharaja Sayajirao University of Baroda Academic Year year2018-19 Master of Performing Arts : Music (Vocal / Sitar / Violin) Post – Graduate Program Year 1 Core Elective-2 : Practical Tradition and Composition of Ragas I Credit 5 Semester 1 Vocal / Sitar / Violin Hours 98 (Practical- 3 credit & Theory-2 credit= 5 credit) To introduce Theoretical aspects of tradition and bandishes. OBJECTIVES Provide knowledge of introductory solo playing & singing. Provide knowledge of Padhant and basic concepts of Riyaz.

Unit-1 One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani 24 hours Gat with Alap and Tana in Maru Bihag , Shyam Kalyan 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 Jog , Barwa 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 Bada Khyal or 25 hours Massethhani Gat, one Chhota Khyal or Razakhani Gat with Tana. (i) Madhmad Sarang (ii) kirwani (iii) Piloo Basic knowledge of Taals(Tevra & Sooltaal)Introduction of bandishes of above taals. Unit-4 Introductyion to Four Scales / Ragas out of which study of any one 25 hours sacle/Ragawith bandish /Gat fronm following Koushik Ranjani, Manoranjani , Nandkouns , Vachaspati Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1. Pt.Girishchandra Shrivastav Raga Parichaya 2. Pt. Bhatkhande Sangit Shashtra 3. Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan

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 examiner’s 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 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%

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts year2018-19 The Maharaja Sayajirao University of Baroda Master of Performing Arts : Music (Vocal / Sitar / Violin) Post – Graduate Program Year 1 Core Compulsory-1 : Theory I Principle of Music II Credit 3 Semester 2 Section I Aesthetics of Music Hours 45 Section II Acoustics of Music Vocal / Sitar / Violin (Practical- 0 credit & Theory-3 credit= 3 credit) To introduce Concept of Shruti and its interpretations in ancient period OBJECTIVES To improve knowledge of student in Principles of Music To introduce of Indian & Western Music scales & Notation systems Unit-1 Section I Aesthetics of Music 12 hours Adwaitvaad of Shankaracharya.

Section II Acoustics of Music General Survey of the Violin family vibrations of bowed strings. Unit-2 Section I Aesthetics of Music 11 hours Nirpekshvad of Hegel.

Section II Acoustics of Music The Clarinet family, Brass Instruments, the Bugle, French Horn etc. Unit-3 Section I Aesthetics of Music 11 hours Views of the term Nishpatti define by Bhatt Lolat.

Section II Acoustics of Music Discord due to beats, various ways of producing beats. Unit-4 Section I Aesthetics of Music 11 hours The Music as specific Fine Arts.

Section II Acoustics of Music Recording & Reproducing of sounds. Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1) Acharya Bharat Natyashashtra 2) Dr Nagendra Ras Siddhant 3) Dr P.K Dixit Saras Sangeet 4) Prof B.C Deva Acoustic of Music & Speech 5) Jean James Science & music

Unit-1 Formation of different varieties of Alankaras 11 hours Formation of different varieties of Tanas

Unit-2 Formation of Alap and Swaravistar & Values of Tonic in Indian Music 11 hours Comparative study of the Ragas studied up till now.

Unit-2 The main periods and main works on Music – Lochan, Ahobal, Somnath, 12 hours Ramamatya, Venkatmakhi, Vidyapati, S. M. Tagore, Krishnadhan Banerjee, Swami Pragyanand, Pt. Bhatkhande,

Unit-3 History of different Gharanas- Atrouli, Kirana, Patiyala, Mewati, 11 hours Badayun, Bhindibazar, Jaipur, Indore.

Unit-4 History and the tradition of Thumri, Tappa, Maseetkhani, Razakhani. 11 hours

Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1) Acharya Sharangdev : Sangeet Ratnakar 2) Acharya Matang : Brihaddeshi 3) Acharya K.C.D Brihaspati : Bharat ka Sangeet Siddhant 4) Acharya K.C.D Brihaspati : Dhrupad aur uska Vikas 5) Dr S.C Paranjape : Sangeet Bodh

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts year2018-19 The Maharaja Sayajirao University of Baroda Master of Performing Arts : Music (Vocal / Sitar / Violin) Post – Graduate Program Year 1 Core Elective-1 : Intensive Practical Study of Ragas II Credit 5 Semester 2 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. Aabhogi Kanhada , Shahana Kanhada 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 Jhinjhoti, Khambawati 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 Thooamri 25 hours orBandish or Razakhani Gat, one Chhota Khyal or Razakhani Gat with Tana. Hemant, Shivranjani, Desh

Unit-4 Introductyion to Four Scales / Ragas out of which study of any one 25 hours sacle/Ragawith bandish /Gat fronm following Sidhdh kounse, Amrut varshini, Jait, Maluha Kedar Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1)Pt.Hairishchandra Shrivastav : Raga Parichaya vol 4 2)Pt. Bhatkhande : Kramik Pustak Malika 3)Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 4) Pt Ramashraya Jha : Abhinav Geetanjali 5) Dr S.N Ratanjankar : Abhinav Geet Manjari 6) Raja Nawab Ali : Marifunnagamat

Unit-1 One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani 24 hours Gat with Alap and Tana in Nand, Hem Kalyan 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 Nayaki Kanhada, Kounsi Kanhada 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 Thooamri 25 hours orBandish or Razakhani Gat, one Chhota Khyal or Razakhani Gat with Tana. Bihagada, Sidhura, pahadi,

Unit-4 Introductyion to Four Scales / Ragas out of which study of any one 25 hours sacle/Ragawith bandish /Gat fronm following Malay Marutam(Ahiravati), Bhinn Kouns, Shobhawari, Vachaspati Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1)Pt.Hairishchandra Shrivastav : Raga Parichaya vol 4 2)Pt. Bhatkhande : Kramik Pustak Malika 3)Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 4) Pt Ramashraya Jha : Abhinav Geetanjali 5) Dr S.N Ratanjankar : Abhinav Geet Manjari 6) Raja Nawab Ali : Marifunnagamat

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 examiner’s choice. The total duration of the third paper will be 30mts.

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2019-20 The Maharaja Sayajirao University of Baroda Master of Performing Arts : Music (Vocal / Sitar / Violin) Post – Graduate Program Year 2 Core Compulsory-1 : Theory I Principle of Music III Credit 3 Semester 3 Section I Aesthetics of Music Hours 45 Section II Acoustics of Music Vocal / Sitar / Violin (Practical- 0 credit & Theory-3 credit= 3 credit) To introduce Concept of Shruti and its interpretations in ancient period OBJECTIVES To improve knowledge of student in Principles of Music To introduce of Indian & Western Music scales & Notation systems Unit-1 Section I Aesthetics of Music 12 hours Applicability of Ras Sutra in practice of North Indian Classical Music.

Section II Acoustics of Music Responsive vibrations in monochord Metal Reeds without pipes. Unit-2 Section I Aesthetics of Music 11 hours Melody, Harmony & Raga.

Section II Acoustics of Music The Trombone valve instruments. Unit-3 Section I Aesthetics of Music 11 hours Views of the term Nishpatti define by Shankuk.

Section II Acoustics of Music Consonance of chief, intervals chord and their various positions, reasons temperament. Unit-4 Section I Aesthetics of Music 11 hours Emotion through Laya.

Section II Acoustics of Music Resonance, Resonators, Interference and combinational tones. Assessment:1.Continuous Assessment:30%2.Written Examination:70%  One class test(Theory)  One written Assessment(Minor) REFERENCES 1)Acharya Bharatv : Natyashashtra 2)Dr Nagendra :Ras Siddhant 3)Dr P.K Dixit :Saras Sangeet 4)Prof B.C Deva : Acoustic of Music & Speech 5)Jean James : Science & music

Unit-1 Formation of different varieties of Alankaras 11 hours Formation of different varieties of Tanas

Unit-2 Formation of Alap and Swaravistar & Values of Tonic in Indian Music 11 hours Comparative study of the Ragas studied up till now.

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2019-20 The Maharaja Sayajirao University of Baroda Master of Performing Arts : Music (Vocal / Sitar / Violin) Post – Graduate Program Year 2 Core Compulsory-3 : Theory III History of Music III Credit 3 Semester 3 Vocal / Sitar / Violin Hours 45 (Practical- 0 credit & Theory-3 credit= 3 credit) Introduction to basic history of Indian Music. OBJECTIVES To introduce basic history of Vocalist & Instrumentalist of Indian Music. Introduction to Musical forms and its compositions of Indian Music, traditions and Gharanas of Khayal Gayan. Unit-1 History data of ncient & modern Instruments in North Indian Music 11 hours (a) Tata (b) Vitata (c) Ghana (d) Shushir. Unit-2 Total values & use of Percussion, String & Wind Instruments in 12 hours Indian Classical Music. Unit-3 General discussion on Indian Orchestral & Choral Music, Light Music, 11 hours Applied Music & Thematic Music. Unit-4 Main outline of the techniques of playing of any Four Instruments of 11 hours different category. Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1) Acharya Sharangdev : Sangeet Ratnakar 2) Acharya Matang : Brihaddeshi 3) Acharya K.C.D Brihaspati : Bharat ka Sangeet Siddhant 4) Acharya K.C.D Brihaspati : Dhrupad aur uska Vikas 5) Dr S.C Paranjape : Sangeet Bodh

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2019-20 The Maharaja Sayajirao University of Baroda Master of Performing Arts : Music (Vocal / Sitar / Violin) Post – Graduate Program Year 2 Core Elective-1 : Intensive Practical Study of Ragas III Credit 5 Semester 3 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. Devgir Bilaval, Soor 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. Nat Bhairav, Basant mukhari lementary 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 Thoomari or 25 hours bandish or Razakhani Gat, Suha-Sughari, Ramdasi malhar, Gara

Unit-4 Introductyion to Four Scales / Ragas out of which study of any one 25 hours sacle/Ragawith bandish /Gat fronm following Barari, Naag Swaravali,Ahir Lalit, Adbhut Kalyan

Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1)Pt.Hairishchandra Shrivastav : Raga Parichaya vol 4 2)Pt. Bhatkhande : Kramik Pustak Malika 3)Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 4) Pt Ramashraya Jha : Abhinav Geetanjali 5) Dr S.N Ratanjankar : Abhinav Geet Manjari 6) Raja Nawab Ali : Marifunnagamat

Unit-1 One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani 24 hours Gat with Alap and Tana in Puriya Kalyan, Bhatiyar 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 Bilas khani Todi, Komal Rishabh Aasavari 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 Thoomari or 25 hours bandish or Razakhani Gat, Yamani Bilawal, Gauri, Jogiya

Unit-4 Introductyion to Four Scales / Ragas out of which study of any one 25 hours sacle/Ragawith bandish /Gat fronm following Hans Kinkani, Gopika Basant, Chakrdhar, pancham Sohani Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1)Pt.Hairishchandra Shrivastav : Raga Parichaya vol 4 2)Pt. Bhatkhande : Kramik Pustak Malika 3)Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 4) Pt Ramashraya Jha : Abhinav Geetanjali 5) Dr S.N Ratanjankar : Abhinav Geet Manjari 6) Raja Nawab Ali : Marifunnagamat

Section II Acoustics of Music Responsive vibrations in organ pipes with and without reeds. Unit-2 Section I Aesthetics of Music 11 hours Shapeksh & Nirpeksh Saundarya.

Section II Acoustics of Music The Human Voice, Vowel quality. Air pressures for wind instruments temperature variations of pitch partials of typical instruments. Unit-3 Section I Aesthetics of Music 11 hours Views of the term Nishpatti define by Abhinav Gupt.

Section II Acoustics of Music Boson quant’s cycle of fifty-three, Elli’s Harmonical, Character of Keys. Unit-4 Section I Aesthetics of Music 11 hours Emotion through Swaras & Ragas.

Section II Acoustics of Music Orchestration chief intervals, Historical pitches. Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1)Acharya Bharatv : Natyashashtra 2)Dr Nagendra :Ras Siddhant 3)Dr P.K Dixit :Saras Sangeet 4)Prof B.C Deva : Acoustic of Music & Speech 5)Jean James : Science & music

Unit-1 Formation of different varieties of Alankaras 11 hours Formation of different varieties of Tanas

Unit-2 Formation of Alap and Swaravistar & Values of Tonic in Indian Music 11 hours Comparative study of the Ragas studied up till now.

Unit-3 Study of the main characteristics of Tabla Baaz in different Gharanas 11 hours of North Indian Music System& their comparative study. . Unit-4 The main past & pre exponents of Delhi, Banaras, Farukkhabad & 11 hours Ajarada Gharana.

Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1) Dr S.C Paranjape : Sangeet Bodh 2) Shri Grishchandra Srivastava : Taal Parichaya 3) Shri Satya Narayan Vashishta : Taal Martand

Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2019-20 The Maharaja Sayajirao University of Baroda Master of Performing Arts : Music (Vocal / Sitar / Violin) Post – Graduate Program Year 2 Core Elective-1 : Intensive Practical Study of Ragas IV Credit 5 Semester 4 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. Jog kauns, Desi Todi Theoretical aspects of Thata., Theoretical aspects in solo Singing playing. 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. Shudhdha Sarang, Gorakh Kalyan 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 Thoomari or 25 hours bandish or Razakhani Gat, Bhairav Bahar, Malgunji , Mishra Tilak Kamod

Unit-4 Introductyion to Four Scales / Ragas out of which study of any one 25 hours sacle/Ragawith bandish /Gat fronm following Basant-Bahar, Chandrakouns (Bageshree Ang) jayant Malhar, Pratiksha(Bhoopkali) Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1)Pt.Hairishchandra Shrivastav : Raga Parichaya vol 4 2)Pt. Bhatkhande : Kramik Pustak Malika 3)Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 4) Pt Ramashraya Jha : Abhinav Geetanjali 5) Dr S.N Ratanjankar : Abhinav Geet Manjari 6) Raja Nawab Ali : Marifunnagamat

Unit-1 One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani 24 hours Gat with Alap and Tana in Nat Bihag, Gunkri 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 Gurjari Todi , Gawati 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 Thoomari or 25 hours bandish or Razakhani Gat, Parameshwari, Salag Varali, Lalita Gauri

Unit-4 Introductyion to Four Scales / Ragas out of which study of any one 25 hours sacle/Ragawith bandish /Gat fronm following Savani,Bhairav Bhar, Dhani kaounse, paraj-Kalingada Assessment: 1.Continuous Assessment :30%  One class test(Theory)  One written Assessment(Mionor) 2.Written Examination :70% REFERENCES 1)Pt.Hairishchandra Shrivastav : Raga Parichaya vol 4 2)Pt. Bhatkhande : Kramik Pustak Malika 3)Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan 4) Pt Ramashraya Jha : Abhinav Geetanjali 5) Dr S.N Ratanjankar : Abhinav Geet Manjari 6) Raja Nawab Ali : Marifunnagamat