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MPA MUSIC (Vocal and Instrumental)

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@ l].r,^--".'-r DEPART-MENT OIr MUSIC (VOCAI- & INSTRUMIINTAL) CI-IAUDHARY DEVI L,AI, I.JNIVERSI]'Y, SIRSA COIJ RS E CI.J RRICU T,tJ M ITOR MPA (M usic-Vocal/Instru mental) (2-YEAR COURSE) Schenre of Exarnination and Syllabus (As per Choice Basecl Credit System w.e.f. the academic year 20l 8-2019 for 4tr' semester) The entire degree/prograrlrne of MPA (Music-Vocal/lnstrumental) will be of two years consistirrg of four semesters. Tlre sclreme of Examination and Syllabus of 4'l'setnester is as urrder:- qB UP4-@yllrveeq!4rllruutelt js!)?Y!ABr11-s-EM-E!f g9r.9q seLsl Course Nornenclature 1'ype of Marks-- Code Course int. End Assess. / Terrn Evaluatiort Exam. MUS-C- Aesthetics and 241 appreciation f Indian Music MI.JS-C- Multidirlensiorional 242 Valr.res of Indialian Mr-rsic MUS-C. Stage Practical Performance- 70 Marks 30 Minutes 243 Perfonnance (External Evaluation) candidate (Practical Pa Viva-Voce- 20 Marks (lnternal MUS-C- Viva-Voce Evalr.ratiorr) 30 Minutes Marks (lnternal 244 Cre_"t_igqllept File Notation- l0 candidate MUS-E- Creative fl""ti* Evaluation) 30 Minutes 241 Music in HarnnTtot.t lun-l Choose candidate Grq"ll"ul-LqpLper) any tu,o MUS-E- Creative of tlrem 30 Minutes per 242 Music in Sitar candidate (Practical Paper)Pao, MUS-E- Creative 30 Minutes per 243 Music in Flute candidate (Practicalical Paper)Papt MUS-L]- Creative 30 Minutes 244 Music in GLritatar candidate (Praclical Paperer_ MUS.E- Creative 30 Minutes 245 Music in Singirngilrg candidate (P:e91!9ql_1"p9aper) MUS-E,- Creative 30 Minutes per 246 Music in Tabla candidate (Prac1!cal Pape Open Elective Course (F' Corrr" -TcourscTiite Type of I Marks Credits cgae _l_ MLJS-OE- | Flindustani Music-lV Practical Perforrnance- 70 Marks 30 Minutes per Pa per) (External Evaluation) candidate 04 | tPracrical Viva-Voce- 20 Marks (lnternal I EvalLration) I File Notation- l0 Marks (lnternal I L- , --- I lf.velq"t'qD--- ---LTotal credit of open elective-- (OE) courscs shoLrld be at least I student in a Programme. fthg;E';k'osLry{s .?q..td', t L\ Aesthetics and appreciation of Indian Music MUS-C-241 Max.Marks: 100 End Tenn Exarn :70 Internal Assessment/Evaluation : 30 Time: 3 Hrs. (For End Terrn Exarn) Note-1: The evaluation of students consists of both internal and external evaluation. Internal evaluation irrcludes mid-term exarnination (20 Marks) covering two r"rnits of the syllabus, an assignmerrt (05rnarks) arrd class attendance (05 Marks). The external evaluation includes end-term examination of 70 marks covering the whole syllabus. Note-2: For errd term examination, the examiner is required to set nine questions in all. The first question will be compulsory consisting of short-answer questions (2 rnarks each) covering the entire syllabus. In additiorr. eight rnore questions will be set unit-wise corrprising two questions from each unit. The student shall be required to attempt five questions in all selecting one question from each unit including the compulsory questiorr. All questions carry equal rnarks. Unit-I (i) Definition of Aesthetics-lndian view points and Western scholars view point (Plato, Aristotle) (ii) Aesthetic Attitude, Aesthetic Experience, Feeling and Emotion (iii) Significance of Aesthetic in Indian Music Unit-II (i) Art and its classification (ii) Inter-relatiorrship of Fine Arts (iii) Mediurn, Forrn and Contents in Arls with special reference to Music Unit-III (i) Bharat's Theory of Rasa and its Applicability to Irrdian Music at Present (ii) Aesthetics and musical Irrtervals (Shada.i-Madhyam Bhava, Shadaj-Pancham Bhava Shada.i-Gandhar Bhava) (iii) Raga, Laya and Rasa Unit -IV i. Drama and its irnporlance in Aesthetical experience ii. Astethetical Concepts of Nayak-Nayika Bheda and Relevance of Raga Dhayan in Indian Music iii. Four Facets of Asthetics : Artiste, Work of Arts, Audience and Critic Suggested Readings : i. Bharat : Natya Shastra ii. K.C. Pandey : comparative Aesthetics, Chowkhamba Publications iii. S.K.Saxena: Hindustani Music and Aesthetical today Sangeet Natak Akaderni iv. Pradeep Kumar Dikshit: Nayak Nayika Bhed aur Rag Ragini Vargikaran v. Anupam Mahajan: Bhartiya Slrastriya Sangeet avam Saundariya Shastra vi. S.K.Saxerra: Aesthetical essays, Chankya PLrblication, ModelTown, Delhi vii. Manjula Saxena: Kalaaur Saundrya ka Darshnick vivechan Multidimensional Values of Indian Music MUS-C-242 Max.Marks : 100 End Term Exam :70 Internal Assessment/Evaluation : 30 l'irne: 3 Hrs. (For End Term Exani) Note-l: The evaluation ofstudents consists ofboth internal and external evaluation. Internal evaluation includes mid-term examination (20 Marks) covering two units of the syllabus, an assignment (05niarks) and class attendance (05 Marks). l'he external evaluation includes end-term examination of 70 rnarks covering the whole syllabus. Note-2: For end term exanrination, the examiner is required to set nine questions in all. The first q addition, eight rnore questions will be set unit-wise comprising from each unit. bffit\creuw\s' o stlrdent shall be required to attempt five questions in all selecting one questiotr from each unit incl Lrding tlre cornpulsory question. All qLrestions carly equal nlarks. Unit-I i. Origin and Developtnent of Musical Instrunlent ii. Importance of Sanskrit'lexts in lndian Music iii. Vocational Aspects of Indian MLrsic Unit-II i. Irrpact of Vocal Classical MLrsic on Indian Classical Instrumental Music ii. Relevance of Theory and Practice in Indian Classical Music iii. Utility of E,lectronic lnstruments and E-Sources irr lndian Classical Music Unit-III i. Music and Society ii. Music and Psychology iii. Music and Education Unit -IV i. Detailed and comparative study of following regards: 1) Maru Bihag -Bihag - Nat Bihag 2) Bilaskhani Todi -' Bhupaali Todi 3) Kounsi Kanhada __ Aabhogi Kanhada '- Nayaki Kanhada 4) Jog - Jog Kautts ii. Ability to write any one cornposition of Vilambit Khyal/Masitkhani Gat and Drut Khyal/Razakhani Gat with notation in any one of the above mentioned Ragas. iii. A study of the following Talas and ability to write them in Dugun, chaugun layakaries. iv. Shikhar, Bhrama, Jhumra Suggested Readings : i. Lal Mani Misher : Bharliya Sangeet ke Tantrivadya ' ii. Harish Kutnar Tiwari : I\4anch Pardarshan iii. Dr. Sawtentre Sharma : Bhartiya Sangeet Ek Ethihashik Vishlashan iv. Dr. Sawtentre Sharma : Bhartiya Sarrgeet Ka Shedlrantik Vishlashan v. Dr. Nagender : Rasa aur Saurrdraya vi. Vishnu Narayan Bhatkherrda : Bhatkhenda Sangeet Shasthra-4 blrag STAGE PERFORMANCI (PRACTICAL PAPER) MUS-C-243 Max.Marks : 100 Note-1: The evaluation of students consists of both internal and external evaluation i.e., Practical Perfonnance- 70 Marks (External Evaluation), Viva-Voce- 20 Marks (lnternal Evaluation) and File Notation- l0 Marks (lnternal Evaluation). The exam will be end term exam only and there will be no mid-tenn exam. Note-2: For end term examinatior.r, each candidate will be given 30 rninutes for practical performance as per the following syllabus. l. A student is required to prepare any one Raga with Vilambit Khayal/Maseetkhani Gat and Madhya Laya KhayallRaza Khani with Elaborations Gat rnentioned below :- i) Maru Bihag - Bihag - Nat Bihag ii) Bilaskhani Todi'- Bhupaali Todi iii) Kounsi Kanhada - Aabhogi Kanhada - Nayaki Kanhada iv) Jog - .log Kauns M.M.:50 2. One'fararra/One Gat iu any other Tala tharr Teental 3. One Dadra in Mishraklrania.i & Bharvi/One Dhun in Mishrakharla.i & Bhai M.M w".g#@ Suggested Readings : V.N. Bhatkhanda: Karrnik Pustak Malika Faqirullah : Rag Darpan K. Vasudev : Sangeet Shastra Ramashrya Jha : Abhinav Geetanjali l-V Omkarnath Thakur : Sangeetaniali I-VI Sunanda Patak : Ragon ki tJttpati evarn Vikas Anupam Maha.ian : Ragas in Indian Classical Music(Tradition arrd New Creation) Bharti Sharma : Sudh-Chiyalag Sankrin Rago Ki Avdhrna VIVA-VOCE (PRACTICAL PAPER). MUS-C.244 Max.Marks : 100 Note-l: The evaluation of students consists of both internal and external evaluation i.e., Practical Performance- 70 Marks (External Evaluation), Viva-Voce- 20 Marks (lnternal Evaluation) and File Notation- l0 Marks (lnternal EvalLration). The exam will be end term exarr only and there will be no mid-term exam. Note-2: For end term examination, each candidate will be given 30 rninutes for practical performance as per the following syllabus. l) MarLr Bihag .. Bihag - Nat Bihag 2) Bilaskhani Todi - Bhupaali Todi 3) Kounsi Kanhada - Aabhogi Kanhada - Nayaki Kanhada 4) Jog - Jog Kouns a) A studerrt is required to prepare any one Raga frorn the list of above mentioned Ragas of his/her choice to perfonn it for not less than l5 minutes. M.M.:20 b) A student is required to prepare all the above Ragas for Viva-Voce examinatior.r. M.M.:50 Suggested Readings : i. V.N. Bhatkhande : Krarnik Pustak Malika I-VI ii. V.R. Patvardhan : Raag Vigyan I-VII iii. Omkarnatlr Tlrakur : Sangeetanjali l-VI iv. S.N. Ratanjarrkar : Abhirrav Geet Manjari v. Ramashrey Jha : Abhinav Geetanjali I-V vi. Anupam Mahajan : Cornpositions in Instrumerrtal Music (Traditiorr and New Creation) vii. V.N. Bhatkhanda: Karmik Pustak Malika viii. Faqirullah : Rag Darparr CRf,ATIVE MUSIC IN TIARMONIUM (PRACTICAL PAPBR) MUS-E-24I Max.Marks : 100 Note-1: The evaluatiorr of students consists of both internal and external evaluation i.e., Practical Performance- 70 Marks (External Evaluation), Viva-Voce- 20 Marks (lnternal Evaluation) and File Notation- l0 Marks (lnternal Evaluatiorr). The exam will be end term exam only and there will be no mid-terrn exam. Note-2: For end term examination, each candidate will be given 30 minutes for practical perfonnance as per the following syllabus. l. A studerrt is required to perfonn all tlre Raga (Vilambit & Drut with Elaboratiorrs) on Harmonium from the list given below : a) Maru Bihag b) Bilaskhani Todi c) Komal Rishab Asawari d) Bhairvi W. v; ,<EP'w /^ ,-. t9. o 'l'abla 2. A student is required to play following on with Dugun, Teegun and Chaugun : a) Khemta b) J'eentaal c) Adhataal d) Punjabi 'taal M.M.
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    SEMESTER –III (THEORY ) INDIAN MUSIC (HINDUSTANI MUSIC) VOCAL AND INSTRUMENTAL (SITAR) Syllabus and Courses of Study in Indian Music for B.A. Under CBCS for the Examination to be held in Dec. 2017, 2018 and 2019 DURATION OF EXAMINATION: 2½Hrs MAX. MARKS: 40 (32+08) COURSE Code. UMUTC 301 EXTERNAL EXAM: 32 (Marks) CREDITS: 2(2hrs per week) INTERNAL EXAM: 08 (Marks) APPLIED THEORY AND HISTORY OF INDIAN MUSIC SECTION – A Prescribed Ragas: 1. Bhupali 2. Bheemplasi 3. Khamaj 1. (A) Writing description of the prescribed ragas. (B) Writing of notation of Chota Khayal/Razakhani Gat or/Maseetkhani Gat in any one of the above prescribed Ragas in Pandit V.N. Bhatkhandey notation system with few Tanas/Todas. 2. (A) Description of below mentioned Talas with giving single, Dugun,Tigun & Chougun layakaries in Pandit V.N. Bhatkhandey notation system. 1. Chartal 2. Tilwara Taal. (including previous Semester’s Talas). (B) Compartive study of the ragas with their similar Ragas(Samprakritik Ragas) & Identifying the Swar combinations of prescribed Ragas SECTION – B 1. Detailed study of the following Musicology: Meend,Murki,Gamak,Tarab,Chikari,Zamzama,Ghaseet,Krintan,Avirbhava, Tirobhava 2. Detailed study of the following:- Khayal,(Vilambit&Drut)&Razakhani/Maseetkhani Gat ,Dhrupad 3. Establishment of shudh swaras on 22 Shruties according to ancient,medieval & modern scholars 4.Classification of Indian Musical instruments with detailed study of your own instrument.(Sitar/Taanpura) SECTION – C 1. History of Indian Music of Ancient period with special reference of Grantha/books 2. Gamak and its kinds. 3. Origin of Notation System & its merits & demrits 4.
  • Faculty of Performing & Visual Arts

    Faculty of Performing & Visual Arts

    FACULTY OF PERFORMING & VISUAL ARTS DEPARTMENT OF MUSIC MAHARSHI DAYANAND UNIVERSITY ROHTAK Scheme of Examination of M.A.(Previous and Final-Semester I, II, III, IV) Hindustani Music (Vocal & Instrumental) w.e.f. academic year 2014-15 SEMESTER-I Paper Theory Paper Nomenclature of Theory Maximum Internal Total /Practical Code Papers Marks Assessment I Theory MU 21 Evolution Development of 80 20 100 Hindustani Music II Theory MU 22 History of Indian Music 80 20 100 III Theory MU 23 Interdisciplinary Approach 80 20 100 in Indian Music Grand Total 240 60 300 SEMESTER-II Paper Theory Paper Title of the Course Maximum Internal Total /Practical Code Marks Assessment IV Theory MU 05 Aesthetics of Indian Music 80 20 100 V Practical MU 06 Stage Performance 80 20 100 VI Practical MU 07 Viva- Voce 80 20 100 VII Practical MU 08 Creative Music and 80 20 100 Performance of Basic Ragas Grand Total 320 80 400 Scheme of Examination of M.A.(Final) Hidustani Music (Vocal & Instrumental) for semester system w.e.f. academic year 2015-16 1 SEMESTER-III Paper Theory Paper Nomenclature of Theory Maximum Internal Total /Practical Code Papers Marks Assessment VIII Theory MU 41 Multidimensional values 80 20 100 of Indian Music IX Theory MU 42 Digital Era Recording 80 20 100 Techniques and Appriciation of Music X Theory MU 43 General Aspects of Classical 80 20 100 & Folk Music of India Grand Total 240 60 300 SEMESTER-IV Paper Theory Paper Nomenclature of Theory Maximum Internal Total /Practical Code Papers Marks Assessment XI Theory MU 33 Concept of Indian Music 80 20 100 from Ancient to Modern Period XII Practical MU 34 Stage Performance 80 20 100 XIII Practical MU 35 Viva-Voce 80 20 100 XIV Practical MU 36 Creative Music and 80 20 100 Performance of Basic Ragas Grand Total 320 80 400 Total Maximum Marks-1400 Semester -1 THEORY PAPER-I Evolution and Development of Hindustani Music Note: 2 1.
  • DEPARTMENT of MUSIC & DANCE KURUKSHETRA UNIVERSITY KURUKSHETRA (E-Lesson Plan) From: 2-3-2015 to 7-3-2015 Dated:28-2-201

    DEPARTMENT of MUSIC & DANCE KURUKSHETRA UNIVERSITY KURUKSHETRA (E-Lesson Plan) From: 2-3-2015 to 7-3-2015 Dated:28-2-201

    DEPARTMENT OF MUSIC & DANCE KURUKSHETRA UNIVERSITY KURUKSHETRA (E-lesson Plan) From: 2-3-2015 to 7-3-2015 Dated:28-2-2015 Days Classes Paper Unit Topic of Theory/Practical Monday MPA (IV) Practical I Raag Bhairav MA (P) Practical I Raag Puriya MPA (V) Theory IV Tunning-Guitar, Nagara, Khol and Naal MA (F) Practical I Raag Aabogi Kanra MPA (II) Theory Sec-B Methods of Tunning of your Instrument Tuesday MPA (IV) Theory I Raag Bhairav Introduction MA (P) Practical I Raag Puriya MPA (V) Practical IV Raag Aabogi Kanra MA (F) Practical I Raag Aabogi Kanra MPA (II) Practical I Raag Khamaj M.PHIL. Practical Opt. 1 Raag Bhatiar Wednesday MPA (IV) Practical I Raag Bhairav Revision MA (P) Practical I Bharav Revision MPA (V) Practical I Raag Aabogi Kanra MA (F) Practical I Raag Aabogi Kanra MPA (II) Practical I Raag Khamaj Thursday MPA (IV) Practical I Raag Bhairav Revision MA (P) Practical I Raag Puriya MPA (V) Theory IV Tunning-Shehnai, Shankh and Calarnet MA (F) Practical I Raag Aabogi Kanra M.PHIL. Practical I Raag Bhatiyar Friday MPA (IV) Practical I Raag Bhairav Revision MA (P) Practical I Raag Puriya MPA (V) Practical I Raag Aabogi Kanra MA (F) Practical I Raag Aabogi Kanra M.PHIL. Practical Opt. 1 Raag Bhatiar Saturday MA (P) Practical I Raag Puriya MPA (IV Theory I Raag Bhairav Introduction Dr.Sanjeev Sharma Days Classes Paper Unit Topic of Theory/Practical Monday M.A.(P) III Practical - Raag Nat-Bhairav (Revision) II II Theory- Music in Puranas M.A.(F) V Practical- Raag Bhimplasi-vilambit Tuesday M.A.(P) III Practical - Raag Bhairav (Taan & Basics of Bhairav M.A.(F) V Ragang) MPA-IV V Practical- Raag Bhimplasi- with alap Wednesday M.A.(P) Practical - Raag Bhairav (Vilambit) MPA-IV M.A.(F) Thursday M.A.(P) III Practical - Raag Bhairav- Introduction & Practice M.Phil.
  • Music Card: CLASSICAL INSTRUMENTALS (320 Kbps MP3 Audio)

    Music Card: CLASSICAL INSTRUMENTALS (320 Kbps MP3 Audio)

    Music Card: CLASSICAL INSTRUMENTALS (320 kbps MP3 Audio) 1) Raaga Madhuvanti Vilambit Ektaal, Madhya Drut Teentaal 2) Raga Madhuwanti - Dhun 3) Bhajan 4) Raga Basant Mukahari 5) Dhun Pahari 6) Raga Hemavati Aalap Vilambit Gat Drut Gat 7) Raga Bageshwari 8) Raga Durga Alaap Jod 9) Raga Durga Gat 10) Raag Chandra Kauns 11) Raag Mishra Shivranjani 12) Raga Darbari Kanhra 13) Raga Lalita Dhwani 14) Raga - Miyan Ki Malhar - Vilambit Jhoomra, Drut Teentaal 15) Raga - Lalit - Vilambit Jhoomra, Drut Teentaal 16) Raga - Deshi, Vilambit Ektaal, Drut Teentaal, Taraana Teentaal 17) Raga - Gunakri, Madhyalaya Rupak 18) Bhajan - Surdasji, Rupak Taal 19) Raga Ahir Bhairav - Alaap, Jor, Jhala, Vilambit Matta Taal, Drut Teen Taal 20) Raga Mishra Bhairavi - Dhun Addha Taal 21) Raga Mishra Pilu Bandish Rupak Taal 22) Raga Shree - Alaap, Jod and Gat in Jhaptaal 23) Raga Shree - Gat in Teental and Jhaala 24) Raga Bilaskhani Todi Alaap, Jor, Jhala Gat Teental 25) Raga Bhairavi Dhun Punjabi Keharva 26) Dhun (based on Raga Bhairavi) 27) Alap - Raag Hansdhwani 28) Jod - Raag Hansdhwani 29) Gat Drut Teen Taal - Raag Hansdhwani 30) Gat Teen Taal - Raag Hansdhwani 31) Raga Kaunsi Kanhra Alaap, Jor 32) Gat Matta Taal 33) Gat Madhyalaya Ektaal 34) Gat Madhyalaya Teentaal 35) Drut Gat Teentaal 36) Pahadi Dhun 37) Raag Lalita Gauri 38) Raag Tilak Kamod 39) Raag Bageshree - Alaap And Jod 40) Raag Bageshree - Gat In Roopak Taal, Teentaal 41) Dadara In Raag Mishra Piloo 42) Raga Shree Alap 43) Raga Shree Jor 44) Raga Shree Composition in Dhamar Taal 45) Raga Bhairavi Alap 46) Raga Bhairavi Composition in Sool Taal .