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BPA Syllabus for Light Music

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BPA Syllabus for Light Music Indira Kala Sangit Vishwavidyalaya, Khairagarh Syllabus Objectives – The elective group (B) Light Music courses are designed to expose the students to different neo-classical and some other popular song forms of India. These courses offer a balanced exposure to theoretical and performance aspects to provide a working understanding of the subject. B.P.A. Elective Group (B)– LIGHT MUSIC Semester I (Course 1) Credit – 3 Marks – 100 (External – 70 Internal – 30) Sr. Theory No. 1. (A) Study of two music systems (Hindustani and Karnataka) prevalent in India with their similarities and dissimilarities. (B) Brief studies of the following – Sangit, Naad, Shruti, Swar, Saptak, Varna. 2. (A) General introduction of song forms - Geet and Bhajan. (B) Study of any Geet, Ghazal and Bhajan with its meaning from prescribed syllabus. (C) Study of the following Taalas with notation - Trital, Kehrawa and Daadra. [Thah only] 3. Diagrammatic Description of the following musical instruments – Harmonium, Tabla and Dholak. 4. Study of life sketch of the following – Mirza Ghalib, Mahadevi Verma, and Meerabai. 5. An essay in about 200 words on various topics of light music. References: B.P.A. Elective Group (B)– LIGHT MUSIC Semester I (Course 2) Credit – 3 Marks – 100 (External – 70 Internal – 30) Sr. Practical No. 1. Performance study of two compositions each of – Geet, Ghazal and Bhajan (total six) of AIR-approved lyricists. 2. Alankar in following thatas – Bilawal and Yaman,. 3. One folk song from any region of India. 4. Practice of National Anthem and National Song (Based on raga Des as approved by AIR) 5. Practice of the following Taalas (with Taali-Khali showing hand gestures) – Tritaal, Daadra, Kehrawa. (In thaah) B.P.A. Elective Group (B)– LIGHT MUSIC Semester II(Course 1) Credit – 3 Marks – 100 (External – 70 Internal – 30) Sr. Theory No. 1. (A) Brief study of the following – Alankar, Aaroh, Avaroh, Pakad, Aalaap and Taan. (B) Description of Bhatkhande Notation System.. 2. (A) General study of Ghazal song form. (B) Study of Geet, Ghazal and Bhajan with meaning (from the syllabus). (C) Performance study of the following Taalas with notation along with dugun : Tritaal, Dadra, Keharwa, Roopak and Ektaal. 3. Diagrammatic Description of the following instruments – Duf, Banjo (Bulbul tarang), Manjira 4. Study of life sketch of the following lyricist – Bahadurshah Zafar, Pt. Gopaldas Neeraj and Surdas. 5. An essay in about 300 words on various topics of light music. B.P.A. Elective Group (B)– LIGHT MUSIC Semester II (Course 2) Credit – 3 Marks – 100 (External – 70 Internal – 30) Sr. Practical No. 1. Performance study of two compositions each of – Geet, Ghazal and Bhajan (total six) of AIR- approved lyricists. 2. Madhyalaya khayal in the following ragas with taans – Bhairav,Kafi, Bhupali, Khamaj, Bhairavi. 3. One folk song from any region of India. 4. Performance study of University Kulgeet. 5. One welcome song (Swagat geet). 6. Performance study of Geet, Ghazal and Bhajan with hand gestures showing Laya and Taal. 7. Performance of Alankar on Harmonium. 8. Performance study of the following Taalas - Tritaal, Daadra, Kehrawa and Ektaal. (In thaah and dugun) B.P.A. Elective Group (B)– LIGHT MUSIC Semester III (Course 1) Credit – 3 Marks – 100 (External – 70 Internal – 30) Sr. Theory No. 1. (A) Brief description of Classical Music, Semi Classical Music, Light Music with their characteristics. (B) General introduction of the following song forms of Hindustani music-Dhrupad, Dhamar, Khayal. (C) Definitions of the following - Laya, Taal, Matra, Sam, Khali, Bhari, Aavartan and Theka. 2. (A) Study of Geet, Ghazal andBhajan with their meanings from the syllabus. (B) Studyof the following Taalas with notation- Tritaal, Roopak, Ektaal, Jhaptaal, Chautaal and Deepchandi in Dugun and Chaugun. 3. Diagrammatic Description of the following instruments – Sitar and Bansuri. 4. Study of life sketches of the following lyricists – Faiz Ahmad Faiz, Kabeerdas, Pt. Suryakant Tripathi Nirala. 5. An essay on the various topics of light music in about 400 words. B.P.A. Elective Group (B)– LIGHT MUSIC Semester III (Course 2) Credit – 3 Marks – 100 (External – 70 Internal – 30) Sr. Practical No. 1. Performance study of three compositions each of – Geet, Ghazal and Bhajan (total Nine) of AIR- approved lyricists. 2. Madhyalaya khayal in following ragas with aalaps and taanas – Aasavari, Todi, Bilaval. 3. Performance study of two folk songs from different regions of India. 4. Performance study of one Patriotic song (compositions not recorded for commercial circulation). 5. Performance study of Geet, Ghazal and Bhajan with hand gestures showing Laya and Taal. 6. Performance study of compositions with Harmonium. 7. Performance study of the following Taalas with Dugun and Chaugun –Teentaal, Ektaal, Chautaal, Jhaptal and Roopak. B.P.A. Elective Group (B)– LIGHT MUSIC Semester IV [Course 1] Credit – 3 Marks – 100 (External – 70 Internal – 30) Sr. Theory No. 1. (A) Study of Thaat and Raga and their characteristics. (B) Study of Light Music, Folk Music and Film Music with their characteristics. (C) General knowledge of the following song forms of Hindustani music - Thumri, Tappa, Tarana and Qawwali. 2. (A) General introduction of Harmony and Melody. (B) Brief study with definition on the following - Meend, Khatka, Murki, Kan, Gamak, Aalap and Taan. (C) Study of Geet, Ghazal and Bhajan (one each) with their meaning . (D) Study of the following Taalas with notation- Tritaal, Roopak, Ektaal, Jhaptaal, Chautaal and Deepchandi. (Dugun and Chugun) 3. Study of the following musical instruments with diagrams –Bela (Violin), Naal and Tanpura. 4. Study of life sketch of the following lyricists – Jigar Muradabadi, Meer Taqi Meer, Guru Nanak, Tulsidas, Sumitra Nandan Pant and Jayshankar Prasad 5. An essay on various topics of light music in about 400 words. B.P.A. Elective Group (B)– LIGHT MUSIC Semester IV [Course 2] Credit – 3 Marks – 100 (External – 70 Internal – 30) Sr. Practical No. 1. Performance study of three compositions each of – Geet, Ghazal and Bhajan (total Nine) of AIR- approved lyricists. 2. Madhyalaya khayal in the following ragas with aalaps and taans [including aakar taan] - Bhupali, Brindavani Sarang, Bhimpalasi. 3. Performance study of two folk songs from different regions of India. 4. Performance study of one Patriotic song (compositions not recorded for commercial circulation). 5. Performance study of improvisation compositions. 6. Performance study of compositions with Harmonium. 7. Performance study of the following Taalas with Dugun and Chaugun –Dadra, Keharwa, Ektaal, Jhaptaal, Roopak and Deepchandi. B.P.A. Elective Group (B)– LIGHT MUSIC Semester V [Course 1] Credit – 3 Marks – 100 (External – 70 Internal – 30) Sr. Theory No. 1. (A) General knowledge of Rasa theory and its relationship with music. (B) General study of Acoustics of Auditorium. (C) Study of Voice Culture . (D) General introduction to Abhang. (E) Description of Layakari like Aad, Biaad, Kuaad and study ofTihai. 2. (A) Study of Geet, Ghazal and Bhajan with their meaning . (B)Study of the following Taalas with notation- Tritaal, Roopak, Ektaal, Jhaptaal, Chautaal and Deepchandi. (Dugun,Tigun and Chaugun). (C) General introduction of the folk songs and folk instruments of the following regions –Maharashtra, Bengal, Bihar, Punjab and Madhya Pradesh. 3. Diagrammatic Description of the following musical instruments – Spanish Guitar, Accordion, Mouth Organ (Harmonica). 4. Study of following audio equipment with their uses in music- i.e. Microphone, Mixer and Amplifier. 5. An essay on various topics of light music in about 400 words. B.P.A. Elective Group (B)– LIGHT MUSIC Semester V [Course 2] Credit – 3 Marks – 100 (External – 70 Internal – 30) Sr. Practical No. 1. Performance study of four compositions each of – Geet, Ghazal and Bhajan (total twelve) of AIR-approved lyricists. [ Special emphasis to Vilambit laya compositions.] 2. Madhyalaya Khayaal with raga vistaar, Bol Aalaap , short taans, long taans,bol taan, different types of tihaai in any one raga of the following – Malkauns, Baageshri, Des, 3. One Tarana in any one of the above ragas. 4. Performance study of two folk songs from different regions of India. 5. Performance study of one Patriotic songs (compositions not recorded for commercial circulation). 6. Composing and singing of Geet, Ghazal or Bhajan (One each). 7. Musical presentation matching the literary meaning and expression of the themes. 8. Performance study of the following taals in Dugun, Tigun and Chougun with hand gestures showing laya and tala-Daadra, Kehrawa, Roopak, Ektaal, Tritaal, Jhaptal. B.P.A. Elective Group (B)– LIGHT MUSIC Semester VI [Course 1] Credit – 3 Marks – 100 (External – 70Internal – 30) Sr. Theory No. 1. (A) Composing and notating of prescribed lyrics of Geet, Bhajan and Ghazal . (B) Knowledge of the Technical equipments with their functional process used in music - i.e. Microphone, Audio Mixer (Consol) Reverb Unit, Amplifier, Speaker. 2. (A) General introduction of Rabindra Sangeet and Nazrul Geeti. (B) Mutual relation between Music and Poetry. 3. Diagrammatic Description of the following musical instruments : Jazz Drum, Clarinet, Bagpipe, Jaltarang, Pakhawaj. 4. General introduction of the folk songs and folk instruments of the following regions – Rajasthan, Uttar Pradesh, Himanchal Pradesh and Chhattisgarh. 5. An essay on various topics of light music in about 400 words. B.P.A. Elective Group (B)– LIGHT MUSIC Semester VI [Course 2] Credit – 3 Marks – 100 (External – 70 Internal – 30) Sr. Practical No. 1. Performance study of four compositions each of – Geet, Ghazal and Bhajan (total twelve) of AIR- approved lyricists.[ Special emphasis to Vilambit laya compositions.] 2. Madhyalaya Khayaal with raga vistaar, Bol Aalaap , short taans, long taans, bol taan, different types of tihaai in any one raga of the following – Jog, Bairaagi Bhairav, Bihag, Durga. 3. Performance study of two folk songs from different regions of India. 4. Performance study of one Patriotic songs (compositions not recorded for commercial circulation. 5. Composing and singing of Geet, Ghazal or Bhajan (One each). 6. Musical presentation matching the literary meaning and expression of the themes.
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