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Faculty of Performing Arts The M. S. University of Baroda Department of Indian Classical Music(Vocal-Tabla) Tabla Section (Appendix – A) A general framework for Bachelor’s Program shall as follows. Level Semester – Wise credits Total Credits 1 2 3 4 5 6 Bachelor’s program 24 24 24 24 24 24 144 The credit framework for the Core course, Elective course and the foundation course for a semester shall be as follows. L + P Course Credit %Marks Core Compulsory Theory I- Principles of Tabla I 3+0 03 30%+70% Core Compulsory TheoryII- Technical Terms of Percussion 3+0 03 30%+70% Instruments II Core Compulsory Practical I- Detail Practical study of Tabla I 2+4 06 30%+70% Core Compulsory Practical II- Tradition & Composition of 2+4 06 30%+70% Tabla II CREDIT 18 Elective Open Appreciation of Tabla I 4+0 04 30%+70% (Vocal/Sitar/Violin)/Tabla/Dance/Drama Foundation Compulsory English I (SEM I, III, V) 02 02 30%+70% Total Credit 24 Semester wise weightage of Core, Elective & Foundation courses. Academic year Core & Core Allied Interdisciplinary Foundation Courses Electives Semester I & II 70% 20% 10% Semester III & IV 70% 20% 10% Semester V & VI 70% 20% 10% Department of Indian Classical Music(Vocal-Tabla) Academic Tabla Section Year 2012-13 Faculty of Performing Arts The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Tabla Graduate Programme Year 1 Core Compulsory-1 : Principle of Tabla Credit 3 Semester 1 Hours 45 To introduce basic History of Tabla OBJECTIVES To Introduce Knowledge of basic terms of Tabla Give the knowledge of north Indian main Percussion Instruments. Unit-1 Introduction of History of Tabla: 12 hours Fables about History of Tabla. Opinion of Expert about History. Basic knowledge of present research of History. Unit-2 Study of basic terms of Tabla: 11 hours Introduction of following basic terms. Kala, Sangeet, Taal , Matra, Sam, Khali, Bhari, Vibhag, Aavartan, Theka. Unit-3 Introduction of Tihai: 11 hours Definition of Tihai. (Bedam, Damdar and Chakradar Tihai) Mathematical aspects of each Tihai. Example of each Tihai in Detail. Comparative study of Damdar and Bedam Tihai. Unit-4 Introduction of North Indian basic Percussion Instruments: 11 hours Introduction of percussion Instruments. (Pakhawaj, Tabla, Khol, Dholak, Dhol) Mechanism Of Percussion Instrument. Playing Style of Instruments. Use of Instrument in Different form of Music. Assessment: 1.Continuous Assessment :30% One class test(Theory) One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1. Tabla no Itihas ane Parampara (2001),Dr. Gaurang Bhavsar, University Granth Nirman 2. Bhartiya Vadya Sangeet(1990),Dr.Lalmani Mishra,. 3. Taal Parichay (part 1 to 3)(1993),Pt.Girishchandra Shrivastav,Sangeet Karyalay, Haatras Department of Indian Classical Music(Vocal-Tabla) Academic Year Tabla Section 2012-13 Faculty of Performing Arts, The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Tabla Graduate Programme Year 1 Core Compulsory-2 : Technical Terms of Percussion Credit 3 Semester 1 Instruments Hours 45 To introduce Mechanism of Tabla in Detail OBJECTIVES Provide knowledge of Accompaniment To introduce basic Vadya Vargikaran. Unit-1 Mechanism of Tabla and Banya: 12 hours Formation of Tabla and Banya. Introduction of all parts of Tabla and Banya. Use of Tabla in Indian Classical Music and other forms of Music. Unit-2 Principal of Accompaniment: 11 hours What is Accompaniment? Rules of Accompaniment with Vocal Music. Rules of Accompaniment with Instrumental Music. Theoretical and practical aspects of both forms of Music. Unit-3 Introduction of Vadya Vargikaran: 11 hours Definition of all types of Vadya. Classification of Tatvadya, Avanadhya vadya, Ghan vadya and Shushir vadya. Introduction of different Instruments i n reference to above form of Vadya Vargikaran. Unit-4 Notation System of Different Taals and Bandish: 11 hours (As per practical syllabus) Knowledge of Notation system. Write a Notation of Dadra, Kerva, Roopak, Teentaal in Single and Double. Write a notation of Kayada-Palta , Mukhada, Tukda, Tihai and Laggi . Assessment: 1.Continuous Assessment :30% One class test(Theory) One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1 Taal-Kosh (1996),Pt.Girishchandra Shrivastav ,Ruby Prakashan,Alahabad. 2. Taal-Parichay(part 1 to 3)(1993),Pt.Girishchandra Shrivastav,Sangeet Karyalay Haathras 3. Taal Prakash,Pt.Bhagvatsharan Sharma, Sangeet Karyalay Haathras Department of Indian Classical Music(Vocal-Tabla) Academic Tabla Section Year 2012-13 Faculty of Performing Arts, The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Tabla Graduate Programme Year 1 Core Compulsory-1 : Detail Practical Study of Tabla Credit 6 Semester 1 (Practical-4 credit & Theory-2 credit-6 credit) Hours 150 To introduce Theoretical aspects of thekas and bandishes. OBJECTIVES Provide basic knowledge of introductory solo playing. Provide knowledge of Padhant , Nikas and basic concepts of Riyaz. Unit-1 Practical knowledge in reference to theoretical aspects: 30 hours Theoretical aspects of theka. Theoretical aspects in solo playing. Theoretical aspects of Padhant. Theoretical aspects of different bandishes. Theoretical Techniques of Riyaz. (Note: All theoretical aspects of this practical paper included in first unit) Unit-2 Elementary knowledge of solo performance in Teentaal; 40 hours Vilambeet laya bandishes: Two basic kayadas with palatas ended with tihai. Madhya laya bandishes: One rele with paltas ended with tihai. Drut laya bandishes: a) Mukhada b) tukada c) Bedam and Damdar tihai etc. Unit-3 Basic knowledge of Taal: 40 hours Introduction of theka and Kisma of Dadra, Kaherva and Roopak taals. Use of above Taals in music. Unit-4 Padhant and Nikas of Taals and bandishes: 40 hours Elementary study of padhant of Roopak,Dadra,Teentaal,Keharva in Single,Double speed. Padhant of Bandishes. a) Vilambeet lay b) Madhya lay c) Drut lay Nikas of all bandishes in appropriate fingers and proper style. Assessment: 1.Continuous Assessment :30% One class test(Theory) One written Assessment(Minor) 2.Written Examination :70% REFERENCES 1 Bandishe Teentaal(2012),Dr.Gaurang Bhavsar,Ascent Publication 2. Sulabh Tabla Vadan,Pt.Raghunath Talegaonkar 3 Taal-Parichay(part 1 to 3)(1993),Pt.Girishchandra Shrivastav,Sangeet Karyalay Haathras Department of Indian Classical Music(Vocal-Tabla) Academic Tabla Section Year 2012-13 Faculty of Performing Arts, The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Tabla Graduate Programme Year 1 Core Compulsory-2 : Tradition and Composition of Tabla Credit 6 Semester 1 (Practical-4 credit & Theory-2 credit-6credit) Hours 150 To introduce basic thekas of Pakahawaj. OBJECTIVES Provide knowledge of introductory solo playing. Provide knowledge of Padhant , Nikas and basic concepts of Riyaz. Unit-1 Practical knowledge in reference to theoretical aspects: 30 hours Theoretical aspects of theka. Theoretical aspects in solo playing. Theoretical aspects of Padhant. Theoretical aspects of different bandishes. Theoretical Techniques of Riyaz. (Note: All theoretical aspects of this practical paper included in first unit) Unit-2 Elementary knowledge of solo performance in Ektaal: 40 hours Vilambeet laya bandishes: Two basic kayadas with palatas ended with Tihai. Madhya laya bandishes: One rele with paltas ended with Tihai. Drut laya bandishes: a) Mukhada b) Tukada c) Bedam and Damdar tihai etc. Unit-3 Basic knowledge of Pakhawaj Taals(Tevra and Sooltaal): 40 hours Introduction of theka and its variations of above taals. Use of above taal in Indian Music. Unit-4 Padhant and Nikas of Taals and bandishes: 40 hours Elementary study of padhant of Tevra,Sooltaal,Ektaal in Single,Double speed. Padhant of Bandishes. a)Vilambeet lay b)Madhya lay c)Drut lay Nikas of all bandishes in appropriate fingers and proper style as per Gharana system. Assessment: 1.Continuous Assessment :30% One class test(Theory) One written Assessment(Minor) 2.Written Examination :70% 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. Department of Indian Classical Music(Vocal-Tabla) Academic Tabla Section Year 2013-14 Faculty of Performing Arts, The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Tabla Graduate Programme Year 1 Elective Open : General History of Percussion Instruments Credit 4 Semester 1 Hours 60 To introduce basic concepts basic concepts of Mechanism of Tabla. OBJECTIVES To Introduce basic knowledge of History of Tabla. To Introduce basic terms of Tabla and production of different varna. Unit-1 Mechanism of Tabla and Banya. 15 hours Formation of Tabla and Banya. Introduction of all parts of Tabla and Banya. Use of Tabla in Indian Classical Music and other forms of Music. Unit-2 Introduction of History of Tabla 15 hours Fables about History of Tabla. Opinion of Expert about History. Basic knowledge of present research of History. Unit-3 Introduction of Basic Terms of Tabla: 15 hours Definition Of Basic Terms. (Sam, Khali, Bhari, Aavartan, Matra, Theka, Vibhag, Laya and Taal) Use of above terms in Theka and Musical aspects. Unit-4 Introduction of basic Varna(Bol) of Tabla: 15 hours Meaning of varna. Development of varna. Technique of producing different varnas on tabla jointly and individually Assessment: 1.Continuous Assessment :30% One class test(Theory) One written Assessment(Minor) 2.Written Examination :70% 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. Tabla no Itihas ane Parampara(2001), Dr.Gaurang Bhavsar, University Granth Nirman Board, Gujarat State. Department of Indian Classical Music(Vocal-Tabla) Academic Tabla Section Year 2012-13 Faculty of Performing Arts The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Tabla Graduate Programme Year 1 Core Compulsory-1 : Principle of Tabla Credit 3 Semester 2 Hours 45 Provide knowledge of basic Varna and how to produce it individually and jointly. OBJECTIVES To introduce technical terms of Tabla.
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    Detecting t¯ala Computationally in Polyphonic Context - A Novel Approach Susmita Bhaduri1, Anirban Bhaduri2, Dipak Ghosh3 1;2;3Deepa Ghosh Research Foundation, Kolkata-700031,India [email protected] [email protected] [email protected] Abstract the left-tabl¯a strokes, which, after matching with the grammar of t¯ala-system, determines the t¯ala and tempo of the composition. A large number of In North-Indian-Music-System(NIMS),tabl¯a is polyphonic(vocal+tabl¯a+other-instruments) com- mostly used as percussive accompaniment for positions has been analyzed with the methodology vocal-music in polyphonic-compositions. The hu- and the result clearly reveals the effectiveness of man auditory system uses perceptual grouping of proposed techniques. musical-elements and easily filters the tabl¯a compo- Keywords:Left-tabl¯a drum , T¯ala detection, nent, thereby decoding prominent rhythmic features Tempo detection, Polyphonic composition, Cyclic like t¯ala, tempo from a polyphonic-composition. For pattern, North Indian Music System Western music, lots of work have been reported for automated drum analysis of polyphonic-composition. However, attempts at computational analysis of t¯ala 1 Introduction by separating the tabl¯a-signal from mixed sig- nal in NIMS have not been successful. Tabl¯a is Current research in Music-Information- played with two components - right and left. The Retrieval(MIR) is largely limited to Western right-hand component has frequency overlap with music cultures and it does not address the North- voice and other instruments. So, t¯ala analysis of Indian-Music-System hereafter NIMS, cultures in polyphonic-composition, by accurately separating general.
  • Y8 South Asian Dance Bhangra: Lesson 3

    Y8 South Asian Dance Bhangra: Lesson 3

    09/07/2020 Y8 South Asian Dance Bhangra: Lesson 3 Y8 South Asian Dance Bhangra: Lesson 3 Read through the following information in regard to South Asian Dance and in particular for this week Kathak Dance. Once you have read the information please complete the quiz. All the answers to the questions are within the information below. *Required 1. Name and Class https://docs.google.com/forms/d/1mQCE2DiUnfhcw2v0hwMhMOxH4QaNrt2qFplFWBxW3O0/edit 1/7 09/07/2020 Y8 South Asian Dance Bhangra: Lesson 3 What is South Asian Dance? South Asian dance encompasses dance forms originating from the Indian subcontinent (India, Pakistan, Bangladesh and Sri Lanka) and varies between classical and non-classical dance. The classical dance forms often described as Indian Classical Dance include Bharatanatyam, Kathak, Odissi, Kuchipudi, Kathakali, Manipuri, Mohiniyattam and Sattriya. Other dance forms include Kalaripayattu or Kalari and Chhau which are influenced by martial art. The non-classical dance are Bollywood dance and folk dances such as Bhangra, Garba, Kalbelia and Bihu dance. (https://akademi.co.uk/) We are going to take a closer look at 3 of these Dance forms: Bollywood, Kathak and Bhangra. In Lesson 3 we will be looking at Bhangra Dance in more depth. Bhangra refers to several types of dance originating from the Punjab region of the Indian subcontinent and it is a celebratory folk dance which welcomes the coming of spring, or Vaisakhi, as it is known. Bhangra dance is based on music from a dhol, folk singing, and the chimta (tongs with bells). The accompanying songs are small couplets written in the Punjabi language called bolis.