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Undergraduate Diploma in Gurmat Sangeet

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Undergraduate Diploma in Gurmat Sangeet UNDERGRADUATE DIPLOMA IN GURMAT SANGEET ACADEMIC POLICY/ORDINANCES Objectives of the Course : An Online initiative by Gurmat Sangeet Chair - Department of Gurmat Sangeet, Punjabi University, Patiala to disseminate the message of Sikh Gurus through Gurmukhi, Gurmat Studies and Gurmat Sangeet at global level. Duration of the Course : Two Semester Eligibility : The candidate must have passed Certificate Course in Gurmat Sangeet in the same stream or the Certificate Course in Gurmat Sangeet from the Department of Distance Education, Punjabi University Patiala (Minimum Matric or 10+2 Pass) and interest in Gurmat Sangeet Medium of Instruction : English & Punjabi Medium of Examination : English & Punjabi Fees for the Course : For admission in the course a candidate shall have to pay Admission fees (including Examination Fee) as given below Admission Fee : 300US$ (15,000/- INR) upto 30th September With Late Fee 350US$ (17,500/- INR) upto 31st October With Late Fee 450US$ (22,500/- INR) and with the special permission of Vice Chancellor upto 30th November Total Credits for the Program : 136 Out of which 54.41% credits have been assigned to Allied Papers 19.12% credits to Skill based papers 26.47% Credits to Core Papers SCHEME OF THE COURSE FOR SPRING SEMESTER Compulsory/ Papers Paper Code Title of the Papers L* T* P* Cr*/Sem* Elective Paper I DGS 301 Historical Study of Sikhism 18 0 0 18 Compulsory Paper III DGS 302 Gurbani Santhya 10 12 0 16 Papers DGS 303 Musicology of Gurmat 18 0 0 18 Sangeet Vocal Tradition Musicology of Gurmat 18 0 0 18 Elective Paper II DGS 304 Sangeet String Instrumental Papers Tradition Musicology of Gurmat 18 0 0 18 DGS 305 Sangeet Percussion Instrumental Tradition (Jorhi/Tabla) DGS 306 Stage Performance of Shabad 0 0 26 13 Keertan DGS 307 Stage Performance of String 0 0 26 13 Elective Paper IV Instruments Papers DGS 308 Stage Performance of Percussion 0 0 26 13 Instrumental (Jorhi/Tabla) L = Lecture T = Tutorials P = Practical C = Credits Sem = Semester 1 HISTORICAL STUDY OF SIKHISM (Paper I - DGS 301) 1. Contribution of Ten Guru in Propagation of Sikhism 2. Contributors of Bhai Mardana ji, Baaba Budha ji, Bhai Gurdas ji, and Bhai Nand lal ji in the Sikh History. 3. Brief Life history of Banda Singh Bahadar. 4. Brief Life history of Maharaja Ranjeet Singh. 5. Brief Description of the battles between the sikhs and the British 6. Singh Sabha Movement 7. Akali Movement PATTERN OF EVALUATION Assessment 20 Marks Theory GURBANI SANTHYA (Paper III - DGS 302) Part A (Theory) 1. Description of Aasa di Vaar. 2. Description of Savaiye Baani. 3. Description of Ghoriya Baani. 4. Description of Alahunia Baani. Part B (Tutorial) 1. Santhya test Aasa di Vaar (17 - 24 Chhant) 2. Santhya test, Svaiye Baani 3. Santhya test, Ghoriya Baani. 4. Santhya test, Alahunia Baani. PATTERN OF EVALUATION Theory Assessment 20 Marks MUSICOLOGY OF GURMAT SANGEET VOCAL TRADITION (Paper II - DGS 303) 1. Definition of Technical Terms: Janam Samay / Shukraane di keertan Chauki, Anand Kaaraj di keertan Chauki, Basant di keertan Chauki, Malhaar di keertan Chauki, Kaanhre di keertan Chauki, Dhrupad, Khayaal, Thumri, Taraanaa, Tappaa, Daadraa. 2. Contribution of Guru Arjan Dev ji in the development of Gurmat Sangeet 4. Classical Singing styles of Sri Guru Granth Sahib 5. Importance of Shabad Keertan Chauki in Gurmat Sangeet 6. Keertan Chauki tradition of the Sikh way of life 7. Description of Raagas: Siri, Maajh, Devgandhaari, Bihagrhaa, Bairari, Maligaura, Maaru. 8. Description of Taalas: Panj tal di Savaari, Ektaal, Japtaal, Chartaal, Frodast taal. STAGE PERFORMANCE OF SHABAD KEERTAN (Paper IV - DGS 306) 1. Practical performance of Raagas: Siri (One Shabad Composition), Maajh (One Shabad Composition), Vadhans (Alahunia and Ghoria), Bihagrhaa(One Shabad Composition), Bairaari (One Shabad Composition) 2 2. Description of Taalas: Panjtal di Savaari, Ektaal, Japtaal. 3. Aasa di Vaar (17 - 20 Chhant ) 4. One Parhtaals (Raaga Malhaar ) 5. Akaal Chaalane di keertan Chauki , Shaan and Manglacharan (Raaga Tilang, Maru, Jaijawanti) PATTERN OF EVALUATION Theory Assessment 25 Marks MUSICOLOGY OF GURMAT SANGEET STRING INSTRUMENTAL TRADITION (Paper II - DGS 304) 1. Definition of Technical Terms: Janam Samay / Shukraane di keertan Chauki, Anand Kaaraj di keertan Chauki, Basant di keertan Chauki, Malhaar di keertan Chauki, Kaanhre di keertan Chauki, Dhrupad, Khayaal, Thumri, Taraanaa, Tappaa, Daadraa. 2. Contribution of Guru Arjan Dev ji in the development of Gurmat Sangeet 4. Classical Singing styles of Sri Guru Granth Sahib 5. Importance of Shabad Keertan Chauki in Gurmat Sangeet 6. Keertan Chauki tradition of the Sikh way of life 7. Description of Raagas: Siri, Maajh, Devgandhaari, Bihagrhaa, Bairari, Maligaura, Maaru. 8. Description of Taalas: Panjtal di Savaari, Ektaal, Japtaal, Chartaal, Frodast taal. STAGE PERFORMANCE OF STRING INSTRUMENTS (Paper IV - DGS 307) Note: Candidate shall opt one string instrument from the following: Rabab, Saranda, Taus, Dilruba, Sarangi, Israj 1. Practical performance of Raagas: Siri (One Shabad Composition), Maajh (One Shabad Composition), Vadhans (Alahunia and Ghoria), Bihagrhaa(One Shabad Composition), Bairaari (One Shabad Composition) 2. Description of Taalas: Panjtal di Saawari, Ektaal, Japtaal. 3. Aasa di Vaar (17 - 20 Chhant ) 4. One Parhtaals (Raaga Malhaar ) 5. Akaal Chaalane di keertan Chauki , Shaan and Manglacharan (Raaga Tilang, Maru, Jaijawanti) PATTERN OF EVALUATION Theory Assessment 20 Marks MUSICOLOGY OF GURMAT SANGEET PERCUSSION INSTRUMENTAL TRADITION (JORHI/TABLA) (Paper II - DGS 305) 1. Definition of Technical Terms: Hindustani Music, Carnatic Music, Mridang, Pakhawaj, Kirya, Sashabad Kiryaa, Nishabad Kiryaa, Bol Baant, Chakardaar, Kinaar Ki Gat, Taal Lipi (Bhatkhande) 2. Knowledge of writing different Taalas and Layakaaris in Bhatkhande notation system. 3. Description of Taalas: Frodast, Beertaal, Amartaal. 3 STAGE PERFORMANCE OF PERCUSSION INSTRUMENTAL (JORHI/TABLA) (Paper IV - DGS 308) Note: Candidate shall one percussion instrument either Jorhi or Tabla 1. Solo Taal recital demonstrating Peshkar, Uthaan, and Kayada in Frodast, Beertaal, Amartaal. 2. Dugun Laykari of the matter used for Solo recital. 3. Recital of Thhekaa in Dugun Laya of solo taal by hands PATTERN OF EVALUATION Theory Assessment 20 Marks 4 SCHEME OF THE COURSE FOR AUTUMN SEMESTER Compulsory/ Papers Paper Code Title of the Papers L* T* P* Cr*/Sem* Elective Paper I DGS 309 Primary Sources of Sikhism 18 0 0 18 Compulsory Paper III DGS 310 Learning Gurbani Pronunciation 16 12 0 22 Papers and Grammer Sikh Musicological 18 0 0 18 DGS 311 Study of Gurmat Sangeet Vocal Tradition Elective Paper II Sikh Musicological Study of 18 0 0 18 Papers DGS 312 Gurmat Sangeet String Instrumental Tradition Sikh Musicological Study of 18 0 0 18 DGS 313 Gurmat Sangeet Percussion Instrumental Tradition (Jorhi/Tabla) Shabad Keertan of Vocal 0 0 26 13 DGS 314 Tradition of Gurmat Sangeet – Stage Performance Shabad Keertan of String Elective Paper IV Instrumental Tradition of Gurmat 0 0 26 13 Papers DGS 315 Sangeet – Stage Performance Shabad Keertan of Percussion 0 0 26 13 Instrumental Tradition of Gurmat DGS 316 Sangeet – Stage Performance (Jorhi/Tabla) L = Lecture T = Tutorials P = Practical C = Credits Sem. = Semester PRIMARY SOURCES OF SIKHISM (Paper I - DGS 309) 1. Dasam Granth. 2. Vaara Bhai Gurdas. 3. Baani Bhai Nand lal. 4. Gur Bilas Patshahi - 06 5. Gur Bilas Patshahi - 10 6. Janam Sakhi Parmpara. 7. Suraj Parkash. 8. Panth Parkash. 9. Mehma Parkash. PATTERN OF EVALUATION Theory Assessment 20 Marks 5 LEARNING OF GURBANI GRAMMER (Paper III - DGS 310) Part A (Theory) 1. Gurbani Vowels 2. Gurbani Diacritics Marks 3. Gurbani Meter 4. Gurbani Rhyme 5. Gurbani Idiom 6. Gurbani Compounds 7. Gurbani Morphology 8. Gurbani Derivation and Inflection Part B (Tutorial) Viva voce (Santhya test) will he held from the following syllabus by the examiner. 1. Santhya test, Laavan. 2. Santhya test, Jaap Sahib 3. Santhya test, Laavan. 4. Santhya test, Anand Sahib. PATTERN OF EVALUATION Theory 20 Marks Assessment SIKH MUSICOLOGICAL STUDY OF VOCAL TRADITION OF GURMAT SANGEET (Paper II - DGS 311) 1. Definition of Technical Terms: Partaal, Padde, Ashtpade, Alaahnian, Ghorhian, Vaar, Aarti, Mudaavani, Chhakaa, Purav Raag, Uttar Raag, Adhav Darshak Sur, Sandhi Parkash Raag, Rabaabi, Taksaal, Raag Dhiaan, Raag Parbandh (Gurmat Sangeet), Tat saaz, Vitat saaz, Sushir saaz, Avnadh saaz, Ghan saaz 2. Contribution of Guru Hargobind Sahib ji in the development of Gurmat Sangeet. 3. Ritukaalin Keertan Chauki tradition 4. Folk Singing styles of Sri Guru Granth Sahib 5. Singing styles of Hindustani Music 6. Description of Raagas: Malhar, Kanrhaa, Kedaara, Jaijawanti, Nat Naarayan, Jaitsri 7. Description of Taalas: Adhachartaal, Birtaal, Deepchandi, Jhumra, Sooltaal 8. Time theory of Indian Music SHABAD KEERTAN OF VOCAL TRADITION OF GURMAT SANGEET – STAGE PERFORMANCE (Paper IV - DGS 314) 1. Practical performance of Raagas: Maligauraa (One Shabad Composition), Maru (One Shabad Composition), Kedara (One Shabad Composition), Nat Naraayan(One Shabad Composition), Jaitsri (One Shabad Composition) 2. Description of Taalas: Panjtal di Savaari, Ektaal, Japtaal, Chartaal, Frodast taal 3. Aasa di Vaar (21-24 Chhant) 4. One Parhtaals (Raaga Kanrhaa) 5. Akal Chaalane di keertan Chauki (Raaga Tilang, Maru, Jaijawanti) 6 PATTERN OF EVALUATION Theory 20 Marks Assessment SIKH MUSICOLOGICAL STUDY OF GURMAT SANGEET STRING INSTRUMENTAL TRADITION (Paper II - DGS 312) 1. Definition of Technical Terms: Partaal,
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