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/) 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 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, di keertan Chauki, Malhaar di keertan Chauki, Kaanhre di keertan Chauki, Dhrupad, Khayaal, Thumri, Taraanaa, Tappaa, Daadraa. 2. Contribution of Dev ji in the development of Gurmat Sangeet 4. Classical Singing styles of Sri 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, , Maligaura, Maaru. 8. Description of Taalas: Panj tal di Savaari, Ektaal, Japtaal, Chartaal, Frodast .

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 , 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, , , 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: , 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, 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 STRING INSTRUMENTAL TRADITION OF GURMAT SANGEET – STAGE PERFORMANCE (Paper IV - DGS 315) Note: Candidate shall to opt one string instruments from the following: Rabab, Saranda, Taus, Dilruba, Sarangi, Israj 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)

PATTERN OF EVALUATION

Theory Assessment 20 Marks

SIKH MUSICOLOGICAL STUDY OF GURMAT SANGEET PERCUSSION INSTRUMENTAL TRADITION (JORHI/TABLA) (Paper II - DGS 313) 1. Definition of Technical Terms: Manglacharan, Shabad Reet, Shabad Gaayan (Dhrupad Ang), Shabad Gayan (Khayaal Gaayan), Partaal, Chhakaa, Taksaal, Tat saaz, Vitat saaz, Sushir saaz, Avnadh saaz, Ghan saaz 2. Definition of ‘Chhand’ & its various forms and its utility in Tabla Vadan 3. Principles of formation of Tihais 4. Description of Taalas: Jhumra, Jaitaal, Pancham Swari

7 SHABAD KEERTAN OF PERCUSSION INSTRUMENTAL TRADITION OF GURMAT SANGEET – STAGE PERFORMANCE (JORHI/TABLA) (Paper IV - DGS 316) Note: Candidate shall to opt one percussion instrument either Jorhi or Tabla 1. Solo Taal recital demonstrating Kayada, Rela, and Badhat (for Tabla Students) Saath Vadan in Chaartaal with two simple Tukrhas and two simple Tihaa-ees. (for Jorhi Students) 2. Tigun, and chargun Laykari of the matter used for Solo recital. 3. Taal Saaz Accompaniment with various keertan chaukis according to Gurmat Sangeet tradition 4. Recital of Thheka in Tigun Laya of Jhumra, Jaitaal, Pancham Swari. PATTERN OF EVALUATION

Theory Assessment 20 Marks

GUIDELINES 1. The University will provide all the teaching material on website. 2. The University will conduct an online examination in theory and practical examination will be conducted through Video Recording or Video Conferencing. 3. Gurmukhi and Gurmat Sangeet (Practical) are skill papers while Gurmat Studies is allied paper and Gurmat Sangeet (theory) is core paper. 4. First Semester (Spring) of the Course will be held from October to February followed by the Examination in the month of February and Second Semester (Autumn) will be from March to July followed by the Examination in the month of July. 5. The University will provide certificates to the successful candidates. Successful candidate who obtains 60% or more marks in all papers, shall be placed in the First division, those who obtain 55% or more marks but less than 60% marks shall be placed in Second division and below 55% marks shall be placed in third division. Successful candidates who obtain 75% or more marks in aggregate will be placed in the First Division with 'Distinction'. 6. Candidate will opt one stream in one session from Gurmat Sangeet (Gayan-Vocal), Gurmat Sangeet (Vadan-Instrumental : one string instrument Rabab, Saranda, Taus, Dilruba, Sarangi or Israj) but he may be allowed to play string instrument Rabab, Saranda, Taus, Dilruba, Sarangi, Israj or as accompanist for Keertan performance. In the course of percussion, candidate shall choose either Jorhi or Tabla. 7. If a Candidate wants to appear for more than one stream from Vocal, String Instrumental and Percussion Stream of Gurmat Sangeet subject, He/She shall take additional stream along with the main subject and will be allowed to appear for the examination of additional subject after the submission of 40 US$ (Rs. 1500/- INR) per stream. 8. Candidate will have to pass all theory and practical papers.

8