DOCSLIB.ORG

Vocal Music) (2 Years / 4 Semesters Course)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vocal Music) (2 Years / 4 Semesters Course) YBN UNIVERSITY RANCHI, JHARKHAND SYLLABUS OF MASTER IN PERFORMING ARTS (VOCAL MUSIC) (2 YEARS / 4 SEMESTERS COURSE) LIST OF PAPERS OFFERED FOR THE MASTER IN PERFORMING ARTS (VOCAL MUSIC) SEMESTER I S. COURSE TITLE OF THE NATURE CREDIT N CODE PAPER OF o COURSE 1. 1Y2MUSRT01 COMPARATIVE & ACTIVITY 12 ANALYTICAL STUDY BASED OF RAGAS & TALAS – COURSE I 2. 1Y2MUSMTA1 MUSIC THEORY – A 1 THEORY COURSE 4 3. 1Y2MUSMTA2 MUSIC THEORY – A THEORY COURSE 4 2 4. 1Y2MUSCA CONCERT COMPULSORY 2 APPRAISAL TOTAL 22 SEMESTER II S.N COURSE TITLE OF THE NATURE OF CREDIT o. CODE PAPER COURSE 1. 1Y2MUSRT02 COMPARATIVE & ACTIVITY BASED 12 COURSE ANALYTICAL STUDY OF RAGAS & TALAS – II 2. 1Y2MUSMTB1 MUSIC THEORY– B 1 THEORY COURSE 4 3. 1Y2MUSMTB2 MUSIC THEORY- B 2 THEORY COURSE 4 4. 1Y2MUSSE SOUND COMPULSORY 2 ENGINEERING TOTAL 22 SEMESTER III S.N COURSE TITLE OF THE NATURE OF CREDIT o. CODE PAPER COURSE 1. 1Y2MUSRT03 COMPARATIVE & ACTIVITY BASED 12 COURSE ANALYTICAL STUDY OF RAGAS & TALAS – III 2. 1Y2MUSMTC1 MUSIC THEORY– C 1 THEORY COURSE 4 3. 1Y2MUSMTC2 MUSIC THEORY– C 2 THEORY COURSE 4 4. 1Y2MUSTS SUBSIDIARY (TABLA) COMPULSORY 2 TOTAL 22 SEMESTER IV S.N COURSE TITLE OF THE NATURE OF CREDIT o. CODE PAPER COURSE 1. 1Y2MUSRT04 COMPARATIVE & ACTIVITY BASED 12 COURSE ANALYTICAL STUDY OF RAGAS & TALAS – IV 2. 1Y2MUSMTD1 MUSIC THEORY–D 1 THEORY COURSE 4 3. 1Y2MUSMTD2 MUSIC THEORY-D 2 THEORY COURSE 4 4. 1Y2MUSSC SELF COMPULSORY 2 COMPOSITIONS TOTAL 22 DETAILS OF PAPERS OFFERED IN M.P.A. (VOCAL MUSIC) SEMESTER I S. COURSE TITLE OF THE NATURE OF DETAILS OF PAPER CREDIT N CODE PAPER COURSE 1. 1Y2MUSR COMPARATIVE ACTIVITY Analysis of 12 T01 & ANALYTICAL BASED Ragas STUDY OF COURSE and Talas of the RAGAS & TALAS Prescribed – I Course. Ragas : Bihag, Multani, Patdeep, Ahir Bhairav, Lalit, Shree, Madmad Sarang, Jhinjhoti Talas : Ada Chautaal, Shikhar. 3 Vilambit Khyals in Any Three of the Prescribed Ragas. 1 Drut Khyal In All The Ragas With Gayaki. 1 Dhrupad or 1 Dhamar In Any One of The Prescribed Ragas With Methodical Brief Nom- Tom Aalap, Added Aad Laykari & Upaj. Raag Mala. 2. 1Y2MUSM MUSIC THEORY THEORY Critical and 4 comparative TA1 - A 1 COURSE Study of Prescribed Ragas and Talas and Different Genres of Vocal Music. Critical review of a musical treatise Critical review of a vocalist 3. 1Y2MUSM MUSIC THEORY THEORY History of Indian Classical 4 Music (vedic, pauranik, TA2 - A 2 COURSE ramayana & Mahabharata period) Contribution of Scholars to Indian Music & their textual tradition (Ancient, Medieval & Modern Period) World Music (Introduction to Music of Different Countries) 4. 1Y2MUSC CONCERT COMPULSOR Critical review of a 2 University/ State/ National A APPRAISAL Y Level Concert TOTAL CREDITS – 22 SEMESTER II S.No COURSE TITLE OF THE NATURE OF DETAILS OF PAPER CREDIT . CODE PAPER COURSE 1. 1Y2MUSR COMPARATIVE ACTIVITY Analysis of 12 T02 & ANALYTICAL BASED Ragas STUDY OF COURSE And Talas of The RAGAS & TALAS Prescribed – II Course. Ragas : Maru Bihag, Madhuvanti, Sur Malhar, Komal Rishabh Asawari, Ramdasi Malhar, Gandhari, Hansadhwani, Bairagi Talas : Gaj jhampa, Pancham Sawari. 3 Vilambit Khyals In Any Three of The Prescribed Ragas. 1 Drut Khyal In All The Ragas With Gayaki. 1 Dhrupad or 1 Dhamar In Any One of The Prescribed Ragas With Methodical Brief Nom-Tom Aalap, Added Aad Laykari & Upaj. Thumri/Dadra 2. 1Y2MUS MUSIC THEORY Critical and 4 comparative MTB1 THEORY – B 1 COURSE Study of Prescribed Ragas and Talas and Different Genres of Vocal Music. Rabindra Sangit : History of Music of Bengal, Life Sketch of Rabindra Nath Tagore with Special Reference to his Musical Quality Swar-Vitan, Giti-Vitan, Rabindra Sangeet : Gitinatya, Nrityanatya, Baitalik, Varsha Mangal, Basantosab. Different Forms of Rabindra sangeet, Different Tala-Patterns Used By Tagore 3. 1Y2MUS MUSIC THEORY Gram, Moorchhana, Jati, 4 Prabandha MTB2 THEORY – B 2 COURSE Different Raga Classification Systems. (Gram raga-Deshi raga, Raga-Ragini, mela-raga, that-raga, raga-raganga and other raga classification systems.) 4. 1Y2MUSS SOUND COMPULSORY Basics of Sound 2 Engineering E ENGINEERING TOTAL CREDITS – 22 SEMESTER III S.No COURSE TITLE OF NATURE OF DETAILS OF PAPER CREDIT CODE THE COURSE . PAPER 1. 1Y2MUSR COMPARATIVE ACTIVITY Analysis of 12 T03 & ANALYTICAL BASED Ragas and Talas of The Prescribed Course. STUDY OF COURSE Ragas : Shyam RAGAS & Kalyan, Puriya TALAS - Kalyan, Bilaskhani III Todi, Nand, Gunakali, Kedar, Bhatiyar, Nat Bhairav Talas : Basant, Shesh 3 Vilambit Khyals in Any Three of The Prescribed Ragas. 1 Drut Khyal In All The Ragas With Gayaki. 1 Dhrupad or 1 Dhamar In Any one of The Prescribed Ragas With Methodical Brief Nom-Tom Aalap, Added Kuaad Laykari & Upaj. Hori/Chaiti/Kajri 2. 1Y2MUS MUSIC THEORY Critical and 4 comparative MTC1 THEORY – C 1 COURSE Study of Prescribed Ragas and Talas and Different Genres of Vocal Music Critical review of Musical treatise 3. 1Y2MUS MUSIC THEORY Aesthetics – I 4 (Bhava & Rasa, Rasa- MTC2 THEORY – C 2 COURSE Siddhant, Raga &Rasa, Chhanda-Laya-Taal & Rasa, Raga Dhyan & Raga Chitra, Place of Music in Fine Arts.) Research Methodology 4. MVM SUBSIDIARY COMPULSORY Basics of Tabla and 2 Harmonium Playing 511040 TOTAL CREDITS – 22 SEMESTER IV S.No COURSE TITLE OF NATURE OF DETAILS OF PAPER CREDIT CODE . THE COURSE PAPER 1. 1Y2MUSRT COMPARATIV ACTIVITY Analysis of 12 04 E BASED Ragas & COURSE and Talas of ANALYTICAL The Prescribed Course. STUDY OF Ragas : Jog, RAGAS & Jogkauns, TALAS - IV Kalawati, Devgiri Bilawal, Abhogi Kanhada, Suha/Sugharay i, Shahana, Hanskinkadi Talas : Rudra, Lakshmi 3 Vilambit Khyals in Any Three of The Prescribed Ragas. 1 Drut Khyal In All The Ragas With Gayaki. 1 Dhrupad or 1 Dhamar In Any One of The Prescribed Ragas With Added Kuaad Laykari Thumri/Dadra 2. 1Y2MUSMT MUSIC THEORY Critical and 4 D1 THEORY – D COURSE comparative 1 Study of Prescribed Ragas and Talas and Different Genres of Vocal Music. Critical review of a vocalist 3. 1Y2MUSMT MUSIC THEORY Aesthetics – II 4 (Indian & Western D2 THEORY – D COURSE 2 Aesthetics, Beauty in music, Autonomy & Heteronomy) Interdisciplinary Approach of Music. (Music & Physics, Music & Philosophy, Music & Religion, Music & Psychology etc.) 4. 1Y2MUSSC SELF COMPULSORY 5 self-made 2 COMPOSITION compositions S TOTAL CREDITS – 22 EVALUATION Sessional Test I will be held during the fourth week of the semester for the syllabi covered till then. Sessional Test II will be held during the eighth week for the syllabi covered between fifth and eighth week. Sessional Test III will be held during the twelfth week for the syllabi covered between ninth and twelfth week. The sessional tests (of one or two hours duration) will carry 40% (20%+20%) of total marks for the course. The marks of the best of two Sessional Tests shall be taken into account for the computation of Grades. There shall be one End semester examination of 3 hours duration carrying 60% of Marks in each course covering the entire syllabus prescribed for the course. Evaluation of Practical, Viva‐voce and Theory paper. Activity based course (Paper – 1) – 350 marks Stage performance – 150 marks. (no sessionals will be held) Viva-voce – 200 marks Theory (paper 2 &3) – 100 marks/paper Compulsory (paper 4) – 50 marks – project work/ subsidiary (no sessionals will be held) Total marks/ Semester = 600 The Grading system of Evaluation shall be as per the Regulation on the University Syllabus prepared by - Dr. Ankita Kumari, Academic Coordinator, Assistant Professor, HOD, Department Of Music, YBN University, Ranchi, Jharkhand Dr. Arbind Kumar, Associate Professor, Department Of Music, Magadh Mahila College, Patna University, Patna Dr Neera Choudhury, Professor, Magadh Mahila College, Patna University, Patna .
Load more

Recommended publications
  • Society for Ethnomusicology 60Th Annual Meeting, 2015 Abstracts
    Society for Ethnomusicology 60th Annual Meeting, 2015 Abstracts Walking, Parading, and Footworking Through the City: Urban collectively entrained and individually varied. Understanding their footwork Processional Music Practices and Embodied Histories as both an enactment of sedimented histories and a creative process of Marié Abe, Boston University, Chair, – Panel Abstract reconfiguring the spatial dynamics of urban streets, I suggest that a sense of enticement emerges from the oscillation between these different temporalities, In Michel de Certeau’s now-famous essay, “Walking the City,” he celebrates particularly within the entanglement of western imperialism and the bodily knowing of the urban environment as a resistant practice: a relational, development of Japanese capitalist modernity that informed the formation of kinesthetic, and ephemeral “anti-museum.” And yet, the potential for one’s chindon-ya. walking to disrupt the social order depends on the walker’s racial, ethnic, gendered, national and/or classed subjectivities. Following de Certeau’s In a State of Belief: Postsecular Modernity and Korean Church provocations, this panel investigates three distinct urban, processional music Performance in Kazakhstan traditions in which walking shapes participants’ relationships to the past, the Margarethe Adams, Stony Brook University city, and/or to each other. For chindon-ya troupes in Osaka - who perform a kind of musical advertisement - discordant walking holds a key to their "The postsecular may be less a new phase of cultural development than it is a performance of enticement, as an intersection of their vested interests in working through of the problems and contradictions in the secularization producing distinct sociality, aesthetics, and history. For the Shanghai process itself" (Dunn 2010:92).
    [Show full text]
  • Society for Ethnomusicology 58Th Annual Meeting Abstracts
    Society for Ethnomusicology 58th Annual Meeting Abstracts Sounding Against Nuclear Power in Post-Tsunami Japan examine the musical and cultural features that mark their music as both Marie Abe, Boston University distinctively Jewish and distinctively American. I relate this relatively new development in Jewish liturgical music to women’s entry into the cantorate, In April 2011-one month after the devastating M9.0 earthquake, tsunami, and and I argue that the opening of this clergy position and the explosion of new subsequent crises at the Fukushima nuclear power plant in northeast Japan, music for the female voice represent the choice of American Jews to engage an antinuclear demonstration took over the streets of Tokyo. The crowd was fully with their dual civic and religious identity. unprecedented in its size and diversity; its 15 000 participants-a number unseen since 1968-ranged from mothers concerned with radiation risks on Walking to Tsuglagkhang: Exploring the Function of a Tibetan their children's health to environmentalists and unemployed youths. Leading Soundscape in Northern India the protest was the raucous sound of chindon-ya, a Japanese practice of Danielle Adomaitis, independent scholar musical advertisement. Dating back to the late 1800s, chindon-ya are musical troupes that publicize an employer's business by marching through the From the main square in McLeod Ganj (upper Dharamsala, H.P., India), streets. How did this erstwhile commercial practice become a sonic marker of Temple Road leads to one main attraction: Tsuglagkhang, the home the 14th a mass social movement in spring 2011? When the public display of merriment Dalai Lama.
    [Show full text]
  • List of Selected Junior Candidates and Their Research Topic for the Year 2018-2019
    List of Selected Junior Candidates and their Research Topic for the Year 2018-2019 S.No. Name & Address File no. Field Project Title Email Enrolment No Sub Field 1. Ms. Meghana Sardar Kenjale CCRT/JF- Classical The Fundamental concepts of 345, Shukrawar peth, Kenjale building 3rd floor 3/01/2020 Music Dhrupad in Dagarbani Maharashtra District Pune 411002 JF20195909 Hindustani Mobile-9822372468 (Vocal) [email protected] 2. Ms. Shikha Srivastav CCRT/JF- Classical Sangeet K Pramukh Pracheen Lalit Tewari, Sector-C, B-73 Mhanagar, Near 3/02/2020 Music Granthon Ka Adhdhyan Tatha Channilal Chouraha, Lucknow Uttar Pradesh- 226001 JF20196216 Hindustani Vartman Pariprekhsya Mein Mobile-8840824538 (Vocal) Upadeyta [email protected] 3. Ms.Krishna chaudhary CCRT/JF- Classical Research In Music E-1202, Express Zenith Society, Sector 77 3/03/2020 Music Gautam Buddha Nagar Uttar Pradesh – 201301 JF20196600 Hindustani Mobile-9953021995 (Vocal) [email protected] 4. Ms. Anuradha Raturi CCRT/JF- Classical Tantragama Philosophy Of C/O Mr. Ashish Kumar Jaiswal B 15/60 3/04/2020 Music Nada: Indian Classical Music faridpura Opposite Gouriya Math Sonarpura JF20197020 Hindustani Perspective Varanasi Uttar Pradesh 221001 (Vocal) Mobile-9045868756 [email protected] 5. Shri Sambuddha Chatterjee CCRT/JF- Classical Ime Theory Of Hindustani 19, Kali Temple Road, Nimta, Kolkata 24 3/05/2020 Music Raga Paraganas North Tehsil-Barrackpur-ll Village- JF20196844 Hindustani Muragachha(CT) West Bengal-700049 (Vocal) Mobile-8697069313 [email protected] 6. Shri Aranyakumar Munenni CCRT/JF- Classical Wolf Tone Management In C/o Hebsur Bldg 6th Cross, Kalyan Nagar 3/06/2020 Music Dilruba & Esraj Instruments Dharwad Karnataka, 580007 JF20195983 Hindustani Mobile-9911521311 (Instru.) [email protected] 7.
    [Show full text]
  • Yojana Magazine Summary for August 2020 Issue
    Philosophical Nature of Indian Music • The Indian classical music, be it Hindustani or Carnatic, has essentially got a spiritual component inherent in it. Reasons for the development of spiritual component are: o Temples provided a platform where these arts flourished; o Bhakti or selfless devotion that was the underlying essence; o The artistic principles of Indian classical music are formulated and structured in such a way that it becomes an inward journey for its practitioners so that they get intimately connected with their within. Spiritual Features of Indian Music A. Nadopasana - The Invocation of the Primordial Sound • For a true practitioner of classical music, the approach used to be Nadopdsana – the invocation of the primordial sound. For these practitioners, music became an internal journey for the realisation of the ultimate truth. • Even the selection of the Raga and the composition at the time of a performance was a result of the intuition and the inspiration of the moment. B. The Guru-Shishya and Gharana tradition • It is another crucial feature which is common for all the classical music traditions of India. For centuries, this Guru-shishya transmission has made it possible to carry forward the intense experiences innately embedded in this great tradition of enlightened practitioners of music. • The musical gharanas of north Indian or Hindustani classical music have also contributed to the diversity of their form of music by presenting a distinct style of it. The Origin and Historical Development of Different Forms of Indian Music • The origin of Indian music can be traced back to the chanting of Vedic hymns and mantras.
    [Show full text]
  • Background Material on Service Tax- Entertainment Sector
    Background Material on Service Tax- Entertainment Sector The Institute of Chartered Accountants of India (Set up by an Act of Parliament) New Delhi © The Institute of Chartered Accountants of India All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form, or by any means, electronic mechanical, photocopying, recording, or otherwise, without prior permission, in writing, from the publisher. DISCLAIMER: The views expressed in this book are of the author(s). The Institute of Chartered Accountants of India may not necessarily subscribe to the views expressed by the author(s). The information cited in this book has been drawn from various sources. While every effort has been made to keep the information cited in this book error free, the Institute or any office of the same does not take the responsibility for any typographical or clerical error which may have crept in while compiling the information provided in this book. Edition : February, 2015 Committee/Department : Indirect Taxes Committee Email : [email protected] Website : www.idtc.icai.org Price : ` 90/- ISBN No. : 978-81-8441-759-3 Published by : The Publication Department on behalf of the Institute of Chartered Accountants of India, ICAI Bhawan, Post Box No. 7100, Indraprastha Marg, New Delhi - 110 002. Printed by : Sahitya Bhawan Publications, Hospital Road, Agra 282 003 February/2015/1,000 Foreword The introduction of Service Tax was recommended by Dr. Raja Chelliah Committee in early 1990s which pointed out that the indirect taxes at the Central level should be broadly neutral in relation to production and consumption of goods and should, in course of time cover commodities and services.
    [Show full text]
  • SYLLABUS for POST GRADUATE DEGREE in ART and CULTURE Under CHOICE BASED CREDIT SYSTEM (CBCS) Pattern Implemented from Academic
    SYLLABUS FOR POST GRADUATE DEGREE IN ART AND CULTURE Under CHOICE BASED CREDIT SYSTEM (CBCS) Pattern Implemented from Academic Session 2018-2020 Department of ART AND CULTURE BINOD BIHARI MAHTO KOYALANCHAL UNIVERSITY DHANBAD- 826001 JHARKHAND ( INDIA) 1 Syllabus for Master of Performing Arts (MPA) Vocal Music SEMESTER-I PAPER-I GENERAL & APPLIED MUSIC THEORY F.M.: 100 (70+30) Time: 3 hrs. Note: The candidate shall be required to attempt five questions. All question carry equal marks. Theory Unit-I : Characteristic of Prescribed Ragas and Talas with detailed comparative study. Unit-II : Desirability and possibility of maintaining Gharana in Modern Times. Unit-III : Brief history of Western Music. Unit-IV : Ability to notate the composition of prescribed Ragas. 2 Syllabus for Master of Performing Arts (MPA) Vocal Music SEMESTER-I PAPER-II GENERAL STUDIES & HISTORY OF MUSIC F.M.: 100 (70+30) Time: 3 hrs. Note: The candidate shall be required to attempt five questions. All questions carry equal marks. Theory Unit-I : Knowledge of Vishnu Digamber & V. N. Bhatkhande notation system. Unit-II : Theoretical Study of the following Ragas: Yaman, Bhairav, Bhairavi Unit-III : Asthetics (i) Bhav and Ras, (ii) Raag and Ras. Unit-IV : (i) Chand, laya, taal. (ii) Ragadhyan. 3 Syllabus for Master of Performing Arts (MPA) Vocal Music SEMESTER-I PAPER-III PRACTICAL PERFORMANCE / STAGE PERFORMANCE F.M.: 100 (70+30) Time: 30+40 min. Practical Unit-I : The candidate will be required to give a detailed presentation of Ragas prescribed. Unit-II : The candidates are expected to know the traditional phrases and characteristic features of each Ragas mentioned.
    [Show full text]
  • Central University of Jharkhand Syllabus
    CENTRAL UNIVERSITY OF JHARKHAND SYLLABUS OF BACHELOR IN PERFORMING ARTS (B.P.A.) (VOCAL MUSIC/THEATRE) (3 YEARS, 6 SEMESTERS COURSE) CENTRE FOR MUSIC AND PERFORMING ARTS LIST OF PAPERS OFFERED FOR THE BACHELOR IN PERFORMING ARTS (VOCAL MUSIC/THEATRE) First Three Semesters are common for all the students. From the Fourth Semester students can go for the specialisation in Vocal Music or Theatre. SEMESTER - I S.N COURSE TITLE OF THE PAPER NATURE OF COURSE CREDIT CODE 1. BPA 112010 CRITICAL & COMPARATIVE ACTIVITY BASED 5 STUDY OF COMPONENT OF RAGAS & TALAS AND DIFFERENT GENRES OF VOCAL MUSIC – I 2. BPA 111020 FUNDAMENTALS OF MUSIC- I THEORY 2 3. BPA 112030 BASICS OF ACTING-1 ACTIVITY BASED 4 (VOICE & SPEECH) 4. BPA 111050 INTRODUCTION TO THEATRE THEORY 3 5. BPA 111060 FOLK/TRIBAL MUSIC OF INDIA – I THEORY 3 6. ENG 110040 COMMUNICATIVE ENGLISH COMPULSARY 3 TOTAL – 20 SEMESTER – II S.N COURSE TITLE OF THE PAPER NATURE OF COURSE CREDIT CODE 1. BPA 122010 CRITICAL & COMPARATIVE ACTIVITY BASED 5 STUDY OF COMPONENT OF RAGAS & TALAS AND DIFFERENT GENRES OF VOCAL MUSIC – II 2. BPA 121020 FUNDAMENTALS OF MUSIC- II THEORY 2 3. BPA 122030 BASICS OF DESIGN ACTIVITY BASED 4 4. BPA 121040 INTRODUCTION TO CLASSICAL THEORY 3 INDIAN THEATRE AND GREEK THEATRE 5. BPA 121050 FOLK/TRIBAL MUSIC OF INDIA–II THEORY 3 6. EVS 120060 ENVIRONMENTAL SCIENCE COMPULSORY 3 TOTAL – 20 SEMESTER – III S.N COURSE TITLE OF THE PAPER NATURE OF COURSE CREDIT CODE 1. BPA 212010 CRITICAL & COMPARATIVE ACTIVITY BASED 5 STUDY OF COMPONENT OF RAGAS & TALAS AND DIFFERENT GENRES OF VOCAL MUSIC – III 2.
    [Show full text]
  • An Evening of FOLK MUSIC ROOTS - Purpose
    ROOTS Presents An Evening of FOLK MUSIC ROOTS - Purpose Our vision is to popularise folk music and make people realise and appreciate the richness and sweetness of Indian folk music. While doing that we would also establish ourselves as Musical Group with a purpose.. using music as media to influence and inspire people. A Music Group with a PURPOSE 2 ROOTS - Purpose • “Roots” also wants to be Musical group with purpose – to change society by impacting the thinking level of the people for a better world. • Roots strongly believes that they need to carry out the message of the these great Poet, Saints, singers, composer, social thinker so that it can keep impacting the mind of the people and inspiring and influence to create a better world. 3 ROOTS – Our Objectives • To promote folk and tribal music through performance, seminars, talks and workshops and to achieve a certain level of recognition of the folk and tribal music • To bring out the meaning of Folk and Tribal music of some the remote parts of India and spread it across the other parts of the country • To create an awareness and liking for the folk based music amongst the new generation of children and youth • To spread the message of some of the powerful folk based artist to the masses across the country 4 ROOTS – Our Objectives • To promote harmonious understanding and equal respect for all religions, cultures, races and ideologies • To promote and revive the tribal and folk music of some of the remote parts of India • To promote interest in general public in Indian Folk and tribal culture, music and thus spread this culture far and wide.
    [Show full text]
  • Jamshedpur Women's College, Jamshedpur Recommended Books for B.A /M
    JAMSHEDPUR WOMEN’S COLLEGE (A CONSTITUENT AUTONOMOUS COLLEGE OF KOLHAN UNIVERSITY) "A" GRADE COLLEGE BY NAAC, BANGALORE DEPARTMENT OF MUSIC CBCS SYLLABUS OF M. A. MUSIC (VOCAL) (SEMESTER SYSTEM) W.E.F SESSION 2017-2019 Page 1 of 23 JAMSHEDPUR WOMEN’S COLLEGE DEPARTMENT OF MUSIC LIST OF PAPERS OFFERED FOR M. A. (VOCAL)MUSIC SEMESTE SUBJECT CODE TITLE OF THE PAPER NATURE OF COURSE/MARKS CREDIT R FC COMPUTER SCIENCE COMPULSORY =30+70 6 I CC – 01 HISTORY & PRINCIPLES OF MUSIC-1 THEORY =30+70 6 CC – 02 APPLIED THEORY OF MUSIC -1 THEORY =30+70 6 CC – 03 COMPARATIVE & ANALYTICAL STUDY OF PRACTICAL =100 6 RAGAS & TALAS-1 EC - 01 RESEARCH METHODOLOGY COMPULSORY =30+70 6 II CC – 04 HISTORY & PRINCIPLES OF MUSIC-2 THEORY =30+70 6 CC – 05 APPLIED THEORY OF MUSIC -2 THEORY =30+70 6 CC – 06 COMPARATIVE & ANALYTICAL STUDY OF PRACTICAL =100 6 RAGAS & TALAS-2 PART -II EC - 02 APPLIED THEORY OF MUSIC/ COMPULSORY = 30+70 6 COMPARATIVE STUDY OF RAGAS & RAGANGAS III EC - 03 COMPARATIVE & ANALYTICAL STUDY OF PRACTICAL =100 6 RAGAS & TALAS CC – 07 HISTORY & PRINCIPLES OF MUSIC-3 THEORY =30+70 6 CC – 08 AESTHETICS THEORY =30+70 6 EC - 04 WESTERN MUSIC & FOLK MUSIC OF COMPULSORY = 30+70 6 JHARKHAND / IV FOLK MUSIC OF INDIA EC – 05 SELF - MADE COMPOSITIONS/ VIVA-VOCE PRACTICAL =100 6 EC – 06 PROJECT =100 6 CC – 09 STAGE PERFORMANCE PRACTICAL =100 6 TOTAL 96 Page 2 of 23 M. A (Music) PART– I SEMESTER- I SEM SUBJECT CODE TITLE OF THE PAPER NATURE OF COURSE/MARKS CREDIT PFCMUS – 101 COMPUTER SCIENCE COMPULSORY =30+70 6 CC – 01 HISTORY & PRINCIPLES OF MUSIC-1 THEORY =30+70 6 I CC – 02 APPLIED THEORY OF MUSIC -1 THEORY =30+70 6 CC – 03 COMPARATIVE & ANALYTICAL STUDY OF PRACTICAL =100 6 RAGAS & TALAS-1 Pattern and Marks Distribution Time: 3 Hours 1.
    [Show full text]
  • List of Selected Candidates and Their Research Papers for the Year 2016-2017
    List of Selected Candidates and their Research Papers for the Year 2016-2017 Junior Fellowship Research Papers S. Name &Address File No. Field/ Project Title No. Sub Field 1 Ms. Rupali Jain CCRT/JF- Classical Music Contribution Of Female Artist In 30- Sahyog Vihar E-8 Extension Near 3/001 /2018 Hindustani Vocal The Field Of Dhrupad Music Shahpura Thana Gulmohar Bhopal, (Musical Analysis And Bhopal, Madhya Pradesh- 462039 Transcription) Mobile No. 9300690926, Email- [email protected] 2 Shri Pradeep Kumar Chopra CCRT/JF- Classical Music Dhrupad Gaan Shaily Ko Vill- Deena P.O -Halduchour Ditt- 3/002 /2018 Hindustani Vocal Sanrakshit Karne Wale Nainital Uttrakhand India 263139 Rachnakaro ,Kalakaro Va Mobile No. – 9410581515 Ashradatao Ka Yogdan Email- [email protected] (Madhyakaal Se Adhunikaal Tak) 3 Shri Dhriti Gobinda Dutta CCRT/JF- Classical Music "SONOROUS SIBLINGS" -A C/O: C Barman, H.No: 3, Namghar Gali, 3/003 /2018 Hindustani Comparative Study Between Lutuma, Battalion Gate, Guwahati, Instrumental Sattriya Khol & Tabla Kamrup Metro, Assam- 781018 Mobile- 9678351108 Email- [email protected] 4 Shri Alok Mishra CCRT/JF- Classical Music Uttar Bharat Ki Sangritik Lok 319N/2 Harshwardhan Nagar Meerapur 3/004 /2018 Hindustani Kalaon Me Prayukt Lok Awnadh Allahabad, Uttar Pradesh- 211003 Instrumental Vadyo Ewam Vadko Ka Mobile No-.9389976650 Abhilekhikaran [email protected] 5 Ms. Kanchana S Shriranjani CCRT/JF- Classical Music The Influence Of Karnataka Music 1303, Navada, 24TH Cross, 28TH Main, 3/005 /2018 Carnatic Vocal On Yakshagana And Writing The Banashankari Ii Stage, Bangalore, Notation To Its Musical And Form Karnataka- 560070 Content (Literature) Mobile No- 9448100509 [email protected] 6 Ms.
    [Show full text]
  • Venue-Udaipur – 2017- Scholarshipholders Year-2011
    Venue-Udaipur – 2017- Scholarshipholders year-2011 S.NO Scholarship Id Name Of Students Parent name Field/Art Form(s) State Result SCHO/2011- Kumari Katyaoni Shri Siddhartha 1. 12/00089 Mukherjee Mukherjee Hindustani Music Vocal RAJASTHAN Absent/2017 SCHO/2011- 2. 12/00130 Master Manjur Ali Shri Sadhi Khan Folk Music RAJASTHAN Unsatisfactory/2017 SCHO/2011- Kumari Chandni 3. 12/00088 Bhavesh Gusani Shri Bhavesh C Gusani Kathak GUJARAT Absent/2017 SCHO/2011- Kumari Vrinda Amit 4. 12/00081 Agarwal Smt. Puja Agarwal Painting GUJARAT Very Good/2017 SCHO/2011- Master Bhaskar 5. 12/00092 Agrawal Shri Tulsi Ram Agrawal Painting RAJASTHAN Absent/2017 Venue-DELHI -2017 S.NO Name Of Students Parent name Field/Art Form(s) State Result Scholarship Id Kumari Upasana Pattabhi 1. SCHO/2011-12/00057 Raman Shri V. Pattabhi Raman Carnatic Music Vocal DELHI Average/2017 2. SCHO/2011-12/00059 Kumari J. Vishnu Priya Shri N. Jayaraman Carnatic Music Vocal DELHI Very Good/2017 3. SCHO/2011-12/00030 Master Shashank Rao Shri B. S. Prakash, Carnatic Music Instrument-Flute DELHI Absent/2017 Carnatic Music Instrument- 4. SCHO/2011-12/00032 Master Sanjay Irani Shri I.Shambulingappa Mridangam DELHI Absent/2017 Master Aravindalochanan 5. SCHO/2011-12/00031 A.A. Shri A.S.Aravamudan Carnatic Music InstrumentViolin DELHI Absent/2017 UTTAR 6. SCHO/2011-12/00034 Kumari Tanvika Misra Shri Atul Misra Hindustani Music Vocal PRADESH Absent/2017 Master Akshat Pratap UTTAR 7. SCHO/2011-12/00035 Singh Shri Ajit Kumar Singh Hindustani Music Vocal PRADESH Average/2017 Kumari Shraddha Shree 8. SCHO/2011-12/00038 Thakur Smt Vandana Thakur Hindustani Music Vocal DELHI Good/2017 Kumari Ayushree UTTAR 9.
    [Show full text]
  • 1 F.No. 9-3/2017-S&F Government of India Ministry of Culture
    1 F.No. 9-3/2017-S&F Government of India Ministry of Culture **** Puratatav Bhavan, 2nd Floor ‘D’ Block, GPO Complex, INA, New Delhi-110023 Dated: 05.09.2017 MINUTES OF 36TH MEETING OF THE CULTURAL FUNCTION AND PRODUCTION GRANT SCHEME (CFPGS) HELD ON 29TH & 30TH JUNE - 2017 AT NSD, NEW DELHI. Under CFPGS Scheme Financial Assistance is given to ‘Not-for-Profit’ Organisations, NGOs including Societies, Trust, Universities and Individuals for holding Conferences, Seminar, Workshops, Festivals, Exhibitions, Production of Dance, Drama-Theatre, Music and undertaking small research projects etc. on any art forms/important cultural matters relating to different aspects of Indian Culture. The quantum of assistance is restricted to 75% of the project cost subject to maximum of Rs. 5 Lakhs per project as recommend by the Expert Committee. In exceptional circumstances Financial Assistance may be given upto Rs. 20 Lakhs with the approval of Hon’ble Minister of Culture. 2. A meeting of CFPGS was held on 29th to 30th June 2017 under the Chairmanship of Ms. Sujata Prasad, Additional Secretary to consider the proposal for financial assistance by the Expert Committee. 3. The Expert Committee meeting was attended by the following:- (i) Ms. Sujata Prasad, Additional Secretary, Chairperson (ii) Shri Pranav Khullar, Joint Secretary (iii) Dr. Sajith E.N., Director, SCZCC, Member (iv) Shri Shantanu Bose, Dean, NSD, Member (v) Shri Suman Kumar, DS, SNA, Member (vi) Shri Babu Rajan, DS , Sahitya Akademi, Member (vii) C.S. Krishna Setty, Administrator, LKA, Member (viii) Ms. Deepti Babbar, AS, LKA, Member (ix) Shri Narendra Singh, Director-Incharge, NCZCC (x) Smt.
    [Show full text]