Syllabus for Departments in School of Professional Studies
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Note Staff Symbol Carnatic Name Hindustani Name Chakra Sa C
The Indian Scale & Comparison with Western Staff Notations: The vowel 'a' is pronounced as 'a' in 'father', the vowel 'i' as 'ee' in 'feet', in the Sa-Ri-Ga Scale In this scale, a high note (swara) will be indicated by a dot over it and a note in the lower octave will be indicated by a dot under it. Hindustani Chakra Note Staff Symbol Carnatic Name Name MulAadhar Sa C - Natural Shadaj Shadaj (Base of spine) Shuddha Swadhishthan ri D - flat Komal ri Rishabh (Genitals) Chatushruti Ri D - Natural Shudhh Ri Rishabh Sadharana Manipur ga E - Flat Komal ga Gandhara (Navel & Solar Antara Plexus) Ga E - Natural Shudhh Ga Gandhara Shudhh Shudhh Anahat Ma F - Natural Madhyam Madhyam (Heart) Tivra ma F - Sharp Prati Madhyam Madhyam Vishudhh Pa G - Natural Panchama Panchama (Throat) Shuddha Ajna dha A - Flat Komal Dhaivat Dhaivata (Third eye) Chatushruti Shudhh Dha A - Natural Dhaivata Dhaivat ni B - Flat Kaisiki Nishada Komal Nishad Sahsaar Ni B - Natural Kakali Nishada Shudhh Nishad (Crown of head) Så C - Natural Shadaja Shadaj Property of www.SarodSitar.com Copyright © 2010 Not to be copied or shared without permission. Short description of Few Popular Raags :: Sanskrut (Sanskrit) pronunciation is Raag and NOT Raga (Alphabetical) Aroha Timing Name of Raag (Karnataki Details Avroha Resemblance) Mood Vadi, Samvadi (Main Swaras) It is a old raag obtained by the combination of two raags, Ahiri Sa ri Ga Ma Pa Ga Ma Dha ni Så Ahir Bhairav Morning & Bhairav. It belongs to the Bhairav Thaat. Its first part (poorvang) has the Bhairav ang and the second part has kafi or Så ni Dha Pa Ma Ga ri Sa (Chakravaka) serious, devotional harpriya ang. -
Hindustani Classic Music
HINDUSTANI CLASSIC MUSIC: Junior Grade or Prathamik : Syllabus : No theory exam in this grade Swarajnana Talajnana essential Ragajnana Practicals: 1. Beginning of swarabyasa - in three layas 2. 2 Swaramalikas 5 Lakshnageete Chotakyal Alap - 4 ragas Than - 4 Drupad - should be practiced 3. Bhajan - Vachana - Dasapadas 4. Theental, Dadara, Ektal (Dhruth), Chontal, Juptal, Kheruva Talu - Sam-Pet-Husi-Matras - should practice Tekav. 5. Swarajnana 6. Knowledge of the words - nada, shruthi, Aroha, Avaroha, Vadi - Samvedi, Komal - Theevra - Shuddha - Sasthak - Ganasamay - Thaat - Varjya. 7. Swaralipi - should be learnt. Senior Grade: (Madhyamik) Syllabus : Theory: 1. Paribhashika words 2. Sound & place of emergence of sound 3. The practice of different ragas out of “thaat” - based on Pandith Venkatamukhi Mela System 4. To practice ragalaskhanas of different ragas 5. Different Talas - 9 (Trital, Dadra, Jup, Kherva, Chantal, Tilawad, Roopak, Damar, Deepchandi) explanation of talas with Tekas. 6. Chotakhyal, Badakhyal, Bhajan, Tumari, Geethprakaras - Lakshanas. 7. Life history of Jayadev, Sarangdev, Surdas, Purandaradas, Tansen, Akkamahadevi, Sadarang, Kabeer, Meera, Haridas. 8. Knowledge of musical instrument Practicals: 1. Among 20 ragas - Chotakhyal in each 2. Badakhyal - for 10 ragas (Bhoopali, Yamani, Bheempalas, Bageshree, Malkonnse, Alhaiah Bilawal, Bahar, Kedar, Poorvi, Shankara. 3. Learn to sing one drupad in Tay, Dugun & Changun - one Damargeete. VIDHWAN PROFICIENCY Syllabus: Theory 1. Paribhashika Shabdas. 2. 7 types of Talas - their parts (angas) 3. Tabala bol - Tala Jnana, Vilambitha Ektal, Jumra, Adachontal, Savari, Panjabi, Tappa. 4. Raga lakshanas of Bhairav, Shuddha Sarang, Peelu, Multhani, Sindura, Adanna, Jogiya, Hamsadhwani, Gandamalhara, Ragashree, Darbari, Kannada, Basanthi, Ahirbhairav, Todi etc., Alap, Swaravisthara, Sama Prakruthi, Ragas criticism, Gana samay - should be known. -
The Rich Heritage of Dhrupad Sangeet in Pushtimarg On
Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda ||Shree DwaDwarrrrkeshokesho Jayati|| || Shree Vallabhadhish Vijayate || The Rich Heritage Of Dhrupad Sangeet in Pushtimarg on www.vallabhkankroli.org Reference : 8th Year Text Book of Pushtimargiya Patrachaar by Shree Vakpati Foundation - Baroda Inspiration: PPG 108 Shree Vrajeshkumar Maharajshri - Kankroli PPG 108 Shree Vagishkumar Bawashri - Kankroli Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda Contents Meaning of Sangeet ........................................................................................................................... 4 Naad, Shruti and Swar ....................................................................................................................... 4 Definition of Raga.............................................................................................................................. 5 Rules for Defining Ragas................................................................................................................... 6 The Defining Elements in the Raga................................................................................................... 7 Vadi, Samvadi, Anuvadi, Vivadi [ Sonant, Consonant, Assonant, Dissonant] ................................ 8 Aroha, avaroha [Ascending, Descending] ......................................................................................... 8 Twelve Swaras of the Octave ........................................................................................................... -
"Ustad Amir Khan", From
From boulder!spot.Colorado.EDU!parrikar Thu May 25 13:21:01 MDT 1995 Article: 12661 of rec.music.indian.classical From: [email protected] (Rajan P. Parrikar) Newsgroups: rec.music.indian.classical Subject: Great Masters 14a: Yogician Amir Khansaheb Date: 25 May 1995 18:10:46 GMT Organization: University of Colorado, Boulder Message-ID: <[email protected]> NNTP-Posting-Host: spot.colorado.edu Keywords: Amir Khan Namashkar. The music of Khansaheb was pansophic in its conception, manna for the soul, an afflatus to purification of the self. In sum, the distillate of the most sublime in the Bharatiya tradition. To borrow a bit from a sentiment expressed in a similar context by Shri Bertrand Russell: it is artistry of men like Amir Khan that makes the human race worth preserving. The charming Susheela Misra once again on this Yogi of a musician. Rajan Parrikar --------------------------------Begin Article---------------------------- From: "Great Masters of Hindustani Music" by Susheela Misra. Ustad Amir Khan by Susheela MisraFourteenth February 1974 was an ill-fated day for Hindustani music because it lost two great stalwarts on the same day. Pt. Srikrishna Narayan Ratanjankar succumbed to protracted illness. Ustad Amir Khan in the height of his form and fame, was tragically killed in a car accident. Although in his early sixties the Ustad was still a force to reckon with in North Indian music, and had it not been for that grievous accident, he might have easily gone on dominating the music world for another decade or so. The world of Indian music went into mourning on l3th February 1974, and there were public condolence-meetings in numerous cities. -
Women-Empowerment a Bibliography
Women’s Studies Resources; 5 Women-Empowerment A Bibliography Complied by Meena Usmani & Akhlaq Ahmed March 2015 CENTRE FOR WOMEN’S DEVELOPMENT STUDIES 25, Bhai Vir Singh Marg (Gole Market) New Delhi-110 001 Ph. 91-11-32226930, 322266931 E-mail: [email protected] Website: www.cwds.ac.in/library/library.htm 1 PREFACE The “Women’s Studies Resources Series” is an attempt to highlight the various aspect of our specialized library collection relating to women and development studies. The documents available in the library are in the forms of books and monographs, reports, reprints, conferences Papers/ proceedings, journals/ newsletters and newspaper clippings. The present bibliography on "Women-Empowerment ” especially focuses on women’s political, social or economic aspects. It covers the documents which have empowerment in the title. To highlight these aspects, terms have been categorically given in the Subject Keywords Index. The bibliography covers the documents upto 2014 and contains a total of 1541 entries. It is divided into two parts. The first part contains 800 entries from books, analytics (chapters from the edited books), reports and institutional papers while second part contains over 741 entries from periodicals and newspapers articles. The list of periodicals both Indian and foreign is given as Appendix I. The entries are arranged alphabetically under personal author, corporate body and title as the case may be. For easy and quick retrieval three indexes viz. Author Index containing personal and institutional names, Subject Keywords Index and Geographical Area Index have been provided at the end. We would like to acknowledge the support of our colleagues at Library. -
MPA (Master of Performing Arts-Music [Vocal]) Session: 2020
Central University of Punjab Bathinda M.P.A. (Master of Performing Arts-Music [Vocal]) Session: 2020 - 2022 Department of Performing and Fine Arts . Course Structure SEMESTER-I Course Course Course Name L T P Cr Code Type Principles of Aesthetics and MPM506 Core 4 0 0 4 Critical Study of Ragas Historical Perspective of Indian MPM507 Core 4 0 0 4 Music Skill MPM508 Performance & VIVA-VOCE-I 0 0 12 6 based Skill MPM509 Stage Performance-I 0 0 12 6 based IDIDC (from other disciplines) IDC 2 0 0 2 MPA.511 Theatre and Dance forms of India IDC 2 0 0 2 Total Credits 10 0 24 22 SEMESTER-II Course Course Name Course L T P Cr Code Type MPM.521 Study of Indian Classical Core 4 0 0 4 Music Styles MPM.522 Study of Indian Classical Core 4 0 0 4 Music Instruments MPM.523 Research Methodology Core 4 0 0 4 MPM.524 Skill 0 0 12 6 Performance &Viva-Voce-II based MPM.525 Skill 0 0 12 6 Stage Performance-II based IDC (from other disciplines) IDC 2 0 0 2 MPA.511 Theatre and Dance forms of India IDC 2 0 0 2 Total Credits 10 0 24 26 1 SEMESTER-III Course Course Name Course Type L T P Cr Code MPM.551 Study of Indian Music Core 4 0 0 4 MPM.552 Theory of Raga and Tala Core 4 0 0 4 MPM.553 Legal Basics for Musicians Core 4 0 0 4 MPM.554 Performance & Viva-Voce-III Skill based 0 0 12 6 MPM.555 Stage Performance-III Skill based 0 0 12 6 Value Added Course VAC 0 0 0 1 MPD.504 Values in Dance Education VAC 1 0 0 1 Total Credits 13 0 24 25 SEMESTER-IV Course Paper Course Type L T P Cr Code MPM.571 Modern Trends in Music Core 4 0 0 4 MPM.572 Performance &Viva-Voce-IV -
(Rajashekar Shastry , Dr.R.Manivannan, Dr. A.Kanaka
I J C T A, 9(28) 2016, pp. 197-204 © International Science Press A SURVEY ON TECHNIQUES OF EXTRAC- TING CHARACTERISTICS, COMPONENTS OF A RAGA AND AUTOMATIC RAGA IDENTIFICATION SYSTEM Rajashekar Shastry* R.Manivannan** and A.Kanaka Durga*** Abstract: This paper gives a brief survey of several techniques and approaches, which are applied for Raga Identifi cation of Indian classical music. In particular to the problem of analyzing an existing music signal using signal processing techniques, machine learning techniques to extract and classify a wide variety of information like tonic frequency, arohana and avaroha patterns, vaadi and samvaadi, pakad and chalan of a raga etc., Raga identifi cation system that may be important for different kinds of application such as, automatic annotation of swaras in the raga, correctness detection system, raga training system to mention a few. In this paper we presented various properties of raga and the way how a trained person identifi es the raga and the past raga identifi cation techniques. Keywords : Indian classical music; raga; signal processing; machine learning. 1. INTRODUCTION The Music can be a social activity, but it can also be a very spiritual experience. Ancient Indians were deeply impressed by the spiritual power of music, and it is out of this that Indian classical music was born. So, for those who take it seriously, classical music involves single-minded devotion and lifelong commitment. But the thing about music is that you can take it as seriously or as casually as you like. It is a rewarding experience, no matter how deep or shallow your involvement. -
Music & Dance Examinations
MUSIC & DANCE EXAMINATIONS I. THE AIMS AND OBJECTIVES OF THE FACULTY ARE 1. To encourage the study of Performing Arts as a vocation 2. To institute degree and Junior Diploma Courses in Performing Arts 3 To produce artists of high order and to train and prepare teachers well versed in theory, practice and history of Performing Arts; 4 To conduct research and to carry on auxiliary activities such as collection and publication of manuscripts; 5. To develop a high standard of education and knowledge of the Theory of Music and aesthetics, both ancient and modern, through the study of old and new literature in Sanskrit and other languages and give training in performing arts as a vocation 6. To make special arrangements by way of extension course for those who are not otherwise qualified to be admitted to the Faculty. 7. The Faculty while serving as a repository of all forms of Music including different schools of Music and regional styles, seeks to preserve the traditional methods of teaching and in doing so makes use of all modern techniques e.g. notation and Science of voice culture. In furthering the objectives laid down above, the Faculty arranges for lectures, concerts, demonstrations and excursion tours to important centers of Music in India. II. ADMISSION TO COLLEGES/FACULTIES OF THE UNIVERSITY 1. The last date for admission to all the constituent Colleges / Faculties of the University shall be fixed each year by the Academic Council. 2. Each College/ Faculty maintained by the University shall have a separate form of application which will be serially numbered and issued by the Principal/Dean of the College /Faculty concerned, on payment of the prescribed amount of application fee or by any other officer deputed by University. -
Women in Indira Gandhi's India, 1975-1977
This work is protected by copyright and other intellectual property rights and duplication or sale of all or part is not permitted, except that material may be duplicated by you for research, private study, criticism/review or educational purposes. Electronic or print copies are for your own personal, non- commercial use and shall not be passed to any other individual. No quotation may be published without proper acknowledgement. For any other use, or to quote extensively from the work, permission must be obtained from the copyright holder/s. Emerging from the Emergency: women in Indira Gandhi’s India, 1975-1977 Gemma Scott Doctor of Philosophy in History March 2018 Keele University Abstract India’s State of Emergency (1975-1977) is a critical period in the independent nation’s history. The government’s suspension of democratic norms and its institution of many, now infamous repressive measures have been the subject of much commentary. However, scholars have not examined Emergency politics from a gendered perspective. Women’s participation in support for and resistance to the regime and their experiences of its programmes are notably absent from historiography. This thesis addresses this gap and argues that a gendered perspective enhances our understanding of this critical period in India’s political history. It assesses the importance of gendered narratives and women to the regime’s dominant political discourses. I also analyse women’s experiences of Emergency measures, particularly the regime’s coercive sterilisation programme and use of preventive detention to repress dissent. I explore how gendered power relations and women’s status affected the implementation of these measures and people’s attempts to negotiate and resist them. -
Raga (Melodic Mode) Raga This Article Is About Melodic Modes in Indian Music
FREE SAMPLES FREE VST RESOURCES EFFECTS BLOG VIRTUAL INSTRUMENTS Raga (Melodic Mode) Raga This article is about melodic modes in Indian music. For subgenre of reggae music, see Ragga. For similar terms, see Ragini (actress), Raga (disambiguation), and Ragam (disambiguation). A Raga performance at Collège des Bernardins, France Indian classical music Carnatic music · Hindustani music · Concepts Shruti · Svara · Alankara · Raga · Rasa · Tala · A Raga (IAST: rāga), Raag or Ragam, literally means "coloring, tingeing, dyeing".[1][2] The term also refers to a concept close to melodic mode in Indian classical music.[3] Raga is a remarkable and central feature of classical Indian music tradition, but has no direct translation to concepts in the classical European music tradition.[4][5] Each raga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "color the mind" and affect the emotions of the audience.[1][2][5] A raga consists of at least five notes, and each raga provides the musician with a musical framework.[3][6][7] The specific notes within a raga can be reordered and improvised by the musician, but a specific raga is either ascending or descending. Each raga has an emotional significance and symbolic associations such as with season, time and mood.[3] The raga is considered a means in Indian musical tradition to evoke certain feelings in an audience. Hundreds of raga are recognized in the classical Indian tradition, of which about 30 are common.[3][7] Each raga, state Dorothea -
Raga Scales Chart
SongMaven.com Raga Scales Chart © 2016 For Individual Visit songmaven.com for more information on Northern India Raga Scales Instructional Use Only! this chart and other instructional sheets Raga Name Thaat (Mode) Prahar (Time) Ascending Notes Descending Notes Ascending Pattern Descending Pattern Adana Asavari 12 am - 3 am 1 2 4 5 7 1 2 4 5 6 7 1 2 4 5 7 4 5 1 1 6 7 5 4 5 3 4 2 1 Ahir Bhairav Bhairav 6 am - 9 am 1 2 3 4 5 6 7 1 2 3 4 5 3 4 6 7 1 1 7 6 5 4 3 2 1 7 2 1 Asavari 9 am - 12 pm 1 2 4 5 6 1 2 3 4 5 6 7 1 2 4 5 6 1 1 7 6 5 4 3 2 1 Bageshri Kafi 12 am - 3 am 1 3 4 6 7 1 2 3 4 6 7 7 1 3 4 6 7 1 1 7 6 4 5 6 3 4 3 2 1 Bahar Kafi 12 am - 3 am 1 3 4 5 6 7 7 1 3 4 5 6 7 7 1 4 4 5 3 4 7 6 7 1 1 7 5 4 5 3 4 2 1 Bairagi Bhairav Bhairav 1 2 4 5 7 1 2 4 5 7 1 1 7 5 4 2 1 Basant Poorvi 3 am - 6 am 1 2 3 4 6 1 2 3 4 5 6 7 1 3 4 6 2 1 1 7 6 5 4 3 4 3 2 1 Basant Mukhari 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1 Bhairav Bhairav 6 am - 9 am 1 3 4 5 6 1 2 3 4 5 6 7 1 3 4 5 3 4 6 1 1 7 1 6 5 3 4 5 3 4 2 1 Bhairavi Bhairavi 6 am - 9 am 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1 Bhankar Bhairav 3 am - 6 am 1 2 3 4 5 6 7 1 2 3 4 4 5 6 7 7 2 1 3 4 5 3 4 6 4 3 4 6 1 7 2 1 1 2 7 6 4 4 3 4 3 2 1 Bhatiyar Bhairav 3 am - 6 am 1 2 3 4 4 5 6 1 2 3 4 5 6 7 1 2 1 1 4 5 3 4 6 1 1 2 7 6 5 6 5 4 5 3 2 1 Bhimpalasi Kafi 3 pm - 6 pm 1 3 4 5 7 1 3 4 5 6 7 7 1 3 4 5 7 1 1 7 6 5 4 3 2 1 Bhinna Shadja Khamaj 9 pm - 12 am 1 3 4 6 7 1 3 4 6 7 1 1 7 6 4 3 1 Bhoopal Todi Bhairavi 9 am - 12 pm 1 2 3 5 6 1 2 3 5 6 1 1 6 5 3 2 3 2 1 Bhoopali Kalyan 6 pm - 9 pm 1 2 3 5 -
Classical Music (Vocal) (Honours)
Proposed Syllabus For Bachelor of Performing Arts (BPA) IN Hindustani Classical Music (Vocal) (Honours) Choice Based Credit System 2018 Department of Performing Arts Assam University, Silchar, Assam-7800 1 Details Course Structure Bachelor of Performing Arts (B.P.A) IN Hindustani Classical Music (Vocal) (Honours) Semester Core course Ability Skill Discipline Generic (14) Enhancement Enhancement Specific Elective Compulsory Course (SEC) Elective (DSE) (GE) (4) Course (AECC) (2) (4) (2) BPA-102, CC (Theory) BPA-101 BPA-104 SEM-I AECC-I GE-I BPA-103, CC (Practical) General (Practical) English/Mil BPA-202, CC (Theory) BPA-201 BPA-204 AE GE-II (Practical) SEM-II BPA-203, CC (Practical) CC-II Environmental Studies BPA-301, CC (Theory) BPA-305 BPA-304 SEM SEC-I GE-III III BPA-302, CC (Practical) (Practical) (Practical) BPA-303, CC (Theory) SEM BPA-401, CC (Theory) BPA-405 BPA-404 IV SEC-II GE-IV BPA-402, CC (Practical) (Practical) (Practical) BPA-403, CC (Theory) SEM BPA-501, CC (Theory) BPA-503 V DSE-I (Theory) BPA-502, CC (Practical) BPA-504 DSE-II (Practical) SEM BPA-601,CC (Theory) BPA-603 VI DSE-III (Theory) BPA-602,CC (Practical) BPA-604 DSE-IV (Practical) 2 Course Structure Semester Course Code Course Type Total External Internal Total Credit Marks Marks Marks I BPA-101,AECC-I English/MIL 2 70 30 100 BPA-102,CC Theory 6 70 30 100 BPA-103,CC Practical 6 70 30 100 BPA-104, GE-I Practical 6 70 30 100 II BPA-201,AECC-II Environmental Science 2 70 30 100 BPA-202, CC Theory 6 70 30 100 BPA-203, CC Practical 6 70 30 100 BPA-204, GE-II Theory