DOCSLIB.ORG

Edexcel GCSE Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Edexcel GCSE Music Name………………………………………………… Edexcel GCSE Music Revision Booklet of all set works covered so far for the Mock exam AOS1 – Western Classical Music AOS 2 – Music in the 20th Century AOS 3 – Popular Music in Context AOS 4 – World Music What Do I Need To Know? For each set work, you need to know the: o Composer o Name of Piece o Tempo o Time Signature/ Rhythm o Instruments/ Timbre o Structure o Melody o Tonality o Harmony o Dynamics o Type of Piece o Texture o Date it was composed o Electronic devices o Electronic processes You also need to be able to: o Give opinions as to why you like/ dislike each piece o Know both the century and date of when the piece was composed o Provide reasons as to why each set work reflects the style it was written in e.g. Romantic o Give examples of other composers of that style e.g. Bach is Baroque o State features of the style of music o Know what section of the music is being played in the extract e.g. Mozart they could play either the 1st or 2nd subject (so make sure you know the difference) o Write basic notations for some parts of the extracts. This could be for any extract, you need to be able to hear the shape of the melody for each piece of music o Work out the rhythm being played by a certain instrument in an extract Words underlined are the key areas of each piece e.g. tonality, texture Each AOS can be seen through the varying colours: Red=AOS1 Orange=AOS2 Blue=AOS3 Green=AOS4 2 How to answer successfully… Check the number of playings – make a tally at the top of the Q and check off each one Think about the area of study key words Decide which parts of the question need a playing to themselves eg. name/describe form Remember the parts of the questions match the sounds – part (a) will be at the opening of the extract etc. Look for the keywords in the question Look for distracters in the multiple choice questions Sentences not required – bullet points effective Spelling not counted in the marks in section A – but it needs to be as near as possible to gain the mark. Section B – you could lose 1 mark at the end for poor QWC. Make rough notes at the bottom of the question before filling in the top answers …and finally – Good luck! 3 General Device: sequence, imitation, pedal note, ostinato Orchestral / Instrumental Families: Strings, Woodwind, Brass, Percussion. Playing Techniques: Pizzicato, tremolando, roll Rhythmic Device: Syncopation, hemiola, ostinato Rhythmic feature: Triplets, swing rhythm, dotted rhythm Tempo: Largo – Presto (can use English) Tempo changes: rit, rall, accelerando Melodic movement: step, leap, scalic, chromatic Melodic shape: arpeggio or broken chord Intervals: unison, octave – know the difference – unison – same pitch. More common intervals – thirds and sixths (blend), and bare fourths and fifths. Useful distracters are seconds and sevenths. Phrasing / articulation: legato, staccato Dynamics: pianissimo – fortissimo (can use English) – Dynamic changes: crescendo, decrescendo, diminuendo. Also use of sforzando, fortepiano, accent. Cadences: Perfect V‐I, imperfect I‐V, Plagal IV‐I, Interrupted V‐VI Texture: NOT thick or thin but a description or name – Monophonic, homophonic, polyphonic, contrapuntal. Form: binary, ternary, rondo, variations, verse & chorus. Ornamentation: trill, turn, mordent Tonality: Major, minor, modal, atonal. Voices: Soprano, alto, tenor, bass, (SATB). Also counter‐tenor Technical names for degrees of the scale: Tonic (I), subdominant (IV), dominant (V) 4 Typical Features of Baroque Music Handel – And the Glory of the Lord Repetitive patterns Imitation is common Texture is usually polyphonic The use of Basso Continuo Written in 1742 Is a chorus from and oratorio Other Baroque Composers Written during the Baroque period Part of a large scale work The Messiah Vivaldi Bach Telemann 1 6 1. The tempo (speed) is allegro 2. The key in A major (sounds happy) 3. The time signature is ¾ , there are 3 crotchet beats in every bar 2 4. The Basso Continuo (instruments ‐ organ and cello) plays the backing to the melody 5. The choir is a SATB choir: Alto’s enter first with “And the glory, the glory of the Lord” 3 followed by Tenor’s and Bass’s 5 When “shall be revealed” is first sung, the texture is polyphonic At points all parts sing in harmony (the same line but on a different note, either higher or lower) The first time the line “And all flesh shall see it together” is sung, it is sung in canon with the different voices singing it after the other one “Revealed” is melismatic 6. The melody is often doubled by the 1st and 2nd Violins 4 st nd *Mainly strings used (1 and 2 Violins, Viola, Cello). The only non stringed instrument is the organ (part of the basso continuo)* Other Key Facts A hemiola rhythm is used to give the piece a pushed feel There is a constant use of sequence and ostinato in the melody Aspects of the harmony throughout include: Constant peddle notes The orchestra (Violins, Viola, Cello, Organ) double the choir parts The final cadence is plagal (plagal cadence and slow tempo at the end make the ending to the words “hath spoken it” grand and stately) The texture in the piece starts off as homophonic and then changes to imitative (it is never monophonic as the tune played by the orchestra is always slightly different to that sung by the voices) There are no dynamics written but when the texture builds up, the piece natural gets louder Major key and upbeat tempo make the piece lively When the choir sings “For the lord hath spoken in” a pedal note is used 5 Mozart – 1st Movement from Symphony No.40 in G Minor Typical Features of Classical Music Written in 1788 st Is the 1 movement from an symphony Melodies that are east to remember Written during the Classical period Written for the orchestra Gradual change of dynamics (crescendo and diminuendo) More syncopation used in the classical period Other Classical Composers Beethoven •Themes are heard for the first time (1st and 2nd Subjects). Sonata Form Expositio •Has two contrasting themes, it ends in a different key to the one it started in. n Was a typical structure •Themes go through a number of twists and turns. used in the classical period Develop •Keeps the piece interesting. and consisted of: ment Exposition Development •Themes are recapped/played again. Recapitulation Recapitul •Pulls the piece together again, bits from the exposition are used again but changed a bit. ation Basic Facts about the Piece Tempo is written on the score as molto allegro (very fast) The time signature is 4/4 (4 crotchet beats in a bar) He has a specific choice of instruments: Fairly small Classical Orchestra 2 horns, strings and woodwind No trumpets or drums The texture is mainly homophonic and imitation is used 1st Subject The instruments that start the piece are the strings, the violin 1’s play the melody above. The woodwind are then introduced The key of the subject is G Minor (Mozart’s sad key) At the end of the first subject there is a bridge where the harmony uses rising scales and pedal notes In the melody balanced phrasing is used Dynamics in the 1st subject start off quietly, have sudden contrasts and use lots of crescendo and decrescendos The first two notes in the 1st subject use the interval of a semitone 2nd Subject The key of the 2nd subject is in Bb Major The instruments used in this subject are the strings and woodwind The melody in the 2nd subject uses some chromatic notes, balanced phrasing is also used as it was in the 1st subject At the end of the subject the violins, bassoons and flutes play a descending staccato scale 6 Typical Features of Romantic Music Chopin – Raindrop Prelude Use of Rubato Written in 1839 Frequent changes of tempo and Is a piano prelude time signatures Written during the Romantic period Big range of dynamics Written for the piano Song like melody Use of peddle notes Other Romantic Composers Tchaikovsky Wagner Basic Facts about the Piece The time signature is 4/4 (4 crotchet beats per bar) The tempo is sostenuto and rubato is used The only instrument used is the piano (as it is a piano prelude) In this piece, the structure is ternary (ABA) form, with a coda and a basic ABA structure within section A The texture is similar throughout and is mainly homophonic The symbol is use throughout and shows the musician that they need to hold down the right peddle (sustaining peddle) Section A Section B Section A and Codetta The key is Db Major The key goes to C# Minor in an Section A is repeated but is The melody is in the right Enharmonic Change much shorter hand The dynamics written on the They key returns to Db The texture is Melody score contain lots of Major Dominated Homophony crescendos The melody here uses First 3 notes are falling The dynamics build up with smorzando (cantabile tone) in a broken sudden changes in mod The tempo is slow and chord The melody is played in the left rubato is used The harmony uses a hand There is a ritt at the end of constant peddle note on the The harmony in this section the piece dominant (Ab) uses an inverted dominant The texture is both Acciaccatura is also used to peddle as the peddle note is in monophonic and help with the harmony the right hand homophonic A second theme is There is an obvious change in The codetta is 8 bars long introduced adding variety mood (structure) Chromatic notes are used to The lower region of the The peddle note drops out make the harmony more instrument (piano) is used for 3 bars and then starts up interesting The texture in chordal again (harmony) By the
Load more

Recommended publications
  • 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.
    [Show full text]
  • 108 Melodies
    SRI SRI HARINAM SANKIRTAN - l08 MELODIES - INDEX CONTENTS PAGE CONTENTS PAGE Preface 1-2 Samant Sarang 37 Indian Classical Music Theory 3-13 Kurubh 38 Harinam Phylosphy & Development 14-15 Devagiri 39 FIRST PRAHAR RAGAS (6 A.M. to 9 A.M.) THIRD PRAHAR RAGAS (12 P.M. to 3 P.M.) Vairav 16 Gor Sarang 40 Bengal Valrav 17 Bhimpalasi 4 1 Ramkal~ 18 Piloo 42 B~bhas 19 Multani 43 Jog~a 20 Dhani 44 Tori 21 Triveni 45 Jaidev 22 Palasi 46 Morning Keertan 23 Hanskinkini 47 Prabhat Bhairav 24 FOURTH PKAHAR RAGAS (3 P.M. to 6 P.M.) Gunkali 25 Kalmgara 26 Traditional Keertan of Bengal 48-49 Dhanasari 50 SECOND PRAHAR RAGAS (9 A.M. to 12 P.M.) Manohar 5 1 Deva Gandhar 27 Ragasri 52 Bha~ravi 28 Puravi 53 M~shraBhairav~ 29 Malsri 54 Asavar~ 30 Malvi 55 JonPurl 3 1 Sr~tank 56 Durga (Bilawal That) 32 Hans Narayani 57 Gandhari 33 FIFTH PRAHAR RAGAS (6 P.M. to 9 P.M.) Mwa Bilawal 34 Bilawal 35 Yaman 58 Brindawani Sarang 36 Yaman Kalyan 59 Hem Kalyan 60 Purw Kalyan 61 Hindol Bahar 94 Bhupah 62 Arana Bahar 95 Pur~a 63 Kedar 64 SEVENTH PRAHAR RAGAS (12 A.M. to 3 A.M.) Jaldhar Kedar 65 Malgunj~ 96 Marwa 66 Darbar~Kanra 97 Chhaya 67 Basant Bahar 98 Khamaj 68 Deepak 99 Narayani 69 Basant 100 Durga (Khamaj Thhat) 70 Gaur~ 101 T~lakKarnod 71 Ch~traGaur~ 102 H~ndol 72 Shivaranjini 103 M~sraKhamaj 73 Ja~tsr~ 104 Nata 74 Dhawalsr~ 105 Ham~r 75 Paraj 106 Mall Gaura 107 SIXTH PRAHAR RAGAS (9Y.M.
    [Show full text]
  • 1 Fundamentals of Music 000001 4 3 0 2 CC
    SEMESTER I Category Course Name Code Credit T H CC – 1 Fundamentals of Music 000001 4 3 0 2 CC – 2 History of Music 000002 4 3 0 2 CC – 3 Technicalities of Ragas & 000003 4 3 0 2 Tala in Indian Music DSE –1 Writing and Transcribe 000004 4 2 0 2 Music GE – 1 Generic Elective ** 4 3 1 0 AECC –1 Communicative English 000005 2 2 0 0 SEC –1 Mentored Seminar – I 000011 1 1 0 0 USC –1 Foreign Language – II 000011/000012/00001 2 2 0 0 (German/ Spanish/ 3 Japanese) Total Credit 25 SEMESTER II CC – 4 Study of Ragas & Tala in 000021 4 3 0 2 Indian Music (Step ii) CC – 5 Laws of Acoustics 000022 4 3 0 2 CC – 6 Rudiments of Western 000023 4 3 0 2 Music DSE – 2 Voice production/Handling 000024 4 2 0 2 of Music Software & Recording tools GE – 2 Generic Elective ** 4 3 1 0 AECC –2 Environmental Science 00000 2 2 0 0 SEC – 2 Mentored Seminar – II 00000 1 1 0 0 USC – 2 Foreign Language – II 000021/000022/00002 2 2 0 0 (German/ Spanish/ 3 Japanese) Total Credit 25 SEMESTER III CC – 7 Introduction to 000001 4 4 0 4 Contemporary Music CC – 8 Study of the Compositions 000002 5 3 0 2 of Tagore and other composers CC – 9 Audio and Sheet Music 000003 2 0 0 2 Discussion & Review CC – 10 Study on Theater Arts 000004 3 0 0 2 CC – 11 Study on Dance Arts 000005 3 4 0 4 DSE – 3 Film Music Appreciation & 000006 3 2 1 0 Review GE – 3 Generic Elective ** 4 3 1 0 SEC – 3 Mentored Seminar – III 000001 1 1 0 0 Total Credit 25 SEMESTER IV CC – 12 Demonstration of Ragas & 000011 4 3 1 0 Tala in Indian Music (Step iii) CC – 13 Mathematics of Music 000012 4 3 1 0 CC – 14 Overview
    [Show full text]
  • The Thaat-Ragas of North Indian Classical Music: the Basic Atempt to Perform Dr
    The Thaat-Ragas of North Indian Classical Music: The Basic Atempt to Perform Dr. Sujata Roy Manna ABSTRACT Indian classical music is divided into two streams, Hindustani music and Carnatic music. Though the rules and regulations of the Indian Shastras provide both bindings and liberties for the musicians, one can use one’s innovations while performing. As the Indian music requires to be learnt under the guidance of Master or Guru, scriptural guidelines are never sufficient for a learner. Keywords: Raga, Thaat, Music, Performing, Alapa. There are two streams of Classical music of India – the Ragas are to be performed with the basic help the North Indian i.e., Hindustani music and the of their Thaats. Hence, we may compare the Thaats South Indian i.e., Carnatic music. The vast area of with the skeleton of creature, whereas the body Indian Classical music consists upon the foremost can be compared with the Raga. The names of the criterion – the origin of the Ragas, named the 10 (ten) Thaats of North Indian Classical Music Thaats. In the Carnatic system, there are 10 system i.e., Hindustani music are as follows: Thaats. Let us look upon the origin of the 10 Thaats Sl. Thaats Ragas as well as their Thaat-ragas (i.e., the Ragas named 01. Vilabal Vilabal, Alhaiya–Vilaval, Bihag, according to their origin). The Indian Shastras Durga, Deshkar, Shankara etc. 02. Kalyan Yaman, Bhupali, Hameer, Kedar, throw light on the rules and regulations, the nature Kamod etc. of Ragas, process of performing these, and the 03. Khamaj Khamaj, Desh, Tilakkamod, Tilang, liberty and bindings of the Ragas while Jayjayanti / Jayjayvanti etc.
    [Show full text]
  • Emotional Responses to Hindustani Raga Music: the Role of Musical Structure
    Emotional responses to Hindustani raga music: the role of musical structure Article Published Version Creative Commons: Attribution 3.0 (CC-BY) Open Access Mathur, A., Vijayakumar, S. H., Chakrabarti, B. and Singh, N. C. (2015) Emotional responses to Hindustani raga music: the role of musical structure. Frontiers in Psychology, 6. ISSN 1664-1078 doi: https://doi.org/10.3389/fpsyg.2015.00513 Available at http://centaur.reading.ac.uk/40148/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://dx.doi.org/10.3389/fpsyg.2015.00513 To link to this article DOI: http://dx.doi.org/10.3389/fpsyg.2015.00513 Publisher: Frontiers Media All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ORIGINAL RESEARCH published: 30 April 2015 doi: 10.3389/fpsyg.2015.00513 Emotional responses to Hindustani raga music: the role of musical structure Avantika Mathur1, Suhas H. Vijayakumar1, Bhismadev Chakrabarti2 and Nandini C. Singh1* 1 Speech and Language Laboratory, Cognitive Neuroscience, National Brain Research Centre, Manesar, India, 2 Centre for Integrative Neuroscience and Neurodynamics, School of Psychology and Clinical Language Sciences, University of Reading, Reading, UK In Indian classical music, ragas constitute specific combinations of tonic intervals potentially capable of evoking distinct emotions.
    [Show full text]
  • প্রভাত সঙ্গীত Prabhat Samgiita
    Intensive Training of Devotional Songs প্রভাত সঙ্গীত Prabhat Samgiita with Kirit Dave, Ashesh, and Jiivanii July 13 to 21, 2015 Espaço Anirvana, Pontal do Paraná – PR Prabhat Samgiita Tour Brazil 2015 July 10 to August 09 Porto Alegre – RS :: July 10 to 12 – workshop and recital – with Kirit Pontal do Sul – PR :: July 13 to 21 – Prabhat Samgiita intensive training – with Kirit, Ashesh and Jiivanii Pontal do Sul – PR :: July 22 and 23 –tabla training – with Ashesh Chapecó – SC :: July 22 and 23 – presentation on meditation – with Kirit Curitiba – PR :: July 24 – recital – with Kirit Ananda Kiirtana / Belmiro Braga – MG :: July 25 to 27 – workshops during and after retreat – with Kirit Brasília – DF :: July 31 to August 02 – workshop and recital – with Kirit Rio de Janeiro – RJ :: August 07 to 09 – workshop and recital – with Kirit ACKNOWLEDGEMENTS Organizing Committee of 2015 Tour Coordinator: Mahesh Counselor: Kirit Local Organizers: Jyotiprakash e Parabhakti – Porto Alegre Tannistha – Pontal do Sul Ishthi e Ruchiira – Chapecó Vishvanath – Curitiba Vimala – Ananda Kiirtana Manorainjan e Dada Japeshvarananda – Brasília Nirmegha – Rio de Janeiro Volunteers of Intensive Training: Kirit – Teacher and Counselor Mahesh – Coordinator Ragamayii – Translator Jiivanii – PS teacher Tannistha and Ratna – Organizers Ashesh – Tabla player and trainer Front page art: Jiivanii 2 INDEX INTRODUCTION TO PRABHAT SAMGIIT .............................................................................. 4 PRONUNCIATION AND LANGUAGE SYNTAX .....................................................................
    [Show full text]
  • Shuchita Rao Is with Sanjoy Banerjee and Hindole Majumdar
    Search Gopakumar Home Create Shuchita Rao is with Sanjoy Banerjee and Hindole Majumdar. April 27, 2018 · Pandit Sanjoy Banerjee of the Kirana Gharana (disciple of the late Pandit A.T. Kanan and Vidushi Smt. Malabika Kanan) gave a masterful performance at Learnquest Baithak this evening. Commencing with traditional khyaal “Kaun Gat Bhayi” in Raga Bageshri in vilambit ektaal followed by drut ektaal composition “Apni garaj pakad leeni baiyyan”, Pandit Banerjee drew listeners in with his emotion laden swar lagaav, systematic, Merukhand patterns infused vistaar, sargam and aakaar taans within a very short time. Two compositions in teentaal and ektaal in Raga Bihaag (first one with an interesting landing of taar rishabh on the sum) came next and were decorated with bol-alaaps, attractive sargam and aakaar taans. Short compositions in Raga Des, a Chaturang based on Raga Kedaar and a Meera Bhajan in Pahadi were presented post intermission. Great command on the voice in three octaves, ability to integrate short super-fast taans with alaaps in controlled tempo, taut delivery of compositions and the skill to portray the essence of a raga in a very short time were the attractive features of Pandit Banerjeeʼs performance. Shri Hindole Majumdar on the tabla and Shri Anirban Chakrabarty on the harmonium were in their element and provided commendable accompaniment to Pandit Banerjee. What an enjoyable evening! Many thanks to the artists and the organizers. 33 8 Comments 7 Shares You, Sanjoy Banerjee, Shampa Chanda and 30 others Love Comment Share Deepak Raja Fine performance. Thoroughbred. 4 Like · Reply · 1y Sanjoy Banerjee replied · 1 Reply Sunny Thakkar Wah.
    [Show full text]
  • 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
    [Show full text]
  • Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music
    Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music CURRICULUM FOR UNDERGRADUATE COURSE CHOICE BASED CREDIT SYSTEM S.No. COURSE SEMESTER CREDITS MARKS FULL MARKS Core Course 1 14 Courses I –VI 14X6=84 14X75 1050 08 Courses Practical 06 Courses Theoretical Discipline Specific Elective Course (DSE) 2 04 Courses V- VI 4X6=24 4X75 300 03Courses Practical 01 course Theoretical Generic Elective Course (GEC) 04 Courses I-IV 4X6=24 4X75 300 3 03 Courses Practical 01 Course Theoretical Skill Enhancement Compulsory Course (SECC) 4 III-IV 2X2=4 2X25 50 02 Courses Theoretical Ability Enhancement I-II 2X2=4 2X25 50 Compulsory Course (AECC) 5 02 Courses Theoretical 6 Foundation Course I-II 2X4=8 2X50 100 (Tagore Studies) 02 Courses Theoretical Total: 26+2=28 Courses - - - 1850 1 CHOICE BASED CREDIT SYSTEM B.MUS (HONS) IN HINDUSTHANI CLASSICAL MUSIC (VOCAL) COURSE AND MARKS DISTRIBUTION STRUCTURE Core course AECC SECC DSE GEC TS SEM Total Prac Theo Prac Theo Prac Theo Prac Theo Prac Theo Theo I 75 75 - 25 - - - - 75 - 50 300 II 75 75 - 25 - - - - 75 - 50 300 III 150 75 - - - 25 - - 75 - - 325 IV 150 75 - - - 25 - - - 75 - 325 V 75 75 - - - - 150 - - - - 300 VI 75 75 - - - - 75 75 - - - 300 Total 600 450 - 50 - 50 225 75 225 75 100 1850 2 Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music CURRICULUM FOR UNDERGRADUATE COURSE CHOICE BASED CREDIT SYSTEM B.MUS (HONS) IN HINDUSTHANI CLASSICAL MUSIC TABLE OF CONTENTS HINDUSTHANI CLASSICAL MUSIC (VOCAL) 4 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (SITAR) 21 HINDUSTHANI
    [Show full text]
  • Discovering Structural Similarities Among Rāgas in Indian Art Music
    Sådhanå (2019) 44:120 Ó Indian Academy of Sciences https://doi.org/10.1007/s12046-019-1112-2Sadhana(0123456789().,-volV)FT3](0123456789().,-volV) Discovering structural similarities among ra¯gas in Indian Art Music: a computational approach H G RANJANI1,* , DEEPAK PARAMASHIVAN2 and THIPPUR V SREENIVAS1 1 Department of Electrical Communication Engineering, Indian Institute of Science, Bangalore, India 2 Department of Music, University of Alberta, Edmonton, Canada e-mail: [email protected]; [email protected]; [email protected] MS received 16 August 2018; revised 4 February 2019; accepted 19 February 2019; published online 20 April 2019 Abstract. Indian Art Music has a huge variety of ra¯gas. The similarity across ra¯gas has traditionally been approached from various musicological viewpoints. This work aims at discovering structural similarities among renditions of ra¯gas using a data-driven approach. Starting from melodic contours, we obtain the descriptive note-level transcription of each rendition. Repetitive note patterns of variable and fixed lengths are derived using stochastic models. We propose a latent variable approach for raga distinction based on statistics of these patterns. The posterior probability of the latent variable is shown to capture similarities across raga renditions. We show that it is possible to visualize the similarities in a low-dimensional embedded space. Experiments show that it is possible to compare and contrast relations and distances between ragas in the embedded space with the musicological knowledge of the same for both Hindustani and Carnatic music forms. The proposed approach also shows robustness to duration of rendition. Keywords. Indian Art Music; similar ra¯gas; ra¯ga identification; repetitive note patterns.
    [Show full text]
  • Priyagitah – Liner Notes.Pdf
    Priyagitah (2005) Liner Notes Shantala Music www.shantalamusic.com Tracks Rag Desh 1. Part One (Alap) 8:35 2. Part Two (Gat in Rupak Tal) 4:50 3. Part Three (Gat in fast Etkal) 3:04 Rag Madhuvanti 4. Part One (Gat in slow Etkal) 23:17 5. Part Two (Gat in fast Tintal) 9:25 Rag Bhairavi 6. Part One (Alap) 3:19 7. Part Two (Gat in Rupak) 6:16 Priyagitah 8. The Nightingale 11:41 Notes Although Steve Gorn and Benjy Wertheimer had not yet met, they'd been hearing about each other for nearly 20 years. Finally, in January of 2001, Krishna Das invited them both to Los Angeles to record on his CD, "Breath of the Heart." During breaks in the recording schedule, they instantly began to play together. Music without words... esraj and flute weaving the melodic contours of a raga... flute and tabla meeting in a spontaneous rhythmic dance. It was clearly the beginning of a deep and powerful musical relationship. The bond and mutual respect grew as they toured the Northwest in 2002-03, and culminated with this recording of Indian ragas, along with an original piece for esraj and clarinet. About The Ragas The musical form at the heart of traditional Indian classical music, the raga or (or "rag," in modern Hindi/Urdu), has its roots in the Sanskrit "ranj," which means "to color." It is sometimes said, "that which colors the mind is the raga." A raga defies simple definition. More than a scale, mode, tune or melody, it is a combination of elements-such as the modal structure, including the ascending and descending movement; the emphasis or avoidance of certain notes; the characteristic movements and motifs (the heart of the raga); the time of day or season; and the moods of the raga.
    [Show full text]
  • 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
    [Show full text]