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1 Syllabus for MA (Previous) Hindustani Music Vocal/Instrumental
Syllabus for M.A. (Previous) Hindustani Music Vocal/Instrumental (Sitar, Sarod, Guitar, Violin, Santoor) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical and Theoretical Study of Ragas 70 Marks A. Historical Study of the following Ragas from the period of Sangeet Ratnakar onwards to modern times i) Gaul/Gaud iv) Kanhada ii) Bhairav v) Malhar iii) Bilawal vi) Todi B. Development of Raga Classification system in Ancient, Medieval and Modern times. C. Study of the following Ragangas in the modern context:- Sarang, Malhar, Kanhada, Bhairav, Bilawal, Kalyan, Todi. D. Detailed and comparative study of the Ragas prescribed in Appendix – I Internal Assessment 30 marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Music of the Asian Continent 70 Marks A. Study of the Music of the following - China, Arabia, Persia, South East Asia, with special reference to: i) Origin, development and historical background of Music ii) Musical scales iii) Important Musical Instruments B. A comparative study of the music systems mentioned above with Indian Music. Internal Assessment 30 marks Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of half an hour’s duration before an audience in Ragas selected from the list of Ragas prescribed in Appendix – I Candidate may plan his/her performance in the following manner:- Classical Vocal Music i) Khyal - Bada & chota Khyal with elaborations for Vocal Music. Tarana is optional. Classical Instrumental Music ii) Alap, Jor, Jhala, Masitkhani and Razakhani Gat with eleaborations Semi Classical Music iii) A short piece of classical music /Thumri / Bhajan/ Dhun /a gat in a tala other than teentaal may also be presented. -
Guru Nanak Dev University Amritsar
FACULTY OF VISUAL ARTS & PERFORMING ARTS SYLLABUS FOR BACHELOR OF PERFORMING ARTS (Four Years Degree Course) (PART – IV) Examination: 2015 GURU NANAK DEV UNIVERSITY AMRITSAR Note: (i) Copy rights are reserved. Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time. 1 (FOUR YEARS DEGREE COURSE) BACHELOR OF PERFORMING ARTS IN MUSIC VOCAL FOURTH YEAR Sr. Course Theory/ External Internal Total Timings Total Time No. Practical 1 Applied Theory 100 - 100 3 hrs. 125 hrs. 2 General Theory Theory 100 - 100 3 hrs. 125 hrs. 3 Practical – - - 50 50 - 50 hrs. Internal Assessment (Studio) 4 Practical Practical 350 50 400 600 hrs. Paper A 100 - (Choice from Ragas) Paper B 50 - (other Gayan Shailies) Paper C 100 - (Talas on Tabla & hand) Paper D 100 - (Viva) Total: 350 550 100 650 900 hrs. Paper-IV: Practical (350+50) = 400 Marks 2 (FOUR YEARS DEGREE COURSE) Bachelor of Performing Arts (Music Vocal) Fourth Year Paper-I Applied Theory: 100 Marks Description of 12 selected ragas and talas and their comparative study when ever possible. Miya-Malhar, Darkari–Kanada, Basant, Madhuwanti, Ahir Bhairav, Bilaskhani, Todi, Lalit, Puria, Marva, Maaru Bihag, Shudsarang, Megha, Natt Bhairav. Reading and writing of notations- compositions-alaap, taan. etc. One, Dhrupad, One thumari, one Bhajan, one Ghazal, one Dadra. Reading and writing of Lyakaries of prescribed talas. Taals-Savari, Punjabi, Adha, Pashto, Chachar, Layakaries3/4,4/3. History of Music of Modern period from 1857 to present day. -
Fusion Without Confusion Raga Basics Indian
Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap". -
Modeling a Performance in Indian Classical Music: Multinomial
Archive of Cornell University e-library; arXiv:0809.3214v1[cs.SD][stat.AP]. http://arxiv.org/abs/0809.3214 A Statistical Approach to Modeling Indian Classical Music Performance 1Soubhik Chakraborty*, 2Sandeep Singh Solanki, 3Sayan Roy, 4Shivee Chauhan, 5Sanjaya Shankar Tripathy and 6Kartik Mahto 1Department of Applied Mathematics, BIT Mesra, Ranchi-835215, India 2, 3, 4, 5,6Department of Electronics and Communication Engineering, BIT Mesra, Ranchi-835215, India Email:[email protected](S.Chakraborty) [email protected] (S.S. Solanki) [email protected](S. Roy) [email protected](S. Chauhan) [email protected] (S.S.Tripathy) [email protected] *S. Chakraborty is the corresponding author (phone: +919835471223) Words make you think a thought. Music makes you feel a feeling. A song makes you feel a thought. -------- E. Y. Harburg (1898-1981) Abstract A raga is a melodic structure with fixed notes and a set of rules characterizing a certain mood endorsed through performance. By a vadi swar is meant that note which plays the most significant role in expressing the raga. A samvadi swar similarly is the second most significant note. However, the determination of their significance has an element of subjectivity and hence we are motivated to find some truths through an objective analysis. The paper proposes a probabilistic method of note detection and demonstrates how the relative frequency (relative number of occurrences of the pitch) of the more important notes stabilize far more quickly than that of others. In addition, a count for distinct transitory and similar looking non-transitory (fundamental) frequency movements (but possibly embedding distinct emotions!) between the notes is also taken depicting the varnalankars or musical ornaments decorating the notes and note sequences as rendered by the artist. -
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. -
MUSIC MPA Syllabus Paper Code Course Category Credit Marks
MUSIC MPA Syllabus Paper Code Course Category Credit Marks Semester I 12 300 MUS-PG-T101 Aesthetics Theory 4 100 MUS-PG-P102 Analytical Study of Raga-I Practical 4 100 MUS-PG-P103 Analytical Study of Tala-I Practical 4 100 MUS-PG-P104 Raga Studies I Practical 4 100 MUS-PG-P105 Tala Studies I Practical 4 100 Semester II 16 400 MUS-PG-T201 Folk Music Theory 4 100 MUS-PG-P202 Analytical Study of Raga-II Practical 4 100 MUS-PG-P203 Analytical Study of Tala-II Practical 4 100 MUS-PG-P204 Raga Studies II Practical 4 100 MUS-PG-P205 Tala Studies II Practical 4 100 MUS-PG-T206 Music and Media Theory 4 100 Semester III 20 500 MUS-PG-T301 Modern Traditions of Indian Music Theory 4 100 MUS-PG-P302 Analytical Study of Tala-III Practical 4 100 MUS-PG-P303 Raga Studies III Practical 4 100 MUS-PG-P303 Tala Studies III Practical 4 100 MUS-PG-P304 Stage Performance I Practical 4 100 MUS-PG-T305 Music and Management Theory 4 100 Semester IV 16 400 MUS-PG-T401 Ethnomusicology Theory 4 100 MUS-PG-T402 Dissertation Theory 4 100 MUS-PG-P403 Raga Studies IV Practical 4 100 MUS-PG-P404 Tala Studies IV Practical 4 100 MUS-PG-P405 Stage Performance II Practical 4 100 1 Semester I MUS-PG-CT101:- Aesthetic Course Detail- The course will primarily provide an overview of music and allied issues like Aesthetics. The discussions will range from Rasa and its varieties [According to Bharat, Abhinavagupta, and others], thoughts of Rabindranath Tagore and Abanindranath Tagore on music to aesthetics and general comparative. -
Tabla) I Semester
BACHELOR OF PERFORMING ARTS (TABLA) I SEMESTER Course - 101 (English (Spoken)) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To introduce students to the fundamentals of theory and tools of communication. 2. To develop vital communication skills for personal, social and professional interactions. 3. To effectively translate texts. 4. To understand and systematically present facts, idea and opinions. Course Content:- I. Introduction: Theory of Communication, Types and modes of Communication II. Language of Communication: Verbal and Non-verbal (Spoken and Written) Personal, Social and Business, Barriers and Strategies Intra- personal, Inter-personal and Group communication III. Speaking Skills: Monologue, Dialogue, Group Discussion, Effective Communication/ Mis-Communication, Interview, Public Speech. IV. Reading and Understanding: Close Reading, Comprehension, Summary, Paraphrasing, Analysis and Interpretation, Translation(from Indian language to English and Viva-versa), Literary/Knowledge Texts. V. Writing Skills: Documenting, Report Writing, Making notes, Letter writing Bibliographies: a. Fluency in English - Part II, Oxford University Press, 2006. b. Business English, Pearson, 2008. c. Language, Literature and Creativity, Orient Blackswan, 2013. d. Language through Literature (forthcoming) ed. Dr. Gauri Mishra, Dr Ranjana Kaul, Dr Brati Biswas Course - 102 (Hindi) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 मध्यकालीन एवं आधुननक ह ंदी का핍य तथा 핍याकरण Course Objective 1. पाठ्क्रम मᴂ रखी गई कविताओं का गहन अध्ययन करना, उनपर चचाा करना, उनका वििेचन करना, कविताओं का भािार्ा स्पष्ट करना, कविता की भाषा की विशेषताओं तर्ा अर्ा को समझाना। 3. पाठ्क्रम मᴂ रखी गई खण्ड काव्य का गहन अध्ययन कराना,काव्यका भािार्ा स्पष्ट करना, काव्य की भाषा की विशेषताओं तर्ा अर्ा को समझाना। 4. -
Track Name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt
Track name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt. Bhimsen Joshi 3 HINDOLIKA Pt. Bhimsen Joshi 4 Thumri-Bhairavi Pt. Bhimsen Joshi 5 SHANKARA MANIK VERMA 6 NAT MALHAR MANIK VERMA 7 POORIYA MANIK VERMA 8 PILOO MANIK VERMA 9 BIHAGADA PANDIT JASRAJ 10 MULTANI PANDIT JASRAJ 11 NAYAKI KANADA PANDIT JASRAJ 12 DIN KI PURIYA PANDIT JASRAJ 13 BHOOPALI MALINI RAJURKAR 14 SHANKARA MALINI RAJURKAR 15 SOHONI MALINI RAJURKAR 16 CHHAYANAT MALINI RAJURKAR 17 HAMEER MALINI RAJURKAR 18 ADANA MALINI RAJURKAR 19 YAMAN MALINI RAJURKAR 20 DURGA MALINI RAJURKAR 21 KHAMAJ MALINI RAJURKAR 22 TILAK-KAMOD MALINI RAJURKAR 23 BHAIRAVI MALINI RAJURKAR 24 ANAND BHAIRAV PANDIT JITENDRA ABHISHEKI 25 RAAG MALA PANDIT JITENDRA ABHISHEKI 26 KABIR BHAJAN PANDIT JITENDRA ABHISHEKI 27 SHIVMAT BHAIRAV PANDIT JITENDRA ABHISHEKI 28 LALIT BEGUM PARVEEN SULTANA 29 JOG BEGUM PARVEEN SULTANA 30 GUJRI JODI BEGUM PARVEEN SULTANA 31 KOMAL BHAIRAV BEGUM PARVEEN SULTANA 32 MARUBIHAG PANDIT VASANTRAO DESHPANDE 33 THUMRI MISHRA KHAMAJ PANDIT VASANTRAO DESHPANDE 34 JEEVANPURI PANDIT KUMAR GANDHARVA 35 BAHAR PANDIT KUMAR GANDHARVA 36 DHANBASANTI PANDIT KUMAR GANDHARVA 37 DESHKAR PANDIT KUMAR GANDHARVA 38 GUNAKALI PANDIT KUMAR GANDHARVA 39 BILASKHANI-TODI PANDIT KUMAR GANDHARVA 40 KAMOD PANDIT KUMAR GANDHARVA 41 MIYA KI TODI USTAD RASHID KHAN 42 BHATIYAR USTAD RASHID KHAN 43 MIYA KI TODI USTAD RASHID KHAN 44 BHATIYAR USTAD RASHID KHAN 45 BIHAG ASHWINI BHIDE-DESHPANDE 46 BHINNA SHADAJ ASHWINI BHIDE-DESHPANDE 47 JHINJHOTI ASHWINI BHIDE-DESHPANDE 48 NAYAKI KANADA ASHWINI -
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. -
S .No. Application Number Panchayat Block Candidate Name Father's
Madhubani District-Revised List of Shortlisted Candidates of Uddeepika Application DD/IPO Panchayat Block Candidate Name Father's/ Husband Name Correspondence Address Date Of Birth Ctageory Permanent Address Percentage Of Marks Number Number S .No. PANCHAYAT-DAHIBAT MADHOPUR WEST, VILL+PO- 4906 Ahiwat Madhopur(West) Pandaul BIBHA KUMARI KAILASH PASWAN 13-Feb-86 SC Same as above 00 46.00 1 SALEMPUR, PS-PANDAUL, PIN-847234 PANCHAYAT-DAHIBHAT MADHOPUR WEST, VILL- 71G 3496 Ahiwat Madhopur(West) Pandaul MANJU DEVI CHANDRAMOHAN RAY MADHEPURA, P.O- D NATHWAN, DIST- MADHUBANI, PIN- 15-Feb-89 GEN Same as above 61.00 916592-93 2 847234 PANCHAYAT-DAHIBHAT MADHEPUR WEST, VILL- 39H 4825 Ahiwat Madhopur(West) Pandaul SUCHITA KUMARI JITENDRA KUMAR RAY 01-Nov-84 GEN Same as above 59.00 3 MADHEPURA, P.S- PANDAUL, PIN- 847234 346021 80G 4882 Akahri Ladania PUNITA DEVI BISHNU KANT ROY VILL- JHITKIYAHI, P.O- AKHARI, P.S- LADNIYA, PIN- 847232 16-Aug-90 EBC Same as above 55.00 4 722702-01 5 4013 Akahri Ladania RINKEE KUMARI PRADEEP KUMAR SAHNI VILL-PARSAHI, PO-SIDHAP, PS-LADANIA, PIN-847232 03-Jun-89 EBC Same as above 39H 59.00 VILL+P.O- AKRAHI, VIA- LADHNIYA, P.S- LADHNIYA, PIN- 816 Akahri Ladania RITA KUMARI BHARAT LAL RAY 05-Mar-90 EBC Same as above 7H 195984 63.00 6 847232 VILL- KESHULI, PO- AKAUR, PS- BENIPATTI, PINCODE- 1926 Akaur Benipatti BHAWANI DEVI MITHILESH KAMAT 11-Jan-85 EBC Same as above 2H 115821 66.00 7 847230 8 1510 Akaur Benipatti KIRAN KUMARI NAWAAL KISHOR YADAV VILL- KESHULI, P.O- AKAUR, P.S- BENIPATTI, PIN- 847230 08-Jan-81 BC Same as -
(Previous) Music There Shall Be Three Papers of Theory of 100 Marks Each
M.A./M.MUS (Previous) Music There shall be three papers of theory of 100 Marks each and two papers of practical (Stage Demonstration and Viva voce) of 150 marks each. Candidates can offer either Vocal or instruments Music (Sitar or Tabla). Playing of Theka on Tabla will be compulsory for all. Candidates will have to pass separately in theory and practical including Viva-Voce. The distribution of marks will be as follows:— M.A./M.MUS Previous Full marks Pass Marks Paper-I History of Indian Music 100 36 Paper II Science of Music 100 36 Paper III Critical Study of Ragas and Taals (for Vocal and Sitar) 100 36 Or Critical Study of Taals and Chhand (for Tabla) 100 36 Total 300 108 Practical : Paper IV Board A Stage Demonstration 150 54 Paper-V Board B Viva Voce 150 54 Total 600 216 M.A./M.Mus-I (Vocal / Instrumental) I-Paper Max. Marks 100 Unit I 1. Critical and detailed study of Indian Music during ancient medieval and Modern Period. 2. Study of Music in Vedic, Pauranik, Ramayan and Mahabharat Periods. Unit II 3. Different views of the scholars regarding origin of Indian Music. 4. Contribution by the various scholars to Indian Music in Ancient Period like Bharat, Matang etc. Unit III 5. Rag Ragini classification upto modern Period. 6. Contribution of medieval scholars to Indian Music like Sharangdev, Somnath, Ahobal, Pundarik vitthal, Ramamatya, Swami Haridas, Lochan etc. Unit IV 7. Music Education: Different aspects of Music education, objectives of Higher education like imparting knowledge, imparting skills imparting teaching techniques. -
Bala Bhavan Bhajans Contents
Bala Bhavan Bhajans 9252, Miramar Road, San Diego, CA 92126 www.vcscsd.org Bala Bhavan Bhajans Contents GANESHA BHAJANS .................................................................................................. 5 1. Ganesha Sharanam, Sharanam Ganesha ............................................................ 5 2. Gauree Nandana Gajaanana ............................................................................... 5 3. Paahi Paahi Gajaanana Raga: Abheri .......................................... 5 4. Shuklambaradharam ........................................................................................... 5 5. Ganeshwara Gajamukeshwara ........................................................................... 6 6. Gajavadana ......................................................................................................... 6 7. Gajanana ............................................................................................................. 6 8. Ga-yi-yeh Ganapathi Raga: Mohana ........................................ 6 9. Gananatham Gananatham .................................................................................. 7 10. Jaya Ganesha ...................................................................................................... 7 11. Jaya Jaya Girija Bala .......................................................................................... 7 12. Jaya Ganesha ...................................................................................................... 8 13. Sri Maha Ganapathe ..........................................................................................