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
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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
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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. Multiple choice questions 10 x 2 = 20 2. Two short type questions out of four questions (compulsory) 2 x 10 = 20 3. Two long type questions out of four questions. 2 x 15 = 30 70 Internal assessment 30 Total = 100
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SUBJECT CODE - PFCMUS – 101
TITLE OF THE PAPER - COMPUTER SCIENCE NATURE OF COURSE- COMPULSORY
GENERAL INSTRUCTIONS:-
Harmonium will not be allowed as an accompaniment in Vocal Music. The Theory paper will be of 70 marks and 30 marks will be for internal assessment.
FC: COMPUTER SCIENCE 6 Credits/100 Marks CC - 01: History & Principles of Music - I 6 Credits/100 Marks CC - 02: Applied Theory of Music - I 6 Credits/100 Marks CC - 03: Comparative & Analytical study of Ragas and Taals- I 6 Credits/ 100 Marks 24 Credits /400 Marks
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CC – 01 History & Principles of Music – I (THEORY)
There will be 8 questions in Paper - 101. The candidate will be required to Attempt 5 questions in which question no. 1 is compulsory.
UNIT – I Classification of History (Period) of Indian Music Music in Ancient period Music in Vedic period
UNIT – II Life sketch and contribution of the following artists Ustad Allauddin Khan Pandit Bhimsen Joshi Ustad Amir Khan Ustad Bade Ghulam Ali Khan
UNIT- III Detailed study of Shruti, Comparative study of ancient, medieval and modern concept of shruti and swara. UNIT- IV A detailed study of Raga – Ragini vargikaran
Time Theory of Raga
UNIT - V The Gharanas in Indian Music (Vocal) Comparative study of swarlipi and talalipi system of Pt. V.D .Palushkar and Pt. V. N Bhatkhande.
Pattern and Marks Distribution Time: 3 Hours
1. Multiple choice questions 10 x 2 = 20 2. Two short type questions out of four questions (compulsory) 2 x 10 = 20 3. Two long type questions out of four questions. 2 x 15 = 30 70 Internal assessment 30 Total = 100 `
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CC- 02
Applied Theory of Music – I (THEORY)
There will be 8 questions in Paper - 102. The candidate will be required to Attempt 5 questions in which question no. 1 is compulsory.
UNIT – I Prescribed Ragas (Appendix – I) Ramkali MiyankiTodi Kamod ShuddhaSarang Marwa
UNIT – II General study of the following Ragas:- Bihag Bhairav GurjariTodi Chhayanat ShyamKalyan Puria
UNIT - III Knowledge of writing notation of Vilambit and Drutkhayal in the prescribed Ragas.
UNIT - IV Critical and comparative study of the Ragas of UNIT- I &UNIT–II.
UNIT – V Knowledge of writing notation of the following talas with Thah, Dwigun, Tigun and Aad Ki layakari- Dhamar, Teental, Jhaptal,Ada choutal
Pattern and Marks Distribution Time: 3 Hours
4. Multiple choice questions 10 x 2 = 20 5. Two short type questions out of four questions (compulsory) 2 x 10 = 20 6. Two long type questions out of four questions. 2 x 15 = 30 70 Internal assessment 30 Total = 100
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CC– 03 Comparative & Analytical Study of Ragas & Taals-1
Practical Full Marks - 100
GENERAL INSTRUCTIONS:-
Harmonium will not be allowed as an accompaniment in Vocal Music.
Demonstration of a Raga selected from prescribed course (UNIT – I& II)
One Vilambit kahyal and Drut kahyal with vistar, taan& gay 20 One Drupad/Dhamar from prescribed ragas 10 One Thumri/ Dadra 10
One Tarana with proper Gayaki10
Demonstration of Prescribed talas ( UNIT - V) 10
In dwigun, Tigun and Adilayakari
Tuning of Tanpura 05
A short piece of light classical (Ghazal, Geet, Bhajan, Lokgeet, 10
RabindraSangeet) may also be presented.
Questions – Answer ( Examiner’s choice) 25
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M. A (Music) PART – I
SEMESTER- II
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
SUBJECT CODE - EC – 01 TITLE OF THE PAPER - RESEARCH METHODOLOGY NATURE OF COURSE- COMPULSORY 4 credits / 100 marks
Common Syllabus for all students (Arts)
GENERAL INSTRUCTIONS:-
. EC - 01: Research Methodology 6 Credits/100 Marks CC - 04: History & Principles of Music - II 6 Credits/100 Marks CC - 05: Applied Theory of Music - II 6 Credits/100 Marks CC - 06: Comparative & Analytical study of Ragas and Talas- II 6 Credits/ 100 Marks 24 Credits /400 Marks
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M A Music (Vocal) SEMESTER -II MUS-05: RESEARCH METHODOLOGY
Time: 3 Hours Full Marks: 70
Internal Assessment: 30
A. Question No- 1 is compulsory (Objective Type 10 questions carry 2 marks each) =20 marks B. There will be five questions , out of which students shall have to answer any Three (Short Answer Type 3 questions carry 5 marks each) = 15 marks C. There will be Three questions , out of which students shall have to answer any Two (Long Answer Type 2 questions carry 10 marks each) = 20 marks D. There will be Two questions , out of which students shall have to answer any One (Essay Type 1 question carry 15 marks each) = 15 marks = 70 Marks UNIT- I : Fundamentals of Research Basic principles of Research. Preparation of Research proposal Review of Literature , Formation of Hypothesis Research Designs, Sampling Designs, Methods of Research.
UNIT –II : Sources
Primary Sources Secondary Sources
UNIT – III Quantitative Methods Numeric Data Basic Quantitative Techniques
UNIT –IV : Communication of Research
Referencing : Footnotes, End Notes, Bibliographies Report writing : Dissertation and Research Paper
UNIT – V : Computer Application for Research Word processing Data processing Using Excel and Power Point Using the Internet Steps involved in the constructions of a Psychological Test. CC – 04
History & Principles of Music – II (THEORY)
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There will be 8 questions in Paper - 204. The candidate will be required to Attempt 5 questions in which question no. 1 is compulsory.
UNIT – I
Classification of History (Period) of Indian Music Music in Medieval period Music in Modern period UNIT – II Life sketch and contribution of the following artists Omkar Nath Thakur Amir Khusro Ustad Abdul Karim Khan Kumar Gandharva
UNIT- III Detailed study of Gram and Murchhana, Detailed study of Saran Chatustayi Swarsavad- shadajmadhyam and shadajpancham
UNIT- IV A Comparative study of swara and tala system in Hindustani and Carnatic music. The forty Principles of Hindustani SangitPaddhati.
UNIT - V The way of measuring shruti and swar in a string of Veena according to PanditShrinivas and Pandit V N Bhatkhandey. Pattern and Marks Distribution Time: 3 Hours
1. Multiple choice questions 10 x 2 = 20 2. Two short type questions out of four questions (compulsory) 2 x 10 = 20 3. Two long type questions out of four questions. 2 x 15 = 30 70 Internal assessment 30 Total = 100
CC - 05 Applied Theory of Music – II (THEORY)
There will be 8 questions in Paper - 205. The candidate will be required to
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Attempt 5 questions in which question no. 1 is compulsory. UNIT – I Prescribed Ragas (Appendix – II) Rageshree MiyanMalhar Nat Bhairav Hamir DarbariKanhada YamniBilaval
UNIT – II General study of the following Ragas:- Bageshree Bahar Charukeshi Kedar Adana DevgiriBilaval
UNIT - III Knowledge of writing notation of vilambitandchhotakhayal in the prescribed Ragas. Knowledge of writing notation of one Dhrupad and one Dhamar in different layakari in the prescribed ragas. UNIT - IV Critical and comparative study of the Ragas ofUNIT- I &UNIT–II.
UNIT – V Knowledge of writing notation with Thah, Dwigun, Tigun and Aadiayakari of Shikhar Tal, Laxmi Tal, Matta Tal, Brahma Tal.
Pattern and Marks Distribution Time: 3 Hours
4. Multiple choice questions 10 x 2 = 20 5. Two short type questions out of four questions (compulsory) 2 x 10 = 20 6. Two long type questions out of four questions. 2 x 15 = 30 70 Internal assessment 30 Total = 100
CC – 06
Comparative & Analytical Study of Ragas & Taals-II
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Practical Full Marks - 100
GENERAL INSTRUCTIONS:-
Harmonium will not be allowed as an accompaniment in Vocal Music.
Demonstration of a Raga selected from prescribed course (UNIT – I& II)
One vilambitkahyalanddrutkahyal with vistar, taan and gayaki. 20 One Drupad/Dhamar from prescribed ragas 10 Thumri/ Dadra 10
One Tarana/Raagmala with proper Gayaki10
Demonstration of Prescribed talas ( UNIT - V) 10 Indwigun, Tigun and Adilayakari Tuning of Tanpura 05
A short piece of light classical (Ghazal, Geet, Bhajan, Lokgeet, 10
RabindraSangeet) may also be presented.
Questions – Answer ( Examiner’s choice) 25
M. A (Music) PART- II SEMESTER- III
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EC - 02 APPLIED THEORY OF MUSIC/ COMPULSORY = 30+70 6 COMPARATIVE STUDY OF RAGAS & RAGANGAS EC - 03 COMPARATIVE & ANALYTICAL STUDY OF PRACTICAL =100 6 III RAGAS & TALAS CC – 07 HISTORY & PRINCIPLES OF MUSIC-3 THEORY =30+70 6 CC – 08 AESTHETICS THEORY =30+70 6
Pattern and Marks Distribution Time: 3 Hours
Multiple choice questions 10 x 2 = 20 1. Two short type questions out of four questions (compulsory) 2 x 10 = 20 2. Two long type questions out of four questions. 2 x 15 = 30 70 Internal assessment 30 Total = 100
GENERAL INSTRUCTIONS:-
Harmonium will not be allowed as an accompaniment in Vocal Music. The Theory paper will be of 70 marks and 30 marks will be for internal assessment.
EC– 02: APPLIED THEORY OF MUSIC 6 Credits/100 Marks EC - 03: Comparative & Analytical study of Ragas and Taals- 6 Credits/100 Marks CC - 07: History and Principles of Music-3 6 Credits/100 Marks CC – 08: AESTHETICS 6 Credits/ 100 Marks 24 Credits /400 Marks
EC – 02
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Applied Theory of Music (THEORY)
The candidate will be required to attempt 5 questions in which question no. 1 is compulsory.
UNIT- I Prescribed Ragas (Appendix – III) Bilaskhani Todi Abhogi Kanhada Puria Kalyan Komal Rishab Asavari Nand Madmad Sarang
UNIT-II General study of the following Ragas:- BhupalTodi Kounsi Kanhada Bhairav Bahar Shahana Bhatiyar Jogkouns
UNIT-III
Knowledge of writing notation of vilambit and chhota khayal in the prescribed Ragas. Knowledge of writing notation of one Dhrupad /Dhamar in different layakari in the prescribed ragas.
UNIT-IV Critical and comparative study of the Ragas of UNIT- I & UNIT–II.
UNIT-V Knowledge of writing notation with Thah, Dwigun, Tigun and Aadilayakari of Ganesh Tal, Laxmi Tal, PanchamSavari , Jhumra Tal.
EC – 03
Comparative & Analytical study of Ragas and Taals- 3
Practical Full Marks - 100
GENERAL INSTRUCTIONS:-
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Harmonium will not be allowed as an accompaniment in Vocal Music.
Demonstration of a Raga selected from prescribed course (UNIT – I & II)
One vilambitkahyalanddrutkahyal with vistar, taan and gayaki. 20 One Drupad/Dhamar from prescribed ragas 10 Thumri/ Dadra 10
One Tarana/Trivat/Chaturang with proper Gayaki10
Demonstration of Prescribed talas ( UNIT - V) 10 Indwigun, Tigun and Adilayakari Tuning of Tanpura 05
A short piece of light classical (Ghazal, Geet, Bhajan, Lokgeet, 10
RabindraSangeet) may also be presented.
Questions – Answer ( Examiner’s choice) 25
CC – 07 HISTORY & PRINCIPLES OF MUSIC-3 (THEORY)
There will be 8 questions in CC - 07. The candidate will be required to Attempt 5 questions in which question no. 1 is compulsory.
UNIT- I Detailed study of the Musical Granthas SangitParijat – Pt. Ahobal
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Natyashashtra- Bharat Muni Bharat Bhasyam- Nanyadev SangitRatnakar- Sharangdev
UNIT-II Life history and contribution of the following scholars in the field of Music. Ustad Ali Akbar Khan Pandit. Ravi Shankar Pt. Jasraj Ustad Rashid Khan
UNIT- III Music of the Asian Continent- A study of the music of China, Japan, Greece, Arab and Iran Origin , development and historical background of music Scales of music Different forms of music Musical Instruments Comparative study of the music of Nation mentioned above to Indian music.
UNIT-IV Study of the following musical concept from Vedic period to present time Samgaan Dhruvgaan Nibaddha and Anibaddha gaan Ragalap and Rupkalap
UNIT-V Study of the following Ragangas – Sarang Malhar Kanhada Kalyan
CC – 08 AESTHETICS (THEORY)
The candidate will be required to Attempt 5 questions in which question no. 1 is compulsory.
General view of Art & Aesthetics of Western Philosophy. Music & Aesthetics. Aesthetical elements in Music Principal of Rasa
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Origin of Rasa & Bhav from different Swara and Raag. Taal & Chhand. Rhythem & Emotions Nayak Nayika bhed according to Natyashashtra by Bharat Muni. Place of Aesthetics in different forms of Art- Chitrakala, Vastukala, Murtikala.
M. A (Music) PART- II SEMESTER- IV
EC - 04 WESTERN MUSIC & FOLK MUSIC OF COMPULSORY = 30+70 6 JHARKHAND / FOLK MUSIC OF INDIA IV EC – 05 SELF - MADE COMPOSITIONS/ VIVA-VOCE PRACTICAL =100 6 EC – 06 PROJECT =100 6
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CC – 09 STAGE PERFORMANCE PRACTICAL =100 6
Pattern and Marks Distribution Time: 3 Hours
Multiple choice questions 10 x 2 = 20 1. Two short type questions out of four questions (compulsory) 2 x 10 = 20 2. Two long type questions out of four questions. 2 x 15 = 30 70 Internal assessment 30 Total = 100
GENERAL INSTRUCTIONS:-
Harmonium will not be allowed as an accompaniment in Vocal Music. The Theory paper will be of 70 marks and 30 marks will be for internal assessment.
EC– 04: WESTERN MUSIC & FOLK MUSIC OF JHARKHAND 6 Credits/100 Marks EC- 05: SELF- MADE COMPOSITIONS/ VIVA-VOCE 6 Credits/100 Marks EC - 06: PROJECT 6 Credits/100 Marks CC – 09: STAGE PERFORMANCE 6 Credits/ 100 Marks 24 Credits /400 Marks
EC – 04
WESTERN MUSIC & FOLK MUSIC OF JHARKHAND (THEORY)
UNIT- I WESTERN MUSIC General Knowledge of Western Notation System Comparative study of Harmony and Melody Introduction of Bass clef , Treble clef, Bar lines , compound Time , Key- Signature Time –Signature. Major Tone, Minor Tone, and Semi Tone
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Knowledge of writing Hindustani That in Staff notation system. Life sketch and contribution in Music of the following Western Musicians – L.V Beethoven, W. A Mozart, Yehudi Menuhin.
FOLK MUSIC OF JHARKHAND
UNIT-II A Introduction of Jharkhand State (Geography,People,Language & Culture) Detailed study of folk music of Jharkhand. Sanskar song, Seasonal song, Religious song, Festival oriented song The detailed study of folk Instruments as per typology advocated by Bharat Muni.
UNIT –III Life history and contribution of musicians and scholars of Jharkhand- 1. Padmshree Dr. Ramdayal Munda 2. Pandit Raghunath Murmu 3. Padmshree Kedar Nath Sahu 4. Padmshree Mukund Nayak
UNIT- IV 1. History and origin of Chhau 2. Detailed study of costume and different forms of Chhau. 3. Comparative study of Chhau with other similar forms of folk dance
UNIT- V 1. Detailed study of Folk instruments and Folk Dance. 2. Knowledge of writing the notation of folk song of Jharkhand
EC –05
SELF-MADE COMPOSITIONS/ VIVA-VOCE (PRACTICAL)
Ability to transform a lyric into a musical composition using suitable raag and taal as per meaning of the lyric and render the same (Five self-made compositions)( Five Bandish in Classical Raag and two folk song) Ability to bring out various raag employed in Mishra raag.
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Ability to demonstrate tirobhav and abirbhav while rendering similar raag. Demonstration of alpatwa and bahutw while rendering a raag. Ability to show phrases of notes in Different Ragangas ( Kalyan,Sarang, Kanhada, Malhar)
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EC – 06
PROJECT
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CC– 09
STAGE PERFORMANCE
PRACTICAL
UNIT- I Prescribed Ragas (Appendix – IV)
Shree Kalavati Lalit Jog Ahir Bhairav Shudh kalyan Basant Bahar Madhuvanti Nayaki Kanhada Megh Malhar (Stage Performance of half an hour’s duration before an invited audience in Raags selected from the list of ragas prescribed in appendix-IV)
UNIT-II
One Drutkhayal with alap, vistar, taan and gayaki from the list of ragas prescribe in appendix-IV Tarana in any two ragas. Raagmala
UNIT-III
Thumri/Dadra in any raga Sugam sangit( Geet/ghazal/bhajan/ravindra sangit) folk song of Jharkhand or any other state
UNIT-IV
Practical demonstration of Taal from Appendix I/II/III Ability to play thekas of Teental, Jhaptal, Kaharwa and Dadra.
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JAMSHEDPUR WOMEN'S COLLEGE, JAMSHEDPUR RECOMMENDED BOOKS FOR B.A /M. A MUSIC)
S. N NAME OF THE BOOK AUTHOR PUBLICATION 1 SANGEET RATNAKAR SARANGDEV MUNSI RAM , MANOHARLAL PUBLISHERS, NEW DELHI-55 2 SANGEET RATNAKAR R. K SHRINGY & PREMLATA SHARMA 4 UTTAR BHARTIYA SANGEET PADDHATIYON KA TULNATMAK ADHYAYAN V . N BHATKHANDE 7 RAG VIGYAN PART ( I - VII ) V. R PATVARDHAN 8 RAGAS AND RAGINIS A . N SANYAL 9 SARANG KE PRAKAR, KANHARA KE PRAKAR, MALHAR KE PRAKAR JAISUKH LAL TRIBHUVAN SHAH 10 DHWANI AUR SANGEET LALIT KISHOR SINGH 11 HINDUSTANI MUSIC G . H RANADE S. LAL & CO, DELHI-9 12 BHARTIYON TALON KA SHASHTRIYA VIVECHAN A . K SEN 14 BHARTIYA SANGEET KA DARSHANPARAK ANUSHEELAN VIMAL MUSALGAONKAR 16 HINDU MUSIC S . M TAGORE 17 MUSIC OF THE NATION SWAMY PRAJANANANDA 18 NATYA SHASHTRA BHARAT MUNI 19 SANGEET RAJ MAHARANA KUMBHA 21 RAG DARPAN FAQUIRULLAH 22 BHARTIYA SANGEET KA ITIHAS S . S PARANJAPE 23 BHARAT KA RAS SIDDHANT K . C . D BRAHASPATI 24 SANGEET SHASHTRA K . VASUDEV SHASHTRI 25 COMPARATIVE AESTHETICS CHOWKHAMBA PUBLICATION 26 KITAB-E-NAVRAS ABRAHIM ADIL SHAH 27 AESTHETICAL ESSAYS CHANAKYA PUBLICATION, 28 NAYAK NAYIKA BHED AUR RAG- RAGINI VARGIKARAN PRADEEP KUMAR DIXIT 29 RAGAR AND RAGINIS O . C. GANGOLI 30 RAS SIDDHANT KA PUNARVIVECHAN GANPATI CHANDRAGUPTA 32 HINDUSTANI MUSIC AND THE AESTHETICS CONCEPT OF FORM ANJALI MITTAL 33 KALA AUR SAUNDARYA KA DARSHNIC VIVECHAN MANJULA SAXENA 34 BHARTIYA SHASHTRIYA SANGEET EVAM SAUNDARYA SHASHTRA ANUPAM MAHAJAN 35 NATYA SHASHTRA BHARAT MUNI 36 SANGEET RATNAKAR SARANGDEV 37 SANGEET RAJA MAHARANA KUMBHA 38 ABHINAV GEETANJALI PART ( I - VI) RAMASHRYA JHA RAMARANG 39 SANGEET SANCHAYAN SUBHADRA CHOUDHURY 40 DHRUPAD K . C. D BRAHASHPATI 42 A Comparative study of the Leading Music System of the 15th, 16th, 17th and 18thV Centuries . N BHATKHANDE 43 Pranav Bharti 1. Pt.Omkar Nath Thakur 44 Short Historical Survey of the Music V . N BHATKHANDE 46 Bharat Ka Sangit Sidhant, Brahaspati BRAHASPATI PUBLICATION 47 Rag Rahsya ACHARYA BRAHASPATI 48 Khusro Tansen Tatha Anya Kalakar RAJ KAMAL PRAKASHAN 52 Rag Vigyan, Parts I to VII V.N. PATVARDHAN PT. JAGDISH NARAYAN PATHAK 53 Sangeet Nibandh Mala PT. JAGDISH NARAYAN PATHAK 54 Sangeet Shastra Parveen 55 Sangit Vyas Kriti, Parts I & II S.G. VYAS 56 Abhinav & Geet Manjari S.N. RATTANJANKAR 59 Thumari Ki Utpatti, Vikas Aur Vadan Shailian SHATRUGHAN SHUKLA , NANYADEV, CHAITANYA DESAI , 61 Bharat Bhashyam 62 Sangeet Makrand NARAD 63 Rag Parveen Parts I & II Sarla Prakashan PT. RAM KRISHNA 64 Kanda Ka Udhbhav Aur Vikas SAROJ GHOSH 65 Articles on Voice Culture in Sangeet Kala Vihar B.R. DEODHAR 66 Sangeet Mein Shodh Pravidhi DR. MANORAMA SHARMA 67 Research Methodology for Music MOHAMMED HAROON 68 Research Methods in Music NAZMA PERWEEN AHMED 69 Thesis and Assignment writing ALEXANDER 71 Bhartiya Sangeet Shikshan Pranali Aur Uska, Vartman stra DR. MADHUWALA SAXENA
72 Uttar-Bhartiya Shastriya Gayan Ka Dhawanyantrik adhyayan RAMAKANT DWIVEDI 73 Bhartiya Sangeet Mein Media Evam Sansthano ka yogdan RADHIKA SHARMA 74 Sansthagat Sangeet Sikshan Pranali SUSHIL KUMAR CHOUBEY 75 Voice Culture Made Easy J.L. ORTON 76 Hand Book of staff Notation for Indian Music HOWARD BOATWRITE 77 The Philosophy of Music WILLIAM POLE 78 Ragas and Raginis O.C. GANGULI 79 Oxford Companion to Music PERCY A. SCHOLES 80 Punjab Ki Sangeet Parampara GITA PAINTAL 81 Rag Vyakaran BIMAL KANT RAI CHOUDHURY 82 Comparative Aesthetics, Vol. I & II. K.C. PANDEY 83 Ragon Ki Utpatti Aur Vikas SUNANDA PATHAK 84 Saundarya Shastra Ki Bhoomika HARDWARI LAL 85 Indian Music THAKUR JAIDEV SINGH 86 Natya Shastra BHARAT MUNI 87 Sangeet Ratnakar Vol. I & II R.K. SHRINGI , PREMLATA NSHARMA 88 Nordiya Shiksha USHA R. BHISE 89 Brihaddeshi MATANGPage MUNI23 of Ed. PREMLATA23 SHARMA 90 Pracheen Bharat Mein Sangeet DHARMVATI SRIVASTAVA 91 Rise of Music in the ancient world CURT SACHS 92 Universal History of Music S . M TAGORE 93 History of Musical Instruments CURT SACHS 94 The New Oxford History of Music , ancient and orientsal musicVol (I - II)EGON WELLESZ 96 A History of Arabian Music H . G. FARMER 97 Thr Persian History of Music ALEC ROBERTSON & DENIS STEVEN 99 Bhatkhande Sargam Geet Sangraha V . N BHATKHANDE 100 Kramik Taan Alap Part ( I - IV) S . A TAPLE 101 Raag Visharad Part ( I - II) DR. L N GARG 102 Bhartiya Sangeet Ka Itihas BHAGWAT SHARAN SHARMA PT. JAGDISH NARAYAN KULSHRESHTHA 103 Sangeet Shashtra 104 Sangeet Nibandhawali DR. L N GARG 106 Taal Martand PT. SATYANARAYAN VASHISHTHA 107 Abhinay Darpan our Geet Govind DR. L N GARG 108 Malhar Ke Prakar JAYSUKHLAL T .SHAHA 109 Sarang Ke Prakar JAYSUKHLAL T .SHAHA 110 Taan Malika Part ( I - IV) RAJA BHAIYA PUNCHWALE 111 Sangeet Raag Kalpdrum Part ( I - III) 112 Hindustani Sangeet Me Sarang, Malhar our Kanhda DR. PREMLATA NAHAR 113 Tarana sangraha PT. RAMKRISHNA TAILANG 114 Sangeet Shshtra or Ragmala PT. BHOLADUTTA JOSHI 115 Panjabi Bhasha Me khayal Ki Paramparik Bandishen DR.GEETA PAINTAL 116 NET Sangeet DR. TEJ SINGH TAK 117 Raag Rahasya Part ( I - V ) ACHARYA BTAHASHPATI 118 Bhartiya Sangeet me Media our Sansthaon ka yogdan DR. RADHIKA SINGH 119 Sangeet or Sambad ASHOK KUMAR 120 Sangeet or Manovigyan KIRAN TIWARI 121 Indian Folk Music BHAVAIYA 122 The Scales of Indian Music: A Cognigative approach to That P. MUKHERJEE 123 Wisdom Of Raga S. BANDOPADHYA 124 South Indian Classical Music DR. S. BHAGYALAKSHMI 125 Centers for Promotion in Indian Music LOVELY SHARMA
Sanatan Deep H O D Music JWC