FACULTY OF VISUAL & PERFORMING ARTS

SYLLABUS

FOR

M.A. MUSIC (HONS.) (VOCAL) (SEMESTER: I – IV) (Under Credit Based Continuous Evaluation Grading System)

EXAMINATIONS: 2014-15

______GURU NANAK DEV UNIVERSITY AMRITSAR

______

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M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System)

Programme Code: MUB (V) SCHEME SEMESTER – I: Course No. C/E/I Course Title Credits Total L T P Credits

MUL (V) 401 C THEORETICAL SURVEY OF 3 1 0 4 INDIAN MUSIC MUL(V)402 C HISTORY OF INDIAN MUSIC 3 1 0 4 MUL(V)403 C BIOGRAPHICAL AND 3 0 0 3 ANALATICAL STUDY OF INDIAN CLASSICAL MUSICIANS MUP (V) 421 C STAGE PERFORMANCE 0 0 4 4 MUP (V) 422 C ADVANCE STUDY OF 1 0 3 4 MUP (V) 423 C SEMINAR (MUSIC 0 0 2 2 APPRICIATION) BASED ON POWER POINT PRESENTATION / ACTIVITIES I INTER DISPLINARY – – – 3 (ANY DEPTT.) OTHER THAN MUSIC Total Credits: – – – 24

General Instructions for All Papers (Semester: I – IV) I. Each written paper in Minor I & II shall be of one hour duration. II. Practical paper shall be of 15 minutes duration each. III. Each written paper in Major shall be of three hours duration and practical paper shall be of 30 minutes duration each IV. Harmonium will not be allowed as an accompaniment in Vocal. V. After every second minor in all papers there will be a Quiz. 2

M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System)

PAPER: MUL–(V) 401: THEORETICAL SURVEY OF INDIAN MUSIC (THEORY)

UNIT–I Note: The paper setter will set three questions. All questions are compulsory. 1. Write short notes on the following in the context of musicology:– Aptitude, Interest, Learning, Memory, musicology, environment, imitation. 2. Detailed study of Moorchana. 3. Critical survey of Ancient to Medieval Rag Vargikaran (Classification of Ragas).

UNIT–II Note: The paper setter will set three questions. All questions are compulsory. 1. Shruti as defined by Bharat and Bhatkhande. 2. Comparative study of Rag, Shailies and Thata of Uttari and Dakshini systems of Music. 3. Importance of swarit (Key note) in Music. 4. Detailed study of Geeti Gaan. UNIT–III Note: The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory 1. Detailed knowledge of Staff Notation & its relevance in Indian Music. 2. Contribution of Sufi Saints towards music. 3. Ten Paraans of Tala. 4. The devine power of music.

Books Recommended:

1. Bhartia Kanth Sangeet Dr. Arun Mishra, Kanishka Publishers,New .2002. Avam Vadya Sangeet 2. Nibandh Sangeet Laxmi Naryan Garg, Sangeet Karyala Hathras, 1989. 3. Punjab Ki Sangeet Parampara Dr. Geeta Pental, Radha Publication, New Delhi,1989. 4. Bhartia Sangeet Ka Dr. Rajiv Verma & Neelam Parikh, Amar Granth Adhiyatmik Sawroop Parkashan, 2004. 5. Indian Music in Professional Dr. Manju Shree Chowdry, & Academic Institutions Sanjay Parkashan, New Delhi, 1999. 3

M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System)

PAPER: MUL–(V) 402: HISTORY OF INDIAN MUSIC (THEORY)

UNIT–I Note: The paper setter will set three questions. All questions are compulsory. 1. Historical Development of Indian Classical Music during ancient to medieval period. 2. Historical development of Quawaali Gayan Shallie. 3. Historical background of learning Indian Classical Music.

UNIT–II Note: The paper setter will set three questions. All questions are compulsory. 1. Historical development of Gazal Gayaki. 2. Development of Indian Music after independence. 3. Historical development of Swar from Vedic to Medieval period.

UNIT–III Note. The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory.

1. Contribution of Shri Guru Gobind Singh Ji in Indian Music. 2. Relation of Chhand and Music in singing styles of Gurmat Sangeet. 3. Sikh religion & other contemporary religious musical traditions of Punjab. 4. Importance of music in Shri Guru Granth Sahib.

Books Recommended:

1. Bhartia Kanth Sangeet Dr. Arun Mishra, Kanishka Publishers, Avam Vadya Sangeet New Delhi.2002. 2. On Indian Music Pt. Debu howdery Roshan Press, 2005. 3. Sangeetayan Seema Johri Radha Publication, Nedw Delhi, 2003. 4. Nibandh Sangeet Laxmi Naryan Garg, Sangeet Karyala Hathras, 1989. 5. Hamare Sangeet Ratan Sangeet Karyala Hathras, 1989. 6. Gurmat Sangeet Parbandh Te Dr. Gurnam Singh, Pbi. Uni. Patiala, 2000. Parsar 7. Punjab Ki Sangeet Parampra Dr. Geeta Paintal, Radha Publication, New Delhi, 1998. 4

M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System)

PAPER: MUL–(V) 403: BIOGRAPHICAL & ANALYTICAL STUDY OF INDIAN CLASSICAL MUSICIANS (THEORY)

UNIT–I Note: The paper setter will set three questions. All questions are compulsory.  Biographical Study and contribution towards Indian classical music of the followings musicians: 1. Pt. Shankar Pandit (Vocal) 2. Ustad Bismilla Khan () 3. Pt. Kanthey Maharaj Ji () UNIT–II Note: The paper setter will set three questions. All questions are compulsory.

 Biographical and Study and contribution towards Indian classical music of following musicians: 1. Vidushi Girija Devi (Vocal) 2. Pt. Shiv Kumar Sharma () 3. Ustad Zakir Hussain (Tabla) UNIT–III Note: The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory.

 Biographical Study and contribution towards Indian classical music of following musicians: 1. Ustad Ameer Khan (Vcoal) 2. Ustad Alaudeen Khan () 3. Ustad Habibudeen Khan (Tabla) 4. Guru Rajinder Gangaani (Dance)

Books Recommended:

1. Bhartiya Sangeet Aur Rampal Mathur, Classic Collections, Jaipur Sangeetagya 2. Hindustani Sangeet Mein Smt. Veena Sharma, Kanishak Publishers, New Delhi Tantar Vadakon Ka Yogdan 3. Madhya Kalin Sangeet Dr. Namita Banerjee, Radha Publications, New Delhi. Evam Unka Tatkalin Samaj Par Parbhav 4. Bhartiya sangeet Sarita Dr. Rma Saraaf, Vidya–Nidhi Parkashan, Delhi. 5. Hamare Sangeet Rattan Laxmi narayan Garg Sangeet Karaylya Haathras, UP. 6. Bhartiya Sangeet Ko Mahaan Dr. Kavita Chakravarti, Rajasthani Granthagar, Jodhpur Sangeetagyon Ki Den 5

M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System)

PAPER: MUP–(V) 421: STAGE PERFORMANCE (PRACTICAL)

UNIT–I

1. Ability to sing the alankars of ten . 2. One Drut with proper Alaap Taan 3. , Tirvat and Chaturang

UNIT–II

1. One Vilambit and Drut khyal of your own choice with proper singing style. 2. Ability to play the thekas of Ektal, Teental, Jhaptal on tabla with vocalist and instrumentalist.

UNIT–III

1. One Vilambit and Drut khyal with proper singing style in other than choice of second minor. 2. Recite on hand and ability to play following thekas on tabla: Rupak, Tilwada, Chautal and Dhammar. 3. General Maintenance of your Instrument. 6

M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System)

PAPER: MUP–(V) 422: ADVANCE STUDY OF RAGAS (PRACTICAL)

UNIT–I

1. Two Drut in ragas Jog and Kalawati. 2. Critical and detailed study of above mentioned ragas and non detailed ragas Tilang and Jansammohini.

UNIT–II

1. Any one Vilambit khyal and two Drut khyals with proper singing styles in ragas Bhimplasi and Shudh Sarang. 2. Critical and detailed study of above mentioned ragas.

UNIT–III

1. One Vilambit khyal and three Drut khyals with proper singing styles in ragas Ahir , Durga and . 2. Full definition and few alaps in non detailed ragas Bhairav, Asa and Shudh Kalyan.

Books Recommended:

1. Sangeetanjali, Part–I to V Onkar Nath Thakur 2. Rag Vigyan, Part–IV to VII V.N. Patwardhan 3. H.S. Kramik Pustak Malika Parts–II to VI V.N. Bhatkhande 4. Aprachalit Raga Part–I & II J.K. Pataki 5. Abhinav Geet Manjari Parts–I & II Dr. S.N. Ratanjankar, Lucknow. 6. Rag Parichay Harish Chander Shrivastav 7. Gurmat Sangeet Prabandh Dr. Gurnam Singh 8. Gurmat Sangeet Darpan Prof. Kartar Singh, Published by SGPC 9. Anbhinav Geetanjali Part I to V Pt. Ramashray Jha 7

M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System)

Paper: MUP–(V) 423 (Practical)

Seminar (Music Appreciation) based on Power Point Presentation/Activities. 8

M.A. MUSIC (HONS.) VOCAL (SEMESTER – II) (Under Credit Base Continuous Evaluation Grading System)

Programme Code: MUB (V) SCHEME SEMESTER – II: Course No. C/E/I Course Title Credits Total L T P Credits MUL (V)451 C STUDY OF RAGA AND 3 1 0 4 AESTHETICS MUL(V)452 C A CRITICAL STUDY OF 3 1 0 4 GRANTHAS MUL(V)453 C THEORETICAL STUDY OF 3 0 0 3 FOLK MUSIC OF PUNJAB MUP (V) 471 C STAGE PERFORMANCE 0 0 4 4 MUP (V) 472 C ADVANCE STUDY OF RAGAS 1 0 3 4 MUP (V) 473 C SEMINAR (MUSIC 0 0 2 2 APPRICIATION) BASED ON POWER POINT PRESENTATION / ACTIVITIES I INTER DISPLINARY (ANY – – – 3 DEPTT.) OTHER THAN MUSIC Total Credits – – – 24

General Instructions for All Papers (Semester: I – IV) VI. Each written paper in Minor I & II shall be of one hour duration. VII. Practical paper shall be of 15 minutes duration each. VIII. Each written paper in Major shall be of three hours duration and practical paper shall be of 30 minutes duration each IX. Harmonium will not be allowed as an accompaniment in Vocal. X. After every second minor in all papers there will be a Quiz. 9

M.A. MUSIC (HONS.) VOCAL (SEMESTER – II) (Under Credit Base Continuous Evaluation Grading System)

PAPER: MUL–(V) 451: STUDY OF RAGA AND AESTHETICS (THEORY)

UNIT–I

Note: The paper setter will set three questions. All questions are compulsory.

1. Critical study of prescribed Ragas. 2. Study of Melody & Harmony in various forms of musical compositions. 3. Basic Principles of Thematic Music.

UNIT–II

Note: The paper setter will set three questions. All questions are compulsory.

1. The role of Laykaries in different Gayan Shaillies 2. Definition and Principles of aesthetics in music 3. Notation of prescribed Talas : Ektal, Jhaptal, Teental, Rupak, Tilwara, Chautal and Dhamar.

UNIT–III

Note. The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory.

1. Indian Music in Professional and Academic Institutions. 2. Critical Study and significance of different musical terms in Shri Guru Granth Sahib’s. Sangeet Parbandh System : Rag, Rahao, Mohalla, Ank, Yatti. 3. Analysis of Aesthetics in the context of Indian Cinema’s Music. 4. Importance of Kaku in Indian Classical Music. 10

M.A. MUSIC (HONS.) VOCAL (SEMESTER – II) (Under Credit Base Continuous Evaluation Grading System)

Books Recommended:

1. Bhartia Kanth Sangeet Dr. Arun Mishra Avam Vadya Sangeet Kanishka Publishers,New Delhi. 2002.

2. On Indian Music Pt. Debu Chaudhary Roshan Press. 2005.

3. Nibandh Sangeet Laxmi Naryan Garg, Sangeet Karyala Hathras. 1989.

4. Bhartia Sangeet Main Aneeta Gautam Vigianik Upkarnon Ka Paryog Kanishka Publishers,New Delhi. 2002.

5. Bhartia Talo Ka Arun Kumar Sen Shastriya Vivechan Madhaya Pardesh Academy,Bhopal. 2002.

6. Indian Music in Professional Dr. Manju Shree Chowdry and Academic Institutions Sanjay Parkashan,New Delhi.1999.

7. Indian Concept of Rhythem A.K. Sen, Knishka Publishers,New Delhi.1994.

8. Man and Music in Rashmi Goswami Indian Institute at Advance Study.1992.

9. Gurmat Sangeet Parbandh Dr. Gurnam Singh, Punjabi University, Patiala.2002. te Parsar 11

M.A. MUSIC (HONS.) VOCAL (SEMESTER – II) (Under Credit Base Continuous Evaluation Grading System)

PAPER: MUL–(V) 452: A CRITICAL STUDY OF GRANTHAS (THEORY)

UNIT–I

Note: The paper setter will set three questions. All questions are compulsory. A critical study of following Granths as: 1. Brehdeshi : Matang 2. Sangeet Ratnakar : Sharangdev

UNIT–II

Note: The paper setter will set three questions. All questions are compulsory. A critical study of following Granths as: 1. Rag Tatav Vibodh : Shri Niwas 2. Swarmale Kalanidhi : Ramamatya

UNIT–III

Note. The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory.

1. Natya Shastra : Bharat 2 Pranav Bharati : Pt. Omkar Nath Thakur6. Sangeet Parijat 3. Sangeet Parijaat : Pt. Ahobal.

Books Recommended:

1. Sangeet Ratnakar : Sharangdev, Sangeet Karyalaya Hathrash, 1964. 2. Brehdeshi : Matang Publication Scheme, Jaipur, 1972. 3. Uttart Bhartia Sangeet Paddhation : V.N. Bhatkhande Sangeet Karyalaya Hathrash, Ka Tulnatamak Adhayan 1965. 4. Sawar Mala Kalanidhi : Ramamatya Sangeet Karyalaya Hathrash, 1967. 6. Naitya Shastra : Bharat Chokhamba Sanskrit Sansthan Varanasi, 1985. 7. Sangeet Ratnakar : Dr. R.K. Shringi Dr. Prem Lata Sharma 12

M.A. MUSIC (HONS.) VOCAL (SEMESTER – II) (Under Credit Base Continuous Evaluation Grading System)

PAPER: MUL–(V) 453: THEORETICAL STUDY OF FOLK MUSIC OF PUNJAB (THEORY)

UNIT–I Note: The paper setter will set three questions. All questions are compulsory. 1. Origin and development of folk music of Punjab 2. Historical development of Vaar, folk singing style of Punjab. 3. Detailed study of folk dances of Punjab.

UNIT–II Note: The paper setter will set three questions. All questions are compulsory.  Biographical and analytical study of following Punjab’s folk artists. 1. Asa Singh Mastana 2. Bibi Surinder Kaur 3. Lal Chand Yamala Jatt UNIT–III Note. The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory.

1. Detailed study of Taal Vadya used in Punjabi Folk Music. 2. Detailed study of Suwar Vadya used in Punjabi Folk Music 3. Detailed knowledge of Merrital Song of Punjab with special reference to Ghoriyan & Suhaag. 4. Detailed knowledge of Punjabi Folk Songs related to season and Festivals of Punjab.

Books Recommended:

1. Sangeet Chintan (Pratham Dr. Saubhagya Vardan Brehaspati, Abhishek Khand) Publicatins, Chandigarh. 2. Punjab Ki Sangeet Parampra Geeta Paintal , Radha Publication, New Delhi. 3. Punjabi Lok Sangeet Dr. Gurnam Singh, Publication Bureau Punjabi Uni., Virasat(Part I & II) Patiala. 4. Punjabi Gayaki Vibhin Pasaar Dr. Harinder Kaur Sohal, Nanak Singh Pustak–Mala, Patiala 5. Punjab Dian Lok Dhuna Gurpartap Singh Gill, Publication Bureau Punjabi Uni., Patiala. 6. Punjab Da Sangeet virsa te Darshan Singh Narula, Punjabi Writers Vikas Co–operative Society, New Delhi. 13

M.A. MUSIC (HONS.) VOCAL (SEMESTER – II) (Under Credit Base Continuous Evaluation Grading System)

MUP–(V) 471: STAGE PERFORMANCE (Practical)

UNIT–I

1. One Drut khyal with proper Alaap Taan 2. Tuning of 3. or Dhammar in different layakaris

UNIT–II

1. One Vilambit and Drut khyal of your own choice with proper singing style. 2. Ability to demonstrate and recite the thekas of Ektal, Jhaptal on hand with Dugun, Tigun and Chaugun Layakaris.

UNIT–III

1. One Vilambit and Drut khyal with proper singing style in raga other than choice of second minor. 2. Ability to demonstrate and recite the thekas of Rupak and chautal on hand with Dugun, Tigun and Chaugun Layakaris. 3. Ability to play ten Alankars on Sitaar. 14

M.A. MUSIC (HONS.) VOCAL (SEMESTER – II) (Under Credit Base Continuous Evaluation Grading System)

MUP–(V) 472: ADVANCE STUDY OF RAGAS (PRACTICAL)

UNIT–I 1. Two Drut khyals in ragas Malkauns and Puriya Kalyan 2. Critical and detailed study of above mentioned ragas and non detailed ragas Puriya and Chandarkauns.

UNIT–II 1. Any one Vilambit khyal and two Drut khyals with proper singing styles in ragas Bageshwari and Maru Bihag. 2. Critical and detailed study of above mentioned ragas and non detailed ragas named Rageshwari & Bihag.

UNIT–III 1. One Vilambit khyal and three Drut khyals with proper singing styles in ragas Megh Malhar, Darbari Kanada and Nat Bhairav. 2. Full definition and few alaps in non detailed ragas Madhmadh Sarang , Adana and Charukeshi.

Books Recommended:

1. Sangeetanjli, Parts–III to V Onkar Nath Thakur

2. Rag Vigyan, Parts–IV to VII V.N. Patwardhan

3. H.S. Kramik Pustak V.N. Bhatkhande Malika Parts–IV to VI

4. Aprachalit Raga Parts–I & II K.K. Pataki

5. Abhinav Geet Manjari Dr. S.N. Ratan Jankar, Lucknow. Parts–I & II 6. Gurmat Sangeet Prebandh Dr. Gurnam Singh

7. Raga Vyakaran Bimal Kaant Roy Chaudhury

8. Abhinav Geetanjali Part I– V Pt. Ramashrya Jha 9. Raga Rahasaya Acharya Brahaspati 15

M.A. MUSIC (HONS.) VOCAL (SEMESTER – II) (Under Credit Base Continuous Evaluation Grading System)

MUP–(V) 473

Seminar (Music Appreciation) based on Power Point Presentation/Activities. 16

M.A. MUSIC (HONS.) VOCAL (SEMESTER – III) (Under Credit Base Continuous Evaluation Grading System)

SEMESTER – III: Course No. C/E/I Course Title Credits Total L T P Credits

MUL (V) 501 C SCIENTIFIC STUDY OF INDIAN 3 1 0 4 VOCAL MUSIC MUL(V) 502 C STUDY OF GURMAT SANGEET 3 1 0 4 MUL(V)503 C INDIAN CINEMATIC MUSIC 3 0 0 3

MUP (V) 521 C STAGE PERFORMANCE 0 0 4 4

MUP (V) 522 C ADVANCE STUDY OF RAGAS 1 0 3 4 MUP (V) 523 C SEMINAR (MUSIC 0 0 2 2 APPRICIATION ) BASED ON POWER POINT PRESENTATION / ACTIVITIES I INTER DISPLINARY (ANY – – – 3 DEPTT.) OTHER THAN MUSIC Total Credits – – – 24

General Instructions for All Papers (Semester: I – IV) XI. Each written paper in Minor I & II shall be of one hour duration. XII. Practical paper shall be of 15 minutes duration each. XIII. Each written paper in Major shall be of three hours duration and practical paper shall be of 30 minutes duration each XIV. Harmonium will not be allowed as an accompaniment in Vocal. XV. After every second minor in all papers there will be a Quiz. 17

M.A. MUSIC (HONS.) VOCAL (SEMESTER – III) (Under Credit Base Continuous Evaluation Grading System)

MUL-(V) 501: SCIENTIFIC STUDY OF INDIAN VOCAL MUSIC (THEORY)

UNIT – I

Note: The paper setter will set three questions. All questions are compulsory. 1. Principles of Indian Music: Drone, Frequency, pitch, intensity, timber. 2. Write short note on following: a) Sangatkari b) Fusion Music c) Back-ground music Pop Music d) Rabindra Sangeet e) Avirbhav – Tirobhav f) Sound arrangement

UNIT – II Note: The paper setter will set three questions. All questions are compulsory. 1. Correct intonation of swars in various ragas. 2. Voice culture and its importance in layranics. 3. Various methods of teaching Vocal music with the help of audio video aids. 4. Methods and techniques of Saam-Gaan.

UNIT – III Note. The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory. 1. Interaction between vocal & Instrumental music. 2. Role of psychology in teaching and learning music. 3. Raag Lakshans of Indian Music and practical uses of its helping elements. 4. Detailed study of Gram.

Books Recommended:

1. Bhartia Kanth Sangeet Dr. Arun Mishra, Kanishka Publishers,New Delhi, Avam Vadya Sangeet 2002. 2. On Indian Music Pt. Debu Chaudhary, Roshan Press, 2005. 3. Nibandh Sangeet Laxmi Naryan Garg, Sangeet Karyala Hathras, 1989. 4. Bhartia Talo Ka Arun Kumar Sen, Madhaya Pardesh Academy, Bhopal, Shastriya Vivechan 2002. 5. Indian Music in Professional Dr. Manju Shree Chowdry Sanjay Parkashan, New & Academic Institutions Delhi, 1999. 6. Indian Concept of Rhythem: A.K. Sen Knishka, Publishers, New Delhi,1994 7. Man & Music in India Rashmi Goswami, Indian Institute at Advance Study, 1992. 8. Bhartiya Sangeet Vadya Dr. Lalmani Mishra 18

M.A. MUSIC (HONS.) VOCAL (SEMESTER – III) (Under Credit Base Continuous Evaluation Grading System)

MUL-(V) 502: A STUDY OF GURMAT SANGEET (THEORY)

UNIT – I Note: The paper setter will set three questions. All questions are compulsory. 1. Musical elements in Rag Mala in the context of Guru Granth Sahib. 2. Element and Gayan Shallies of folk music in Gurmat Sangeet. 3. Different classical singing styles of Gurmat Sangeet.

UNIT – II Note: The paper setter will set three questions. All questions are compulsory. 1. Contribution of Shri Guru Nanak Dev Ji towards Indian Music. 2. The contribution of Bhagtas Bani towards music in the context of Shri Guru Granth Sahib. 3. The Banies of Bhattas in Gurmat Sangeet.

UNIT – III Note. The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory. 1. Contribution of Sufi Saints in the field of Gurmat Sangeet. 2. Critical and comparative study of different singing styles of Gurmat Sangeet. 3. Salient features of Kirtan Chowki. 4. Critical Studies of Ragas used in Shri Guru Granth Sahib.

Books Recommended:

1. Sikh Musicology : Dr. Gurnam Singh Krishka Publication, New Delhi. 2. Gurmat Sangeet Parbandh Te : Dr. Gurnam Singh Pbi. Uni.,Patiala, 2000. Pasar 3. Bhagat Rag Ratnawali : Prof. Tara Singh Gurmat Sangeet Public Parkashan, Patiala, 1992. 4. Guru Nanak Dev Ji Te : Dr. Jagir Singh Lok Sangeet Parkashan, Sangeet Chandigarh, 2007. 5. Bharti Sangeet ka Itihas : Dr. Joginder Sharma & Bachiter Singh Punjabi University, Patiala, 1988. 6. Shri Guru Granth Sahib Rag : Prof. Tara Singh Punjabi Universtiy, Patiala, Ratnawali 1991. 7. Punjab Ki Sangeet Prampara : Dr. Geeta Pantel Radha Publication, New Delhi, 1988. 19

M.A. MUSIC (HONS.) VOCAL (SEMESTER – III) (Under Credit Base Continuous Evaluation Grading System)

PAPER: MUL-(V) 503: INDIAN CINEMATIC MUSIC (THEORY)

UNIT – I Note: The paper setter will set three questions. All questions are compulsory. 1. Origin & development of Indian Cinema. 2. Classical and Semi Classical singing styles used in Indian Cinema. 3. Contribution of Devotional Music in Indian Cinema.

UNIT – II Note : The paper setter will set three questions. All questions are compulsory.  Biographical Study and contribution of the following Music Directors : 1. Naushad 2. R.D. Berman 3. A.R. Rahman

UNIT – III Note. The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory.  Biographical Study and contribution of the followings singers : 1. Mohd. Rafi 2. Mukesh 3. Lata Mangeshkar 4. Kavita Krishna Murti

Books Recommended:

1. Sangeet Sudha Dr. Lavaanya Kirti Singh, Kanishak Publishers New Delhi 2. Chitarpatt Evam Sangeet Ka Itihaas Dr. Vimal Sanjay Parkashan Delhi 3. Bhartiya Cinema Parsoon Sinha Sh. Natraj Parkashan Delhi 4. Sangeet Ka Saundrya Bodh Dr. Uma Garg, Sanjay Parkashan, Delhi (Film Sangeet Ke Sandrabh Mein)

5. Bhartiya Challchitar Ka Itihaas Feroz Rangoon-Wala, Rajpal & Sons Kashmiri Gate Delhi 6. Film Sangeet Nirdeshak Sema Johri, Radha Publications, New Delhi Roshan V Unke Samkaleen Sangeetkaar 7. Cinema Aur Sahitya Harish Kumar, Sanjay Parkashan Delhi. 8. Bhartiya Shastriye Gayan Ka Dr. Rma kant Divedi, Sahatya Ratnalya, Dhwaniankit Kanpur 20

M.A. MUSIC (HONS.) VOCAL (SEMESTER – III) (Under Credit Base Continuous Evaluation Grading System)

MUP-(V) 521: STAGE PERFORMANCE (PRACTICAL)

UNIT – I

1. One Drut khyal with proper Alaap Taan 2. Partal Gayaki ( A Partal from sri Guru Granth Sahib)

UNIT – II

1. One Vilambit and Drut khyal of your own choice with proper singing style. 2. / Geet/ Gazal on Harmonium.

UNIT – III

1. One Vilambit and Drut khyal with proper singing style in raga other than choice of second minor. 2. Ability to tune Tanpura. 3. Ability to play any Dhun based on folk music of Punjab on Sitaar. 4. General Maintenance of your Instrument. 21

M.A. MUSIC (HONS.) VOCAL (SEMESTER – III) (Under Credit Base Continuous Evaluation Grading System)

MUP-(V) 522: ADVANCE STUDY OF RAGAS (PRACTICAL)

UNIT – I 1. Two Drut khyals in ragas Shree and Hansdhwani 2. Critical and detailed study of above mentioned ragas and non detailed ragas Jaitshree and Shankara.

UNIT – III 1. Any one Vilambit khyal and two Drut khyals with proper singing styles in ragas Madhuwanti and Kedar. 2. Critical and detailed study of above mentioned ragas

UNIT – III 1. One Vilambit khyal and three Drut khyals with proper singing styles in ragas Miyan ki , Sham Kalyan and Abhogi Kanda. 2. Full definition and few alaps in non detailed ragas Abhogi, Kamodh and Gujari todi

Books Recommended:

1. Sangeetanjli, Parts-III to V Onkar Nath Thakur

2. Rag Vigyan, Parts-IV to VII V.N. Patwardhan

3. H.S. Kramik Pustak V.N. Bhatkhande Malika Parts-IV to VI

4. Aprachalit Raga Parts-I & II K.K. Pataki

5. Abhinav Geet Manjari Dr. S.N. Ratan Jankar, Lucknow. Parts-I & II

6. Gurmat Sangeet Prebandh Dr. Gurnam Singh

7. Raga Vyakaran Bimal Kaant Roy Chaudhury

8. Abhinav Geetanjali Part I- V Pt. Ramashrya Jha 9. 9. Raga Rahasaya Acharya Brahaspati 22

M.A. MUSIC (HONS.) VOCAL (SEMESTER – III) (Under Credit Base Continuous Evaluation Grading System)

MUP (V) 523

Seminar (Music Appreciation) based on Power Point Presentation/Activities. 23

M.A. MUSIC (HONS.) VOCAL (SEMESTER – IV) (Under Credit Base Continuous Evaluation Grading System)

SEMESTER – IV:

Course No. C/E/I Course Title Credits Total L T P Credits

MUL (V) 551 C INDIAN MUSIC AND 3 1 0 4 AESTHETICS MUL(V)552 C ESSAYS ON INDIAN MUSI C 3 1 0 4

MUL(V)553 C SURVEY OF INDIAN CLASSICAL 3 0 0 3 INSTRUMENTS MUP (V) 571 C STAGE PERFORMANCE 0 0 4 4

MUP (V) 572 C ADVANCE STUDY OF RAGAS 1 0 3 4 MUS (V) 573 C SEMINAR (MUSIC 0 0 2 2 APPRICIATION) BASED ON POWER POINT PRESENTATION / ACTIVITIES I INTER DISPLINARY (ANY – – – 3 DEPTT.) OTHER THAN MUSIC Total Credits – – – 24

General Instructions for All Papers (Semester: I – IV) XVI. Each written paper in Minor I & II shall be of one hour duration. XVII. Practical paper shall be of 15 minutes duration each. XVIII. Each written paper in Major shall be of three hours duration and practical paper shall be of 30 minutes duration each XIX. Harmonium will not be allowed as an accompaniment in Vocal. XX. After every second minor in all papers there will be a Quiz. 24

M.A. MUSIC (HONS.) VOCAL (SEMESTER – IV) (Under Credit Base Continuous Evaluation Grading System)

MUL-(V) 551: INDIAN MUSIC & AESTHETICS (THEORY)

UNIT – I Note: The paper setter will set three questions. All questions are compulsory. 1. Principles of Alap in Classical Music. 2. Raga and Rasa 3. Job Avenues & Opportunities in music.

UNIT – II Note: The paper setter will set three questions. All questions are compulsory. 1. Aesthetic & Music 2. Dhyanas of Raga picture. 3. Detailed study of different Gayan Shallies of Indian Classical Music.

UNIT – III Note. The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory 1. Basic Principles of Aesthetics in Vrind Gaan and Smooh Gaan. 2. Historical development of Indian film Sangeet 3. Principles of Taan in Classical Music. 4. The concept of Saarna – Chatushtai.

Books Recommended:

1. Bhartia Kanth Sangeet Avam : Dr. Arun Mishra Kanishka Vadya Sangeet Publishers,New Delhi. 2002.

2. On Indian Music : Pt. Debu Chaudhary Roshan Press, 2005. 3. Bhartia Talon Ka Shastriya : Arun Kumar Sen. Madhaya Pardesh Vivechan Academy,Bhopal. 2002.

4. Indian Music in Professional and : Dr. Manju Shree Chaudhary Sanjay Academic Insitutions Parkashan, New delhi. 1999.

5. Indian Concept of Rythem : A.K. Sen Kanishka Publishers, New Delhi. 1994.

6. Sangeet Main Sondhriya Bodh : Uma Garg Sanjay Parkashan, New Delhi. 2000. 25

M.A. MUSIC (HONS.) VOCAL (SEMESTER – IV) (Under Credit Base Continuous Evaluation Grading System)

MUL-(V) 552: ESSAY ON INDIAN MUSIC (THEORY)

UNIT – I Note: The paper setter will set three questions. All questions are compulsory. 1. Inter-relation between music and paintings. 2. Relation between Music & Yoga 3. Sangeet Samiksha. (Appreciation of Music)

UNIT – II Note: The paper setter will set three questions. All questions are compulsory. 1. The Role of Media in music. 2. Vartman Gayan Sangeet Shiksha Ke Gun aur Dosh. 3. Sahityak or Sangeet.

UNIT – III Note. The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory 1. Instrument-Tabla as solo vadan. 2. Music therapy. 3. Manch Pardarshan. 4. Psycho, Socio effects of music.

Books Recommended:

1. Sangeet Nibhandh Sangeet Karyala Hathras (U.P), 1989. 2. Bharti Kanth Aur Vadya Sangeet Dr. Arun Mishra Knishka Publication, New Delhi, 2002. 3. Sangeetayan Dr. Seema Johri Radha Publication, New Delhi, 2003. 4. Punjab Ki Sangeet Parampra Dr. Geeta Paintel Radha Publication, New Delhi, 1988. 5. Bhartiya Sangeet Shikshan Parnali Dr. Madhu Bala Sexsena Hariyana Avem Uska Vartman Savroop Sahitya Academy, Chandigarh, 1996. 6. Patanjali Yog Sutter Geeta Press Gorakhpur, 1994. 7. Sangeet Nibandh Mala Seema Johri Peush Publication, Kabir Nagar, Shahdra, 2001. 26

M.A. MUSIC (HONS.) VOCAL (SEMESTER – IV) (Under Credit Base Continuous Evaluation Grading System)

PAPER: MUL-(V) 553: SURVEY OF INDIAN CLASSICAL INSTRUMENTS (THEORY)

UNIT – I Note: The paper setter will set three questions. All questions are compulsory.  Origin, development of following instruments and their important in Indian Classical Music. 1. Pakhawaj 2. (Flute) 3. Veena

UNIT – II Note: The paper setter will set three questions. All questions are compulsory.  Origin, development of following instruments and its important in Indian Classical Music. 1. Tabla 2. Shehnai 3.

UNIT – III Note: The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory  Origin, development of following instruments and its important in Indian Classical Music. 1. Violin 2. Harmonium 3. 4. Tanpura

Books Recommended:

1. Uttar Bhartiya Sangeet Mein Tantar Dr. Sangeeta Singh, Kanishak Publisher, Vadyon Ka Sathaan Evam Upyogita New Delhi Bhartiya Sangeet Shastron Mein Vadyon Dr. Anjna Bhargav, Kanishak Publisher, Ka Chintan New Delhi 2. Bhartiya Tantar Vadyon Ki Utpatti Dr. Rekha Seth, Ishan Parkashan, Meerut Evam Vikas 3. Swar Vadyon Ke Vadan Mein Dr. Seema Rani Walia, Sanjay Parkashan Aur Dhun (Parchalan Evam Mahatav) New Delhi 4. Bhartiya Sangeet Vadya Dr. Lal Mani Mishar, Bhartiya Gyaan Peeth, New Delhi 27

M.A. MUSIC (HONS.) VOCAL (SEMESTER – IV) (Under Credit Base Continuous Evaluation Grading System)

MUP-(V) 571: STAGE PERFORMANCE (PRACTICAL)

UNIT – I 1. One Drut khyal with proper Alaap Taan 2. One Thumri in any Mishar Raga.

UNIT – II 1. One Vilambit and Drut khyal of your own choice with proper singing style. 2. Tuning of Tanpura.

UNIT – III 1. One Vilambit and Drut khyal with proper singing style in raga other than choice of second minor. 2. Ability to sing any light composition with harmonium. 3. Ability to play any Cinematic song on Sitaar. 28

M.A. MUSIC (HONS.) VOCAL (SEMESTER – IV) (Under Credit Base Continuous Evaluation Grading System)

MUP-(V) 572: ADVANCE STUDY OF RAGAS (PRACTICAL)

UNIT – I 1. Two Drut khyals in ragas Kalyan and Ramkali 2. Critical and detailed study of above mentioned ragas and non detailed ragas Kalingra and Shudh-Kalyan.

UNIT – II 1. Any one Vilambit khyal and two Drut khyals with proper singing styles in ragas Puriya Dhanasri and Jogkauns. 2. Critical and detailed study of above mentioned ragas. 3. Non Detailed study of Raga & Jog.

UNIT – III 1. One Vilambit khyal and three Drut khyals with proper singing styles in ragas Hameer, Jai Jai Wanti and Bairagi. 2. Full definition and few alaps in non detailed ragas Kedar, Khamaaj and Jogiya.

Books Recommended: 1. Sangeetanjali Part III-IV Onkar Nath Thakur. 2. Rag Vigyan Parts IV-VII V.N.Patwardhan. 3. H.S.Kramik Pustak Malika Parts IV-VI V.N.Bhatkhande. 4. Sangeet Vyas Krit, Parts-I and II S.G.Vyas. 5. Aprachalit Raga Parts-I & II J.K.Pataki. 6. Abhinav Geet Manjari Parts-I & II Dr. S.N. Ratanjankar, Lucknow. 7. Geet Smooh Prof. G.N. Natu, Lucknow. 8. Sangeet Shastra Parveen : Jagdish Narayan Pathak, Allahabad, Published by Ratnakar Pathak, 27, Mabajani Tola, Allahabad. 9. Abhinav Geetanjali Part I-V Pt. Ram Ashrya Jha 10. Tantri Naad Part I Dr. Lal Mani Mishar 11. Raga Vyakaran Vimak K. Roy Chaudhary 12. Raga Rahasaya Acharya Brahspati 29

M.A. MUSIC (HONS.) VOCAL (SEMESTER – IV) (Under Credit Base Continuous Evaluation Grading System)

MUP (V) 573

Seminar (Music Appreciation) based on Power Point Presentation/Activities.