Music & Dance Session 2020-21

FACULTY OF PERFORMING & VISUAL ARTS

SYLLABUS Of MUSIC VOCAL For B.A. (Semester- I to VI ) (UnderContinuous Evaluation System) (12+3 System of Education)

Session: 2020-21

The Heritage Institution KANYA MAHA VIDYALAYA JALANDHAR (Autonomous)

B.A. (Semester- I)

Scheme of Studies and Examination Music Vocal

SemesterI

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

Music Vocal B.A BARM-1366 E 100 40 40 20 3

B.A. Semester-I (Session 2020-21) Music Vocal Course Code: BARM-1366 Theory & Practical

Course Outcome

Upon successful completion of this course student will be able to know the basic concepts of music , which are -

CO1 . Proficiency in playing Alankar , which are helpful in further learning of ragas.

CO2. To know the lives of great musician who are torch bearers of Indian classical music.

CO3. To Know about Tanpura, its structure , its sound Producing system and tuning of the instrument.

B.A. Semester-I (Session 2020-21) Music Vocal Course Code: BARM-1366

Theory

Total Marks-100 Time-3Hours Theory: 40 Pr: 40 CA: 20 Instructions given to the examiners are as follows:

The paper setter will set Eight questions of equal marks . Two in each of the four Sections (A- D). Questions of Sections A-D should be set from Units I-IV of the syllabus respectively. Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each section. The fifth question may be attempted from any Section.

Unit - I

1. Historical development of Indian music in vedic period.. 2. Definition and explanation of the following musical the terms: Sangeet, Naad, Sharuti, Swar, saptak, Varna, Alankar, Arov, Avroh, Pakar. Unit - II 3. Life sketches: Tansen, Pt. Vishnu Narayan Bhatkhande , Swami Haridas 4. Contribution of Shree Guru Nanak dev ji towards Indian music. 5. Define Music Explain The types of Music.

Unit - III

6. Definition and explanation of the following terms in the context of Gurmat Sangeet:Raag Mohalla, Rahao, Raba 7. Define Ragas: Yaman , Bahirav, Bilawal

Unit -IV 8. Non detail Ragas: Deshkaar , Khmaaj 9. Taalas: Teental and Kehrva. 10. Method of tuning Tanpura.

B.A. Semester-I (Session 2020-21)

Music Vocal Course Code: BARM-1366 Practical

Total Marks-40 Time-20 Minutes

Instructions for the paper setter: Question paper is to be set on the spot jointly by the Internal and External Examiners. Two copies of the same should be submitted for the record to COE Office, Kanya Maha Vidyalaya, Jalandhar.

Unit-I

1. Ragas: Yaman , Bahirav, Bilawal (Drut Khyaal) 2. Non detail Ragas: Deshkaar , Khmaaj ( Description) 3. Taalas: Teental and Kehrva. 4. Any Song.

Books Recommended:

1. Sangeet Roop- Dr. Davinder Kaur 2. Sangeet Saar- Veena Mankaran 3. Raag Parichay(I-IV) Sh. Harish Chandar Srivastava 4. Sangeet Visharad – Basant , Sangeet Karyalya , Hathras, 2004 5. Hamare Sangeet Ratan-Sangeet Karyalya , Hathras, 2004 6. Sangeet Subodh-Dr. Davinder Kaur 7. Gurmat Sangeet Vishesh Ank Amrit Kirtan Trust 422,15/A Chandigarh. 8. Sangeet Nibandhavali- Dr. Gurnam Singh, Published by Punjabi Univ., Patiala.

B.A. (Semester - II)

(Session 2020-21) Scheme of Studies and Examination Music Vocal

SemesterII

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

Music Vocal B.A BARM-2366 E 100 40 40 20 3

B.A. Semester-II (Session 2020-21) Music Vocal Course Code: BARM-2366 Theory

Course Outcome

Upon successful completion of this course student will be able to know the basic concepts of music , which are -

CO 1. Understand the basic Swars played on Harmonium, alongside singing various sargam phrases.

CO 2. Sa- Pa Samvaad is appealing to students’ mind when they sing alankars and ragas ,thus understanding key features of Indian classical music.

CO 3. Students are able to sing Bandish in Teental and with continuous Riyaz , are able to perform.

CO 4. Harmonium Can be Used as helpful device.

B.A. Semester-II (Session 2020-21) Music Vocal Course Code: BARM-2366 Theory Total Marks-100 Time-3Hours Theory: 40 Pr: 40 CA: 20

Instructions given to the examiners are as follows:

The paper setter will set Eight questions of equal marks. Two in each of the four Sections (A-D). Questions of Sections A-D should be set from Units I-IV of the syllabus respectively. Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each section. The fifth question may be attempted from any Section. Unit - I

1. Definition and explanation of the following musical terms:Meend , murki, Kan, Gamak, Khatka, Laya , Theka. 2. Contribution and life sketches of the following musicians : Pt. Onkar Nath Thakur, Pt.V. D Paluskar.

Unit- II

3. Salient features of Time theory in Indian Music. 4. Merits and demerits of Gayak. 5. Detailed Knowledge of Punjabi Marital ( Wedding) Song SUHAAG.

Unit - III

6. Definition and explanation of the following musical terms in the context of Gurmat Sangeet : Ashtpadi, Ang, Keertaniya, Pad 7. Contribution of bhai mardana ji towards Indian Music.

Unit - IV

8. Description and notation of following Talas: Ek-Tal, Chartaal. 9. Description and notation of following Ragas:Asawari , Kafi , Bhupali 10. Elementary knowledge of following Ragas : Deshkar , Jaunpuri , Bhimplasi.

B.A. Semester-II (Session 2020-21) Music Vocal

Course Code: BARM-2366 Practical

Total Marks-40 Time-20 Minutes

Unit-I

1. One drut khyaal in each of the following raga with simple alaap and tanas.: Bhupali, Asawari, Kafi 2. One Shabad or Bhajan in prescribed Raga. 3. Knowledge of Non Detail Ragas: Jaunpuri, Deshkar, Bhimplasi 4. Recitation of Suhag. 5. Ability to recite following talas on Hand in Ekgun and Dugun : Ektaal & Chartaal.

Books Recommended: 1. Sangeet Roop- Dr. Davinder Kaur 2. Sangeet Saar- Veena Mankaran 3. Raag Parichay(I-IV) Sh. Harish Chandar Srivastava 4. Sangeet Visharad – Basant , Sangeet Karyalya , Hathras, 2004 5. Hamare Sangeet Ratan-Sangeet Karyalya , Hathras, 2004 6. Sangeet Subodh-Dr. Davinder Kaur 7. Gurmat Sangeet Vishesh Ank Amrit Kiratn Trust 422,15/A Chandigarh. 8. Sangeet Nibandhavali- Dr. Gurnam Singh, Published by Punjabi Univ., Patiala. 9. Sangeet shastra Darpan- Shanti Govardhan 10. Gurmat Sangeet Parband te Parsar- Dr. Gurnam Singh, Published by Punjabi Univ., Patiala

B.A. (Semester- III ) Session: 2020-21

Scheme of Studies and Examination Music Vocal

SemesterIII

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

Music Vocal B.A BARM-3366 E 100 40 40 20 3

B.A. Semester-III (Session 2020-21) Music Vocal Course Code: BARM-3366 Theory

Course Outcome

Upon successful completion of this course student will be able to know the basic concepts of music , which are -

CO 1. Understand the basic Swars played on Harmonium, alongside singing various sargam phrases.

CO 2. Sa- Pa Samvaad is appealing to students’ mind when they sing alankars and ragas ,thus understanding key features of Indian classical music.

CO 3. Students are able to sing Bandish in Teental and with continuous Riyaz , are able to perform.

CO 4. Harmonium Can be Used as helpful device.

B.A. Semester-III (Session 2020-21) Music Vocal Course Code: BARM-3366 Theory

Total Marks-100 Time-3 Hours Theory: 40 Pr: 40

CA: 20

Instructions given to the examiners are as follows:

The paper setter will set Eight questions of equal marks. Two in each of the four Sections (A-D). Questions of Sections A-D should be set from Units I-IV of the syllabus respectively. Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each section. The fifth question may be attempted from any Section.

Unit - I

1. Definition and explanation of the following musical terms: Brut,Alap,Swar Alap,Bol Alap,Sargam,Tan,Bol Tan,Avirobhav,Tirobhav,Sthaye. 2. Contribution and Life Sketches of Bheem sen Joshi.Bade Gulam Ali Khan.

Unit- II 3. Detailed Study Of Tanpura. (Its Formation and Importance in Classical Music) 4. Defination and Importance of Laya and Taal in Music. 5. Development of Indian Classical Music During Medieval Period.

Unit - III

6. Salient Features of Kitan Chaunkis of Gurmat Sangeet. 7. Detailed Knowledge of khyal Gayan Shallies.

Unit - IV

8. Description and notation of following Talas;Jhaptal,Dadra. 9. Description and notation of following : Ragas Bhimplasi,Des, Vrindavani Sarang. 10. Elementary Knowledge of following Ragas; Dhnashri,Sorath and Madhmaad sarang.

B.A. Semester-III (Session 2020-21) Music Vocal Course Code: BARM-3366 Practical

Total Marks-40 Time-20 Minutes

1 0

1.One vilumbit Khyal in Any Following Mentioned Ragas.(Bhimplasi, Des , Vrindavani Sarang)

2. One Drut khyal in each prescribed ragas.

3. Five alankars with laya on Harmonium.

4. One lakshangeet in prescribed ragas.

5.Ability to play theka of dadra on tabla.

Books Recommended:

1. Sangeet Vishard, Sangeet Karayalya, Hathras.

2. Sangeet Shastra Darpan, Shanti Govardhan.

3. Hamare Sangeet Rattan, Sangeet Karyalaya, Hathras.

4. Kramik Pustak Malika by Vishnu Narayan Bhathkhande.

5. Sangeet Nibandhavli, Dr. Gurnam Singh, published by PunjabiUniversity, Patiala.

6. Gurmat Sangeet, Prabandh ate Pasaar, Dr. Gurnam Singh.

7. Gurmat Sangeet (Vishesh Ank) Amrit Kirtan Trust, 422, 15/A, Chandigarh.

8. Bharatiya Sangeet Ka Itihaas, Sharat Chandra Paranjpay.

9. Rag Parichya Part – I, II, and III by Shri Harish Chander Srivastava.

10. Sangeet Shastra Darpan Part – II (Punjabi) published by PunjabiUniversity, Patiala.

1 1 B.A. (Semester- IV ) Session: 2020-21

Scheme of Studies and Examination Music Vocal

SemesterIV

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

Music Vocal B.A E 100 40 40 20 3 BARM-4366

B.A. Semester-IV (Session 2020-21) Music Vocal Course Code: BARM-4366 Theory

Course Outcome

Upon successful completion of this course student will be able to know the basic concepts of music , which are -

CO 1. Understand the basic Swars played on Harmonium, alongside singing various sargam phrases.

CO 2. Sa- Pa Samvaad is appealing to students’ mind when they sing alankars and ragas ,thus understanding key features of Indian classical music.

CO 3. Students are able to sing Bandish in Teental and with continuous Riyaz , are able to perform.

CO 4. Harmonium Can be Used as helpful device.

1 2 B.A. Semester-IV (Session 2020-21) Music Vocal Course Code: BARM-4366 Theory

Total Marks-100 Time-3Hours Theory: 40 Pr: 40 CA: 20

Instructions given to the examiners are as follows:

The paper setter will set Eight questions of equal marks. Two in each of the four Sections (A-D). Questions of Sections A-D should be set from Units I-IV of the syllabus respectively. Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each section. The fifth question may be attempted from any Section.

Unit - I

1. Definition and explanation of the following Musical Terms: Vadi Swar,Samvadi Swar,Anuvadi swar,Vivadi swar,Alpatva,Bhutava,Greh,Ansh, Niyaas,Upneyaas. 2. .Contribution and Life Sketches of the following musicians: Ustad Amir Khan, Pt.Jasraj, S.Sohan Singh.

UNIT-II

3. Formation of 484 Ragas from a Thata by Pt. Vyankata Mukhi in Chaturdandi Prakashika.

4. Detailed knowledge of dhrupad and dhammar styles of singing.

5.Detailed Knowledge of ragas Vargikaran Sysyem.

UNIT-III

6. Detailed knowledge of Folk singing styles of Gurmat Sangeet.

7.Detailed knowledge of Devotional Music.

UNIT- IV

8.Elementry Knowledge of following ragas;Chandarkauns,Tilang,Adana.

1 3 9. Description and notation of the following Ragas: Malkauns, Darbari kanhra and Bhairavi.

10. Description and notation of the following Talas: Ada Chautal and Dhammar.

B.A. Semester-IV (Session 2020-21) Music Vocal Course Code: BARM-4366 Practical

Total Marks-40 Time-20 Minutes

1.One Vilumbit Khyal in any of the following ragas.(Malkauns, Darbari Kanhra,Bhaiarvi)

2.One Drut Khyal in each Prescribed ragas.

3.One cinematic song on harmonium.

4.Ability to recite Ada- chautal and Dhammar on hand motion in Ekgun,dugun layakaries.

5.Ability to Play national anthem on harmonium.

Books Recommended:

1. Bharatiya Sangeet Ka Itihaas, Sharat Chandra Paranjpay.

2. Rag Parichya Part – I, II, and III by Shri Harish Chander Srivastava.

3. Sangeet Shastra Darpan Part – II (Punjabi) published by PunjabiUniversity, Patiala.

4. Sangeet Vishard, Sangeet Karayalya, Hathras.

5. Sangeet Shastra Darpan, Shanti Govardhan.

6. Hamare Sangeet Rattan, Sangeet Karyalaya, Hathras.

7. Kramik Pustak Malika by Vishnu Narayan Bhathkhande.

8. Sangeet Nibandhavli, Dr. Gurnam Singh, published by PunjabiUniversity, Patiala.

9. Gurmat Sangeet, Prabandh ate Pasaar, Dr. Gurnam Singh.

1 4 10. Gurmat Sangeet (Vishesh Ank) Amrit Kirtan Trust, 422, 15/A, Chandigarh

B.A. (Semester- V ) (UnderContinuous Evaluation System) Session: 2020-21

Scheme of Studies and Examination Music Vocal

SemesterV

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

Music Vocal E 100 40 40 20 3 B.A BARM-5366

B.A. Semester-V (Session 2020-21) Music Vocal Course Code: BARM-5366 Theory

Course Outcome

Upon successful completion of this course student will be able to know the basic concepts of music , which are -

CO 1. Understand the basic Swars played on Harmonium, alongside singing various sargam phrases.

CO 2. Sa- Pa Samvaad is appealing to students’ mind when they sing alankars and ragas ,thus understanding key features of Indian classical music.

1 5 CO 3. Students are able to sing Bandish in Teental and with continuous Riyaz , are able to perform.

CO 4. Harmonium Can be Used as helpful device.

Bachelor of Arts(Semester-V)

Session- 2020

Course Code: BARM-5366

Course Title: MUSIC VOCAL (Theory)

Time-3Hours Total Marks -100

Theory- 40

Pratical-40

CA-20

Instructions given to the examiners are following:

The Paper setter will the set eight questions of equal marks.Two in each of the four sections(A- D).Questions of sections A-D should be set from Units I-IV of the syllabus respectively. Questions may be subdivided into parts (not exceeding four ).Candidates are required to attempt Five Questions, Selecting at least one Question from each section. The fifth Question may be attempted from any section.

UNIT –I

1. Detailed knowledge of Thumri,Tappa,Tarana,Chaturung. Gayan Shaillies.

2. Contribution and Life Sketches of the following Musicians :

Dalip Chander Bedi, Surinder kaur.

UNIT-II

3. Development of Indian Notation System and its Merits and Demerits.

4. Explain the types of Alaap and Tanas in Indian Music.

5. Write an essay on the following topics :

Kanth Sadhna (Voice culture) and Manch Pradarshan (Stage Performance).

1 6 UNIT-III

6. Detailed Knowledge of Folk Music of Punjab.

7. Define Classical Gayan Shallies in Gurmat Sangeet.

UNIT-IV

8. Descriptions and Notations of Following Talas : Deepchandi, Tilwara.

9. Descriptions and Notations of following Ragas : Tilang, Kedar, Bihag.

10. Elementary Knowledge of the following Ragas: Kamod, Yaman Kalyan, Jog.

Bachelor of Arts (Semester-V)

Session- 2020

Course Code: BARM-5366

Course Title: MUSIC VOCAL (PRACTICAL)

Total Marks-40 Time- 20 Minutes

Instructions for the Paper setters:

Question Paper is to be set on the spot jointly by the Internal and External. Two copies of the same should be submitted for the record to COE office Kanya Maha Vidyalaya, Jalandhar.

1. One Vilambit Khyal in any of the following Mentioned Ragas: Kedar, Tilang, Bihag.

2.One Drut Khayal in each prescribed Ragas.

3.One Gazal/Geet.

4. Five Alankars on the Harmonium based on Asawari Thaat.

5. Ability to recite Taal Deepchandi on hand with Ekgun and Dugun Layakaries.

Books Recommended:

1. BharatiyeSangeetkaitihaas, Sharat Chandra Paranjpay.

2. Rag Parichya Part-I,II and III by Shri Harish ChanderSrivastava.

1 7 3. HamareSangeet RattanSangeetKaryalaya,Hathras.

4.KramikPustakMalika by Vishnu Narayan Bhathkhande.

5. SangeetNibandhavali,Dr. Gurnam Singh, Published by Punjabi university,Pataila.

6. GurmatSangeet, Prabandh ate Pasaar, Dr. Gurnam Singh.

7.GurmatSangeet (VisheshAnk) AmritKirtan Trust, 422,15/A, Chandigarh.

8. AbhinavGeetanjali Pt. Ramashryajha I,II,III,IV,V.

9.Tantri Nada Pt. Lalmani Mishra.

B.A. (Semester- VI ) Session: 2020-21

Scheme of Studies and Examination Music Vocal

SemesterVI

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

Music Vocal E 100 40 40 20 3 B.A BARM-6366

B.A. Semester-VI (Session 2020-21) Music Vocal Course Code: BARM-6366 Theory

Course Outcome

1 8 Upon successful completion of this course student will be able to know the basic concepts of music , which are -

CO 1. Understand the basic Swars played on Harmonium, alongside singing various sargam phrases.

CO 2. Sa- Pa Samvaad is appealing to students’ mind when they sing alankars and ragas ,thus understanding key features of Indian classical music.

CO 3. Students are able to sing Bandish in Teental and with continuous Riyaz , are able to perform.

CO 4. Harmonium Can be Used as helpful device.

Bachelor of Arts (Semester-VI)

Session-2020

Course Code: BARM-6366

Course Title: MUSIC VOCAL (Theory)

Time-3Hours Total Marks 100

Theory- 40

Pratical-40

CA-20

Instructions given to the examiners are following:

The Paper setter will the set eight questions of equal marks. Two in each of the four sections (A-D).Questions of sections A-D should be set from Units I-IV of the syllabus respectively. Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt Five Questions, Selecting at least one Question from each section. The fifth Question may be attempted from any section.

UNIT-I

1. Definition and Explanation of the following musical terms : Sargam geet, Lakshanget, Sadhra, Raag malika.

1 9 2. Contribution and Life sketches of the following Musicians: Girija Devi, Faiyaz khan.

UNIT-II

3. Detailed Knowledge of Gamak and its Types.

4. Detailed Knowledge of the following Gharanas of Khayal Gayaki:

Gwalior, Kirana, Agra, Patiala, Delhi.

5. Essay on Role of Devotional Music.

UNIT-III

6. Contribution of Guru Gobind Singh ji towards Gurmat Sangeet.

7 .Essay on the following Topics: Raag or Rasa, Music and Aesthetics.

UNIT-IV

8. Descriptions and Notations of the following Talas: Jhumra, Sooltal.

9. Descriptions and Notations of the following Raags: Jaunpuri, Bhageshwri, Madhuwanti.

10. Elementary Knowledge of the following Ragas: Asawari, Rageshwri, Multani.

Bachelor of Arts(Semester-VI)

Session-2020

Course Code: BARM-6366

Course Title: MUSIC VOCAL (Practical)

Total Marks-40 Time- 20 Minutes

Instructions for the Paper setters:

Question Paper is to be set on the spot jointly by the internal and external. Two copies of the same should be submitted for the record to COE office Kanya Maha vidyalaya Jalandhar.

UNIT-I

1. One Vilambit khayal in any of the following Mentioned Ragas: Jaunpuri, Madhuwanti,

2 0 Bhageshwari.

2. One Drut Khayal in each prescribed Ragas.

3. One Shabad /Bhajan in any of the prescribed Ragas in Course.

4. One Dhammar in any of the Ragas in the Syllabus.

5. Ability to recite Taal Jhumra and Sooltal by hands in Ekgun and Dugun Layakaries.

Books Recommended:

1. Bharatiye Sangeet ka Itihaas, (Sharat Chandra Paranjpay)

2. Rag Parichya Part-I,II and III (Shri Harish Chander Srivastava)

3. Hamare Sangeet Rattan, Sangeet Karyalaya,Hathras.

4.Kramik Pustak Malika (Vishnu Narayan Bhathkhande)

5. Sangeet Nibandhavali, (Dr. Gurnam Singh), Published by Punjabi university,Pataila.

6. Gurmat Sangeet, Prabandh ate Pasaar, (Dr. Gurnam Singh)

7.Gurmat Sangeet (Vishesh Ank) Amrit Kirtan Trust, 422,15/A, Chandigarh.

8. Abhinav Geetanjali (Pt. Ramashrya jha) I,II,III,IV,V.

9.Tantri Nada (Pt. Lalmani Mishr)

2 1

FACULTY OF PERFORMING & VISUAL ARTS

SYLLABUS Of MUSIC INSTRUMENTAL For B.A. (Semester- I to VI ) (UnderContinuous Evaluation System) (12+3 System of Education)

Session: 2020-21

The Heritage Institution KANYA MAHA VIDYALAYA JALANDHAR (Autonomous)

2 2

B.A. (Session 2020-21) Scheme of Studies and Examination Music Instrumental

Semester I

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

Music B.A BARM-1357 E 100 40 40 20 3 Instrumental

B.A. Semester-I (Session 2020-21) Music Instrumental Course Code: BARM-1357 Theory & Practical

Course Outcome Music instrumental as a elective subject in B.A Sem – I

Upon successfully completion of this course student will be able to know the basic concepts of music , which are -

CO1. Proficiency in playing Alankar , which are helpful in further learning of ragas.

CO2. To know the lives of great musician who are torch-bearers of Indian classical music.

CO3. To Know about your instrumental in structure , its sound Producing system and tuning of the instrumentals.

2 3

B.A. Semester-I (Session 2020-21) Music Instrumental Course Code: BARM-1357 Theory

Total Marks-100 Time-3Hours Theory: 40 Pr: 40 CA: 20 Instructions given to the examiners are as follows: The paper setter will set Eight questions of equal marks . Two in each of the four Sections (A-D). Questions of Sections A-D should be set from Units I-IV of the syllabus respectively. Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each section. The fifth question may be attempted from any Section.

Unit-I

1. Sangeet , Naad , Shruti , Alankar ,That , Raag , Aroh –Avroh- Pakad , Saptak. 2. Detailed Study of That.

Unit -II

3. Define Raga. Explain Jaties of Raags. 4. Historical Development of Sitar 5. Define Music and its types . What is the importance of music in human life.

Unit - III 6. Contribution of Pt. Ravi Shankar , Ustad Allaudin khan towards Indian Classical Music 7. Classification of Indian Music Instruments. Unit- IV 8. Notation of any Gat with Toras of a raga prescribed in your syllabus). Yaman , Bhupali, Bilawal 9. Recognize the Ragas.(Prescribed in syllabus) 10. Notaion of Taals (Prescribed in your syllabus).Teen tal ,Dadra, Kaharva tal.

2 4

B.A. Semester-I (Session 2020-21) Music Instrumental Course Code: BARM-1357 Practical

Total Marks-40 Time-20 Minutes

Unit-I 1. A vilambit gat with toras and Razakhani gat in each raga: Yaman , Bhupali, Bilawal. 2. Taals : Teen tal , Dadra, Kaharva taal.(on hand in ikgun Dugun Laykarie 3. Play five alankars in Shud Swaras. 4. Ability to play five alankars on Harmonium in Shud Swaras .

Books Recommended: 1. Sangeet Roop- Dr. Davinder Kaur 2. Sangeet Saar- Veena Mankaran 3. Raag Parichay(I-IV) Sh. Harish Chandar Srivastava 4. Sangeet Visharad – Basant , Sangeet Karyalya , Hathras, 2004 5. Hamare Sangeet Ratan-Sangeet Karyalya , Hathras, 2004 6. Sangeet Subodh-Dr. Davinder Kaur 7. Gurmat Sangeet Vishesh Ank Amrit Kiratan Trust 422,15/A Chandigarh. 8. Sangeet Nibandhavali- Dr. Gurnam Singh, Published by Punjabi Univ., Patiala.

2 5

B.A. (Semester- II ) Session: 2020-21

Scheme of Studies and Examination Music Instrumental

Semester II

Marks Course Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

Music E 100 40 40 20 3 Instrumental B.A BARM-2357

B.A. Semester-II (Session 2020-21) Music Instrumental Course Code: BARM-2357 Theory & Practical

Course Outcome Music instrumental as a elective subject in B.A Sem – II

Upon successfully completion of this course student will be able to know the basic concepts of music , which are -

CO 1. To Understand the basic swars played on Tanpura and basic swara tuned on sitar.

CO 2. Sa- Pa Samvaad is appealing to students in well tuned instrument.

CO 3. Students are required to play Composition in Teental .

2 6

B.A. Semester-II (Session 2020-21) Music Instrumental Course Code: BARM-2357 Theory

Total Marks-100 Time-3 Hours Theory: 40 Pr: 40 CA: 20

Instructions given to the examiners are as follows: The paper setter will set Eight questions of equal marks . Two in each of the four Sections (A-D). Questions of Sections A-D should be set from Units I-IV of the syllabus respectively. Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each section. The fifth question may be attempted from any Section.

Unit-I

1. Vadi- Samvadi-vivadi- Anuvadi, Meend, kan , Krintan , zamjama , Murki. 2. Different vadan shaillies of sitar : i.e. Masetkhani , Razakhani , Sitarkhani. Unit – II 3. Rules of ragas and Formation of 484 ragas. 4. Tanpura and sahayak Nad. 5. Contribution of Ustad Vilayat Khan, Ustad Inayat Khan towards Indian Classical Music

Unit –III 6. Define Notation System . Describe fully Bhatkhande Notation System. 7. Notation of any Gat with Toras of a raga prescribed in your syllabus). Bharav , kafi, BhupalI 8.Describe Alaap - Jod- Alaap-Jhalla & Bol Of Mizrab .

Unit- IV 9. Recognize the Ragas.(Prescribed in syllabus) Bharav , kafi, Bhupali.

2 7 10. Notaion of Taals (Prescribed in your syllabus) Ek- tal , Jhap-tal, Rupak taal. B.A. Semester-II (Session 2020-21) Music Instrumental Course Code: BARM-2357 Practical

Total Marks-40 Time-20 Minutes

1. A vilambit gat with toras and fast gat in each raga: Bhairav , kafi, Bhupali . 2. Taals : Ek- tal , Jhap-tal, Rupak taal.(on hand in Ikgun Dugun Laykaries) 3. Play five alankars in Kafi That. 4. Ability to play alankars on Harmonium.

Books Recommended: 1. Sangeet Roop- Dr. Davinder Kaur 2. Sangeet Saar- Veena Mankaran 3. Raag Parichay(I-IV) Sh. Harish Chandar Srivastava 4. Sangeet Visharad – Basant , Sangeet Karyalya , Hathras, 2004 5. Hamare Sangeet Ratan-Sangeet Karyalya , Hathras, 2004 6. Sangeet Subodh-Dr. Davinder Kaur 7. Gurmat Sangeet Vishesh Ank Amrit Kirtan Trust 422,15/A Chandigarh. 8. Sangeet Nibandhavali- Dr. Gurnam Singh, Published by Punjabi Univ., Patiala. 9. Sangeet shastra Darpan- Shanti Govardhan

2 8 B.A. (Semester- III ) Session: 2020-21

Scheme of Studies and Examination Music Instrumental

Semester III

Marks Course Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

Music E 100 40 40 20 3 Instrumental B.A BARM-3357

B.A. Semester-III (Session 2020-21) Music Instrumental Course Code: BARM-BARM-3357 Theory & Practical

Course Outcome Music instrumental as a elective subject in B.A Sem – III

Upon successfully completion of this course student will be able to know the basic concepts of music , which are -

CO 1.To Understand the basic swars played on Tanpura and basic note tuned on sitar.

CO 2. Sa- Pa Samvaad is appealing to students in well tuned instrument.

CO 3. Students are required to do Composition in Teental.

2 9 B.A. Semester-III(Session 2020-21) Music Instrumental Course Code: BARM- BARM-3357 Theory

Total Marks-100 Time-3 Hours Theory: 40 Pr: 40 CA: 20

Unit-I 1. Historical Development of India Music During Vadic Period. 2. Life Sketch and Contribution towards music by Ustad Abul Haleem Jafer Khan , Ustad Vilayat Khan.

Unit - II 3. Contribution of Guru Nanak Dev ji towards Indian Music. 4. Describe Shabad Gayan Shally. its Importance in Gurmat Sangeet and use of Instruments in Shabad Gayan shally. Unit –III 5. Describe Short Notes on Vadan Kriyas-:Meend , Ghaseet , Kan , Karintan , Khatka , Gamak. 6. Technique and Method of Tuning of sitar.

Unit- IV 7.Description and Notation of following Ragas-: Jai Jaiwanti, Assawari , Varindavani Sarang. 8. Brief Knowledge of following Ragas-: Khamaj, Jaupuri, MadhyamandSarang. 9. Description and Notation of following Talas -: Chaartal, Sooltal.

3 0 B.A. Semester-III (Session 2020-21) Music Instrumental Course Code: BARM-3357 Practical

Total Marks-40 Time-20 Minutes

1. A vilambit gat with toras and fast gat in each raga:Jai Jaiwanti, Assawari , Varindavani sarang. 2. Taals :Chaartal, Sooltal.(on hand in Ikgun Dugun Laykaries) 3. Play five alankars in Khamaz Thata. 4. Ability to play alankars on Harmonium.

Books Recommended: 1.Sangeet Roop- Dr. Davinder Kaur 2.Sangeet Saar- Veena Mankaran 3.Raag Parichay(I-IV) Sh. Harish Chandar Srivastava 4.Sangeet Visharad – Basant , Sangeet Karyalya , Hathras, 2004 5.Hamare Sangeet Ratan-Sangeet Karyalya , Hathras, 2004 6.Sangeet Subodh-Dr. Davinder Kaur 7.Gurmat Sangeet Vishesh Ank Amrit Kirtan Trust 422,15/A Chandigarh. 8.Sangeet Nibandhavali- Dr. Gurnam Singh, Published by Punjabi Univ., Patiala. 9. Sangeet shastra Darpan- Shanti Govardhan

3 1

B.A. (Semester- IV) Session: 2020-21

Scheme of Studies and Examination Music Instrumental

Semester IV

Marks Course Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

Music E 100 40 40 20 3+3 Instrumental B.A BARM-4357

B.A. Semester-IV (Session 2020-21) Music Instrumental Course Code: BARM-4357 Theory & Practical

Course Outcome Music instrumental as aelective subject in B.A Sem – IV

Upon successfully completion of this course student will be able to know the basic concepts of music , which are -

CO 1. To Understand the basic swars played on Tanpura and basic swara tuned on sitar.

CO 2. Sa- Pa Samvaad is appealing to students in well tuned instrument.

CO 3. Students are required to play Composition in Teental .

3 2

B.A. Semester-IV (Session 2020-21) Music Instrumental Course Code: BARM-4357 Theory

Total Marks-100 Time-3 Hours Theory: 40 Pr: 40 CA: 20

Instructions given to the examiners are as follows: The paper setter will set Eight questions of equal marks . Two in each of the four Sections (A- D). Questions of Sections A-D should be set from Units I-IV of the syllabus respectively. Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each section. The fifth question may be attempted from any Section. Unit-I 1. Historical Development of India Music During medieval Period. 2. Life Sketch and Contribution towards music by Ustad Ali Akbar Khan , Ustad Inayat Khan.

Unit - II 3. Detailed Knowledge of the following music terms :- Shud Raag , Chayalag Raag, , Sankiran Raag , Ashyara Raag , Janya Raag . 4. Describe in Detail Alaap and Jod alaap in Instrumental Music .

Unit –III 5. Describe Short Notes on Vadan Kriyas:- Meend , Ghaseet , Kan , Karintan , Khatka , Gamak. 6. Technique and Method of Tuning of sitar.

Unit- IV 7. Description and Notation of following Ragas:-Malkuans , Puriya Kalyan , Bhairvi 8. Brief Knowledge of following Ragas:Chanderkauns , Puriya Dhanashree .

3 3 9. Description and Notation of following Talas Jhap tal, Adachautal.

B.A. Semester-IV (Session 2020-21) Music Instrumental Course Code: BARM-4357 Practical

Total Marks-40 Time-20 Minutes

1. A vilambit gat with toras and fast gat in each raga: Malkuans , Puriya Kalyan , Bhairvi 2. Taals : Jhap tal, Adachautal. (on hand in Ikgun Dugun Laykaries) 3. Play five alankars in Asawari Thata. 4. Ability to play Dadra on tabla.

Books Recommended: 1. Sangeet Roop- Dr. Davinder Kaur 2. Sangeet Saar- Veena Mankaran 3. Raag Parichay(I-IV) Sh. Harish Chandar Srivastava 4. Sangeet Visharad – Basant , Sangeet Karyalya , Hathras, 2004 5. Hamare Sangeet Ratan-Sangeet Karyalya , Hathras, 2004 6. Sangeet Subodh-Dr. Davinder Kaur 7. Gurmat Sangeet Vishesh Ank Amrit Kirtan Trust 422,15/A Chandigarh. 8. Sangeet Nibandhavali- Dr. Gurnam Singh, Published by Punjabi Univ., Patiala. 9. Sangeet shastra Darpan- Shanti Govardhan

3 4 B.A. (Semester-V) Session: 2020-21

Scheme of Studies and Examination Music Instrumental

Semester –V

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

Music B.A BARM-5357 E 100 40 40 20 3 Instrumental

B.A. Semester-V (Session 2020-21) Music Instrumental Course Code: BARM-5357 Theory & Practical

Course Outcome Music instrumental as a elective subject in B.A Sem – V

Upon successfully completion of this course student will be able to know the basic concepts of music , which are -

CO1. Proficiency in playing Alankar , which are helpful in further learning of ragas.

CO2. To know the lives of great musician who are torch-bearers of Indian classical music.

CO3. To Know about your instrumental in structure , its sound Producing system and tuning of the instrumentals.

3 5 Bachelor of Arts

Semester- V (2020)

CourseTitle - Music Instrumental

Course code BARM-5357

Theory

Time - 3Hours Total Marks 100

Theory - 40

Practical- 40

CA – 20

Instructions given to the examiners are following-

The Paper setter will the set eight questions of equal Marks . Two in each of the Four Sections ( A-D). Questions of sections A-D should be set from Units I-IV of the syllabus respectively . Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt Five questions , Selecting at least One question from Each Section. The fifth question may be attempted from any section.

Unit - I

1. Development of Music during modern period.

2. comparative studyof Avirbhava&Tirbhava with illustrations.

Unit - II

3.Relevance of Time theory in Music.

4.Life& contribution of the following Musicians : UstadVishmillah Khan , Nikhil Banerjee.

5. Study of musical Electronic instruments.

Unit-III

6. Inter relation between Folk & Classical Music.

7. Study of Keertan Chowinkies in GurmatSangeet.

Unit- IV

8.Detaildescription and notation of Prescribed ragas : DarbariKanhra, Todi , PuriyaDhanashree

3 6 9. Detailed knowledge of following : Multani , Adhana

10. Detailed knowledge of following Taals- Deepchandi , Tilwara.

Bachelor of Arts

Semester V (2020)

Course Title - Music Instrumental

Course Code: BARM-5357

Practical

Total Marks -40 Time – 20 Minutes

Instructions for the Paper setter ; Question paper is to be set on the spot jointly by the internal and external. Two copiesof the same should be submitted for the record to COE office KanyaMahaVidyalay Jalandhar.

1. A vilambit/ Maseetkhani Gat with toras any Raag Prescribes in your course: DarbariKanhra, Todi , PuriyaDhanashree 2. Drut/RazaKhani Gat in Each Raga. 3. One Gat in Ektal in any raga Prescribed in your course. 4. Non Detail Rag : Adhana , Multani. 5. Recite on hand Deepchandi and Tilwara Tal Ekgun and DugunLayakaries. 6. Ability to two play Alankar in That Bilawal accompany with harmonium and Tabla.

Books Recommended

1. Bhartiyasangeetkaitihaas- sharatchanderParanjpay

2. RaagParichaya Part I, II , III – Shri HarishchanderShrivstava

3. Sangeet Shastra Darpan –II Punjanbi Published by Punjabi UniverstyPatiyala

4. Sangeetvisharad - SangeetKaryalayHathras

5. SaneetshastraDarpan- Shanti Govardhan

6. HamareSangeet Rattan- Laxmi Narayan Garg sangeetKaryalaHathras.

7. GurmatSangeetPrabhandh ate Pasaar- Dr. Gurnamsingh

8. kramikaPustikaMalika – Pt. Vishnu Narayan Bhathkhande

3 7 9. SangeetNibandhavali – Published by Punjabi UniverstyPatiyala.

10. Gurmatsangeet(VishashAnk) - AmritKirtan trust, 422,15/ A, Chandigarh.

3 8

B.A. (Semester- VI ) Session: 2020-21

Scheme of Studies and Examination Music Instrumental

Semester – VI

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

Music E 100 40 40 20 3 Instrumental B.A BARM-6357

B.A. Semester-VI (Session 2020-21) Music Instrumental Course Code: BARM-6357 Theory & Practical

Course Outcome Music instrumental as a elective subject in B.A Sem – VI

Upon successfully completion of this course student will be able to know the basic concepts of music , which are -

CO1. Proficiency in playing Alankar , which are helpful in further learning of ragas.

CO2. To know the lives of great musician who are torch-bearers of Indian classical music.

CO3. To Know about your instrumental in structure , its sound Producing system and tuning of the instrumentals.

3 9

Bachelor of Arts

Semester- VI(2020)

CourseTitle - Music Instrumental

Course code: BARM-6357

Theory

Time - 3Hours Total Marks 100

Theory - 40

Practical- 40

CA – 20

Instructions given to the examiners are following-

Unit - I

1. Impact of Popular Music on society.

2. Classification of Folk Instruments of Punjab.

Unit - II

3. Life and contribution of following Musicians:Panalal Gosh, Niladhari Kumar.

4. Formation of 72 Thatas by Pt.VyankatMukhi.

5. Essay on Stage performance.

Unit-III

6. Study of string instruments of Hindustani Music.

7. Role of Instruments in Bhakti Sangeet..

4 0 Unit- IV

8.Detail description and notation of Prescribed ragas

Hameer ,Sohani,Bhageshwari

9. Detail knowledge of following raags-Kedar,Marwa.

10. Detail knowledge of following taals-Jhumra, Dhammar

Bachelor of Arts

Semester VI (2020)

Course Title - Music Instrumental

Course Code: BARM-6357

Practical

Total Marks -40 Time – 20 Minutes

1. A vilambit/ Maseetkhani Gat with toras any Raag Prescribes in your course 2. Drut /RazaKhani Gat in Each Raga. 3. One Gat in Chartal on the Prescribed ragas ( up to Dugun ). 4. Non Detail Raga; Kedar ,Marwa. 5. Recite Jhumra and Dhammar Tal EKGun and DugunLaykareies. 6. Abilty to sing light music compostion .

Books Recommended

1. Bhartiyasangeetkaitihaas- sharatchanderParanjpay

2. RaagParichaya Part I, II , III – Shri HarishchanderShrivstava

3. Sangeet Shastra Darpan –II Punjanbi Published by Punjabi UniverstyPatiyala

4. Sangeetvisharad - SangeetKaryalayHathras

5. SaneetshastraDarpan Shanti- Govardhan

4 1 6. HamareSangeet Rattan- Laxmi Narayan Garg sangeetKaryalaHathras.

7. GurmatSangeetPrabhandh ate Parshar- Dr. Gurnamsingh

8. kramikaPustikaMalika – Pt. Vishnu Narayan Bhathkhande

9. SangeetNibandhavali – Published by Punjabi UniverstyPatiyala.

10. Gurmatsangeet (VishashAnk)- AmritKirtan trust, 422,15/ A Chandigarh.

4 2 Faculty of Performing & Visual Arts Syllabus

of Indian Classical Dance BA (Semester – I to VI)

(Under Continuous Evaluation System) SESSION: 2020–21

The Heritage Institution

KANYA MAHA VIDYALAYAJALANDHAR (Autonomous)

4 3 BA (Semester – I) (Session 2020-21)

Scheme of Studies and Examination Indian Classical Dance

Semester I

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

ICD E 100 40 40 20 3 B.A BARM-1156

INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-1156 Theory & Practical

Course outcome

Upon successfully completion of this course student will be able to know the basic concepts of music , which are -

CO1. During the process of graduation course while taking up classical dance as elective subject , students are actually toned physically , mentally and artistically

Co2. Learning and practicing dance improves muscle tones , muscle strength , endurance and fitness.

Co 3. It tones thighs, pelvis , arms , with peculiarities of body movements in art of dance .

Co4. Regular training and practice enables flexibility in body and help in various body movements during performance.

4 4 B.A. Semester-I (Session 2020-21) INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-1156 Theory

Total Marks – 100 Time: 3 Hrs. Theory – 40 Practical- 40 CA: 20 Instructions for the Paper-Setter The paper setter will set Eight questions of equal marks . Two in each of the four Sections (A-D). Questions of Sections A-D should be set from Units I-IV of the syllabus respectively. Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each section. The fifth question may be attempted from any Section.

Unit - I

1. Origin and development of Kathak Dance from Ancient to Mughal period

2. Definition of the following technical terms:

Theka, Tatkar, Thaat,Tehai,Amad, Salami, Tora, Paran,

Unit -II

3. Study of Asmyuktahasta .

4.Study of Rasa and their importance in Kathak Dance.

5. Role of Dance in Society.

Unit – III

6. Knowledge of the Folk Dances of Punjab with their style, costume and music.

7. a) Description of following talas with their Thaah, Dugun, Tigun and ChaugunLayakaries

(i) Teentaal

4 5 (ii) Rupak

(iii) Kehrva

b) Recognition of the following taals through some bols given by the paper setter :

(i) Teentaal ,

(ii) Rupak,,

(iii) Kehrva

Unit – IV

8. Notation of following material in Teen Taal .

(a) Thaah, Dugun and ChaugunLayakaries

(b) Thaat -1

(d) Amad – 1

(e) Salami – 1

(f) Tora – 2

(g) Paran – 1

(h) ChakardarParan – 1

(i) Kavit – 1

9. Notation of Nagma in Teen taal.

10. Comparative study of above taals.

Books Recommended:

1. KathakNrityaKaPrichey,SubhashniKapoor ,Radha Publications, New Delhi, 1997.

2. KathakSundaryatmak, ShashtriyaNritya , Shikha Kharey, Knishka Publishers, New Delhi, 2005.

3. AtihasikPripeksh Mein KathakNaritya , MAYA TAK,Knishka Publishers, New Delhi, 2006

4. Folk dances of utter pardesh, Dr. Rashmi nanda.

4 6 5. KathakNarityaShiksha, Dr. Puru Dadhich, BinduParkashan

B.A. Semester-I (Session 2020-21) INDIAN CLASSICAL DANCE KATHAK (PRACTICAL) Course Code: BARM-1156 Time: 40 Minutes Time: 3 hrs. Marks: 40 Instructions for the paper setter: Question paper is to be set on the spot jointly by the Internal and External Examiners. Two copies of the same should be submitted for the record to COE Office, Kanya Maha Vidyalaya, Jalandhar.

Practical demonstration of the following:

1.Knowledge of Teen Taal with the following material:

(a) Tatkar in Thaah, Dugun, Tigun and ChaugunLayakaries

(b)Stuti

(c)Thaat – 2

(d) Tehai – 1

(e) Amad – 1

(f) Salami – 1

(g) Tora – 2

(h) Paran – 1

(i) ChakardarParan – 1

(j) Kavit – 1

(h) Gat nikas

2. Padhant of whole material by hand as mentioned above.

3. Recognition of the compositions such as Tehai, Layakaries etc. asked by the Examiner.

4. Ability to play Nagma on Harmonium in Teen Taal.

5. Ability to play Theka of Teental on Tabla.

4 7 6. Ability to demonstrate the Folk Dances of Punjab.

Books Recommended:

1. KathakNrityaKaPrichey ,Subhashni Kapoor, Radha Publications, New Delhi, 1997.

2. KathakSundaryatmakShashtriyaNritya,Shikha kharey, Krishka Publishers, New Delhi, 2005.

3. AtihasikPripekshMein KathakNaritya, Maya Tak, Knishka Publishers, New Delhi, 2006.

4. Kathakpraveshika, Guru tirath ram azad.

BA (Semester – II) (Session 2020-21)

Scheme of Studies and Examination Indian Classical Dance

SemesterII

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

ICD E 100 40 40 20 3 B.A BARM-2156

B.A. Semester-II (Session 2020-21) INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-2156 Theory &Practical

4 8 Course Outcome

CO1. During the process of graduation course while taking up classical dance as elective subject , students are actually toned physically , mentally and artistically

Co2. Learning and practicing dance improves muscle tones , muscle strength , endurance and fitness.

Co 3. It tones thighs, pelvis , arms , with peculiarities of body movements in art of dance .

Co4. Regular training and practice enables flexibility in body and help in various body movements during performance.

B.A. Semester-II (Session 2020-21) INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-2156 Theory Total Marks – 100 Time: 3 Hrs. Theory – 40 Practical- 40 CA: 20 Instructions for the Paper-Setter

Unit – I

1. Definition of the following:–Kavit, ChakardarParan, Bhaav, Kasak, Masak, Vandana, Gat, Laya.

2. Knowledge of: i) Four neck movements ii) Eight eye glances. iii) Seven eye–brow movements. iv) Nine head movements.

Unit– II

3. Study of Smyukta Mudras based on AbhinayaDarpan.

4. Origin & Development of Bharat–Natyam

5. Historical background of the Folk Dances of Rajasthan with its music, costume and style.

4 9 Unit – III

6. Importance of Vocal & Instrumental Music with Dance

7. Essay on Importance of Tal and Lehra in Kathak Dance.

Unit – IV

8. Writing notation of Jhaptal with its:

(a) Thaah, Dugan, Tigun and ChaugunLayakaries

(b) Thaat – 1

(d) Amad – 1

(e) Tora – 1

(f) Paran – 1

(g) ChakardarParan – 1

9. Description of following talas with their:

Thaah, Dugun, Tigunand ChaugunLayakaries of Thekas.

i) Jhaptaal ii) Ektaal (iii) Dadra

10. Comparative study of above mentioned taals.

B.A. Semester-II (Session 2020-21) INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-2156 PRACTICAL

PracticalMarks: 40 Time: 40 Minutes

Practical Demonstration of the following:

1. Teen Taal with the following material:

5 0 (a) Tatkar in Thaah, Dugun, Tigun and ChaugunLayakaries.

(b) Stuti

(d) Tehai – 1

(e) Amad – 1

(f) Salami – 1

(g) Tora – 2

(h) Paran – 1

(i) ChakardarParan – 1

(j) Kavit – 1

2. Jhaptaal with the following material:

(a) Tatkar with its Thaah, Dugun, Tigun and ChaugunLayakaries.

(b) Thaat – 1

(d) Amad – 1

(e) Tora – 1

(f) Paran – 1

(g) ChakardarParan – 1

3. Padhant of whole material by hand as mentioned above.

4. Recognition of the compositions such asTehai, Layakaries etc. asked by the Examiner.

5. Three Gat Nikas in Taal.

6. Ability to demonstrate Punjabi or Rajasthani Folk Dance

7. Ability to play Nagma on Harmonium in Teentaal&Jhaptaal.

Books Recommended:

1. KathakNrityaKaPrichey ,Subhashni Kapoor, Radha Publications, New Delhi, 1997.

5 1 2. KathakSundaryatmakShashtriyaNritya,Shikha kharey, Krishka Publishers, New Delhi, 2005.

3. AtihasikPripekshMein KathakNaritya, Maya Tak, Knishka Publishers, New Delhi, 2006.

4. Kathakpraveshika, Guru tirath ram azad.

BA (Semester – III) (Session 2020-21) Scheme of Studies and Examination Indian Classical Dance

Semester III

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

ICD E 100 40 40 20 3 B.A BARM-3156

B.A. Semester-III (Session 2020-21) INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-3156 Theory & Practical

Course Outcome

CO1. During the process of graduation course while taking up classical dance as elective subject , students are actually toned physically , mentally and artistically

Co2. Learning and practicing dance improves muscle tones , muscle strength , endurance and fitness.

5 2 Co 3. It tones thighs, pelvis , arms , with peculiarities of body movements in art of dance .

Co4. Regular training and practice enables flexibility in body and help in various body movements during performance.

SEMESTER–III

INDIAN CLASSICAL DANCE

Course Code: BARM-3156 (THEORY)

Total Marks – 100 Time: 3 Hrs. Theory – 40 Practical- 40 CA: 20 Instructions for the Paper-Setter

The paper setter will set Eight questions of equal marks . Two in each of the four Sections (A-D). Questions of Sections A-D should be set from Units I-IV of the syllabus respectively. Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each section. The fifth question may be attempted from any Section.

Course Contents:

Unit – I

1. Study of Tandava and Lasya.

2. Study Of Nayak - Nayika Bhedas, according to Abhinaya Darpan.

3. Study of the Kathakali Dance with its historical background, style costumes and music etc.

UNIT-II

4. Knowledge of Bhav in Kathak Dance.

5. Knowledge of the Folk Dance of Uttar Pradesh.

5 3 6. Biography and contribution of the following Dance Gurus in their respective field ofspecialization. i) Uday Shankar ii) ShambhuMaharaj

7. Essay on: i) Relation of Dance with other fine arts.

ii) Dancing: A Door to Devine.

UNIT-III

8. Notation of:

(i) Ektaal (Matra-12) a)Tatkar in Thah, Dugun&ChougunLayakaries.

b) Thaat- 2

c) Tehai-1

d) Amad-1

e) Salami-1

f) Tora-2

g) Paran-1

h) ChakardarParan -1

i) Kavit-1

(ii) Sooltaal (Matra-10) a)Tatkar in Thah, Dugun&ChougunLayakaries

. b) Thaat- 2

c) Tehai-1

d) Amad-1

e) Salami-1

f) Tora-2 g) Paran-1

h) ChakardarParan -1

i) Kavit-1

5 4 (iii)Teentaal(Matra -16) a)Tatkar in Thah, Dugun & Chougun Layakaries. b) Thaat- 2

c) Tehai-1

d) Amad-1

e) Salami-1

f) Tora-2 g) Paran-1

h) ChakardarParan -1

i) Kavit-1

UNIT : IV

9. Discription and Notation of the following Talas in Thah, Dugun, TigunandChaugunlayakaries: (i)Ektaal (ii) Sooltaal (iii) Teentaal.

10. Notation of Nagma in: (i) Ektaal (ii) Sooltaal

SEMESTER–III

INDIAN CLASSICAL DANCE

Course Code: BARM-3156 (PRACTICAL)

PracticalMarks: 40 Time: 40 Minutes

Instructions for the paper setter:

Question paper is to be set on the spot jointly by the Internal and External Examiners. Two copies of the same should be submitted for the record to COE Office, KanyaMahaVidyalaya, Jalandhar.

1. Ektaal (Matra-12) a)Tatkar in Thah, Dugun&ChougunLayakaries.

b) Thaat- 2 c) Tehai-1

5 5 d) Amad-1

e) Salami-1

f) Tora-2

g) Paran-1

h) ChakardarParan -1

i) Kavit-1

2. Sooltaal (Matra-10) a)Tatkar in Thah, Dugun&ChougunLayakaries.

b) Thaat- 2 c) Tehai-1

d) Amad-1

e) Salami-1

f) Tora-2

g) Paran-1

h) ChakardarParan -1

i) Kavit-1

3. Teentaal(Matra -16) a)Tatkar in Thah, Dugun & Chougun Layakaries. b) Thaat- 2

c) Tehai-1

d) Amad-1

e) Salami-1

f) Tora-2 g) Paran-1

h) ChakardarParan -1

5 6 i) Kavit-1

4. Practical demonstration of Three Gat Nikas.

5. Padhant of all the Practical material on hand mentioned above.

6. Ability to demonstrate Theka of Ektaal, Teentaal and Sooltaal by hand in Ekgun, Dugun, and Chaugunlayakaries.

7. Practical demonstration of SamyuktaHastas according to AbhinayaDarpan.

8. Ability to play Theka of Sooltaal on Tabla.

9. Ability to sing A Bhajan by Harmonium.

Books Recommended:

1. Kathak Nritya Ka Prichey, Subashni Kapoor, Radha Publications, New Delhi, 1997.

2. Kathak Soundaryatmak Shashtriya Nritya, ShikhaKharey, Knishka Publishers, New Delhi, 2006.

3. Atihasik Pripeksh Mein Kathak Nritya, Maya Taak, Knishka Publishers, New Delhi, 2005.

4. Nibandh Sangeet, Laxmi Narayan Garg, Sangeet Karyalaya, Hathras, 2004.

5. Kathak Nritya Shiksha Part-1, Dr. Puru Dadhich, Bindu Prakashan, Ujjain (MP)

6. Folk dance Of Northen India, Dr. Arohi Walia. BA (Semester IV) SESSION: 2020-21

Scheme of Studies and Examination Indian Classical Dance

Semester IV

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

ICD E 100 40 40 20 3

5 7 B.A BARM-4156

B.A. Semester-III (Session 2020-21) INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-4156 Theory &Pratical

Course Outcome

CO1. During the process of graduation course while taking up classical dance as elective subject , students are actually toned physically , mentally and artistically

Co2. Learning and practicing dance improves muscle tones , muscle strength , endurance and fitness.

Co 3. It tones thighs, pelvis , arms , with peculiarities of body movements in art of dance .

Co4. Regular training and practice enables flexibility in body and help in various body movements during performance.

SEMESTER– IV

INDIAN CLASSICAL DANCE

Course Code: BARM-4156 (THEORY)

Total Marks – 100 Time:3Hrs. Theory – 40 Practical- 40 CA: 20 Instructions for the Paper-Setter

5 8 required to attempt five questions, selecting at least one question from each section. The fifth question may be attempted from any Section.

Course Contents:

Unit – I

1. Study of Nritt, Nritya and Natya.

2. Study of different Gharanas of Kathak with their characteristics.

3. Study of Odissi Dance with its historical background, style costumes and music etc.

UNIT-II

4. Study Of Abhinaya Bhedas, according to Abhinaya Dapan.

5. Knowledge of the Folk Dances of Himachal Pradesh.

6. Biography and contribution of the following Kathak Gurus with their contributions in the field of dance. (i) BirjuMaharaj (ii) Sunder Prasad

7. Essay on the following topics:- (i) Dance and Religion.

(ii) The role of dance in Indian films.

UNIT-III

8. Notation of:

(i) DhamarTaal (Matra-14) a)Tatkar in Thah, Dugun&ChougunLayakaries.

b) Thaat- 2 c) Tehai-1

d) Amad-1

e) Salami-1

f) Tora-2

g) Paran-1

h) Chakardar Paran-1

i) Kavit-1

5 9 (ii) BasantTaal (Matra-9)

a) Tatkar in Thah, Dugun&ChougunLayakaries.

b) Thaat- 2

c) Tehai-1

d) Amad-1

e) Salami-1

f) Tora-2

g) Paran – 1

h) Chakardar Paran-1

i) Kavit-1

(iii)Teentaal(Matra -16) a)Tatkar in Thah, Dugun & Chougun Layakaries. b) Thaat- 2

c) Tehai-1

d) Amad-1

e) Salami-1

f) Tora-2 g) Paran-1

h) ChakardarParan -1

i) Kavit-1

UNIT: IV

9. Discription and notation of the following Talas in Thah, Dugun, TigunandChaugunlayakaries:

(i) DhamarTaal (ii) BasantTaal (iii) Teentaal

10. Notation of Nagma in:

(i) Dhamar Taal (ii) Basant Taal (iii) Teentaal

6 0

B.A. Semester-IV (Session 2020-21)

INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-4156 PRACTICAL

PracticalMarks: 40 Time: 40 Minutes

Practical Demonstration of the following:

1. DhamarTaal (Matra-14) a)Tatkar in Thah, Dugun&ChougunLayakaries.

b) Thaat- 2

c) Tehai-1

d) Amad-1

e) Salami-1

f) Tora-1

g) Paran-1

h) Chakardar Paran-1

i) Kavit-1

2. BasantTaal (Matra-9) a)Tatkar in Thah, Dugun&ChougunLayakaries. b) Thaat- 2 c) Tehai-1

d) Amad-1

6 1 e) Salami-1

f) Tora-1

g) Paran-1

h) Chakardar Paran-1

i) Kavit-1

3. Teentaal(Matra -16) a)Tatkar in Thah, Dugun & Chougun Layakaries. b) Thaat- 2

c) Tehai-1

d) Amad-1

e) Salami-1

f) Tora-2 g) Paran-1

h) ChakardarParan -1

i) Kavit-1

4. Practical demonstration of Gat Bhava based on Holi Leela.

5. Padhant of all the Practical material mentioned Taals in above.

6. Ability to demonstrate Theka of DhamarTaal, BasantTaal and TeenTaal by hand in Single, Dugun and Chaugunlayakaries.

7. Practical demonstration of any semi classical dance based on Boolywood Song.

8. Ability to play the theka of BasantTaal on Tabla.

9. Ability to sing a Sufi composition with Harmonium.

Books Recommended:

1. KathakNrityaKaPrichey, SubashniKapoor, Radha Publications, New Delhi, 1997.

2. KathakSoundaryatmakShashtriyaNritya, ShikhaKharey, Knishka Publishers, New Delhi, 2006.

6 2 3. AtihasikPripeksh Mein KathakNritya, Maya Taak, Knishka Publishers, New Delhi, 2005.

4. NibandhSangeet, Laxmi Narayan Garg, SangeetKaryalaya, Hathras, 2004.

5. KathakNrityaShiksha Part-1, Dr. PuruDadhich, BinduPrakashan, Ujjain (MP).

6. Folk dance Of Northen India, Dr. Arohi Walia. B.A. (Semester- V) Session: 2020-21 Scheme of Studies and Examination Indian Classical Dance

Semester V

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

ICD E 100 40 40 20 3 B.A BARM-5156

B.A. Semester-V (Session 2020-21) INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-5156 Theory & Practical

Course outcome

Upon successfully completion of this course student will be able to know the basic concepts of dance , which are -

CO1. During the process of graduation course while taking up classical dance as elective subject , students are actually toned physically , mentally and artistically

Co2. Learning and practicing dance improves muscle tones , muscle strength , endurance and fitness.

Co 3. It tones thighs, pelvis , arms , with peculiarities of body movements in art of dance .

6 3 Co4. Regular training and practice enables flexibility in body and help in various body movements during performance.

B.A. Semester-V (Session 2020-21) INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-5156 Theory

Course Contents:

Unit I

1. Origin and Development of Manipuri Dance. 2. Study of Kathak and Natwari Nritya.

Unit II

3. Detailed Study of Vritis. 4. Detailed Study of Gatis. 5. Origin of Taal and its Ten Prans.

Unit III

6. Detailed Study of Thumri. 7. Studyof Folk Dances of Haryana.

Unit IV

8. Writing notation of Ada- Choutaal with its: (a) Thaah, Dugun, Tigun and Chaugun Layakaries (b) Amad-1 (c) Tora-1

6 4 (d) Tehai-1 (e) Paran-1 (f) Chakradar Paran-1 (g) Farmaishi Paran-1 (h) Kavit-1 9. Description of following Taals with their: Thaah, Dugun, Tigun and Chaugun Layakaries of Theka. (a) Dadra (b) Astamangal (11 Matra) (c) Dhamar Taal 10. Comparative Study of above mentioned taals. 11.

B.A. Semester-V (Session 2020-21)

INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-5156 PRACTICAL

PracticalMarks: 40 Time: 40 Minutes

Practical Demonstration of the following:

1. Ada- Choutaal (Matra- 14 )

Tatkar inThaah, Dugun, Tigun and Chaugun Layakaries

Amad-1

Tora-2

Tehai-2

Paran-1

Chakradar Paran-1

Farmaishi Paran-1

Kavit-1

2. Astamangal (Matra- 11 )

6 5 Tatkar inThaah, Dugun, Tigun and Chaugun Layakaries

Amad-1

Tora-2

Tehai-2

Paran-1

Chakradar Paran-1

Farmaishi Paran-1

Kavit-1

3. Teentaal(Matra -16)

Tatkar in Thah, Dugun , Tigun and Chougun Layakaries.

Thaat- 2

Tehai-1

Amad-1

Salami-1

Tora-2

Paran-1

ChakardarParan -1

Kavit-1

4. Padhant of all the Practical material mentioned in above Taals. 5. Ability to play the Theka of Teentaal ,Dadra Taal on Tabla. 6. Ability to play Nagma on Harmonium in Dadra, TeenTaal. 7. Practical demonstration on any Sufi Composition.

Books Recommended:

1. KathakNrityaKaPrichey, SubashniKapoor, Radha Publications, New Delhi, 1997.

2. KathakSoundaryatmakShashtriyaNritya, ShikhaKharey, Knishka Publishers, New Delhi, 2006.

3. AtihasikPripeksh Mein KathakNritya, Maya Taak, Knishka Publishers, New Delhi, 2005.

4. NibandhSangeet, Laxmi Narayan Garg, SangeetKaryalaya, Hathras, 2004.

6 6 5. KathakNrityaShiksha Part-1 and 2 , Dr. PuruDadhich, BinduPrakashan, Ujjain (MP).

6. Folk dances of Northen India, Dr. Aarohi Walia, Uni Star Publications, Chandigarh.

B.A. (Semester- VI) Session: 2020-21

Scheme of Studies and Examination Indian Classical Dance

Semester VI

Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours)

ICD E 100 40 40 20 3 B.A BARM-6156

B.A. Semester-VI (Session 2020-21) INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-6156 Theory & Practical

Course outcome

Upon successfully completion of this course student will be able to know the basic concepts of dance , which are -

CO1. During the process of graduation course while taking up classical dance as elective subject , students are actually toned physically , mentally and artistically

Co2. Learning and practicing dance improves muscle tones , muscle strength , endurance and fitness.

Co 3. It tones thighs, pelvis , arms , with peculiarities of body movements in art of dance .

6 7 Co4. Regular training and practice enables flexibility in body and help in various body movements during performance.

B.A. Semester-VI (Session 2020-21) INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-6156 Theory

Course Contents:

Unit I

1. Origin and Development of Satriya Dance. 2. Comparative Study of Indian And Western Dances. Unit II

3. Study of Nayak Nayika Bhedas. 4. Guru Shishya Parampara. 5. Study of Natyashastra related to dance elements. Unit- III

6. Study of Sathnak Bhedas according to Abhinaya Darpan. 7. Detailed Study of Folk Dances of Arunchal Pradesh. Unit IV

8. Ability to write in notation Arh, Kurah,Viarh Layakaries in TeenTaal. 9. Writing notation of Pancham Swari TaalAnd Roopak Taal(Matra 7) with its: (i) Thaah, Dugun, Tigun and Chaugun Layakaries (j) Amad-1 (k) Tora-1

6 8 (l) Tehai-1 (m) Paran-1 (n) Chakradar Paran-1 (o) Farmaishi Paran-1 (p) Kavit-1 (q) (i) Parmelu 10. Description of following Taals with their: Thaah, Dugun, Tigun and Chaugun Layakaries of Theka. (b) kehrva (b) Teen Taal (c) Sooltaal

B.A. Semester-VI (Session 2020-21)

INDIAN CLASSICAL DANCE KATHAK Course Code: BARM-6156 PRACTICAL

PracticalMarks: 40 Time: 40 Minutes

Practical Demonstration of the following:

8. Pancham Swari Taal (Matra- 15 )

Tatkar inThaah, Dugun, Tigun and Chaugun Layakaries

Amad-1

Tora-2

Tehai-2

Paran-1

Chakradar Paran-1

Farmaishi Paran-1

Kavit-1

9. Roopak Taal (Matra-7)

Tatkar inThaah, Dugun, Tigun and Chaugun Layakaries

Amad-1

6 9 Tora-2

Tehai-2

Paran-1

Chakradar Paran-1

Farmaishi Paran-1

Kavit-1

10. Teen Taal (Matra- 16 )

Tatkar inThaah, Dugun, Tigun and Chaugun Layakaries

Amad-1

Tora-2

Tehai-2

Paran-1

Chakradar Paran-1

Farmaishi Paran-1

Kavit-1

Premlu-1

11. Padhant of all the Practical material mentioned in above Taals. 12. Ability to play the Theka of Kehrva and Roopak Taal on Tabla. 13. Ability to play Nagma on Harmonium inKehrva and Roopak Taal. 14. Practical demonstration on any Composition of Tarana.

Books Recommended:

1. KathakNrityaKaPrichey, SubashniKapoor, Radha Publications, New Delhi, 1997.

2. KathakSoundaryatmakShashtriyaNritya, ShikhaKharey, Knishka Publishers, New Delhi, 2006.

3. AtihasikPripeksh Mein KathakNritya, Maya Taak, Knishka Publishers, New Delhi, 2005.

4. NibandhSangeet, Laxmi Narayan Garg, SangeetKaryalaya, Hathras, 2004.

5. KathakNrityaShiksha Part-1and 2 , Dr. PuruDadhich, BinduPrakashan, Ujjain (MP).

6. Folk dances of India, Dr. Aarohi Walia, Uni Star Publications, Chandigarh.

7 0

Faculty of Performing & Visual Arts SYLLABUS Of MA Music Vocal (Semester- I to IV) (UnderContinuous Evaluation System)

Session: 2020-21

The Heritage Institution

KANYA MAHA VIDYALAYA JALANDHAR (Autonomous)

7 1

Programme specific outcomes M.A Music (Vocal) Session 2020-21

Upon Successful completion of this programme, students will be able to: P.S.O. 1) Understand various Raagas & Taalas and knowledge of Viva Voce. P.S.O. 2) Know the intricacies of Music, as performing Art, both theoretically & practically. P.S.O. 3) Influence the audience with daily learning and practice of Raagas. P.S.O. 4) Have command on their voice to sing classical as well light music. P.S.O. 5)Music Direction, Stage Performances, Voice Trainer, Show Host, Music Academies or studios etc. Kanya Maha Vidyalaya, Jalandhar (Autonomous)

SCHEME AND CURRICULUM OF EXAMINATIONS OF TWO YEAR DEGREE PROGRAMME Master of Arts (Music Vocal) (Session 2020-21)

Master of Arts (Music Vocal) Semester I

Marks Course Examination Course Code Course Title Type Ext. time Total CA (in Hours) L P

MMVL-1361 Theoretical Survey of Indian Music 3 100 80 20 (Theory) C --

MMVL-1362 Historical Study of Indian Music 3 80 20 (Theory) C 100 --

7 2 MMVP-1363 Practical- I (Stage Performance) 40 Minutes 100 -- 20 C 80 per student

MMVV-1364 Practical- II (Viva -Voce) 40 Minutes 100 -- 20 C 80 per student

Total 400

Master of Arts (Music Vocal) Semester-ISession 2020-2021Theoretical Survey of Indian Music (Theory) Course Code: MMVL- 1361

Course Outcomes

CO1: This course will give an extensive knowledge of different theoretical aspects of Hindustani Music.

CO2:This course will add the wider scope of Classical Music and will preparation for the National Eligibility Test.

Master of Arts (Music Vocal) Semester-I Session 2020-21Theoretical Survey of Indian Music (Theory) Course Code: MMVL-1361 Examination Time: 3 Hours Maximum Marks : 100 Theory: 80 CA :20 Instructions for the Paper Setters: The paper setter will set eight questions divided in to four sections, selecting Two Questions from each Unit. Questions may be subdivided in parts (not exceeding four). Each question will carry 16 Marks.

Instructions for the candidates:- Candidates are required to attempt five questions, selecting at least one question from each Section. The fifth question may be attempted from any Section. Unit-I 1. Detailed study of Naad and Sahayak Naad. 2. Concept of Shruti, Swar and Saptak. Unit-II 3. Study of Swarit (Drone) and its importance in Music(with special ref. to Tanpura). 4. Importance of Swar Samvaad in Hindustani Music.

7 3 5. Brief knowledge of following: Kan, Khatka,Murki, Meend, Gamak, Meend

Unit-III 6. Study of Gram and Moorchana System along with their relevance in modern times. 7. Knowledge of the following technical terms: a) Alaap – Behlava b) Avirbhav -Tirobhav c) Alaptava – Bahutava Unit-IV 8. Detailed Study of Taan and its types. 9. Exploration of new possibilities in Raag Vargikaran Paddati while doing critical study of following Raag Vargikaran Paddaties:- 6. Shudh -Chayalag -Sankeern Raag Paddati 7. Thaat Raag Paddati 8. Raagang Paddati

10. Detailed Descriptions of the following : - Ragas: Bhairav, Vrindavani Sarang,Asawari,Yaman Kalyan, Talas (From Thah to Chaugun Layakari): Teentaal, Ektaal, Kehrava, Dadra

Books Recommended

Sr. Name of The Author Name of the Book Publisher Year of No Publication 1. Dhawani aur Sangeet Lalit Kishore Singh Bhartiya Giyaanpeeth, 2004 New Delhi 2. Lakshmi Narayan Garg Nibandh Sangeet Sangeet Karyalaya, 1989 Hathras. 3. Vasant Sangeet Visharad Sangheet Karyalaya, 2004 Hathras. (New Edition) 4. Dr. Arun Mishra Bhartiya Kanth Sangeet Kanishka Publishers, 2002 Evam Vadya Sangeet New Delhi. 5. Dr. Yashpal Sharma Gayan Kala Punjabi University, 2011 Patiala. (IInd Edition) 6. Dr. Yashpal Sharma Bahrtiya Sangeet main Kanishka Publishers, 2006 Shruti New Delhi. 7. Dr. Rajeev Verma Bhartiya Sangeet ka Amar Granth Prakashan 2004 &Neelam Parkash Adhyatmak Swaroop

7 4 Master of Arts (Music Vocal) Semester-I Session 2020-21 Historical Study of Indian Music (Theory) Course Code: MMVL-1362

Course Outcomes:

CO1: The course will give an extensive knowledge of Historical Development and systematic evolution of Indian Classical Music.

CO2: The course will add to the knowledge of students about the musical journeys and contribution of eminent musicians, scholars and artists towards Hindustani Music.

CO3:This course will add the wider scope of Classical Music and will preparation for the National Eligibility Test.

Master of Arts (Music Vocal) Semester-I Session 2020-2021Historical Study of Indian Music (Theory) Course Code: MMVL-1362 Examination Time: 3 Hours Total Marks: 100 Theory: 80 CA: 20 Instructions for the Paper Setters: The paper setter will set eight questions divided in to four sections, selecting Two Questions from each Unit. Questions may be subdivided in parts (not exceeding four). Each question will carry equal Marks. Instructions for the candidates:- Candidates are required to attempt five questions, selecting at least one question from each Section. The fifth question may be attempted from any Section.

Unit-I 1. Historical development of Music during Ramayan & Mahabharat Periods. 2. Comparative Study of Hindustani and Karanatk Music Systems. Unit-II 3. Development and contribution of following Ghranas: (i)GwaliorGhrana (Gayan) (ii) KiranaGhrana (Gayan) (iii) Punjab Ghrana(Tabla) (iv)Maihar Ghrana (Instrumental) (v)Itava Ghrana (Instrumental) 4. Contribuiton of : Ustad Bade Ghulam Ali, Ustad Ameer Khan, Pandit Ravi Shankar, Ustad Vilayat Khan 5. Knowledge and comparison of following GayanShailies:

7 5 9. Dharupad - Dhamar 10. Thumari - Tappa 11. Geet - Ghazal 12. Bhajan - Shabad Unit-III 6. Relationship between Vocal Music & Instrumental Music. 7. Development of Indian Classical Music in Post Independence Era. 8. Contribution of Punjab in the field of Indian Classical Music. Unit-IV 9. Contribution of V.N. Bhatkhande and V.D. Paluskar in popularising Indian Classical music 10. Merits and Demerits of Institutional teaching of Indian classical music .

Books Recommended

Sr. Name of The Author Name of the Book Publisher Year of No Publication 1. Dhawani aur Sangeet Lalit Kishore Singh Bhartiya Giyaanpeeth, 2004 New Delhi 2. Lakshmi Narayan Garg Nibandh Sangeet Sangeet Karyalaya, 1989 Hathras. 3. Vasant Sangeet Visharad Sangheet Karyalaya, 2004 Hathras. (New Edition) 4. Lakshmi Narayan Garg Hamare Sangeet Ratan Kanishka Publishers, 1989 New Delhi. 5. Dr. Indrani Chakravarti Music: Its Methods and Mittal Publications, 1996 Techniques of Teaching In New Delhi. Higher Education 6. Dr. Arun Mishra Bhartiya Kanth Sangeet Kanishka Publishers, 2002 Evam Vadya Sangeet New Delhi. 7. Pt. Debu Chaudhry On Indian Music Roshan Press, Delhi 2005 8. Seema Johri Sangeetayan Radha publications, 2003 New Delhi

Master of Arts (Music Vocal) Semester Session 2020-2021Practical-I (Stage Performance)Course Code: MMVP-1363

Course Outcomes:

1) The objective of this course is to make student good stage performer covering all the aspects of Ragas presentation, Gayan Shaillies along with the knowledge of Taalas.

7 6 2) This course prepares the students to learn and perform the art keeping in mind all the theoretical aspects. This course will add the wider scope of Classical Music and will preparation for the National Eligibility Test.

Master of Arts (Music Vocal) Semester-I Practical-I (Stage Performance)

Session 2020-2021Course Code: MMVP-1363 Examination Time: 40 students per Student Total Marks:100 Practical: 80 CA:20 Instructions for the Examiners: The Examination will be conducted by a Board of Examiners consisting of Head of Department, Internal and External Examiners. Question paper is to be set on the spot. Note: Candidates are required to demonstrate one Raga of own choice (among prescribed in Paper IV) with Vilambit Khayal & Drut Khayal(illustrated with proper elaboration & all the technicalities (Alaap, Bol Alaap, Behlava, Taan, Boltaan etc.) of Gayan. 1) Raga Performance: i) Vilambit Khyaal ii) Drut Khyaal 2)Five Alankars in Bilawal, Kalyan & Bhairav Thatas each (Accompanied with Harmonium and Tabla). 3) Tuning of your Tanpura.

Books Recommended

Sr. Name of the Book Author No. 1. Hindustani Sangeet Kramik Pustak V.N. Bhatkhande Malika(I-VI) 2. Naveen Khyaal Rachnavali (I &II) Dr. Shankar Lal Mishra 3. Abhinav Geet Manjari Dr. S.N. Ratanjankar 4. Raag Parichay (I-VI) Harish Chandar Srivastava 5. Avhinav Geetanjli(I-VI) Pt. Ramashraya Jha 6. Raag Rehasya Acharaya K.C.D. Brahaspati 7. Swaranjali Dr. Prabha Attre 8. Sarang Ke Prakaar J.T.Shah

7 7 9. Punjab Diyaan Lok Dhuna Gurpartap Singh Gill

Master of Arts (Music Vocal) Semester-ISession 2020-2021Practical - II(Viva – Voce) Course Code: MMVV-1364

Course Outcome:

CO1: This course introduces the students to critical and comparative study of Raagas prescribed in course.

CO2:Now After this course, students are able to understand the Inter Relationship between Folk Music & Classical Music.

CO3: This course prepares the students to understand practical as well as theoretical aspects of Raagas. This course will add the wider scope of Classical Music and will preparation for the National Eligibility Test.

Master of Arts (Music Vocal) Semester-ISession 2020-2021Practical – II (Viva - Voce)Course Code: MMVV-1364 Examination Time: 40 Minutes per student Total Marks: 100 Practical: 80 CA: 20 Instructions for the Examiners: The Examination will be conducted by a Board of Examiners consisting of Head of Department, Internal and External Examiners. Question paper is to be set on the spot. Marks would be awarded on the basis of performance and viva-voce. a. One Raga (own choice) (From the following Raagas,) with Vilambit & Drut Khayal (illustrated with proper elaboration & all the technicalities (Alaap, Bol Alaap, Behlava, Taan, Boltaan etc.) of Gayan.other than the Raaga selected for Stage Performance. b. Drut khayals are compulsory in all Raagas prescribed in the syllabus. c. One Folk Song / Folk Dhun d. Demonstration of following Taals by Hands in Dugun: Teental, Ektaal, Kehrva, Dadra. Raagas: Bhairav, Vrindavani Sarang,Asawari, YamanKalyan

7 8 Books Recommended

(Semester- II ) Session: 2020-21

Specific outcomes

7 9 Upon Successful completion of this programme, students will be able to: P.S.O. 1) Understand various Raagas & Taalas and knowledge of Viva Voce. P.S.O. 2) Know the intricacies of Music, as performing Art, both theoretically & practically. P.S.O. 3) Influence the audience with daily learning and practice of Raagas. P.S.O. 4) Have command on their voice to sing classical as well light music. P.S.O. 5)Music Direction, Stage Performances, Voice Trainer, Show Host, Music Academies or studios etc. Kanya Maha Vidyalaya, Jalandhar (Autonomous)

SCHEME AND CURRICULUM OF EXAMINATIONS OF TWO YEAR DEGREE PROGRAMME Master of Arts (Music Vocal) (Session 2020-21)

Master of Arts(Music Vocal)Semester II

Marks Course Examination Course Code Course Title Type Ext. time Total CA (in Hours) L P

MMVL-2361 Intensive study of Indian Music C 100 80 -- 20 3

MMVL-2362 An Analytical study of Granthas C 100 80 -- 20 3 MMVP-2363 Practical-III (Stage Performance) 40 Minutes 100 -- 20 C 80 per student

MMVV-2364 40 Minutes 100 -- 20 Practical – IV (Viva Voce) C 80 per student

400 Total

Master of Arts (Music Vocal) Semester-IISession 2020-2021Intensive Study of Indian Music (Theory) Course Code: MMVL-2361

Course Outcomes

8 0 CO1: This course will give an extensive knowledge of different Aesthetical aspects of Hindustani Music in general along with the study of Folk Music of Punjab.

CO2 :This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Vocal) Semester-II Session 2020-2021Intensive Study of Indian Music (Theory) Course Code: MMVL-2361

Time: 3 Hrs Total Marks: 100 Theory: 80 Marks CA: 20

Instructions for the Paper Setters: The paper setter will set eight questions divided in to four sections, selecting Two Questions from each Unit. Questions may be subdivided in parts (not exceeding four). Each question will carry 16 Marks. Instructions for the candidates:- Candidates are required to attempt five questions, selecting at least one question from each Section. The fifth question may be attempted from any Section.

Unit- I

 Define Aesthetics and explain its principles in the context of Music.  The influence and impact of aesthetical elements in music performance.

Unit - II

 Relevance of Raag Raagini Chitran in the relationship of raga with emotions.  Inter Relationship of Ragaand Rasa.  Relation of ragas with seasons and time.

Unit –III

 Creativity and Improvisation in Raaga.  Use of following ragas in film music: Bhairavi, Pilloo , Khamaj, Shivranjani, Pahadi

Unit –IV

 Critical and Comparative study of Raagas having same notes.

8 1  Swar Sthapna on strings of Veena by Pt.Sriniwas .  Study of Folk Music of Punjab.

Books Recommended:

1. Bhartia Kanth Sangeet Avam Vadya Sangeet - Dr. Arun Mishra, Kanishka Publishers, New Delhi, 2002 2. Sangeet Visharad – Basant , Sangeet Karyalya , Hathras, 2004 3. On Indian Music - Pt. Debu Chaudhri, Roshan Press, 2005 4. Nibandh Sangeet – Laxmi Narayan Garg, Sangeet Karyala , Hathras, 1989 5. Bhartiya Sangeet main Vigyanik Upkarnon Ka Prayog- Dr. Anita Gautam, Kanishka Publishers, New Delhi, 2002 6. Bhartiya Taalon KA Shastriya Vivechan –Arun Kumar Sena9 Madhya Pradesh Academy, Bhopal,2002 7. Indian Music In Professional And Academic Institution , Dr. Manju shree Chaudhri, Sanjay Prakashan, New Delhi, 1999. 8. Indian Conceptof Rythm- A.K Sen, Kanishka Publishers, New Delhi, 1994 9. Man and Music In India- Rashmi Goswami Indian Institute of Advance Study 1992

Master of Arts (Music Vocal) Semester-IISession 2020-2021An Analytical Study of Granthas (Theory)Course Code: MMVL-2362

Course Outcomes

CO1:Students go through the Shastra (Granthas) of Indian Classical Music and know the threads rooted in this traditional art.

CO3:This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Masters of Arts (MUSIC VOCAL) Semester-II (Session 20-21)An Analytical Study of Granthas (Theory) Course Code: MMVL-2362

Time: 3 Hrs Total Marks: 100 Theory : 80 Marks

8 2 Instructions for the Paper Setters: The paper setter will set eight questions divided in to four sections, selecting Two Questions from each Unit. Questions may be subdivided in parts (not exceeding four). Each question will carry 16 Marks.

Instructions for the candidates:- Candidates are required to attempt five questions, selecting at least one question from each Section. The fifth question may be attempted from any Section.

Unit - I

 Natya Shastra-Bharat Muni  Sangeet Ratnakar- Pt. SharangDev

Unit-II

 Sangeet Prijat- Pt. Ahobal.  Swar Melakala Nidhi-Pt. Ramamatya.

Unit -III

 Rag Tatavvibod – Pt. Shri Niwas.  Sangeet Chintamani- Acharya Brihaspati.

Unit-IV

 Pranav Bharati- Pt. Omkar Nath Thakur  Dhawani & Sangeet- Lalit Kishor Singh

Books Recommended:

1. Sangeet Ratnakar- Pt Sharang Dev, Sangeet Karyalya , Hathras, 1964 2. Brighdeshi- Matang Publication Scheme, Jaipur, 1972 3. Uttar Bhartiya Sangeet- Paddatiyon Ka Tulnatamak Adhyayan (VN Bhatkhande, Sangeet Karyalya , Hathras,UP- 1965 4. Swar Male Kalanidhi- Ramamatya, Sangeet Karyalya , Hathras, 1967 5. Natya Shastra-Bharat, Chaukhambha Sanskrit Sansthan, Varanasi,UP 1985 6. Works of Sharang dev-Dr. Prem Lata Sharma, Sangeet Natak Academy New Delhi 7. Works of Matang Brighdeshi- Dr. Prem Lata Sharma, Sangeet Natak Academy New Delhi

8 3 8. Sangeet Ratnakar- Dr. Prem Lata Sharma and Dr. R.K.Shringi Moti Lal Banarsi dass, New Delhi 9. Bharat ke Sangeet Sidhant- Acharaya Brihaspati 10. Sangeet Chinta mani I- II, Acharaya Brihaspati 11. Bhartiya Sangeet- Thakur Jaidev Singh, 12. Indian Music Edited by Dr. Prem Lata Sharma, Sangeet Research Academy, Kolkata. 13. Dhavani & Sangeet- Lalit Kishor Singh 14. Pranav Bharati- Omkar Nath Thakur

Master of Arts (Music Vocal) Semester - II Session 2020-2021Practical-III (Stage Performance)Course Code: MMVP-2363

Course Outcomes:

1) The objective of this course is to make student good stage performer covering all the aspects of Ragas presentation, Gayan Shaillies along with the knowledge of Taalas. 2) This course prepares the students to learn and perform the art keeping in mind all the theoretical aspects. This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Vocal) Semester - II Session 2020-2021 Practical-III (Stage Performance)Course Code: MMVP-2363

Examination Time: 40 students per Student Total Marks:100 Practical: 80 CA:20 Instructions for the Examiners: The Examination will be conducted by a Board of Examiners consisting of Head of Department, Internal and External Examiners. Question paper is to be set on the spot. Note: Candidates are required to demonstrate one Raga of own choice (among prescribed in Paper IV) with Vilambit & Drut Khayal (illustrated with proper elaboration & all the technicalities (Alaap, Bol Alaap, Behlava, Taan, Boltaan etc.) of Gayan. 1) Raga Performance: i) Vilambit Khyaal

8 4 ii) Drut Khyaal 2)Five Alankars in Kafi & Khmaaj Thatas each (Accompanied with Harmonium and Tabla). 3)One Bandish (Drut Khyaal)in other than Teentaal.

Books Recommended

Master of Arts (Music Vocal) Semester-IISession 2020-2021Practical – IV (Viva - Voce)Course Code: MMVV-2364

Course Outcome:

CO1: This course introduces the students to critical and comparative study of Raagas prescribed in course.

CO2: This course prepares the students to understand practical as well as theoretical aspects of Raagas. This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Vocal) Semester-IISession 2020-2021Practical – IV (Viva - Voce)Course Code: MMVV-2364 Examination Time: 40 Minutes per student Total Marks: 100 Practical: 80

8 5 CA: 20 Instructions for the Examiners: The Examination will be conducted by a Board of Examiners consisting of Head of Department, Internal and External Examiners. Question paper is to be set on the spot. Marks would be awarded on the basis of performance and viva-voce. 1. One Raga (own choice) (From the following Raagas,) with Vilambit & Drut Khayal (illustrated with proper elaboration & all the technicalities (Alaap, Bol Alaap, Behlava, Taan, Boltaant etc.) of Gayan other than the Raaga selected for Stage Performance. 2. Drut khayals are compulsory in all Raagas prescribed in the syllabus. 3. One Cinematic/ Soofi Song 4. Demonstration of following Taals by Hands in Thah and Dugun: Tilwara, Roopak, Jhaptaal. Raagas: GujariTodi,Shudh Sarang, Puriya Kalyan, Rageshwari

Books Recommended

8 6

(Semester- III) Session: 2020-21

Programme specific outcomes M.A Music (Vocal) Upon Successful completion of this programme, students will be able to: P.S.O. 1) Understand various Raagas & Taalas and knowledge of Viva Voce. P.S.O. 2) Know the intricacies of Music, as performing Art, both theoretically & practically. P.S.O. 3) Influence the audience with daily learning and practice of Raagas. P.S.O. 4) Have command on their voice to sing classical as well light music.

8 7 P.S.O. 5)Music Direction, Stage Performances, Voice Trainer, Show Host, Music Academies or studios etc. Kanya Maha Vidyalaya, Jalandhar (Autonomous)

SCHEME AND CURRICULUM OF EXAMINATIONS OF THREE YEAR DEGREE PROGRAMME Master of Arts (Music Vocal)Session 2020-21

Master of Arts (Music Vocal) Semester III

Course Marks Examination time Type Course Code Course Title Ext. Total CA (in Hours)

L P

MMVL-3361 Scientific Study of Indian Music (Theory) C 100 80 -- 20 3

MMVL-3362 Music As A Commercial Art (Theory) C 100 80 -- 20 3

MMVP-3363 Practical –V (Stage Performance) 40 Minutes per C 100 -- 80 20 student

MMVV-3364 Practical – VI (Viva -Voce) 40 Minutes per C 100 -- 80 20 student

Total 400

Master of Arts (Music Vocal) Semester-III Session 2020-2021Scientific Study of Indian Music (Theory) Course Code: MMVL-3361

Course Outcomes

CO1: This course will give an extensive knowledge of scientific aspects of Hindustani Music, enabling students to explore Physics and other related aspects of the subject.

CO2:This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Vocal) Semester-III Session 2020-2021 Scientific Study of Indian Music (Theory) Course Code: MMVL-3361

8 8 Examination Time: 3 Hours Maximum Marks : 100

Theory: 80

CA :20

Candidates are required to attempt five questions, selecting at least one question from each Section. The fifth question may be attempted from any Section.

Unit –I

1. Role of Music in creating harmony in the Society. 2. Relation between Music and psychology. 3. Importance of Electronic Gadgets in the promotion of Indian Classical Music. Unit –II

4. Role of Music in Physical fitness. 5. Role of Mathematics in Music.

Unit –III

6. Music as a Therapy for Mental Health. 7. Concept of Melody& Harmony in context of Hindustani Music. 8. Correct Intonation of Swaras in various ragas.

Unit –IV

9. Historical and Structural development of Tabla along with its Importance in Music. 10. Aesthetical difference between various Gayan Shaillies on the basis of Laya and Layakaries.

Books Recommended: Vasant Sangeet Visharad Sangheet Karyalaya, Hathras. 2004 Sr. (New Edition) No. Lakshmi Narayan Nibandh Sangeet Sangeet Karyalaya, Hathras. 1989 1. Garg

8 9

2. Dr. Anita Gautam Bhartiya Sangeet main Kanishka Publishers, New 2002 Vigyanik Upkarnon Ka Delhi Prayog 3. Pt. Debu Chaudhri On Indian Music Roshan Press 2005 Dr. Yashpal Gayan Kala Punjabi University, Patiala. 2011 4. Sharma (IInd Edition) 5. Arun Kumar Sen Bhartiya Taalon KA Madhya Pradesh Academy, 2002 Shastriya Vivechan Bhopal, Dr. Arun Mishra Bhartiya Kanth Sangeet Kanishka Publishers, New 6. Evam Vadya Sangeet Delhi. 2002 7. Dr. Manju shree Indian Music In Sanjay Prakashan, New Delhi 1999 Tyagi Professional And Academic Institution 8. A.K. Sen Indian Concept of Rythm Kanishka Publishers, New 1994 Delhi 9. Rashmi Goswami Man and Music In India Indian Institute of Advance 1992 Study, Shimla

Master of Arts (Music Vocal) Semester-III Session 2020-2021Music As A Commercial Art (Theory) Course Code: MMVL-3362

Course Outcomes:

CO 1: This course includes a comprehensive and thorough study ofMusic as a discipline at an advanced level.

CO2:This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Vocal) Semester-III Session 2020-2021Music As A Commercial Art (Theory) Course Code: MMVL-3362

Examination Time: 3 Hours Total Marks: 100

Theory: 80

9 0 CA: 20

Instructions for the Paper Setters:

The paper setter will set eight questions divided in to four sections, selecting Two Questions from each Unit. Questions may be subdivided in parts (not exceeding four). Each question will carry 16 Marks. Instructions for the candidates:-

Candidates are required to attempt five questions, selecting at least one question from each Section. The fifth question may be attempted from any Section.

Unit -I

1. Traditional and Contemporary methods of Teaching Music. 2. Evaluation of the Role of Akaashvani & Doordarshan in promoting HindustaniClassical Music. 3. Impact of Globalization on Indian Music.

Unit -II

4. Importance of background Music in Hindi Cinema. 5. Analytical study of emerging trends in popular music and their impact on social values. Unit -III

6. Various aspects of Music as a Profession. 7. Role of Multimedia in promotion and propagation of Music. 8. Role of Music in popularizing CommercialAdvertisements. Unit- IV

9. Role of Fusion Music in popularizing Hindustani Music. 10. Relationship of other Fine Arts (Literature, Painting, Sculpture) with Music and Dance.

Books Recommended:

Sr. Name of the Book Author No. 1. Sangeet Ratnakar Pt Sharang Dev 2. Natya Shastra Bharat 3. Hindusatani Music G.H. Ranade 4. Indian Music Dr. Prem Lata Sharma 5. Bhartiya Sangeet Thakur JaidevSingh 6. Brighdeshi Matang 7. Swar Aur Ragon Ke Vikas main Vadyon ka Yogdan Prof. Indrani Chakarvarti 8. Uttar Bhartiya Sangeet- Paddatiyon Ka Tulnatamak Adhyayan V.N. Bhatkhande

9 1 9. The Story of Indian Music O. Goswami 10. Sangeet Sidhant ate Suhaj Shastar Darshan Singh Narula 11. Tan Tantari Man Kinnari Dr. Indrani Chakarvarti

Master of Arts (Music Vocal) Semester-III Session 2020-2021 Practical –V (Stage Performance) Course Code: MMVP-3363

Examination Time: As par Requirement Total Marks:100 Practical: 80 CA:20

Instructions for the Examiners:

The Examination will be conducted by a Board of Examiners consisting of Head of Department, Internal and External Examiners. Question paper is to be set on the spot.

Note: Candidates are required to demonstrate one Raga of own choice (among prescribed in Paper IV) with Vilambit & Drut Khayal (illustrated with proper elaboration & all the technicalities (Alaap, Bol Alaap, Behlava, Taan, Boltaan etc.) of Gayan.

1) Raga Performance:

i) Vilambit Khyaal ii) Drut Khyaal

2) Dharupad Gayan with proper Gayaki .

3) Geet/ Ghazal

4) Demonstration of following Taals on Tabla with dugun layakari:

Teental, Ektaal,Chaartal

Master of Arts (Music Vocal) Semester-III Session 2020-2021Practical –VI (Viva -Voce)

Course Code: MMVV-3364

9 2 Examination Time: 40 Minutes per student Total Marks: 100

Practical: 80

CA: 20

Instructions for the Examiners:

The Examination will be conducted by a Board of Examiners consisting of Head of Department, Internal and External Examiners. Question paper is to be set on the spot.

Note: Candidates are required to demonstrate One Raga of their own choice (From the following Raagas,) with Vilambit & Drut Khayal (illustrated with proper elaboration & all the technicalities (Alaap, Bol Alaap, Behlava, Taan, Boltaan etc.) of Gayan.other than the Raaga selected for Stage Performance. Drut khayals are compulsory in rest of three Raagas prescribed in the syllabus. Marks should be awarded on the basis of performance and viva- voce.

i) Detailed Raagas: Nat Bhairav, Shudh Kalyaan, Maru Bihag, Bhimplasi ii) Comparative Study of :Nat Bhairav / Aheer Bhairav,Shudh Kalyan / Shyam Klayan,Maru Bihag / Bihag,Bhimplasi / Patdeep. iii) Comparative Study of Taalas of Hindustani Music having similar number of Matraas. iv) Two Power Point Presentation on Topics prescribed in Theory Syllabus. v) One live performance

Books Recommended

Sr. Name of the Book Author No. 1. Hindustani Sangeet Kramik Pustak Malika V.N. Bhatkhande 2. Naveen Khayaal Rachnavali Dr. Shankar LalMishra 3. Abhinav Geet Manjri (Part I and II) Dr. S.N.Rattanjankar 4. Raag Parichay Sh. Harish ChandarSrivastava 5. Raag Rehasya AcharyaBrehspati 6. Gurmat Sangeet Prabandh Dr. GurnamSingh 7. Avhinav Geetanjli Part I-V Pt. Ramashraya Jha 8. Swarannjali Prbha Attre

9 3

(Semester- IV ) Session: 2020-21 Programme specific outcomes M.A Music (Vocal) Session 20-21 Upon Successful completion of this programme, students will be able to join: Teaching profession, Music Direction, Stage Performances, Playback singing or as Staff Artist (AIR or DD), Music Academies or studios etc.

Kanya Maha Vidyalaya, Jalandhar (Autonomous)

SCHEME AND CURRICULUM OF EXAMINATIONS OF THREE YEAR DEGREE PROGRAMME Master of Arts (Music Vocal)Session 2020-21

Master of Arts (Music Vocal) Semester IV

Marks Course Examination Course Code Course Title Type Ext. time Total CA (in Hours) L P

9 4 MMVL-4361 Gurmat Sangeet ( Theory ) C 75 60 -- 15 3 MMVL-4362 Essays on Indian Music and Research 3 60 15 in Music (Theory) C 75 --

MMVP-4363 Practical -VII (Stage Performance) 40 C 100 -- 80 20 Minutes Per Student

MMVV-4364 40 Min Per 100 -- 20 Practical -VIII (Viva Voce) C 80 Student

MMVD-4365 Research Project (Minor) C 50 -- 40 10 400 Total Master of Arts (MUSIC VOCAL) Semester-IV Session 2020-21 (THEORY) Course Code: MMVL-4361 GURMAT SANGEET (Theory) Course Outcome

CO 1: This course will give an extensive knowledge of Technical Terminology and Musicology of Gurmat Sangeet. CO 2: This course will add to the knowledge of the students, the wider scope of Devotional Music. CO 3: This course will provide the knowledge of various Instruments used in Gurmat Sangeet.

Master of Arts (MUSIC VOCAL) Semester-IV Session 2020-21 (THEORY) Course Code: MMVL-4361 GURMAT SANGEET (Theory)

Time: 3 Hrs Total Marks: 75 Theory : 60 Marks CA: 15

9 5 Instructions for the Paper Setters:- Eight questions of equal marks (Specified in the syllabus) are to be set, two in each of the four Sections (A-D). Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each Section. The fifth question may be attempted from any Section. Each question carries 12 marks.

UNIT – A  Musicology of GurmatSangeet.  Critical & Comparative Study of classical and folk singing styles of GurmatSangeet  Contribution of Bhagats and Bhatts Bani towards GurmatSangeet.

UNIT -B  Musical Elements in raga mala in context of Guru Granth SahibJi.  Contribution of Sri Guru Nanak Dev Ji towardsMusic.  Contribution of Sri Guru Gobind Singh Ji towardsMusic.

UNIT -C  Contribution and biography of following Keertankaars:- (i) BhaiMardana (ii) Prof. TaraSingh (iii) Giani Gyan SinghAbtabaad  Detailed knowledge of instruments used in GurmatSangeet.

UNIT-D  Classify the Ragas mentioned in Sri Guru Granth SahibJi.  Various Keertan trends of GurmatSangeet.

BOOKS RECOMMENDED

1. Gurmat Sangeet PrabandhAteParsar Dr. GurnamSingh 2. GurmatSangeetDarpan Prof. KartarSingh 3. Gurmat SangeetVishesh Ank Sangeet Karyalaya Hathras (U.P)1997 4. SikhMusicology Dr. GurnamSingh 5. Punjab KiSangeetParampara Dr. Geeta Pental, Radha Publication, NewDelhi.1989 6. Musicology ofShreeGuru Dr. Gurnam Singh GranthSahib KanishkaP

9 6 ublishers, New Delhi.2002

Master of Arts (MUSIC VOCAL) Semester-IV Session 2020-21 ESSAYS ON INDIAN MUSIC AND RESAERCH IN MUSIC (THEORY) Course Code: MMVL-4362

Course Outcome

CO 1: This course will enhance the research interests of the students. CO 2: This course will add to the knowledge of the students, the wider scope of Research in Music. CO 3: This course will give an extensive knowledge of other continents in which research of music developed.

Master of Arts (MUSIC VOCAL) Semester-IV Session 2020-21 ESSAYS ON INDIAN MUSIC AND RESAERCH IN MUSIC (THEORY) Course Code: MMVL-4362

Time: 3 Hrs Total Marks: 75 Theory : 60 Marks CA: 15

Instructions for the Paper Setters Eight questions of equal marks (Specified in the syllabus) are to be set, two in each of the four Sections (A-D). Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each Section. The fifth question may be attempted from any Section. Each question carries 12 marks.

UNIT-A

 Meaning, Scope and Types of Research inMusic.  Priority Areas of Research inmusic.

UNIT-B

9 7  Concept and Pre Requirement of Selection of aTopic.  Preparation of Synopsis and ResearchProposal.

UNIT-C  Different Gayan shallies of sufimusic.  Interrelationship study of Music andYoga.

UNIT-D  Relationship of Music withPhysics.  Interrelationship of Music andPsychology.

BOOKS RECOMMENDED:

1. Nibandh Sangeet Laxmi Naryan Garg SangeetKaryala Hathras. 1989 2. Music And Fine Arts In the Devotional Tradition of Saurali Goswami, A.P.H.Publishing India Corporation. DariyaGanj, 2005 3. Dhwani Aur Sangeet Lalit Kishor Singh 4. Sangeet Mein Anusandhan Ki Smasayian Aur Kshetar Dr. Subhadra Chaudhary 5. Sangeet Evam Shodh Parvidhi Dr. Manorma Sharma 6. Shodh Parvidhi Dr. Vinay Mohan Sharma 7. Problems and Areas of Research in Music Dr. Subhadra Chaudhary 8. Research Methodology Dr. B.M. Jain 9. Bhartiya Sangeet Mein Shodh Parvidhi Dr. Alka Nagpal 10. Bhartiya Sangeet Mein Anusandhan Ki Smasayian Dr. Vandana Sharma 11. Foundation of Behavioral Research Fred N.Kerlinger IInd Edition 12. Behavioral Research–A Conceptual Approach Fred N.Kerlinger 13. Foundation of Behavioral Research IIIrd Edition Fred N.Kerlinger 14. Research Methods in Social Relations Selltiz, Johda, Morton, Deutsch and Stuart Cook 15. Research Methodology Ranjit Kumar 16. Research in Education John W. Best, James V. Kahan 17. Shaikshik Anusandhan ke mool Tatv Sukhia and Mehrotra 18. Shaikshik Anusandhan Dr. Lokesh Kaul 19. Sangeet Kala Ke Vividh Ayaam Sanjay Prakashan 20. Psychological Effects of Music, Cyber TechPublications Dr. M.P. Mehta 21. Sangeet main shodh Pravidhi Dr. Ravi Sharma

9 8 Master of Arts (Music Vocal) Semester-IVSession 2020-2021Stage Performance - IV (Practical)Course Code: MMVP-4363

Course Outcomes:

Master of Arts (Music Vocal) Semester-IV Session 2020-2021 Practical -VII (Stage Performance) Course Code: MMVP-4363

Examination Time: 40 students per Student Total Marks:100 Practical: 80 CA:20 Note I : The Examination will be conducted by a Board of Examiners consisting of Head of Department, Internal and External Examiners in the presence of audience including students and teachers. Candidates are required to demonstrate one Raga (accompanied with Manual Tanpura) of own choice (among prescribed in Paper IV) with proper elaboration & all the technicalities (Alaap, Bol Alaap, Behlava, Taan, Boltaan etc.) of Gayan. Harmonium is allowed only for light music performance.Basic Taals on Hands and Tabla will be compulsory. 1. Vilambit Khyaal 2. Drut Khyaal 3. Thumari/ Tappa 4. Ghazal with accompaniment of Harmonium to be played by the candidate. 5. Ten Alankars in Marwa, Poorvi & Todi Thatas each (Accompanied with Harmonium and Tabla). 6. Tuning of Tanpura.

Books Recommended

Sr. Name of the Book Author No. 1. Hindustani Sangeet Kramik Pustak V.N. Bhatkhande

9 9 Malika(I-VI) 2. Naveen Khyaal Rachnavali (Part I &II) Dr. Shankar Lal Mishra 3. Abhinav Geet Manjari(Part I &II) Dr. S.N. Ratanjankar 4. Raag Parichay (Part I-VI) Harish Chandar Srivastava 5. Avhinav Geetanjli( Part I-VI) Pt. Ramashraya Jha 6. Raag Rehasya Acharaya K.C.D. Brahaspati 7. Swaranjali Dr. Prabha Attre 8. Sarang Ke Prakaar J.T.Shah 9. Punjab Diyaan Lok Dhuna Gurpartap Singh Gill

Master of Arts (Music Vocal) Semester-IVSession 2020-2021Practical -VIII (Viva - Voce) Course Code: MMVV-4364

Course Outcome:

CO1: The course will add to the knowledge of the students, the practical knowledge of Vocal Music.(Raagas & Taalas)

CO 2: The course will give an extensive knowledge of different Gayan Shaillies.

CO 3: With the help of this course students have a wider view and vision about music exclusively throughout the world.

CO4: This course prepares the students to learn and perform the art keeping in mind all the theoretical aspects. It also prepares them to do qualifying exam like NET(UGC)JRF etc.

Master of Arts (Music Vocal) Semester-IVSession 2020-2021Practical -VIII (Viva -Voce) Course Code: MMVV-4364

Examination Time: 40 Minutes per student Total Marks: 100 Practical: 80 CA: 20 Note I :

1 0 The Examination will be conducted by a Board0 of Examiners consisting of Head of Department, Internal and External Examiners in the presence of audience including students and teachers. Candidates are required to demonstrate one Raga (accompanied with Manual Tanpura) of own choice (among prescribed in Paper IV) with proper elaboration & all the technicalities (Alaap, Bol Alaap, Behlava, Taan, Boltaan etc.) of Gayan. Harmonium is allowed only for light music performance.Basic Taals on Hands and Tabla will be compulsory. Note II : 1) Detailed and Critical Study of following Raagas, select any four combinations. 2) Detailed Study of any five raagas and Non detailed study of three ragas. 3) Any two Vilambit khyaals and five Drut khyaals with proper style of singing. 4) Three non-detailed ragas with full descriptions and a few alaap/tans, other than detailed raagas selected by the candidate. 5) Ability toplay Tilwara, Chautal, Dhmaar, Kehrwa on Hand and Tabla with Ekgun & Dugun Layakaries.

List of Raagas (Select according to Note I & II) 1. Bhatiyar/Lalit 2. Puiriya/ Marwa 3. Gujri Todi/Bilaskhani Todi 4. Hameer/Kamod 5. Darbari/Adana 6. Kirvani/Sindh Bhairavi

Books Recommended

Master of Arts (MUSIC VOCAL) Semester – IV

100

1 0 (SESSION 20201 -21) Research Project (Minor) Course Code: MMVD-4365

Course Outcome CO 1: This course will enhance the research interests of the students. CO 2: This course will add to the knowledge of the students, the wider scope of Research in Music. CO 3: This course will give an extensive knowledge of other continents in which research of music developed.

Master of Arts (MUSIC VOCAL) Semester – IV

SESSION 2020-21 Course Code: MMVD-4365 Course Title: Research Project (Minor) Total Marks 50 Practical: 40 CA: 10

NOTE:

Student is required to prepare one research project. Submitted projects must reach to the Secrecy Branch of Kanya Maha Vidyalaya, Jalandhar in time i.e. 30 April of the IV Semester.

 Research project should base on any topic prescribed in the syllabus of Semester I toIV ofM.A.  Project should not be less than 25-30pages.  Research Methodology to be duly adopted in the projectproperly. The viva of the same will be conducted by practical Examiner in the presence of open audience

101

1 0 2

Faculty of Performing & Visual Arts SYLLABUS Of MA (Music Instrumental) (Semester-I to IV) (UnderContinuous Evaluation System)

Session: 2020-21

The Heritage Institution

KANYA MAHA VIDYALAYA JALANDHAR

102

1 0 (Autonomous)3

Programme Specific Outcomes M.A (Music Instrumental) Session 2020-21

Upon Successful completion of this programme, students will be able to: P.S.O. 1) Understand various Raagas & Taalas and knowledge of Viva Voce. P.S.O. 2) Know the intricacies of Music, as performing Art, both theoretically & practically. P.S.O. 3) Influence the audience with daily learning and practice of Raagas. P.S.O. 4) Have command on their voice to sing classical as well light music. P.S.O. 5)Music Direction, Stage Performances, Voice Coach, Show Host, Music Academies or studios etc. Kanya Maha Vidyalaya, Jalandhar (Autonomous)

SCHEME AND CURRICULUM OF EXAMINATIONS OF TWO YEAR DEGREE PROGRAMME Master of Arts (Music Instrumental) (Session 2020-21)

Master of Arts (Music Instrumental) Semester I

Marks Course Examination Course Code Course Title Type Ext. time Total CA (in Hours) L P

MMIL-1351 Theoretical Survey of Indian Music 3 100 80 20 (Theory) C --

103

1 0 MMIL-1352 Historical Study of Indian Music4 3 80 20 (Theory) C 100 --

MMIP-1353 Practical-I (Stage Performance) 40 Minutes 100 -- 20 C 80 per student

MMIV-1354 Practical - II(Viva –Voce) 40 Minutes 100 -- 20 C 80 per student

Total 400

Master of Arts (Music Instrumental) Semester-ISession 2020-2021Theoretical Survey of Indian Music (Theory) Course Code: MMIL-1351

Course Outcomes

CO1: This course will give an extensive knowledge of different theoretical aspects of Hindustani Music.

CO2: This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Instrumental) Semester-I Session 2020-21Theoretical Survey of Indian Music (Theory) Course Code: MMIL-1351 Examination Time: 3 Hours Maximum Marks : 100 Theory: 80 CA :20 Instructions for the Paper Setters: The paper setter will set eight questions divided in to four units, selecting Two Questions from each Unit. Questions may be subdivided in parts (not exceeding four). Each question will carry equal Marks. Instructions for the candidates:- Candidates are required to attempt five questions, selecting at least one question from each Unit. The fifth question may be attempted from any Unit.

Unit-I 11. Detailed study of Naad and Sahayak Naad. 12. Concept of Swar, Shruti and Saptak.

104

1 0 Unit-II 5 13. Study of Swarit (Drone) and its importance in Music (with special ref. to Tanpura). 14. Importance of Swar Samvaad in Hindustani Music. 15. Brief knowledge of followingterms: a) Kan - Krintan - Zamzma . b) Khatka - Murki - Meend. c) Ghaseet - Gamak - Jhala.

Unit-III 16. Study of Gram and Moorchana System along with their practical use in Raagas. 17. Knowledge of the following: (a) Alaap (b) Jod alaap (c)Jod Jhalla

Unit-IV 18. Detailed Study of Taan/Tora and its types. 19. Exploration of new possibilities in Raag Vargikaran Paddti while doing critical study of following Paddaties-: 13. Shudh -Chayalag -Sankeern Raag Paddati 14. Thaat Raag Classification Paddati 15. Raagang Padhati Paddati

20. Detailed Descriptions of the following : - a) Ragas: Bhairav, Vrindavani Sarang,Asawari,Yaman Kalyan, b) Talas (From Thah to Chaugun Layakari): Teentaal, Ektaal, Kehrava, Dadra

Books Recommended

105

1 0 Neelam Parkash Adhyatmak Swaroop 6

Master of Arts (Music Instrumental) Semester-I Session 2020-21 Historical Study of Indian Music (Theory) Course Code: MMIL-1352

Course Outcomes:

CO1: The course will give an extensive knowledge of Historical Development and systematic evolution of Indian Classical Music.

CO2: The course will add to the knowledge of students about the musical journeys and contribution of eminent musicians, scholars and artists towards Hindustani Music.

CO3: This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Instrumental) Semester-I Session 2020-2021Historical Study of Indian Music (Theory) Course Code: MMIL-1352 Examination Time: 3 Hours Total Marks: 100 Theory: 80 CA: 20 Instructions for the Paper Setters: The paper setter will set eight questions divided in to four units, selecting Two Questions from each Unit. Questions may be subdivided in parts (not exceeding four). Each question will carry equal Marks. Instructions for the candidates:- Candidates are required to attempt five questions, selecting at least one question from each Unit. The fifth question may be attempted from any Unit. Unit-I 11. Historical development of Music during Ramayan & Mahabharat Period. 12. Comparative Study of Hindustani and Karanatk Music Systems.

Unit-II 13. Development and Contribution of following Ghranas: (i) Gwalior Ghrana(Vocal) (ii) Kirana Ghrana(Vocal) (iii) Punjab Ghrana (Tabla) (iv)Maihar Ghrana (Instrumental (v)Itava Ghrana(Instrumental)

106

1 0 14. Contribuiton of : Ustad Bade Ghulam7 Ali, Ustad Ameer Khan, Pandit Ravi Shankar, Ustad Vilayat Khan 15. Knowledge and comparison of following Vadan Shailies: 16. Massetkhani Gat/ Vilambit Gat 17. Razakhani Gat/ Drut Gat 18. Thumari/ Dhun Unit-III 16. Relationship between Vocal Music & Instrumental Music. 17. Development of Indian Classical Music in Post Independence Era. 18. Contribution of Punjab in the field of Indian Classical Music.

Unit-IV 19. Contribution of V.N. Bhatkhande and V.D. Paluskar in popularising Indian Classical music 20. Merits and Demerits of teaching of classical music in universities /colleges Institutional system.

Books Recommended

Sr. Name of The Author Name of the Book Publisher Year of No Publication 1. Dhawani aur Sangeet Lalit Kishore Singh Bhartiya Giyaanpeeth, 2004 New Delhi 2. Lakshmi Narayan Garg Nibandh Sangeet Sangeet Karyalaya, 1989 Hathras. 3. Vasant Sangeet Visharad Sangheet Karyalaya, 2004 Hathras. (New Edition) 4. Lakshmi Narayan Garg Hamare Sangeet Ratan Kanishka Publishers, 1989 New Delhi. 5. Dr. Indrani Chakravarti Music: Its Methods and Mittal Publications, 1996 Techniques of Teaching In New Delhi. Higher Education 6. Dr. Arun Mishra Bhartiya Kanth Sangeet Kanishka Publishers, 2002 Evam Vadya Sangeet New Delhi. 7. Pt. Debu Chaudhry On Indian Music Roshan Press, Delhi 2005 8. Seema Johri Sangeetayan Radha publications, 2003 New Delhi

Master of Arts (Music Instrumental) Semester Session 2020-2021Practical-I(Stage Performance)Course Code: MMIP-1353

Course Outcomes:

107

1 0 3) The objective of this course is to make8 student good stage performer covering all the aspects of Ragas presentation, Gayan/Vadan Shaillies along with the knowledge of Taalas. 4) This course prepares the students to learn and perform the art keeping in mind all the theoretical aspects. 5) This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Instrumental) Semester-I Session 2020-2021Practical-I (Stage Performance)Course Code: MMIP-1353 Examination Time: 40 students per Student Total Marks:100 Practical: 80 CA:20 Instructions for the Examiners: The Examination will be conducted by a Board of Examiners consisting of Head of Department, Internal and External Examiners. Question paper is to be set on the spot. Note: Candidates are required to demonstrate one Raga of own choice (among prescribed in Paper IV) with Alap, Jod jhala, Maseetkhani Gat&Razakhani Gatfollowed by Jhala. 1) Raga Performance: i) Maseetkhani Gat ii) Razakhani Gat 2)Five Alankars in Bilawal, Klayan & Bhairav Thatas each (Accompanied with Harmonium and Tabla). 3) Tuning of your own Instrument.

Books Recommended

108

1 0 6. Raag Rehasya 9 Acharaya K.C.D. Brahaspati 7. Swaranjali Dr. Prabha Attre 8. Sarang Ke Prakaar J.T.Shah 9. Punjab Diyaan Lok Dhuna Gurpartap Singh Gill

Master of Arts (Music Instrumental) Semester-ISession 2020-2021 Practical – II (Viva- Voce) Course Code: MMIV-1354

Course Outcome:

CO1: This course introduces the students to critical and comparative study of Raagas prescribed in course.

CO2:Now After this course, students are able to understand the Inter Relationship between Folk Music & Classical Music.

CO3: This course prepares the students to understand practical as well as theoretical aspects of Raagas.

CO4: This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Instrumental) Semester-ISession 2020-2021 Practical – II (Viva- Voce) Course Code: MMIV-1354 Examination Time: 40 Minutes per student Total Marks: 100 Practical: 80 CA: 20 Instructions for the Examiners: The Examination will be conducted by a Board of Examiners consisting of Head of Department, Internal and External Examiners. Question paper is to be set on the spot. Marks would be awarded on the basis of performance and viva-voce. a. Candidate required to present One Raga of his/ her own choice from the Raagas mentioned below with Alap, Jod, Maseetkhani Gat & Razakhani Gat followed by Jhalaother than the Raaga selected for Stage Performance. b. Razakhani Gats are compulsory in all Raagas from the mentioned below. c. One Folk Dhun d. Demonstration of following Taals by Handsin Dugun:

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1 1 Teental, Ektaal, Kehrva, Dadra. 0 Raagas: Bhairav, Vrindavani Sarang,Asawari, YamanKalyan

Books Recommended

------

(Semester- II ) Session: 2020-21

110

1 1 Programme Specific1 Outcomes M.A Music (Instrumental) Session 20-21 Upon Successful completion of this programme, students will be able to: P.S.O. 1) Understand various Raagas & Taalas and knowledge of Viva Voce. P.S.O. 2) Know the intricacies of Music, as performing Art, both theoretically & practically. P.S.O. 3) Influence the audience with daily learning and practice of Raagas. P.S.O. 4) Have command on their voice to sing classical as well light music. P.S.O. 5)Music Direction, Stage Performances, Voice Coach, Show Host, Music Academies or studios etc. Kanya Maha Vidyalaya, Jalandhar (Autonomous)

SCHEME AND CURRICULUM OF EXAMINATIONS OF TWO YEAR DEGREE PROGRAMME Master of Arts (Music Instrumental) (Session 2020-21)

Master of Arts(Music Instrumental)Semester II

Marks Course Examination Course Code Course Title Type Ext. time Total CA (in Hours) L P

MMIL-2351 Aesthetic study of Indian Music C 100 80 -- 20 3

MMIL-2352 An Analytical study of Granthas C 100 80 -- 20 3 MMIL-2353 Practical- III (Stage Performance) 40 Minutes 100 -- 20 C 80 per student

MMIV-2354 40 Minutes 100 -- 20 Practical – IV (Viva Voce) C 80 per student

400 Total

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1 1 Master of Arts (Music Instrumental) Semester2 -IISession 2020-2021Aesthetic Study of Indian Music (Theory)Course Code: MMIL-2351

Course Outcomes

CO1: This course will give an extensive knowledge of different Aesthetical aspects of Hindustani Music in general along with the study of Folk Music of Punjab.

CO2 :This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Instrumental) Semester-II Session 2020-2021Aesthetic Study of Indian Music (Theory) Course Code: MMIL-2351

Time: 3 Hrs Total Marks: 100 Theory: 80 Marks CA: 20

Instructions for the candidates:- Candidates are required to attempt five questions, selecting at least one question from each Unit. The fifth question may be attempted from any Unit.

Unit- I

 Define Aesthetics and explain its principles in the context of Music.  The influence and impact of Aesthetical elements in music performance.

Unit - II

 Relevance of raag raagini chitran in the relationship of raga with emotions.  Relationship of Ras in Raga.  Relation of Ragas with Seasons and Time.

Unit –III

 Creativity and Improvisation in Raaga.  Use of following ragas in film music: Bhairavi, Pilloo , Khamaj, Shivranjani, Pahadi

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1 1 Unit –IV 3

 Critical and comparative study of ragas having same notes.  Swar Sthapna on strings of Veena by Pt. Sriniwas.  Study of Folk Music of Punjab.

Books Recommended:

10. Bhartia Kanth Sangeet Avam Vadya Sangeet - Dr. Arun Mishra, Kanishka Publishers, New Delhi, 2002 11. Sangeet Visharad – Basant , Sangeet Karyalya , Hathras, 2004 12. On Indian Music - Pt. Debu Chaudhri, Roshan Press, 2005 13. Nibandh Sangeet – Laxmi Narayan Garg, Sangeet Karyala , Hathras, 1989 14. Bhartiya Sangeet main Vigyanik Upkarnon Ka Prayog- Dr. Anita Gautam, Kanishka Publishers, New Delhi, 2002 15. Bhartiya Taalon KA Shastriya Vivechan –Arun Kumar Sena9 Madhya Pradesh Academy, Bhopal,2002 16. Indian Music In Professional And Academic Institution , Dr. Manju shree Chaudhri, Sanjay Prakashan, New Delhi, 1999. 17. Indian Conceptof Rythm- A.K Sen, Kanishka Publishers, New Delhi, 1994 18. Man and Music In India- Rashmi Goswami Indian Institute of Advance Study 1992

Master of Arts (Music Instrumental) Semester-IISession 2020-2021An Analytical Study of Granthas (Theory)Course Code: MMIL-2352

Course Outcomes

CO1:Students go through the Shastra (Granthas) of Indian Classical Music and know the threads rooted in this traditional art.

CO2:This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Masters of Arts (MUSIC INSTRUMENTAL) Semester-II (Session 20-21)An Analytical Study of Granthas (Theory) Course Code: MMIL-2352

113

1 1 Time: 3 Hrs 4 Total Marks: 100 Theory : 80 Marks

Instructions for the Paper Setters: The paper setter will set eight questions divided in to four units, selecting Two Questions from each Unit. Questions may be subdivided in parts (not exceeding four). Each question will carry equal Marks. Instructions for the candidates:- Candidates are required to attempt five questions, selecting at least one question from each Unit. The fifth question may be attempted from any Unit.

Unit - I

 Natya Shastra-Bharat Muni.  Sangeet Ratnakar- Pt. Sharang Dev

Unit-II

 Sangeet Prijat- Pt. Ahobal.  Swar Melakala Nidhi- Pt. Ramamatya.

Unit -III

 Rag Tatavvibod – Pt. Shri Niwas.  Sangeet Chintamani- Acharya Brihaspati.

Unit-IV

 Pranav Bharati- Pt. Omkar Nath Thakur  Dhawani & Sangeet- Lalit Kishor Singh

Books Recommended:

15. Sangeet Ratnakar- Pt Sharang Dev, Sangeet Karyalya , Hathras, 1964 16. Brighdeshi- Matang Publication Scheme, Jaipur, 1972 17. Uttar Bhartiya Sangeet- Paddatiyon Ka Tulnatamak Adhyayan (VN Bhatkhande, Sangeet Karyalya , Hathras,UP- 1965 18. Swar Male Kalanidhi- Ramamatya, Sangeet Karyalya , Hathras, 1967 19. Natya Shastra-Bharat, Chaukhambha Sanskrit Sansthan, Varanasi,UP 1985

114

1 1 20. Works of Sharang dev-Dr. Prem5 Lata Sharma, Sangeet Natak Academy New Delhi 21. Works of Matang Brighdeshi- Dr. Prem Lata Sharma, Sangeet Natak Academy New Delhi 22. Sangeet Ratnakar- Dr. Prem Lata Sharma and Dr. R.K.Shringi Moti Lal Banarsi dass, New Delhi 23. Bharat ke Sangeet Sidhant- Acharaya Brihaspati 24. Sangeet Chinta mani I- II, Acharaya Brihaspati 25. Bhartiya Sangeet- Thakur Jaidev Singh, 26. Indian Music Edited by Dr. Prem Lata Sharma, Sangeet Research Academy, Kolkata. 27. Dhavani & Sangeet- Lalit Kishor Singh 28. Pranav Bharati- Omkar Nath Thakur

Master of Arts (Music Instrumental) Semester - II Session 2020-2021 Practical – III (Stage Performance)

Course Code: MMIP-2353

Course Outcomes:

3) The objective of this course is to make student good stage performer covering all the aspects of Ragas presentation, Gayan/ Vadan Shaillies along with the knowledge of Taalas. 4) This course prepares the students to learn and perform the art keeping in mind all the theoretical aspects. 5) This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Instrumental) Semester - II Session 2020-2021 Practical – III (Stage Performance) Course Code: MMIP-2353

Examination Time: 40 students per Student Total Marks:100 Practical: 80 CA:20 Instructions for the Examiners:

115

1 1 The Examination will be conducted by a Board6 of Examiners consisting of Head of Department, Internal and External Examiners. Question paper is to be set on the spot. Note: Candidates are required to demonstrate one Raga of own choice from the ragas mentioned below with Alap, Jod, Maseetkhani Gat&Razakhani Gatfollowed by Jhala. 1) Raga Performance: i) Maseetkhani Gat ii) Razakhani Gat 2)Five Alankars in Kafi & Khmaaj Thatas each (Accompanied with Harmonium and Tabla). 3)One Bandish /Gat in other than Teentaal.

Books Recommended

Master of Arts (Music Instrumental) Semester-IISession 2020-2021Practical – IV (Viva-Voce) Course Code: MMIV-2354

Course Outcome:

CO1: This course introduces the students to critical and comparative study of Raagas prescribed in course.

116

1 1 CO2: This course prepares the students to understand7 practical as well as theoretical aspects of Raagas.

CO3: This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Instrumental) Semester-IISession 2020-2021 Practical – IV (Viva-Voce)Course Code: MMIV-2354 Examination Time: 40 Minutes per student Total Marks: 100 Practical: 80 CA: 20 Instructions for the Examiners: The Examination will be conducted by a Board of Examiners consisting of Head of Department, Internal and External Examiners. Question paper is to be set on the spot. Marks would be awarded on the basis of performance and viva-voce. 5. Candidate will required to present One Raga of his/her own choice From the Raagas mentioned below with with Alap, Jod, Maseetkhani Gat & Razakhani Gat followed by Jhala other than the Raaga selected for Stage Performance. 6. Razakhani Gats are compulsory in all Raagas prescribed in the syllabus. 7. One Cinematic/ Soofi Song 8. Demonstration of following Taals on Hands in Thah and Dugun: Tilwara, Roopak, Jhaptaal. Raagas: GujariTodi,Shudh Sarang, Puriya Kalyan, Rageshwari

Books Recommended

117

1 1 8. Sarang Ke Prakaar 8 J.T.Shah 9. Punjab Diyaan Lok Dhuna Gurpartap Singh Gill

(Semester- III ) Session: 2020-21

Programme Specific Outcomes M.A Music (Instrumental) Session 20-21 Upon Successful completion of this programme, students will be able to: P.S.O. 1) Understand various Raagas & Taalas and knowledge of Viva Voce. P.S.O. 2) Know the intricacies of Music, as performing Art, both theoretically & practically.

118

1 1 P.S.O. 3) Influence the audience with daily learning9 and practice of Raagas. P.S.O. 4) Have command on their voice to sing classical as well light music. P.S.O. 5)Music Direction, Stage Performances, Voice Coach, Show Host, Music Academies or studios etc.

Kanya Maha Vidyalaya, Jalandhar (Autonomous)

SCHEME AND CURRICULUM OF EXAMINATIONS OF THREE YEAR DEGREE PROGRAMME Master of Arts (Music Instrumental)Session 2020-21

Master of Arts (Music Instrumental) Semester III

Course Marks Examination time Type Course Code Course Title Ext. Total CA (in Hours)

L P

MMIL-3351 Scientific Study of Indian Music (Theory) C 100 80 -- 20 3

MMIL-3352 Music As A Commercial Art (Theory) C 100 80 -- 20 3

MMIP-3353 Practical – V (Stage Performance) 40 Minutes per C 100 -- 80 20 student

MMIV-3354 Practical – VI (Viva –Voce) 40 Minutes per C 100 -- 80 20 student

Total 400

Master of Arts (Music Instrumental) Semester-III Session 2020-2021Scientific Study of Indian Music (Theory) Course Code: MMIL-3351

Course Outcomes

CO1: This course will give an extensive knowledge of scientific aspects of Hindustani Music, enabling students to explore Physics and other related aspects of the subject.

CO2:This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

119

1 2 0

Master of Arts (Music Instrumental) Semester-III Session 2020-2021 Scientific Study of Indian Music (Theory) Course Code: MMIL-3351

Examination Time: 3 Hours Maximum Marks : 100

Theory: 80

CA :20

Candidates are required to attempt five questions, selecting at least one question from each Unit. The fifth question may be attempted from any Unit.

Unit –I

1. Short notes on the following in the context of Music: -

Imagination, Imitation, Environment, Accompaniment, Appreciation. 2. Role of Mood & Expression in musicalperformance. Unit –III

3. Critical evaluation of Electronic Gadgets used for accompaniment in the field of Music. 4. Role of Mathematics in Music. Unit -III 5. Historical and Structural development of Tabla along with its Importance in Music. 6. Use and Importance of Vocal Music and Instrumental Music in Kathak. 7. Aesthetical difference between various Gayan Shaillies on the basis of Laya and Layakari. Unit- IV

8. Correct Intonation of Swaras in various ragas. 9. Concept of Melody & Harmony in context of Hindustani Music.

10. Importance of Voice Culture in Hindustani Music.

120

1 2 Books1 Recommended: Vasant Sangeet Visharad Sangheet Karyalaya, Hathras. 2004 Sr. (New Edition) No. Lakshmi Narayan Nibandh Sangeet Sangeet Karyalaya, Hathras. 1989 1. Garg 2. Dr. Anita Gautam Bhartiya Sangeet main Kanishka Publishers, New 2002 Vigyanik Upkarnon Ka Delhi Prayog 3. Pt. Debu Chaudhri On Indian Music Roshan Press 2005 Dr. Yashpal Gayan Kala Punjabi University, Patiala. 2011 4. Sharma (IInd Edition) 5. Arun Kumar Sen Bhartiya Taalon KA Madhya Pradesh Academy, 2002 Shastriya Vivechan Bhopal, Dr. Arun Mishra Bhartiya Kanth Sangeet Kanishka Publishers, New 6. Evam Vadya Sangeet Delhi. 2002 7. Dr. Manju shree Indian Music In Sanjay Prakashan, New Delhi 1999 Tyagi Professional And Academic Institution 8. A.K. Sen Indian Concept of Rythm Kanishka Publishers, New 1994 Delhi 9. Rashmi Goswami Man and Music In India Indian Institute of Advance 1992 Study, Shimla

Master of Arts (Music Instrumental) Semester-III Session 2020-2021Music As A Commercial Art (Theory) Course Code: MMIL-3352

Course Outcomes:

CO 1: This course includes a comprehensive and thorough study ofMusic as a discipline at an advanced level.

CO2: The course will add to the knowledge of students about the different perspectives of Indian Classical Music.

CO3:This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

121

1 2 Master of Arts (Music Instrumental) Semester2 -III Session 2020-2021Music As A Commercial Art (Theory) Course Code: MMIL-3352

Examination Time: 3 Hours Total Marks: 100

Theory: 80

CA: 20

Instructions for the Paper Setters:

The paper setter will set eight questions divided in to four units, selecting Two Questions from each Unit. Questions may be subdivided in parts (not exceeding four). Each question will carry equal Marks.

Instructions for the candidates:-

Candidates are required to attempt five questions, selecting at least one question from each Unit. The fifth question may be attempted from any Unit.

Unit -I

11. Traditional and Contemporary methods of Teaching Music. 12. Evaluation theRole of Akaashvani & Doordarshan in promoting HindustaniClassical Music. 13. Impact of Globalization on Indian Music.

Unit -II 14. Importance of background Music in Hindi Cinema. 15. Analytical study of emerging trends in popular music and their impact on social values.

Unit -III

16. Various aspects of Music as a Profession. 17. Role of Multimedia in promotion and propagation of Music. 18. Role of Fusion Music in popularizing Hindustani Music.

Unit- IV

19. Role of Music in popularizing CommercialAdvertisements. 20. Relationship of other Fine Arts (Literature, Painting, Sculpture) with Music and Dance.

Books Recommended:

Sr. Name of the Book Author

122

1 2 No. 3 1. Sangeet Ratnakar Pt Sharang Dev 2. Natya Shastra Bharat 3. Hindusatani Music G.H. Ranade 4. Indian Music Dr. Prem Lata Sharma 5. Bhartiya Sangeet Thakur JaidevSingh 6. Brighdeshi Matang 7. Swar Aur Ragon Ke Vikas main Vadyon ka Yogdan Prof. Indrani Chakarvarti 8. Uttar Bhartiya Sangeet- Paddatiyon Ka Tulnatamak Adhyayan V.N. Bhatkhande 9. The Story of Indian Music O. Goswami 10. Sangeet Sidhant ate Suhaj Shastar Darshan Singh Narula 11. Tan Tantari Man Kinnari Dr. Indrani Chakarvarti

Master of Arts (Music Instrumental) Semester-III Session 2020-2021 Practical - V (Stage Performance) Course Code: MMIP-3353

Examination Time: As par Requirement Total Marks:100 Practical: 80 CA:20

Instructions for the Examiners:

The Examination will be conducted by a Board of Examiners consisting of Head of Department, Internal and External Examiners. Question paper is to be set on the spot.

Note: Candidates are required to demonstrate one Raga of own choice (among prescribed in Paper IV) with with Alap, Jod, Maseetkhani Gat&Razakhani Gatfollowed by Jhala. 1) Raga Performance:

i) Maseetkhani Gat ii)Razakhani Gat

2) One Gat in Dharupad Style.

3) OneDhun in Raag: Mishr Peelu/ Pahadi/ Khmaaj

4)Five Alankars on the basis of That Asawari & Bhairavi eachaccompanied with Harmonium and Tabla.

4) Demonstration of following Taals on Tabla with dugun layakari:

123

1 2 Teental, Ektaal,Chaartal 4

Master of Arts (Music Instrumental) Semester-III Session 2020-2021

Practical - VI (Viva Voce) Course Code: MMIV-3354

Examination Time: 40 Minutes per student Total Marks: 100

Practical: 80

CA: 20

Instructions for the Examiners:

The Examination will be conducted by a Board of Examiners consisting of Head of Department, Internal and External Examiners. Question paper is to be set on the spot.Marks should be awarded on the basis of performance and viva-voce.

1. Candidates are required to demonstrate One Raga of their own choice (From the following Raagas,) with Alap, Jod jhala, Maseetkhani Gat & Razakhani Gat followed by Jhala other than the Raaga selected for Stage Performance. 2. Razakhani Gats are compulsory in rest of three Raagas prescribed in the syllabus. 3. Detailed Raagas: Nat Bhairav, Shudh Kalyaan, Maru Bihag, Bhimplasi 4. Comparative Study of :Nat Bhairav / Aheer Bhairav, Shudh Kalyan / Shyam Klayan, Maru Bihag / Bihag, Bhimplasi / Patdeep. 5. Comparative Study of Taalas of Hindustani Music having equal number of Matraas. 6. Two Power Point Presentations on Topics prescribed in Theory Syllabus. 7. Each student will require Two live stage performance in each semester .(III & IV)

Books Recommended

124

1 2 6. Gurmat Sangeet Prabandh 5 Dr. GurnamSingh 7. Avhinav Geetanjli Part I-V Pt. Ramashraya Jha 8. Swarannjali Prbha Attre

(Semester- IV) Session: 2020-21

Programme Specific Outcomes M.A Music (Vocal) Session 20-21 Upon Successful completion of this programme, students will be able to join: Teaching profession, Music Direction, Stage Performances, Playback singing or as Staff Artist (AIR or DD), Music Academies or studios etc.

Kanya Maha Vidyalaya, Jalandhar (Autonomous)

SCHEME AND CURRICULUM OF EXAMINATIONS OF THREE YEAR DEGREE PROGRAMME Master of Arts (Music Instrumental)Session 2020-21

Master of Arts (Music Instrumental) Semester IV

125

1 2 6 Marks Course Examination Course Code Course Title Type Ext. time Total CA (in Hours) L P

MMIL-4351 Gurmat Sangeet ( Theory ) C 75 60 -- 15 3 MMIL-4352 Essays on Indian Music and Research 3 60 15 in Music (Theory) C 75 --

MMIP-4353 Practical-VII (Stage Performance) 40 100 -- 20 C 80 Minutes Per Student

MMIV-4354 40 Min Per 100 -- 20 Practical – VIII (Viva Voce) C 80 Student

MMID-4355 Research Project C 50 -- 40 10 400 Total

Master of Arts (Music Instrumental) Semester-IV Session 2020-21 Course Code:MMIL-4351 GURMAT SANGEET (Theory) Course Outcome

Master of Arts (Music Instrumental) Semester-IV Session 2020-21 Course Code:MMIL-4351 GURMAT SANGEET (Theory)

126

1 2 7 Time: 3 Hrs Total Marks: 75 Theory : 60 Marks CA: 15

Instructions for the Paper Setters:- Eight questions of equal marks (Specified in the syllabus) are to be set, two in each of the four Units (A-D). Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each Unit. The fifth question may be attempted from any Unit. Each question carries 12 marks.

Unit - I 1. Technical Terminology: Shaan, Jodi, Reet, Manglacharan, Guldasta 2. Musicology of Shri Guru Granth Sahib. 3. Contribution of Shri Guru Nanak Dev Ji towardsMusic. 4. Contribution of Shri Guru Gobind Singh Ji towardsMusic.

Unit - II 5. Significance and Study of following Tanti saaz in the context of Gurmat Sangeet:- Rabab, Sarnada, Taus, Dilruba, Israj. 6. Classify the ragas mentioned in Gurmat Sangeet. Unit - III 7. Elements of Classical and folk music in GurmatSangeet. 8. Contribution and biography of following Keertankaars:- ( i)BhaiMardana (ii)Mahant Gajja Singh (iii) Sant Sarvan Singh Gandarabh Unit - IV 9. Various Keertan Trends of Gurmat Sangeet. 10. Dhaadhi and Kavishar traditions of Gurmat Sangeet.

BOOKS RECOMMENDED:

1. Gurmat Sangeet PrabandhAteParsar (Dr. GurnamSingh) 2. GurmatSangeetDarpan (Prof. KartarSingh) 3. Gurmat SangeetVishesh Ank, (Sangeet) Karyalaya Hathras (U.P)1997 4. SikhMusicology (Dr. GurnamSingh) 5. Punjab KiSangeetParampara (Dr. Geeta Pental) Radha Publication, NewDelhi.1989 6. Musicology ofShreeGuru Granth Sahib (Dr. Gurnam Singh) KanishkaPublishers, New Delhi.2002

Master of Arts (Music Instrumental) Semester-IV Session 2020-21

127

1 2 ESSAYS ON INDIAN MUSIC AND8 RESAERCH IN MUSIC (THEORY) Course Code:MMIL-4352

Course Outcome

CO4: This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Instrumental) Semester-IV Session 2020-21 ESSAYS ON INDIAN MUSIC AND RESAERCH IN MUSIC (THEORY) Course Code:MMIL-4352

Time: 3 Hrs Total Marks: 75 Theory : 60 Marks CA: 15

Instructions for the Paper Setters Eight questions of equal marks (Specified in the syllabus) are to be set, two in each of the four Units (A-D). Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each Unit. The fifth question may be attempted from any Unit. Each question carries 12 marks.

UNIT-I 1. Meaning, Scope and Types of Research inMusic. 2. Priority Areas of Research inmusic.

UNIT-II 3. Concept and Pre Requirement of Selection of aTopic. 4. Preparation of Synopsis and ResearchProposal.

UNIT-III

128

1 2 5. Interrelationship study of Music andYoga.9 6. Music & Mass Media.

UNIT-IV 7. Relationship of Music withPhysics. 8. Interrelationship of Music with Theatre.

BOOKS RECOMMENDED:

1. Nibandh Sangeet Laxmi Naryan Garg SangeetKaryala Hathras. 1989 2. Music And Fine Arts In the Devotional Tradition of Saurali Goswami, A.P.H.Publishing India Corporation. DariyaGanj, 2005 3. Dhwani Aur Sangeet Lalit Kishor Singh 4. Sangeet Mein Anusandhan Ki Smasayian Aur Kshetar Dr. Subhadra Chaudhary 5. Sangeet Evam Shodh Parvidhi Dr. Manorma Sharma 6. Shodh Parvidhi Dr. Vinay Mohan Sharma 7. Problems and Areas of Research in Music Dr. Subhadra Chaudhary 8. Research Methodology Dr. B.M. Jain 9. Bhartiya Sangeet Mein Shodh Parvidhi Dr. Alka Nagpal 10. Bhartiya Sangeet Mein Anusandhan Ki Smasayian Dr. Vandana Sharma 11. Foundation of Behavioral Research Fred N.Kerlinger IInd Edition 12. Behavioral Research -A Conceptual Approach Fred N.Kerlinger 13. Foundation of Behavioral Research IIIrd Edition Fred N.Kerlinger 14. Research Methods in Social Relations Selltiz, Johda, Morton, Deutsch and Stuart Cook 15. Research Methodology Ranjit Kumar equ Research in Education John W. Best, James V. Kahan al. 17. Shaikshik Anusandhan ke mool Tatv Sukhia and Mehrotra 18. Shaikshik Anusandhan Dr. Lokesh Kaul 19. Sangeet Kala Ke Vividh Ayaam Sanjay Prakashan 20. Psychological Effects of Music, Cyber TechPublications Dr. M.P. Mehta 21. Sangeet Main Shodh Pravidhi Dr. Ravi Sharma

Master of Arts (Music Instrumental) Semester-IVSession 2020-2021Practical- VII (Stage Performance)Course Code: MMIP-4353

Course Outcomes:

3) The objective of this course is to make student good stage performer covering all the aspects of Ragas presentation, Vadan Shaillies along with the knowledge of Taalas. 4) This course prepares the students to learn and perform the art keeping in mind all the theoretical aspects.

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1 3 5) This course will add the wider scope 0 of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Instrumental) Semester-IV Session 2020-2021 Practical- VII (Stage Performance) Course Code: MMIP-4353

Examination Time: 40 students per Student Total Marks:100 Practical: 80 CA:20 Note I : The Examination will be conducted by a Board of Examiners consisting of Head of Department, Internal and External Examiners in the presence of audience including students and teachers. Candidates are required to demonstrate one Raga of own choice (among prescribed in Paper IV) with proper elaboration & all the technicalities of Vadan. Harmonium is allowed only for light music performance.Basic Taals on Hands and Tabla will be compulsory. The candidate have the option to take any of the following instruments: Sitar, Sarangi, Veena, Sarod, Dilruba, Violin, Santoor, Bansuri, Shehnai, Guotar and Saranda. Tunning of Instruments Sitar/ Tabla is mendatory in all syllabus.Basic Taalas on Hand & Tabla will be compulsory.

1.Raaga Performance

 Maseetkhani Gat  Razakhani Gat

1. Thumari 2. Ten Alankars in Marwa, Poorvi & Todi Thatas each (Accompanied with Harmonium and Tabla). 3.One Cinematic Song. 4.Tuning of Instrument. 5. Ability to play the Thekas of Jhumra, Dhamaar, Ada Chautal on hand and Tabla up to chaugun Layakaries. Books Recommended

Sr. Name of the Book Author No. 1. Hindustani Sangeet Kramik Pustak V.N. Bhatkhande

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1 3 Malika(I-VI) 1 2. Naveen Khyaal Rachnavali (Part I &II) Dr. Shankar Lal Mishra 3. Abhinav Geet Manjari(Part I &II) Dr. S.N. Ratanjankar 4. Raag Parichay (Part I-VI) Harish Chandar Srivastava 5. Avhinav Geetanjli( Part I-VI) Pt. Ramashraya Jha 6. Raag Rehasya Acharaya K.C.D. Brahaspati 7. Swaranjali Dr. Prabha Attre 8. Sarang Ke Prakaar J.T.Shah 9. Punjab Diyaan Lok Dhuna Gurpartap Singh Gill 10. Sitae As I know Dr. Ravi Sharma

Master of Arts (Music Instrumental) Semester-IVSession 2020-2021Practical -VIII (Viva- Voce) Course Code: MMIV-4354

Course Outcome:

CO1: The course will add to the knowledge of the students, the practical knowledge of Vocal Music.(Raagas & Taalas)

CO 2: The course will give an extensive knowledge of different Gayan Shaillies.

CO 3: With the help of this course students have a wider view and vision about music exclusively throughout the world.

CO4:This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Instrumental) Semester-IVSession 2020-2021Practical – VIII (Viva- Voce) Course Code: MMIV-4354

Examination Time: 40 Minutes per student Total Marks: 100 Practical: 80 CA: 20 Note I :

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1 3 The Examination will be conducted by a Board2 of Examiners consisting of Head of Department, Internal and External Examiners in the presence of audience including students and teachers. Candidates are required to demonstrate one Raga of own choice (among prescribed in Paper IV) with proper elaboration & all the technicalities of Vadan). Harmonium is allowed only for light music performance.Basic Taals on Hands and Tabla will be compulsory. Note II : 1. Detailed and Critical Study of following Raagas, select any four combinations. 1. Jaunpuri/Asawari 2. Sohni/Marwa 3. Bhairavi/ Bilaskhani Todi 4. Kedar/ Kamod 5. Darbari/Adana 6. Kirvani/Shivranjini

2. Detailed Study of any five raagas and Non detailed study of three ragas. 3. Any two Maseetkhani Gats and five Razakhani Gats with proper style of singing. 4. To perform one Vialmbit Gat other than the raga selected for stage performance .Drut Gat with proper Alap, Toras & Jhala.

Books Recommended

Research Project (Minor) Course Code:MMID-4355

Course Outcome CO 1: This course will enhance the research interests of the students.

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1 3 CO 2: This course will add to the knowledge of3 the students, the wider scope of Research in Music. CO 3: This course will give an extensive knowledge of other continents in which research of music developed. CO4: This course will add the wider scope of Classical Music and will preparation for the UGC/NET /JRF Examination.

Master of Arts (Music Instrumental) Semester – IV

(SESSION 2020-21) Course Code:MMID-4355 Course Title: Research Project (Minor) Total Marks 50 Practical: 40 CA: 10

NOTE:

Student is required to prepare one research project. Submitted projects must reach to the Secrecy Branch of Kanya Maha Vidyalaya, Jalandhar in time i.e. 30 April of the IV Semester.

 Research project should base on any topic prescribed in the syllabus of Semester I toIV ofM.A.  Project should not be less than 25-30pages.  Research Methodology to be duly adopted in the projectproperly.  The viva of the same will be conducted by practical Examiner in the presence of open audience

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