FACULTY OF VISUAL & PERFORMING ARTS SYLLABUS FOR M.A. MUSIC (HONS.) (VOCAL) (SEMESTER: I – IV) (Under Credit Based Continuous Evaluation Grading System) EXAMINATIONS: 2014-15 ______________________________________________________________________________________ GURU NANAK DEV UNIVERSITY AMRITSAR ______________________________________________________________________________________ Note: (i) Copy rights are reserved. Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time. 1 M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System) Programme Code: MUB (V) SCHEME SEMESTER – I: Course No. C/E/I Course Title Credits Total L T P Credits MUL (V) 401 C THEORETICAL SURVEY OF 3 1 0 4 INDIAN MUSIC MUL(V)402 C HISTORY OF INDIAN MUSIC 3 1 0 4 MUL(V)403 C BIOGRAPHICAL AND 3 0 0 3 ANALATICAL STUDY OF INDIAN CLASSICAL MUSICIANS MUP (V) 421 C STAGE PERFORMANCE 0 0 4 4 MUP (V) 422 C ADVANCE STUDY OF RAGAS 1 0 3 4 MUP (V) 423 C SEMINAR (MUSIC 0 0 2 2 APPRICIATION) BASED ON POWER POINT PRESENTATION / ACTIVITIES I INTER DISPLINARY – – – 3 (ANY DEPTT.) OTHER THAN MUSIC Total Credits: – – – 24 General Instructions for All Papers (Semester: I – IV) I. Each written paper in Minor I & II shall be of one hour duration. II. Practical paper shall be of 15 minutes duration each. III. Each written paper in Major shall be of three hours duration and practical paper shall be of 30 minutes duration each IV. Harmonium will not be allowed as an accompaniment in Vocal. V. After every second minor in all papers there will be a Quiz. 2 M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System) PAPER: MUL–(V) 401: THEORETICAL SURVEY OF INDIAN MUSIC (THEORY) UNIT–I Note: The paper setter will set three questions. All questions are compulsory. 1. Write short notes on the following in the context of musicology:– Aptitude, Interest, Learning, Memory, musicology, environment, imitation. 2. Detailed study of Moorchana. 3. Critical survey of Ancient to Medieval Rag Vargikaran (Classification of Ragas). UNIT–II Note: The paper setter will set three questions. All questions are compulsory. 1. Shruti as defined by Bharat and Bhatkhande. 2. Comparative study of Rag, Shailies and Thata of Uttari and Dakshini systems of Music. 3. Importance of swarit (Key note) in Music. 4. Detailed study of Geeti Gaan. UNIT–III Note: The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory 1. Detailed knowledge of Staff Notation & its relevance in Indian Music. 2. Contribution of Sufi Saints towards music. 3. Ten Paraans of Tala. 4. The devine power of music. Books Recommended: 1. Bhartia Kanth Sangeet Dr. Arun Mishra, Kanishka Publishers,New Delhi.2002. Avam Vadya Sangeet 2. Nibandh Sangeet Laxmi Naryan Garg, Sangeet Karyala Hathras, 1989. 3. Punjab Ki Sangeet Parampara Dr. Geeta Pental, Radha Publication, New Delhi,1989. 4. Bhartia Sangeet Ka Dr. Rajiv Verma & Neelam Parikh, Amar Granth Adhiyatmik Sawroop Parkashan, 2004. 5. Indian Music in Professional Dr. Manju Shree Chowdry, & Academic Institutions Sanjay Parkashan, New Delhi, 1999. 3 M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System) PAPER: MUL–(V) 402: HISTORY OF INDIAN MUSIC (THEORY) UNIT–I Note: The paper setter will set three questions. All questions are compulsory. 1. Historical Development of Indian Classical Music during ancient to medieval period. 2. Historical development of Quawaali Gayan Shallie. 3. Historical background of learning Indian Classical Music. UNIT–II Note: The paper setter will set three questions. All questions are compulsory. 1. Historical development of Gazal Gayaki. 2. Development of Indian Music after independence. 3. Historical development of Swar from Vedic to Medieval period. UNIT–III Note. The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory. 1. Contribution of Shri Guru Gobind Singh Ji in Indian Music. 2. Relation of Chhand and Music in singing styles of Gurmat Sangeet. 3. Sikh religion & other contemporary religious musical traditions of Punjab. 4. Importance of music in Shri Guru Granth Sahib. Books Recommended: 1. Bhartia Kanth Sangeet Dr. Arun Mishra, Kanishka Publishers, Avam Vadya Sangeet New Delhi.2002. 2. On Indian Music Pt. Debu howdery Roshan Press, 2005. 3. Sangeetayan Seema Johri Radha Publication, Nedw Delhi, 2003. 4. Nibandh Sangeet Laxmi Naryan Garg, Sangeet Karyala Hathras, 1989. 5. Hamare Sangeet Ratan Sangeet Karyala Hathras, 1989. 6. Gurmat Sangeet Parbandh Te Dr. Gurnam Singh, Pbi. Uni. Patiala, 2000. Parsar 7. Punjab Ki Sangeet Parampra Dr. Geeta Paintal, Radha Publication, New Delhi, 1998. 4 M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System) PAPER: MUL–(V) 403: BIOGRAPHICAL & ANALYTICAL STUDY OF INDIAN CLASSICAL MUSICIANS (THEORY) UNIT–I Note: The paper setter will set three questions. All questions are compulsory. Biographical Study and contribution towards Indian classical music of the followings musicians: 1. Pt. Shankar Pandit (Vocal) 2. Ustad Bismilla Khan (Shehnai) 3. Pt. Kanthey Maharaj Ji (Tabla) UNIT–II Note: The paper setter will set three questions. All questions are compulsory. Biographical and Study and contribution towards Indian classical music of following musicians: 1. Vidushi Girija Devi (Vocal) 2. Pt. Shiv Kumar Sharma (Santoor) 3. Ustad Zakir Hussain (Tabla) UNIT–III Note: The paper setter will set five questions. Selecting one question each from Unit – I & II. All questions are compulsory. Biographical Study and contribution towards Indian classical music of following musicians: 1. Ustad Ameer Khan (Vcoal) 2. Ustad Alaudeen Khan (Sarod) 3. Ustad Habibudeen Khan (Tabla) 4. Guru Rajinder Gangaani (Dance) Books Recommended: 1. Bhartiya Sangeet Aur Rampal Mathur, Classic Collections, Jaipur Sangeetagya 2. Hindustani Sangeet Mein Smt. Veena Sharma, Kanishak Publishers, New Delhi Tantar Vadakon Ka Yogdan 3. Madhya Kalin Sangeet Dr. Namita Banerjee, Radha Publications, New Delhi. Evam Unka Tatkalin Samaj Par Parbhav 4. Bhartiya sangeet Sarita Dr. Rma Saraaf, Vidya–Nidhi Parkashan, Delhi. 5. Hamare Sangeet Rattan Laxmi narayan Garg Sangeet Karaylya Haathras, UP. 6. Bhartiya Sangeet Ko Mahaan Dr. Kavita Chakravarti, Rajasthani Granthagar, Jodhpur Sangeetagyon Ki Den 5 M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System) PAPER: MUP–(V) 421: STAGE PERFORMANCE (PRACTICAL) UNIT–I 1. Ability to sing the alankars of ten thaats. 2. One Drut khyal with proper Alaap Taan 3. Tarana, Tirvat and Chaturang UNIT–II 1. One Vilambit and Drut khyal of your own choice with proper singing style. 2. Ability to play the thekas of Ektal, Teental, Jhaptal on tabla with vocalist and instrumentalist. UNIT–III 1. One Vilambit and Drut khyal with proper singing style in raga other than choice of second minor. 2. Recite on hand and ability to play following thekas on tabla: Rupak, Tilwada, Chautal and Dhammar. 3. General Maintenance of your Instrument. 6 M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System) PAPER: MUP–(V) 422: ADVANCE STUDY OF RAGAS (PRACTICAL) UNIT–I 1. Two Drut khyals in ragas Jog and Kalawati. 2. Critical and detailed study of above mentioned ragas and non detailed ragas Tilang and Jansammohini. UNIT–II 1. Any one Vilambit khyal and two Drut khyals with proper singing styles in ragas Bhimplasi and Shudh Sarang. 2. Critical and detailed study of above mentioned ragas. UNIT–III 1. One Vilambit khyal and three Drut khyals with proper singing styles in ragas Ahir Bhairav, Durga and Kalyan. 2. Full definition and few alaps in non detailed ragas Bhairav, Asa and Shudh Kalyan. Books Recommended: 1. Sangeetanjali, Part–I to V Onkar Nath Thakur 2. Rag Vigyan, Part–IV to VII V.N. Patwardhan 3. H.S. Kramik Pustak Malika Parts–II to VI V.N. Bhatkhande 4. Aprachalit Raga Part–I & II J.K. Pataki 5. Abhinav Geet Manjari Parts–I & II Dr. S.N. Ratanjankar, Lucknow. 6. Rag Parichay Harish Chander Shrivastav 7. Gurmat Sangeet Prabandh Dr. Gurnam Singh 8. Gurmat Sangeet Darpan Prof. Kartar Singh, Published by SGPC 9. Anbhinav Geetanjali Part I to V Pt. Ramashray Jha 7 M.A. MUSIC (HONS.) VOCAL (SEMESTER – I) (Under Credit Base Continuous Evaluation Grading System) Paper: MUP–(V) 423 (Practical) Seminar (Music Appreciation) based on Power Point Presentation/Activities. 8 M.A. MUSIC (HONS.) VOCAL (SEMESTER – II) (Under Credit Base Continuous Evaluation Grading System) Programme Code: MUB (V) SCHEME SEMESTER – II: Course No. C/E/I Course Title Credits Total L T P Credits MUL (V)451 C STUDY OF RAGA AND 3 1 0 4 AESTHETICS MUL(V)452 C A CRITICAL STUDY OF 3 1 0 4 GRANTHAS MUL(V)453 C THEORETICAL STUDY OF 3 0 0 3 FOLK MUSIC OF PUNJAB MUP (V) 471 C STAGE PERFORMANCE 0 0 4 4 MUP (V) 472 C ADVANCE STUDY OF RAGAS 1 0 3 4 MUP (V) 473 C SEMINAR (MUSIC 0 0 2 2 APPRICIATION) BASED ON POWER POINT PRESENTATION / ACTIVITIES I INTER DISPLINARY (ANY – – – 3 DEPTT.) OTHER THAN MUSIC Total Credits – – – 24 General Instructions for All Papers (Semester: I – IV) VI. Each written paper in Minor I & II shall be of one hour duration. VII. Practical paper shall be of 15 minutes duration each. VIII. Each written paper in Major shall be of three hours duration and practical paper shall be of 30 minutes duration each IX. Harmonium will not be allowed as an accompaniment in Vocal. X. After every second minor in all papers there will be a Quiz. 9 M.A. MUSIC (HONS.) VOCAL (SEMESTER – II) (Under Credit Base Continuous Evaluation Grading System) PAPER: MUL–(V) 451: STUDY OF RAGA AND AESTHETICS (THEORY) UNIT–I Note: The paper setter will set three questions.