|
|
|
 |
|
|
|
|
|
|
|
|
|
(There shall be combined theory papers of Tabla & Mridang From Prathma to Nipun Part II)
tabla Prathama (2 Yrs. Course)- practical M.M.-200 Technique of producing the basic syllabus.
prescribed tals (1) Detail : Trital, Jhaptal, Ektal (2) Non-Detail : Tilwada, Adachartal, Jhoomra, Punjabi, Dhamar, Kaharwa and Dadra. ¨ Two Kaydas with Paltas, Two Tukras, Two Relas, Two Mukhras and Tihais in each Taal of Category A. ¨ Ability to play all the Thekas Taals of Category B in Thah, Dugun and Chougun. ¨ Padhant of all the prescribed Taals, their Thekas and compositons showing Tali-Khali by hands. ¨ Elementary knowledge of Tunning the instrument. ¨ Knowledge of Theka Variations of Kaharwa & Dadra Taals.
tabla madhyama - practical M.M.-200 Revision of the Previous Course.
(1) Trital : Two advance Quidas with Five Paltas in each. Three advance Gats, Two Mukhdas and Relas. Three Tukdas and Simple Tihais and the playing of Trital in Adilaya. (2) Ability to play the Thekas of the following Talas in Barabar, dugun, Tigun and Chaugun: Sawari, Roopak, Sool, Matta, Gajajhama, Teora, Jhampa. (3) Sawari and Roopak : Two Quidas, Two Gats, Two Relas, Two Mukhdas, Two Tukdas and advance Tihais in each Tal. (4) Chautal and Sool : Four Tukdas and Two Parans (Sada and Chakradar) in each and advance Tihai. (5) Tuning of the Instrument. (6) Padhant of all Talas and Bols prescribed.
tabla Visharad part i - practical M.M.-200 Revision of the Previous Course. (1) Trital : Delhi Peshkar, Two advance Quidas, Four advance Gats, Three Mukhdas, Four Tukdas and Two Relas with eight Paltas in each. (2) The following Talas: Shikhar, Rudm, Yati Shikhar and Chitra Their Thekas in Barabar Dugun, tigun and Chaugun Layas with simple Tukdas and Tihais. (3) Talas Farodast and Pashtu with simple Quidas. (4) The use of Laggi and Ladi. (5) Padhant of all the Talas and Bols learnt. (6) Padhant of Thekas of prescribed Tals in Adi, Kaudi Lauakaris.
tabla Visharad part iI - practical M.M.-200 Revision of the Previous Course. (1) Trital : Advance Peshkars, Gates, Quidas, Relas, Tulkdas, Mukhdas and Parans and Advance Compositions in Khand, Tisra, Misra Jatis. (2) The following Talas: Basant, Brahma, Laxmi, Vishnu, Ganesh and Mani with the ability to perform on them, Four Sada Tukdas, Two Chakradar Tukdas Four Sada Parans, Two Kamali Chakradar Parans, Two Mukdas and Two Relas in each Tal. (3) Ability to play the Theka of Trital in Barabar, Dugun, Tigun, Chaugun and Adi laya. (4) Perfect Tuning of the instrument. (5) Ability to play the Thekas of all prevalent Talas in Vilambit Laya and those Talas that are played with String instrument and Drut Khyal and Tarana. (6) Perfect Padhant of all the Talas and Bols learnt in any given Laya.
tabla Nipun part i - practical M.M.-200 Revision of the Previous Course.
(1) Comprehensive Study of Trital, Jhaptal, Ektal and Adachar Tal with Delhi Peshkar, Quidas, Paltas, Gats, Tukdas and Relas, two in each in the style of Delhi and Ajrala Gharanas. (2) One Gat in Adilaya and Tisra and Mishr Jati in each Tala. (3) Two Mukhdas of advance pattern in each Tala and in different Layakaris. (4) Tihai (Both Damdar and Bedam) in all the prescribed Talas. (5) One Manjhedar Gat in each Tala. (6) Padhant by beat of hands of the Thekas of all the prescribed Talas with Quidas, Gats, Tukdas etc.
tabla Nipun part II - practical M.M.-200 Revision of the Previous Course. (1) Comprehensive study of Trital, Roopak, Sool, Sawari and Dhamar with Delhi Peshkars, Quidas, Paltas, Gats, Tukdas and Relas two each in the style of Ajrala and Farrukhabad Gharanas. (2) One Gat of Kuwadi laya and Khand and Chatsra Jati in each Tala. (3) Two Mukhdas or advance pattern in each Tala and in different Layakaris. (4) Tehai both Damdar and Bedam in all the prescribed Talas with Quidas Gats, Mukhdas etc. tabla Nipun Part III - Practical M.M.-400 There shall be no theory papers in Nipun Pt. - III. Practical examination in two parts shall be conducted A. Stage performance M.M.-200 Demonstration and questionnaire of the following Talas Trital, Rupak, Jhaptal, Ada-Chautal, Basant and Rudra. B. Viva Voice M.M.-200 The examiner will examine the candidates on the following Topics (1) Gharana-Baj and their comparison. (2) Formation of Tihais on Spot. (3) Different kinds of Gats with examples. (4) Different kinds of Chakkardars with examples. (5) Demonstration of Complex Layakaries Adi, Kaudi, Biyadi and Paungun of various Tal Thekas and speaking each of them in one and the same time cycle.
Mridang Prathama (2 Yrs. Course) - practical M.M.-200 Technique of producing the basic syllabus. prescribed tals (1) Detail : Choutal, Dhamar, Sooltal. (2) Non-Detail : Teental, Teevra, Kaharwa and Dadra. ¨ Two easy Parans in each of the Taals in Category A. ¨ Two Relas in each of the Tals in Category A. ¨ Ability to play all the Thekas and their variations of the Taals in Category B. ¨ Ability to play the Dugun, Tigun and Chougun of all the prescribed Taals. ¨ Simple Tihais in all the prescribed Taals. ¨ Padhant of all the Thekas of the prescribed Taals and their compositions. ¨ Elementary knowledge of Tunning the instrument.
Mridang (Pakhwavaj) madhyama - practical M.M.-200 Revision of the Previous Course. (1) Detailed study of the following Talas Sawari, Matt, Gajajhanpa and Chautal. (2) Padhant in Thah, Dugun and Chaugun of the prescribed Talas. (3) Phrases of Dhumkit and their use in all the prescribed Talas. (4) One Mohra in each of the prescribed Talas. (5) Two Sada Parans in each of the prescribed Talas. (6) One Chakradar Paran in each of the above prescribed Talas. (7) One Rela in each of the above prescribed Talas. (8) One Tisra Jati Ki Paran in each Tala. (9) Simple Tihais in each Tala (Bedam and Damdar). (10) Padhant of all the Talas and Bols learnt.
Mridang (Pakhwavaj) visharad part i - practical M.M.-200 Revision of the Previous Course. (1) Detailed study of the following Talas with advance compositions Shikhar, Rudra, Yati-Shikhar, Dhamar and Chautal. (2) Padhant in Dugun, Tigun and Chaugun of the prescribed Talas. (3) One Chakradar and Two Sada Parans in each of the prescribed Talas. (4) One Adilaya-ki-Paran in each of the prescribed Talas. (5) Tihais in all the prescribed Talas (Bedam and Damdar). (6) Badhaiya-ki-Paran in any two of the prescribed Talas. (7) Sath-Paran in any of the prescribed Talas. (8) One Rela in each of the prescribed Talas. (9) Padhant of all the prescribed Talas and Bols (Compositions).
Mridang (Pakhwavaj) visharad part iI - practical M.M.-200 Revision of the Previous Course. (1) Detailed study of the following Talas with advance compositions Basant, Srahma, Laxmi, Ganesh, Vishnu and mani. (2) One Chakradar and Two Sada Parans in each of the above Talas. (3) Trital The sixteen parans or Tukdas resting respectively on 1st to 16th Matra. (4) One Adilaya-ki-Paran in each of the prescribed Talas. (5) Sth Parans in all the prescribed Talas. (6) One Mukhada or Mohara in each of the prescribed Talas. (7) Advance Tihais in all the prescribed Talas. (8) Perfect tuning of the instrument. (9) Padhant of all the prescribed Talas Bols.
Mridang nipun part I - practical M.M.-200 Revision of the Previous Course. (1) Detailed study of Choutal, Dhamar, teora and Sool and Jhampa with all variations of Parans e.g. Sath Paran, Gat paran giving more emphasis on Panse Gharana. (2) Paran in Kaudi Laya. (3) Parans in Tisra and Misra Jatis. (4) Bedam and Damdar Tihais in different Layas. (5) Padhant of all the Bols learnt. (6) Ganesh Paran in any Tal (Traditional).
Mridang nipun part II - practical M.M.-200 Revision of the Previous Course. (1) Comprehensive study of Trital, Laxmi, Jhaptal, and Shikhar giving all varieties of Parans e.g. Sath Parans, Gat Parans, Kavit Parans etc. both Sada and Chkradar. (2) Emphasis should be given to Kudao Singh Gharana. (3) Parans and Tukadas in Viadi Laya in the Talas Prescribed. (4) Top-ki-Paran and Gaj-Paran in any Taal (Conventional). (5) Padhant of all the Bols learnt.
Mridang (Pakhavaj) Nipun Part III - Practical M.M.-400 There shall be no theory papers in Nipun Pt. - III. The practical examination will be in two parts
A. Stage performance M.M.-200 Demonstration and questionnaire of the following Talas Chautal, Dhmaar, Ganesh, Rudra and Lakshmi. B. Viva Voice M.M.-200
The examiner will examine the candidates on the following Topics (1) Gharana-Baj and their comparison. (2) Formation of Tihais on Spot. (3) Different kinds of Gats with examples. (4) Different kinds of Yatis with examples. (5) Different kinds of Chakkardars with examples. (6) Demonstration of Complex Layakaries Adi, Kaudi, Biyadi and Paungun of various Tal Thekas and speaking each of them in one and the same time cycle.
Prathma tabla/mridang - theory M.M.-100 (1) A general knowledge of the origin of Table/Mridang. (2) Described and study of the various parts of Tabla/Mridang. (3) Technique of the instrument concerned and how to produce syllables (Varna) on it individually and jointly. (4) Definitions of the following terms Sangit, Tat Vadya, Avanadha Vadya, Ghana, Vadya, Bhari, Tali, Vibhag, Avartan, Theka, Vilambit, Madhya, Druit, Baradar, Dugun, Tigun, Chaugun. (5) Definitions of the following terms Quida, Gat, Mukhada, Rela, Tihai, Tukda, Paran Mohara, Bol, Palte. (6) Method of writing in notation all the prescribed Talas with their Thekas and Bols. (7) Life sketch of great exponents of Tabla/Mridang.
madhyama tabla/mridang - theory M.M.-100 Revision of the theory learnt in the previous years. (1) Merits and demerits of the Tabla/Mridang players. (2) A general knowledge of the different Charanas of Tabla/Mridang. (3) Definition of the following terms with examples Gat, Sath Paran Laggi, Ladi, Paran, Delhi Peshkar, Uthan, Paral, Kamli-Chakradar.
(4)
The Talas that are used in
accompaniment to the following styles of Dhrupad, Dhamar, Hori, Bada Khyal, Choota Khyal, Thumri, Bhajan, Tappa, Geet, Gazal and Qawwali. (5) A general knowledge of the other varieties of Taal Vadya (Percussion instruments). (6) Writing in notation of all the Tala prescribed. (7) Life sketch of any one of the following i. Wajid Husain Khalifa ii. Pt. Sakharam iii. Ayodya Prasad iv. Ustad Masit Khan v. Ustad Munir Khan
Visharad Part i tabla and mirdang - theory M.M.-100 (1) A comparative study of the different bajs of Tabla and Mridang. (2) The Ten Parans of a Taal. (3) A detailed study of the origin of Table/Mridang. (4) Writing in Taal notation Talas in Adi. Kaudi and Biadi Layakaries.
(5)
Definition of the following
terms giving examples (6) Life sketch of any of the following i. Ustad Ahmad Khan Thkirakwa ii. Ustad Habibuddin Khan iii. Pt. Samta Prasad iv. Pt. Ambadas v. Sri Parbat Singh.
Visharad Part iI tabla and mirdang - theory M.M.-100 (1) A general study of the South Indian Taal System. (2) The main characteristics of the different Gharanas of Tabla and Mridang and how to differentiate between them.
(3) Definition
and knowledge of the following terms (4) Knowledge of and difference between the two prevalent Tal two prevalent Tal notation systems : Viz. : Bhatkhande and Vishnu Digamber. (5) A general knowledge of the other North Indian percussion instruments (Taal Vadya).
(6) Tabla
or Mridang as accompaniment to (7) Tabla or Mridang as Solo accompaniment. (8) Life Sketch of any of the following i. Abid Hussain ii. Bathan Khan iii. Nana Saheb Panse iv. Kodau Singh v. Bada Munna Khan
nipun Part i tabla and mirdang - theory
Paper - i M.M.-100 (1) Indian concept of Taal and use of Tall Vadya in modern times. (2) Comperative study or ancient and modern Taal Systems. (3) Critical study of the different Gharanas and styles (Baj) of Tabla or Mridang. (4) Taal Prastar (Mathematical Process) from a given number of Matras. (5) Principles of Solo performance and accdompaniment. (6) Comparative study of North and Karnatak Taal System. (7) The use and importance of Chhand in Tabla/Mridang compositions. (8) The life sketch and contribution of great exponents of Tabla/Mridang.
Paper - Ii M.M.-100 Essay of 800 words on any topic of music of general interest. For example (1) Music and Society (2) Music and its relation to other fine arts. (3) Indian Music in International sphere. (4) Institutional teaching of music and Guru Shishya Parampara. (5) Indian Music and our cultural heritage. Note Examiner/Paper setter can choose some other similar Topics.
nipun Part iI tabla and mirdang - theory
Paper - i M.M.-100 Revision of the Previous Course. (1) A comparative study of Drums used in Western Music and Indian Taal Vadya. (2) Detailed study of Avnadha Vadya as given in Sangit Ratnakar. (3) A brief study of the Tala Adhyayas of Sanskrit Granthas. (4) Critical Analysis of different terms used in Tabla/Mridang compositions giving examples. (5) Aesthetics and Stage performance in Indian Classical Music. (6) The relation between Chand Laya Taal Ras. (7) Different kind of Yatis with examples. (8) The use of Sam and Visham Graha and its importance in accompaniment.
Paper II M.M.-100 Essay of 800 words on any topic of music of general interest. For example (1) Experimentalism in music. (2) Indian Music and Spirituality. (3) The concept of Fusion of Indian and Western Music. (4) Role of Artist in National Integration. Note Examiner/Paper setter can choose some other similar Topics.
|
|
Instrumental