|
Vocal
Prathama
(First Year)
Practical
Prescribed Ragas
M.M.-200
A.
Category:
(1) Yaman (2) Bilawal (3) Khamaj
(4) Bhairava (5) Kafi
(6) Asawari
(7) Bairavi
Swar Malika (Sargam) and one Chota Khayal in each of the above Ragas.
B.
Category:
(1) Poorvi (2) Marwa (3) Todi
Brief introduction and Aroh, Avroh and Swar Malika (Sargam) in each of the
above Ragas.
The following talas with their Thekas:
(1)
Trital (2) Jhaptaal (3) Dadra (4) Kaharva
Note:
There shall
be no
Theory paper
in Prathama
(First year)
Vocal.
Vocal Prathama
(Second Year)
Practical
Prescribed Ragas
M.M.-200
A.
Category:
(1) Yaman (2) Alhaiya Bilawal (3) Bhairava
(4) Asawari
(5) Bhoopali (6) Desh
(7) Khamaj (8) Kafi
(9) Bhairavi
Elementary knowledge of
above Ragas
and Vilambit
Khayal and
one
Drut Khayal in each Ragas of No. 1 to 6 of the above Ragas. One
Dhrupad with
Thah Dugun
in any two of
the prescribed
Ragas.
B.
Category:
(1)
Poorvi
(2) Marwa
(3) Todi
One
Drut
Khayal in each
of
the
above
Ragas.
The
following
Talas in
addition
to
the
previous
year
course
with
their Thekas:
(1) Chautal
(2)
Dhamar (3)
Tilwada
(4)
Ektal
VOCAL Prathama (Theory)
M.M.-100
1.
A
brief history
of the
Indian Music,
Hindu period
and Mohammedan
period.
2.
Definition
and
explanation
of
the
following
terms:-
Sangit,
Nad, Shruti,
Saptak, Alankar,
Thata Raga,
Vadi, Samvadi,
Anuvadi, Vavadi, Pakad,
Meend, Kana,
Alap, Tana,
Laya, Tal,
Theka.
3.
Brief
introduction
of
the
following
terms
of
singing:-
(1)
Dhrupad
(2)
Dhamar
(3)
Khayal
(4)
Thumri
(5) Lakshan
Geet
(6)
Sargam
(7)
Tarana
4.
Description
and
comparison
of
Ragas
prescribed.
5.
Life
sketches of
eminent musicians
and musicologists
Pt. V.N. Bhatkhande, Pt.
Sri Krishna Narain Ratanjankar, Prof. G.N.
Natu.
6.
Notation
of
Khayal
in
Prescribed
Ragas
(Compulsory)
7.
Knowledge
of
following
Talas
with
Dugun
and
Chaugun:-
|
(1)
Trital
|
(2)
Jhaptaal
|
(3)
Dadra
|
(4)
Kaharva
|
|
(5) Chautal
|
(6) Dhamar
|
(7) Tilwada
|
(8) Ektaal
|
VOCAL Madhyama
PART i - practical
M.M.-200
Complete
knowledge
of
the
following
Ragas
and
Vilambit
and
Drut
Khayal
in
each
Ragas with Alap and Tans.
A.
Category:
(1)
Hamir
(2)
Kedar
(3)
Bihag
(4)
Bageshri
(5) Bhimpalasi (6)
Jaunpuri (7)
Malkauns
B.
Category:
(1) Tilak
Kamod (2)
Sohini
One Drut
Khayal with
Alap and
Tans in
each of
the above
Ragas. Two Dhrupads and Two Dhamars with Thah, Dugun and Chaugun
laykaris in
different prescribed
Ragas.
The
following Talas
in addition
to the previous years
prescribed course with their
Thekas:-
(1)
Rupak
(2)
Deepchandi
(3)
Punjabi
(4)
Teevra
VOCAL Madhyama
PART I - ThEory
M.M.-100
(1)
Brief
History
of
Indian
Music.
(2)
The
concept of
Thata-Rag system
of Pt. Vyankat Makhi
and the modern
theory of
Ten-Thata-Raga-paddhati of
Pt. V.N.
Bhatkande.
(3)
Time
theory
of
Ragas
in
India
Music.
(4)
Classification
of
Ragas.
(5)
Description
and
comparison
of
Ragas
prescribed.
(6)
Life sketches of
eminent musicians
and scholars-
Pt.
Vishnu
Digambar Paluskar,
Raja Bhaiya
Poonchwale and Ustad
Faiyaz Khan.
(7)
Notation
of
Ragas
prescribed
(Compulsory).
Taal knowledge of
Rupak, Deepachandi,
Punjabi and
Teevra with layakaris including previous
Talas prescribed.
VOCAL
MADHYAMA
PART
-II PRACTICAL
M.M.- 200
Complete
Knowledge
of
the
following
Ragas
and
Vilambit
&
Drut
khayal
in
each
Ragas with Alaap & Taans.
PRESCRIBED
RAGAS
A.
Category
:
(1)
Desh
(2) Shankara
(3) Brindavani Sarang
(4)
Vibhas
(5)
Marwa
(6)
Kamod
(7)
Gaud
Sarang
B.
Category
:
(1) Durga
(Bilawal That)
(2) Poorvi (3)
Jogiya
One
Drut
Khayal
with
Alaap
&
Tanas
in
each
of
the
above
Ragas.
Two Dhrupad and Two Dhamar with Thah, Dugun & Chaugun Layakari in
deferent Prescribed
Ragas.
The
Following
Talas
in
addition
to
the
previous
years
prescribed
Course
with
their
Thekas :-
(1)
Dhamar
(2)
Gajajhampa
(3)
Pancham
Sawari
(4) Matta
Taal
VOCAL
MADHYAMA
PART
II THEORY
M.M. –
100
(1)
Medieval
history
of
Indian
Music.
(2)
Brief
Introduction
of
Karnatak
Music
System.
(3)
Gamak
and
its
Types.
(4)
Define the following
terms
:-
Shuddha, Chhayalag and Sankeerna
Raag, Poorvang
Vadi, Uttarang Vadi, Parmelpraveshak and
Sandhiprakash Raag
(5)
Description
of
Tanpura
with
Sketch.
(6)
Brief
Knowledge
of
Western
Notation
System.
(7)
Life
Sketches
of
Swami
Haridas,
Tansen,
Ustad
Bade
Gulam
Ali
Khan.
(8)
Description
and
Comparison
of
Ragas
Prescribed.
(9)
Notations
of
Prescribed
Ragas
(Compulsory).
(10)
Knowledge of Dhamaar, Gajajhampa, Pancham Sawari, Matta Taal with Dugun,
Tigun and Chaugun Layakari Including Previous year
Talas.
Vocal visharad
part I - Practical
M.M.-200
Complete knowledge
of the following Ragas and Vilambit and Drut Khayal in each Ragas with Alap
and Tanas
PRESCRIBED
RAGAS
A.
Category:
(1)
Hindol
(2) Jaijaiwanti
(3) Pooriyadhanashri (4)
Paraj
(5)
Adana
(6) Bahar
(7)
Gaud
Malhar
(8)
Miya
Malhar
(9)
Shree
B.
Category:
(1) Kalingada
One Drut
Khayal with
Alap and
Tans in
each of
the above
Ragas.
Two Dhrupads and
Two Dhamars with Thah, Dugun, Tigun, and
Chaugun
layakaris
in
different
Ragas, prescribed
above
category
A
& B, Two Taranas in
different prescribed Ragas.
The following Talas
in addition to the previous years prescribed course with their
Thekas :-
(1)
Jhoomra
(2) Ada-Chautaal
(3)
Sool
Taal
Vocal visharad
part I - THEORY
M.M.-100
1.
The
detailed study of Shruti and Swar of the ancient, medieval and Modern
writers.
2.
The
detailed study
of the
controversy regarding
equality and inequality of
shrutis in ancient Medieval and
Modern period.
3.
The
calculation and fixation of Suddha and Vikrita Swaras on the streched
wire of
a Veena
according to
Pt. Sriniwas and
Manjrikar.
4.
Fundamental scales
of Music
in terms
of frequency
according to Pt. Sriniwas,
Chatur Pandit
or Manjrikar.
5.
Definition
of
the
following
terms:-
(a)
Marg
Sangit
and
Desi
Sangit.
(b)
Nayaki
and
Gayaki
(c)
Geet,
Gandharva
and
Gaan
6.
Brief
study
of
scales
in
western
music.
7.
Description
of
Ragas
prescribed.
8.
Revision
of
the
previous
Talas
and
writing
them
in
Tala
Notation.
9.
Notation
of
Bandish
prescribed
(Compulsory)
Vocal visharad
part II - Practical
M.M. 200
A.
Complete
knowledge
of
the
following
Ragas
Vilambit
and
Drut
Khyal
in each Ragas with Alap and Tans.
PRESCRIBED
RAGAS
|
(1)
Shuddha
Kalyan
|
(2)
Chayanat
|
(3)
Kamod
|
|
(4)
Deshkar
|
(5)
Ramkali
|
(6)
Basant
|
|
(7)
Lalit
|
(8)
Poorvi
|
(9)
Pooriya
|
|
(10)
Darbari
Kanhada
|
(11)
Multani
|
(12)
Todi
|
|
(13)
Pelu
(Non
detail)
|
|
|
B.
Two
Dhrupads and
Two Dhamars with
Thah, Dugun,
Tigun and Chaugun
layakaris in different Ragas prescribed above.
C.
Two
Taranas
in
different
prescribed
Ragas.
The
following Talas
in addition
to the previous years
prescribed course with their
Thekas:-
(1)
Rudra
(2) Laxmi
(3) Brahma
Vocal visharad
part II - THEORY
M.M.-100
1.
Ancient
and
Modern
Nibaddha
and
Anibaddha
Gana.
2.
Ancient
Raga-Lakshan, Jati-ke-lakshan, Ragalap, Roopakalap, Alapti, Avirabhava and
Tirobhava, Swasthanas, Akshiptika,
Vaggeyakar.
3.
History
of
Indian
Music
from
the
period
of
Pt.
Sharangdeo
to
present
day.
4.
Varieties
of
Tanas.
5.
Study
of
different
kind
of
Moorchanas.
6.
The
concept classification
of Ragas
into Ten
types viz.
Grama Raga Up Raga,
Raga-Bhasa, Vibhas ha, Antar Bhasa, Ragang, Bhasang. Kriyang
and Upanga.
7.
History
of different compositions of North Indian Music (Classical and Semi
Classical) and their description.
8.
A
comparative study of Northern and Karnataki Taal system and importance
of Jatis.
9.
Description
and
Comparative
study
of
the
Raga
prescribed.
10.
Revision
of
the
previous
Talas
and
writing
them
in
Taal
Notation.
11.
Notation
of
Ragas
prescribed
(Compulsory)
12.
Taal
knowledge with layakaris
of the
following including Prathama,
Madhyama & Visharad Pt. I prescribed Talas:-
(1)
Rudra,
(2) Lakshami,
(3) Brahma
Vocal nipun
part I - Practical
M.M.-200
Prescribed ragas
(1)
Shyam
Kalyan
(2) Jait
Kalyan
(3)
Yamani
Bilawal
(4)
Jhinjhoti
(5)
Suddha
Sarang
(6)
Nayaki
Kanhada
(7)
Dhanashree
(8)
Jogia
(9)
Vibhas
(10)
Jog
(11)
Marg
Bihag
(12)
Soor
Malhar
(13) Jait
Shree
(14)
Durga
(Bilawal
Thata)
1.
Stage
performance in one
of the
prescribed Ragas with
Vilambit and
Drut
Khyals
with
all
elaborations
of
Alap.
Tans,
Bol
Alap,
Bol
Tans
and layakaris
etc. The
duration will
be decided by
the board
of examiners.
2.
Demonstrations with complete analysis, comparison of prescribed Ragas or
structured explanations as asked by the board of
examiners.
3.
Two
Dhrupad and two Dhamar with Thah, Dugun, Tigun, Chaugun, Adi, Quwadi, Biadi
Layakaris and with
few Upaj
and Tihais.
Note:
Candidates will have to perform compositions viz. Vilambit, Drut Khayal.
Dhamar, Dhrupad etc. only from the following prescribed
books:-
(A)
Kramik Pustak Malika (Pt.
I to
Pt.
VI)
-
By
Pt.
V.
N.
Bhatkhande
(B)
Abhinava
Geeta
Manjari
- By
Pt.
Ratanjankar
(C)
Raga
Ranga
- By
Pt. Dinkar
Kaikini
(D)
Geet -
Samuh
- By
Prof.
G.
N.
Natu
Vocal Nipun
Part I - THEORY
Paper I
Time: 3
Hours
M.M.
100
1.
History
of
Music
from
the
time
of
Sangit
Ratnakar
to
Present
day.
2.
Detailed
study
of
the
following
Sangit
Granthas:-
(i)
Sangit
Prarijat
by
Pt.
Ahobal
(ii)
Raga
Tatwa
Vibodh
by
Pt.
Shriniwas
(iii)
Swarmelkalanidhi
by
Pt.
Ramamatya
(iv)
Rag
Tarangini
by
Pt.
Lochan
(v)
Chaturdandi
Prakashika
by
Pt.
Vyankatmakhi
3.
Importance
of
Chhandshastra
in
Music.
4.
Study
of
different
Gharanas
&
their
main
characteristics.
5.
Importance
of
Kaku
Bhed
and
their
use
in
vocal
music.
6.
Detailed
study
of
the
Ragas
prescribed.
7.
To
make notation
of given
poetry in
suitable Raga
and Taal considering the
theme of the poetry.
8.
Study
of Bharat's
Natya Shastra
with special
reference to
Swaradhyaya.
Vocal Nipun
Part I - THEORY
Paper II
Time: 3
Hours
M.M.
100
1.
Sound,
Frequency, Pitch, Intensity,
Timber Amplitude,
Waves Transverse
& Longitudinal, Resonance, Echo, Reverberation.
2.
Shuruti
Swar
discourse
in
detail.
3.
Theory
of production & propagation of sound, measurement of muscial
intervals according to
Indian as
well as
Western theories
of tonality.
4.
Study
of
Indian
musical
drone
(Tanpura).
5.
Importance of
intonation (stress
and accent)
in Indian
classical music.
6.
Forms
of Indian
melody pattern,
Gram Raga,
Moorchhana, Jatis according to ancient theory of Indian music.
7.
Detailed
study
of
Ancient,
Medieval
and
Modern
Swar-Gram:
|
A.
Ancient
|
i.
|
Vaidic
System
|
|
|
ii.
|
Bharat
System
|
|
|
iii.
|
Sharangdev
System
|
|
B.
Medieval
|
i.
|
Southern
System
|
|
|
ii.
|
Northern
System
|
|
|
iii.
|
Swarit
System
|
|
|
iv.
|
Swargam
System
|
|
C. Modern
|
i.
|
Thaat
System
|
ii.
Shruti
System
8
A
short
essay
on
current
topics.
Vocal nipun
part II - Practical
Time: 3
Hours
M.M.-200
PRESCRIBED
RAGAS
(1)
Rageshri
(2) Khambhavati
(3) Maru
Bihag
(4)
Nand
(5)
Deogiri
Bilawal (6)
Hansadhwani
(7)
Ahir
Bhairava
(8)
Gunkali
(9) Bhatiyar
(10)
Gauri
(11) Miyan-ki-Sarang (12)
Megha
Malhar
(13)
Madhymadi Sarang
(14) Charukeshi
(15)
Desi Todi
Demonstration
and
Viva-voce
as
prescribed
in
Nipun
Part
I
Vocal.
1.
Stage
performance in one of
the prescribed
Raga with
Vilambit and Drut
Khyalas with
all ellaborations of Alap,
Tans, bol
Alap, Bol
Tans and Layakaries etc. The duration will be decided by board of
examiners.
2.
Demonstrations with complete analysis, comparison of prescribed Ragas or
structured explanations as asked by the board of
examiners.
3.
Two
Dhrupad and two Dhamar with Thah, Dugun, Tigun, Chaugun, Adi, Quwadi, Biadi
Layakaries with few
Upaj and Tihais.
Note:
Candidate will have to perform compositions viz. Vilambit, Drut Khayals,
Dhamar, Dhrupad etc. only from the following prescribed
books:
(A)
Karamik Pustak
Malika (Pt.
I to
Pt.
VI)
- By
Pt.
Bhatkhande
(B)
Abhinava
Geeta
Manjari
-By Pt.
Ratanjankar
(C)
Raga
Ranga
-By Pt.
Dinkar
Kaikini
(D)
Geet
Samuh
-By
Prof.
G.
N.
Natu
Vocal Nipun
Part II - THEORY
Paper I
Time : 3
Hours M.M.-100
1.
History
of
Indian
Classical
Music
(From
Vaidic
time
to
present
day).
2.
Detail
study
of
following
Sangit
Granthas:-
(i)
Raga Vibodh
-By Pt.
Somnath
(ii)
(a) Sadrag
Chandrodaya
-By
Pundrik
Vitthal
(b)
Raga
Mala
"
"
(c)
Raga
Manjari
"
"
(iii)
(a) Anup
Sangit
Ratnakar
-By Pt.
Bhavbhatt
(b)
Anupankush
"
(c)
Anup
Vilas
"
(iv)
Ras
Koumadi
-By Pt.
Shreekantha
(v)
Shreemal
Lakshya
Sangitam
- By
Pt.
Bhatkhande
3.
Prabandha
-
Detail
study
of
ancient
&
modern
Prabandha
Gana.
4.
Detailed
&
Comparative
study
of
Ancient
&
Modern
Alap
Gayan.
5.
History
of
Raga
Ragini
paddhati
&
Janya
Janak
Paddhati
in
detail.
6.
Detailed
study
of
Ragas
prescribed
for
practical
exmination.
7.
To
make notation
of given
poetry in
suitabled Raga
& Tala considering the theme
of Poetry.
Vocal Nipun
Part II - THEORY
Paper II
Time : 3
Hours M.M.-100
1.
Detailed study of Harmony and
Melody, it's use in Indian Classical
Music
2.
Consonance
&
Dissonance.
3.
Voice
Culture and its importance in rendering the Indian Classical
Vocal Music.
4.
A
brief
study
of
sound
acoustics
for
musical
performance.
5.
Study
of Scales-Tempered Scale, Enharmonic
Scale and
Chromatic Scale, Major Scale
and Minor Scale.
6.
Principles
of
Aesthetics
applied
to
Indian
Classical
Music.
7.
Raga
and
its
use
in
Indian
classical
vocal
music.
8.
Short
essay
on
any
current
topics.
Vocal Nipun
part III - Practical
M.M.-400
There will be no theory papers. The examination will be conducted
in two segments:-
(A)
STAGE
PERFORMANCE
M.M.-200
Stage performance in one of the prescribed Ragas with Vilambit
and Drut Khayal. The duration will
be decided by the examiner.
Demonstration
and
questionnaire
on
the
following
Ragas:
(1)
Gopi
Basant
(2) Basant
Mukhari (3)
Bihagada
(4)
Shahana
(5) Kausi
Kanhada (6)
Ramdasi
Malhar
(7) Bilaskhani Todi
(8)
Gujri
Todi
(9)
Bhoopal
Todi
(10)
Narayani
(11)
Gorakh
Kalyan
(12)
Abhogi
(13) Bairagi
Bhairava
(14)
Sorath
(15)
Ananda
Bhairava
(B)
VIVA
VOCE
M.M.-200
Any
Dhrupad
or
Dhamar
from
prescribed
Ragas
with
layakaries
and
Upaj
as
asked
by the
examiner.
Specialisation
in
any
one
of
the
following
Raga
Prakar:-
(1) Kanhada
Prakar (2) Malhar
Prakar
(3) Bilawal
Prakar
(4)
Sarang
Prakar
(5)
Todi
Prakar
(6)
Kalyan
Prakar
|
Vocal