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Prathama M.M.-100
(1) A brief history of the Indian Music, Hindu period and Mohammedan period. (2) Karnataki and Hindustani system of Music. (3) Short definitions of the following technical Terms – Nad, Shruti, Swara, Saptak, Suddha Vikrita, Komal, Teevra, Alap, Meend, Ghaseet, Soot, Kan, Pakad, Toda, Laya, Matra, Sam, Khali, Bhari, Vadi, Samvadi, Anuvadi, Vivadi, Ashraya Raga, Swar Malika, Sargam, Alankar, Pakad, Vakra-Swara. (4) Description & Comparison of prescribed Ragas. (5) Life Sketches of Pt. Bhatkhande, Pt. Vishnu Digambar Paluskar, Dr. Ratanjankar, Amir Khusro and their contribution. (6) Detailed description of concerned instrument and their parts. (7) Technique of Holding, Tuning, Playing and producing swaras of your instrument. (8) Notation of Khyal or Gat of Prescribed Ragas (Compulsory). (9) Tal knowledge in Dugun & Chaugun Layakars:- Kaharva, Dadra, Trital, Jhaptala, Chautala, Teevra, Dhamar, Rupak and Ektala. (10) Essay on any current topic.
Prathama Practical Prescribed ragas M.M.-200
A. Category: (1) Yaman (2) Alyaiya Bilawal (3) Bhairava (4) Bhoopali (5) Desh (6) Khamaj (7) Kafi (8) Bhairavi (9) Asavari
Elementary knowledge of the above Ragas and one Vilambit Gat or Khyal and one Drut Gat or Khayal in each Ragas.
B. Category: (1) Poorvi (2) Marwa (3) Todi One Drut Gat Khayal in each of the above Ragas.
Sitar or Sarod One masitkhani Gat and one Razakhani Gat with Todas and simple Alap in the Ragas of Category ‘A’. ¨ One Razakhani Gat with Todas and simple Alap in Ragas of Category ‘B’. ¨ Importance of left and right hands with their use on your instruments. ¨ Knowledge of Tuning of your instrument. ¨ Tal Padhant of the prescribed Tala.
Violin, esraj, sarangi & guitar ¨ One Vilambit Khyal or Gat and one Drut Khyal or Gat in the Ragas of Category ‘A’. ¨ One Drut Khyal or Gat in the Ragas of Category ‘B’. ¨ National Anthem on your instrument. ¨ Tuning of your instrument. ¨ Tal Padhant of Prescribed Talas.
Flute or shehnai ¨ One Vilambit Khyal or Gat and one Drut Khyal or Gat in the Ragas of category ‘A’. ¨ One Drut Khyal or Gat in the Ragas of Category ‘B’. ¨ Blowing, Breath control fingering of different swaras production. ¨ National Anthem ¨ Tal Padhant of Prescribed Talas.
madhyama Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Flute & Shehnai Theory M.M.-100
(1) Pt. Vyankatmakhi and his seventy two thatas. (2) Origin of Ragas and their number. (3) Rag Ragini Paddhati. (4) Poorva Rag – Uttrangvadi. (5) Sandhi Prakash Ragas, Suddha, chayalag & Sankeerna Ragas. (6) Graha, Ansha and Nyasa Swaras. (7) Distinction between Thata & Raga. (8) Importance of Vadi swara. (9) Gat and Current forms. (10) Description and comparison of prescribed Ragas. (11) Short definition of the following – Gat, Khyal, Gamak, Varna, Raga, Jatis, Sthai, Antra, Sanchari, Abhog. (12) Notation of prescribed Ragas (Compulsory). (13) Time Theory of Ragas (Time Circle). (14) Study of the following Talas – a. Revision of Prathama prescribed talas. b. Sulphak, Adachautal, Jhoomra, Deepchandi, Tilwada, Talas.
Madhyama Practical
Prescribed ragas M.M.-200
A. Category: (1) Hamir (2) Kedar (3) Bihag (4) Bageshri (5) Brindabani Sarang (6) Bhimpalasi (7) Jaunpuri (8) Malkuns B. Category: (1) Tilak Kamod (2) Sohini
Sitar or Sarod ¨ Complete knowledge of the Ragas of Category ‘A’. ¨ The candidate will prepare one Masitkhani Gat and one Razakhani Gat with Alap, Toda and Tihais in the prescribed Ragas with one Masithkhani Gat and one Razakhani Gat with Alap and Toda. ¨ One Razakhani Gat with Todas and Alap in Ragas of Category ‘B’. ¨ Any dun or Gat set in a Tal other than Trital. ¨ Tuning of the instrument and proper use of Plectrum with Kheench (stretch technique). ¨ Tal Padhant of the prescribed Tala.
Violin, esraj, sarangi & guitar ¨ One Vilambit Khyal or Gat and one Drut Khyal or Gat in the Ragas of Category ‘A’. ¨ One Drut Khyal or Gat in the Ragas of Category ‘B’. ¨ To play more swaras by single finger on single string in one way bow or stroke. ¨ To play Dhuns in any suitable prescribed Ragas. ¨ Tuning of instrument. ¨ Tal Padhant of Prescribed Talas.
Flute or shehnai ¨ One Vilambit Khyal or Gat and one Drut Khyal or Gat in the Ragas of category ‘A’. ¨ One Drut Khyal or Gat in the Ragas of Category ‘B’. ¨ Importance and their proper use in straight and side of Bansi. ¨ To play Sanyukta Swaras. ¨ Selection of flute for different scales and tuning of Shehnai. ¨ Tal Padhant of Prescribed Talas.
visharad Part i Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Flute & Shehnai Theory M.M.-100 (1) Notation of prescribed Ragas (Compulsory). (2) Shruti and Swara (Comparative study thereof) according to different Authors and different periods. (3) Views of Bharata, sharangdev, Ahobala, Shrinivas and Pt. Bhatkhande on the historical and tonal aspects of Shruti – Swara Sthans.
(4)
Study of Note by length of the string of Vina (Suddha
and Vikrita Notes of (5) Sadja Grama, Madhyam Grama. (6) Relations between Notes length and frequency.
(7) Study of the following Technical terminology – (8) Methods of the different steps of Alapchari. (9) Nibaddha and Anibaddha Gan. (10) The famous instrumentalists:- Ustad Allaudin Khan, Inayat Khan, Pt. Gajanan Rao Joshi, Pannalal Ghosh. (11) Description and comparison of prescribed Ragas. (12) Study of the following Talas – a. Revision of Prathama & Madhyama prescribed Talas. b. Sawari, Shikher, Yati Shikher Talas.
Visharad part i Practical Prescribed ragas M.M.-200 A. Category: (1) Gaud Sarang (2) Hindol (3) Shankara (4) Jaijaiwanti (5) Pooriya Dhanashri (6) Paraj (7) Adana (8) Bahar (9) Gaud Malhar (10) Miyan Malhar (11) Marwa (12) Shri B. Category: (1) Kalingada
Sitar or Sarod ¨ One Masitkhani Gat and one Razakhani Gat in the Ragas of Category ‘A’ with fill Alapchari and difficult Layakaris, Tihais, Tan todas and Jhala. ¨ One Razakhani Gat in the Ragas of Category ‘B’ with Tans or Todas. ¨ At least two Gats set in any other Tal than Trital. ¨ Tuning of the instrument. ¨ Tal Padhant of the prescribed Tala.
Violin, esraj, sarangi & guitar ¨ One Vilambit Khyal or Gat and one Drut Khyal or Gat in the Ragas of Category ‘A’ with full Alapchari and difficult Layakaris, Tans, Tihais and Jhala. ¨ One Drut Khyal or Gat in the Ragas of Category ‘B’ with Tans. ¨ At least two compostions set in any other Tal than Trital. ¨ Performance and use of left and right hands and their importance. ¨ Tuning of instrument. ¨ Tal Padhant of Prescribed Talas.
Flute or shehnai ¨ One Vilambit Khyal or Gat and one Drut Khyal or Gat in the Ragas of category ‘A’ with difficult Layakaris with Tihai, Tans and Jhala. ¨ One Drut Khyal or Gat in the Ragas of Category ‘B’ with Tans. ¨ Finger technique and accuracy of Notes. ¨ Tal Padhant of Prescribed Talas.
visharad Part iI Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Flute & Shehnai Theory M.M.-100 (1) Notation of prescribed Ragas (Compulsory). (2) A comparative study of Moorchanas, the ancient musical Modes.
(3) The ancient classification of Ragas into 10
types – (4) Music setting or closed forms of Music. Types of compositions (classical and others) and their history. Dhrupad, Hori (Dhamar) Khyal, Tappa, Thumri, Tarana, Chaturang, Lakshan geet, Sargam, Kajri, Chaiti, Tillana, Pallavi, Anupallavi, Charnam, Chittaswaram. (5) Swasthan, Akshiptika, ancient Raga Lakhns, Jati ke Lakshans, Ragalap, Roopakalap, Alapti, Avirbhava, Tirobhava, Vaggeyakatr (Uttam Madhyama & Adham), Pandit, Demonstrator. (6) Tan and its kind- Suddha, Koot, Mishra, Bol, Gamak. (7) The southern Tala system. The main Sapta Tal and their Jatis, their comparison with Talas of Northern system. (8) Comparative study of Hindustan and Karnataki system of Swar, Saptak, Thata, Raga, Tala. (9) Study of the following Talas – A. Revision of Prathama, Madhyama and Visharad Part I Talas. B. Gaja Jhampa, Matta, Lakshami, Brahma and Rudra Talas. (10) The origin history and contribution of different Gharanas and their BAJ (Style) of your instrument.
Visharad part iI Practical Prescribed ragas M.M.-200
(1) Suddha Kalyan (2) Chayanat (3) Kamod (4) Deshkar (5) Ramkali (6) Basaint (7) Lalit (8) Poorvi (9) Pooriya (10) Darbari Kanhada (11) Multani (12) Todi (13) Peelu
Sitar or Sarod ¨ A solo of 20 minutes duration of a prescribed Raga of your choice. ¨ One Masitkhani Gat and one Razakhani Gat with full elaboration of technique in the prescribed Ragas. ¨ Full knowledge of the previous course Ragas. ¨ Ability any given combination of swaras or composition on spot. ¨ Tal Padhant of the prescribed Tala. ¨ Any Dhun.
Violin, esraj, sarangi & guitar ¨ A solo of 20 minutes duration of a prescribed Raga of your choice. ¨ One Vilambit Khyal or Gat and one Drut Khyal or Gat with full elaboration of technique with prescribed Ragas. ¨ Full knowledge of previous course Ragas. ¨ Ability to play any given compination of Swar or composition on spot. ¨ Tal Padhant of Prescribed Talas. ¨ Any Dhun
Flute or shehnai ¨ A solo of 20 minutes duration of a prescribed Raga of your choice. ¨ One Vilambit Khyal or Gat and one Drut Khyal or Gat with full elaboration of technique with prescribed Ragas. ¨ Full knowledge of previous course Ragas. ¨ Ability to play any given compination of Swar or composition on spot. ¨ Tal Padhant of Prescribed Talas. ¨ Any Dhun.
Nipun Part I Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Flute & Shehnai Tehory Paper I Time : 3 Hours M.M.-100
Detailed Study of Sangeet granthas, Prescribed Ragas and History of Indian Classical Music. Note – Students will be required to answer five questions and at least two questions from each group. Group ‘A’ Detailed study of the following Sangit Granths:- (1) Sangit Parijat by Pt. Ahobal. (2) Raga Tatwa Vibodh by Pt. Shriniwas. (3) Swarmelkalanidhi by Pt. Ramamatya. (4) Rag Tarangini by Pt. Lochan. (5) Chaturdandi Prakashika by Pt. Vyankatmakhi.
Group ‘B’ (1) Importance of Chhandshastra in Music. (2) Study of different Gharanas & their main characteristic features. (3) History of Music from the time of Sangit Ratnakar to present day. (4) Detailed study of the Ragas prescribed. (5) To compose a piece of your own notation in a given Tala & Raga. (6) Contribution of Bharat, Sharangdev & Amir Khusro in the field of Music.
Nipun Part I Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Flute & Shehnai Tehory Paper II Time : 3 Hours M.M.-100
Scientific Study of Indian Music (1) Sound, Frequency, Pitch, Intensity, Timber, Amplitude, Waves- Transverse & Longitudinal, Resonance, Echo, Reverb-oration. (2) Shruti Swar discourse in detail. (3) Theory of production & propagation of sound, measurement of musical intervals according to Indian as well as Western theories of tonality. (4) Study of Indian musical drone. (5) Importance of intonation in Indian classical music. (6) Forms of Indian melody mode 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 use System
(8) A short essay of not less than 400 words:- a. Philosophy of Music. b. Language of Music. c. Laws of Musical Composition. d. Folk & Classical Music.
Nipun Part I Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Flute & Shehnai practical M.M.-200
ragas – (1) Shyam Kalyan (2) Jait Kalyan (3) Yamni Bilawal (4) Jhinjhoti (5) Suddha Sarang (6) Vibhas (7) Dhanashri (8) Jogia (9) Nayaki Kanhada (10) Jog (11) Soor Malhar (12) Marg Behag (13) Jait Shri (14) Durga (Bilawal Thata)
¨ Stage performance for a duration instructed by the examiners board in a prescribed Ragas of your choice with Vilambit (Masitkhani) Gat or Khyal and Drut (Razakhani) Gat or Khyal with full elaboration of techniques. ¨ One Vilambit (Masitkhani) Gat or Khyal and one Drut (Razakhani) Gats or Khyals set in any other tal than trital. ¨ Ability to perform on spot the Swar combination or composition asked by the examiners board. ¨ Ability to tune your instrument before the examiners board. ¨ Ability to accompany. ¨ Ability to answer the analysis of the Ragas prescribed.
Nipun Part II Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Flute & Shehnai Tehory Paper I Time : 3 Hours M.M.-100
Detailed Study of Sangeet granthas, Prescribed Ragas and History of Indian Classical Music. Note – Students will be required to answer five questions and at least two questions from each group. Group ‘A’ Detailed study of the following Sangit Granths:- (1) Raga Vibodh - By Pt. Ahobal. (2) a. Sadrag Chandrodaya - By Pundrik Vitthal b. Raga Mala - By Pundrik Vitthal c. Rag Manjari - By Pundrik Vitthal (3) a. Anup Sangit Ratnakar - By Pt. Bhavbhatt b. Anupankush - By Pt. Bhavbhatt c. Anup Vilas - By Pt. Bhavbhatt (4) Raga Kumadi - By Pt. Shreekantha (5) a. Shreemal Lakshya Sangitam - By Pt. Bhatkhande b. Abhinav Raga Manjari - By Pt. Bhatkhande
Group ‘B’ (1) Prabandha – Detailed Study of ancient and modern Prabandha Gana. (2) History of Indian Classical Music (From Vaidic time to present day). (3) Detailed study of Ragas prescribed for practical examination. (4) Detailed and comparative study of Ancient and modern Alap Gayan. (5) History of Raga Ragini Paddhati and Janya Janak Paddhati in detail.
Nipun Part II Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Flute & Shehnai Tehory Paper II Time : 3 Hours M.M.-100
Scientific and Aesthetic Study of Indian Classical Music (1) Detailed Study of Harmony, Melody and its use in Indian Classical Music. (2) Consonance & Dissonance. (3) Sound culture of your instrument and its importance in rendering the Indian Classical Music. (4) Sound acoustics & Relativity in Music. (5) Scales – Tempered Scale, Enharmonics Scale and Chromatic Scale Major Scale and Minor Scale. (6) Aesthetics of Indian classical music & their advantages. (7) An essay of not less than 400 words. a. Expression in Music b. Mind & Music c. Personality in Music d. Function of Music e. Music & its influence.
Nipun Part II Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Flute & Shehnai practical M.M.-200 ragas – (1) Rageshri (2) Kambavati (3) Deogiri Bilawal (4) Nand (5) Ahir-Bhairava (6) Hamsadhwani (7) Gunakri (8) Bhatiyar (9) Gauri (10) Mian-ki-Sarang (11) Madhyamadi Sarang (12) Megh Malhar (13) Maru Behag (14) Charukeshi (15) Desi Todi
¨ Stage performance for a duration instructed by the examiners board in a prescribed Ragas of your choice with Vilambit (Masitkhani) Gat or Khyal and Drut (Razakhani) Gat or Khyal with full elaboration of techniques. ¨ One Vilambit (Masitkhani) Gat or Khyal and one Drut (Razakhani) Gats or Khyals set in any other Tal than Trital. ¨ At least two Vilambit (Masitkhani) and Two Drut (Razakhani) Gat or Khyals set in any other Tal than Trital. ¨ Ability to perform on spot the Swar combination or composition asked by the examiners board. ¨ Ability to tune your instrument before the examiners board. ¨ Ability to accompaniment. ¨ Ability to answer the analysis of the Ragas prescribed.
Nipun Part III Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Flute & Shehnai Practical M.M.-400
There will be no theory papers. Only practical examination in two parts shall be conducted –
A. Stage performance M.M.-200 Stage performance in one of the prescribed Ragas with Vilambit and Drut Khyal. The duration will be asked by the examiner. Demonstration and questionnaire of 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 Bhairavi (14) Sorath (15) Ananda Bhairava
B. Viva Voice M.M.-200 Specilisation in any one of the following Raga Prakar:- (1) Kanhada Prakar (2) Malhar (3) Bilawal Prakar (4) Sarang Prakar (5) Todi Prakar (6) Kalyan Prakar
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Instrumental