Instrumental Music Bhushan Final Syllabus In English Pracheen Kala Kendra

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Instrumental Music Bhushan Final Syllabus In English

Instrumental

Sitar, Sarod, Israj, Sarangi, Violin, Veena and Guitar, Keyboard, Harmonium

Exam Marks

Total Marks- 250 

Theory-50

Practical-200   

                                      

Theory

Creation of 72 thaats (Mel) of Vyankatmukhi and origin of 484 ragas from one thaat.

Special study of the following subjects-

Sandhi Prakash Raag, Chayalag, Sankirna and Pramel Praveshak Raag, Gamak and its types, Taan and its type, Swar and three classes of time-following raags, Tarab, Jod, Anulom and Vilom.

Merits and demerits of Tantrakar.

History of your instrument and information about its different parts.

Methods of tuning instruments.

Nibaddh and Anibaddh gayan – division in the swar of 22 Shrutis (according to aadhunik and pracheen opinion), different types of Indian instruments (Tat Avanddha Ghan and Sushir).

Description of Masitkhani and Razakhani Gats.

Study and comparison of  between Vishnu Digambar and Bhatkhande Swarlipi paddhati.

Comparative study of prescribed raags.

Practice of writing of the Theka of Taal-groups prescribed in the syllabus in Thah, Dugun, Chaugun and Aad lay.

History of Indian Music.

  • Essay:-
  • Shastriya sangeet and Sugam Sangeet.
  • Radio and Sangeet.
  • Sangeet is Lalit kala.
  • Jeevan mein Sangeet ka mahtav
  • Contribution in biography and music – Sharang Dev, Swami Haridas.

Practical

Practice of playing Razakhani Gat with Aalap, Jod Aalap, Tode and Jhale in the following raag groups-

Prescribed Raag- Purvi, Pilu, Tilang, Kalingada, Tilak Kamod, Kedar, Deshkar, Hameer, Marwa, Bageshree, Todi, Multani.

Masitkhani Gat should be played in any three raags from the appropriate raag groups.

It is necessary to play Gat in any one of the following Taal groups from the prescribed Taal groups in the syllabus.

Chartaal, Jhaptaal and Rupak.

Method of tuning the instrument.

Ability to recognize melody by listening to Alap.

Ability to explain the similarities and differences of raags through performance.

Practice of recitation in the Bol, Thah, Dugun, Tigun and Chaugun Lay of the following Taal groups-(by performing Tali ,Khali)

Dhamar, Aada Chartaal, Jhumra, Tilwada, Deepchandi, Ektaal.

Practice playing a tune (in Keharwa or Dadra Taal) in any one of the raags prescribed in the syllabus.

Note- The syllabus of previous years will be combined.