Odissi Vocal Sangeet Bhaskar Final Syllabus In English
Odissi Vocal
Exam Marks
Total Marks: 400
Theory– 200
First Paper-100
Second Paper- 100
Theory
First Paper
(1).Comparative study of North and South Indian singing styles, their origin and development and the reason for the difference between the two.
(2).Origin, development and specialty of different Gharanas of Orissa music.
(3).The sequence, development and importance of music in the 16th and 20th centuries.
(4).Influence of western music on Indian music.
(5). Comparative study of Chhand, Champu, Chautisa and Chaupais.
(6).Comparative study of Aadhunik and traditional styles of singing music. Is it helpful to maintain the Aadhunik style?
(7).Suggestions to include Odissi music in the curriculum of education.
(8). Difference between song and poem.
(9). Types of Pracheen and Aadhunik Odissi songs
(10). Origin and development of music in different yug. Different views about the history of Indian music.
(11). Detailed knowledge of the music of Veer Yug.
(12). Detailed knowledge of Indian music.
(13). Detailed knowledge of jati singing and its development in raag singing.
(14). Detailed knowledge of singing kala.
(15). Bharat, Narad, Matang, Jaidev and Sharangdev’s Indian
(16). Role of music and special contribution in Odissi music.
Second Paper
(1). Detailed knowledge of the following Granth-
- Bharatkrit Natya Shastra
- Naradiye Shiksha
- Matang, Krit Brahadeshi
- Sangeet Ratnakar .
- Ramamaaty krit swaramel Kalanidhi .
- Sangeet Sarini aur Sangeet kalpana .
- Geet-Govind
- Sangeet Makarand.
- Abhinay geet manjari
- Lakshy sangeet.
- Kramik Pushtak malika part 5 & 6.
- Sahitya darpan
- Sangeet ka manovaigyanik
- Sangeet par bhav bhatt ka karya.
- Ras Kamodi
- Ahobal krit sangeet parijat
- Lochan krit Raag Tarangini.
- Raag Tatva Bodh
- Pranav Bharati
(2). Detailed knowledge of the following.
- Laws of Music
- Language of Music
- Pictorial aspect of music
- Music Beauty and Lay
(3). Interrelationship of music and painting.
(4). Detailed and critical knowledge of Pracheen and Aadhunik Orissa taals. Detailed and critical study of lay development in raag interpretation.
(5).Detailed knowledge of the following.
- Interpretation of raags in Carnatik and Hindustani music
- Swar of Music
- Swar Culture and Phonetic Features
- Mehfil (Sabha) singing.
- Paddhati of Music Education
- Advantages and Disadvantages of Harmonium
(6) Detailed knowledge of the frequency and velocity of the Swar , Kampan, Anukampan, Swar Sangeet , Besurapan (visvarata), harmony vocal melody, vocal system and detailed and critical study of the historical development of musical singing styles.
(7). Detailed and critical study of past, present and future of Indian music.
(8) Detailed and comparative study of music before 14th century Shruti, swar, shudha and vikrit swar, sudha mela, raag classification, study of jati singing and singing styles.
(9). A detailed and critical history of Odissi music and its future.
(10). Detailed and critical study of vocal practice in music.
(11).The contribution of the following musicians in Odissi music and the characteristics of their singing styles
- Sinhari Shyam Sundar
- Mr. Balakrishna Das Mr. Raghunath Panigrahi
- Mr. Raghunath
- Srimarkandeya Mohapatra
- Mr. Naresh Singh Nath Khutien
- Shri Kashi Nath Poojapanda
- Mrs. Veena Devi
- Mr. Nimai Harichandan
- Mrs. Radhamani Mohapatra
- Mrs. Sumati Devi
- Mr. Rakhal Chandra Mahatti
- Shri Raghunath Nand
- Mrs. Shyam Muni Patnaik
- Mrs. Vishnupriya Mohanty
- Mr. Bhikhari Chanan Lal
- Mr. Sukhdev Patra
- Dr. Damodat
(12). Detailed and comparative study of impact of music on human life, characteristics of Orissa music.
(13) Contribution of school and college in Guru-disciple tradition, education and music.
Practical
(1). Deep and detailed study of the singing of the following ragas – Megh Malhar, Gauri, Kaushik Dhvani, Triveni, Jayjaywanti, Bihagada, Maru Bihag, Kalavati, Multani, Chhayanat, Chandrakant, Gunkeri (Gondakriya), Ram Kriya and Madhavi Marwa.
(2). A fantasy music in the above ragas in the madhyalay.
(3). Two dhrupads in any two of the prescribed raags.
(4). Fantasy music in any two raags in Vilambit Lay.
(5) Ukta and Tripat, Jhampa, Athtali, Khemta and Ganesh etc. Functional knowledge of swing and Pahapat.
(6) Minority, multiplicity, appearance, disappearance, skill in introduction of raag with performance and variation in raags.
(7).Performance performance with Orissa song, Kalpana Sangeet Taan and Aalap.
(8).Singing from swarlipi, swarlipi from singing and Practicalknowledge of swarlipi of taan.
(9).Performance of Dhupad, Ragini, Odissi Bhajan, Chand, Ashtapadi etc.
(10). Practice of full wave of Tanpura, Mardal, Khanda, and other musical instruments and its form and knowledge of different parts.
(11). Working knowledge of all the taals and various laykari of the previous courses.
(12). Proficiency in special modes of Alap Tan, Kuttan and Swar etc.
(13).Alap of the following ragas, study as main organ and knowledge of different ragavachak swars with classical introduction- Pradeep’s Patmanjari, Shri Barari, Megh Malhar, Madhya Mavati, Majgunji Gurjani.
(14). Practice of Padhant.
Stage performance
(1).The candidate will have to perform Odissi Kalpana Sangeet for 30 minutes in any raga in Late, Madhya and Drut rhythm. Singing of any Odissi music or Bhajan for 5 to 10 minutes.
Note- The syllabus of previous years will be combined.
