Vocal & Instrumental Music Sangeet Bhaskar Final Syllabus In English
Instrumental
Exam Marks
Total Marks- 400
Theory-100
Practical-125
First paper-100
Second paper-100
Stage Performance-75
Theory
First Paper
(1).Knowledge of all the terminologies prescribed in the syllabus of previous years.
(2).Distinction between Gayaki and Nayaki and their principles in singing and Instrument.
(3).Drut gati of Dhwani, Kampan, Prati Dhwani, Anuroopata, Besurapan, Madhurta of swar, chord
(4).Sangeet antral aavriti ke anusar.
(5).Swar sadhana, Methods of teaching sangeet, Pythagorean and diatonic and Equally tempered scales.
(6).Advantages and disadvantages of harmonium instrument.
(7).Study of the following granth on the topics of Shruti, Swar and Raag classification – Raag Tarangini, Hriday Kotuk and Hriday Prakash, Sangeet Parijat, Swar Mel Kalanidhi, Raag Mala, Sangeet Darpan, Raag Tattva Vivodh, Nagmate Asafi, History of sangeet, Hindustani sangeet paddhati( Four parts), Abhinav Raag Manjari, Pranav Bharti, Lakshya Sangeetham, Bharat ka sangeet sidhant.
(8).Special study on Thaat problem and Shruti problem.
(9).Detailed knowledge regarding Margi Sangeet.
(10).Study of Vedic and Bharatkalin sangeet.
(11).Characteristics and development of Naad, main elements of Western music in harmony and its origin.
(12).Evolution of Jati gayan into raag gayan.
(13).Distinction between Nayak and Nayika (14).Positions in gayan and Instrument.
(15).The Kala paksh and Bhav paksh of sangeet.
(16).Comparative study between sangeet kala and other Lalit kala.
(17).Comparative study of Bhartiya swarlipi paddhati and special knowledge of western swarlipi paddhati.
(18).Ability to compose swarbaddh and compose geet.
(19).Contribution in the field of biography and sangeet-
- Ustad Mushtaq Hussain Khan
- Abdul Karim Khan
- Jaidev
- Amir Khusro
- Nayak Gopal
- Tansen
- Pt. Bahobal
- Inayat Khan
- Ustad Faiyaz Khan
- Alauddin Khan
- Pandit Omkar Nath Thakur.
Second Paper
(1). Complete history of Indian music.
(2). Different types of singing and special principles of singing.
(3) .The place of sangeet schools in the promotion of classical sangeet.
(4).The role of sangeet in human society.
(5).Classical music and folk music.
(6).Raag and Ras.
(7).Sangeet and Painting.
(8).Influence of western sangeet in Indian sangeet.
(9).Raag classification.
(10).State’s impression in lok tunes.
(11). Vrind Instrument.
(12).The Spiritual and the Artistry in Indian Classical sangeet.
(13).Unitary power and different power of sangeet.
(14).Attraction effect and response to sangeet.
(15).Write your thoughts regarding the errors of the Bhartiya sangeet swarlipi paddhati.
(16).Detailed criticism of raags. Similarity-difference, Alpatva- Bahutva and Aavirbhav- Tirobhav of all the raags prescribed from first to seventh year. Use and importance of Nyas swars in raag, use of Vivadi swar in raag.
(17).Practice of writing Bada and Chhota Khayal (Masitkhani and Razakhani Gat in the field of instruments) and types of geets in Vishnu Digambar and Bhatkhande swarlipi paddhati in prescribed raag groups in the syllabus.
(18).Ability to write taals prescribed in previous years in Kuad, Viaad and other laykari.
Note-
(a) In addition to the essay, the candidate may be asked to write more essays on musical problems.
(b) Practical bandishe-
- Complete introduction to all the raags prescribed in Sangeet Bhaskar first and second khand.
- Practice writing complete singing and Instrument styles in different swarlipi paddhati.
- Writing the prescribed raag in different difficult laykari.
Practical
(1).Bada Khayal and Chhota Khayal in the following raags with complete singing Dhrupad singing students must know complete Dhrupad with Thah, Dugun, Tigun, Chaugun, Aad, Kuad, Biad and Laykari (at least one composition in Brahma and Rudra Taal Mandatory)
It is necessary for the candidates of Instrumental -Department to know Masitkhani and Razakhani Gat along with the entire playing style .Prescribed raag-
- Puriya Kalyan
- Nayaki Kanhada
- Kaushi Kanhada (Malkouns Ang) Megh
- Maru Bihag
- Pure Sarang
- Sur Malhar
- Ramdasi Malhar
- Anand, Bhairav
- Basant Bahar
- Jog
- Kalavati
- Narayani.
(2).It is necessary to know only Drut khayal in the following raags – Dhrupad gayan only Dhrupad gayan for the examinees.
The students of Instrumental Department –
- Razakhani Gat
- Masitkhani Gat
- Sughrai
- Suha
- Kafi Kanhada
- Madhyamad Sarang
- Jhinjhoti
- Jaunpuri
- Shivranjani
- Pahadi
- Nat Malhar
- Jayant Malhar
(3).Ability to perform only raag forms of the following raag groups. (There is no need for Khayal or Dhrupad or Gat, only Alap or Jod Alap (including Jhala) or showing by swar vistar.
- Bengal Bhairav
- Shivmat Bhairav
- Nat Bihag
- Lalita Gauri
- Dev Gandhar
- Chandni Kedar
- Kukubh Bilawal
- Sarparda
- Reva
- Jait kalyan
(4).It is necessary to sing two Dhrupad and two Dhamar with complete singing in any of the prescribed raag groups of this year, with different types of Alap and different types of laykari.
(5).Ability to sing three Dhamar and three Hori in different Laykari with full singing for Dhrupad gayan students.
(6).Some Tarana, Chaturang, Trivat and Raagmala.
It is essential to know one Tappa, one Tarana, one Bhajan, one Chaiti and one Kajri with full singing.
(7).Must know two Thumri with full singing.
(8).Ability to showing similarity difference Alpatva Bahutva,Aavirbhav Tirobhav of the entire raags prescribed in the syllabus.
(9).Ability to judge raag by listening to difficult swar vistar.
(10).Practice of speaking different laykari in all the prescribed taals by showing the Tali Khali.Prescribed Taal: –
- Khemta
- Rudra
- Lakshmi
- Kumbh
- Mat
- Ganesh.
Note- The syllabus of previous years will be combined.
Stage performance-
(1).Singing or playing one Vilambit and one Drut khayal or one Masitkhani and Razakhani Gat in any raag of the syllabus with complete singing and complete playing style for one hour.
(2).Thumri singing or playing tunes in any raga
Or
One Dhrupad or Dhamar or Tarana or Trivat with complete singing.
Note:-
To show the ability of the candidate in Khayal singing and playing style. Ability to communicate during stage performance to impress the audience.
