Vocal & Instrumental Music Sangeet Bhaskar Part 1 Syllabus In English Pracheen Kala Kendra

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Vocal & Instrumental Music Sangeet Bhaskar Part 1 Syllabus In English

Instrumental

Exam Marks

Total Marks: 400

Theory-200

First Question Paper-100

Second question paper-100

Practical-125

Stage Performance-75

Theory

First paper

(1).Knowledge of all technical terms from first to fifth year.

(2).Classification and importance of ancient, medieval, modern raags and mutual comparison of their different types.

(3).Classification and importance of Pracheen, Madhyakalin, Aadhunik kalin raags and mutual comparison of their different types.

(4).Knowledge of Hindustani and Carnatik vocal and playing style including swar and taal.

(5).Study of Thaat system prevalent in Praacheen kal, Madhaya kal, Aadhunik kal

(6).Raag classification, Jati gayan, gram, raag, raag Ragini paddhati, Melkarta, Ragang paddhati etc.

(7).Pracheen and Aadhunik song compositions and their types.

(8).Aavirbhav, Tirobhav, Gram, Murchhana, Sarana Chatushtayi, Shruti-Swar, Vibhajan, Pracheen and Aadhunik Alap gayan paddhati, Shadaj-Pancham, and Shadaj-Madhyam Bhav, origin and knowledge of Sahayak Naad and sangeet.

(9).The place of Ras, Sthai, Sanchari Bhav, Avirbhav and Tirobhav in raags.

(10).The influence of western instruments on the Indian Instrumental sangeet paddhati.

 (11).Influence of western music on Hindustani music.

(12).Special study regarding Akarsh Prahar, Apkarsh Prahar, Khatka, Murki, Ghasit, Anulom, Vilom, Jod, Jhala etc. in Tantra Instrument.

(13).Introduction to different gharanas of music and their special contribution in the field of promotion and dissemination of music.

(14).Classification of instruments, background elements of instruments and knowledge of self-tones.

(15).Comparison of Aadhunik swar with the swar of Tanpura.

(16).Errors of Aadhunik instruments and measures for their correction.

Second Paper

(1).History of the birth of the instrument and knowledge of the playing style of the instrument selected by the student.

(2).Special knowledge regarding the origin of music.

(3).Knowledge of Indian and Western swarlipi advantages and disadvantages of adopting western swarlipi in Indian music.

(4).History of Indian musical instruments and their development according to granth.

(5).Historical development of singing and Instrument styles.

(6).Comparative study of Indian singing and Instrument style.

(7).Features of singing of gharanas, reasons for the downfall of gharanas and thoughts regarding their rise.

(8).Special study of all raags prescribed from first to sixth year, similarity-difference, Alpatva-Bahutva,Aavirbhav -Tirobhav and special knowledge of use of Nyas swar. Practice of writing Toda and Jhala into different Lay. raags in Alap-Taan. Masitkhani and Razakhani Gat,and practice writing Jhala.

(9).Practice of writing North Indian Taals in the Carnatic paddhati.

(10). Practice of writing different types of raag and Gat of different instruments in Bhatkhande and Vishnu Digambar Swarlipi method.

(11).Practice of writing Theka of all taals prescribed from first to sixth year in different laykari.

(12).Special study of western swar lekhan paddhati and its effect on Indian swarlipi.

(13).Essay-

  • Shastriya Sangeet and lok sangeet.
  • Raag and Ras.
  • Bhav,Ras and Lay.
  • Sangeet vigyan.
  • Biography-Pt. Ahobal, Miyan Shori and Ustad Amir Khan

Practical

(1).It is necessary to know Bada Khayal and Chhota Khayal in the following raags (with full singing)Raags prescribed in the syllabus-

  • Devgiri Bilawal
  • Yamani Bilawal
  • Shyam Kalyan
  • Gorakh Kalyan
  • Ahir Bhairav
  • Aabhougi Kanhada
  • Koshi Kanhada
  • Chandra Kaus, Bhatia
  • Gurjari Todi
  • Vilaskhani Todi
  • Madhuvanti
  • Bihagada.
  • It is necessary for Dhrupad singing examinees to know Dhrupad singing with Thah, Dugun, Tigun, Chaugun, Aad, Biaad and Kuad bol)(At least one composition in Lakshmi and Pancham Sawari (fifteen matras) Taal.) –
  • Instrumental Department – It is compulsory for the examinees to know Masitkhani and Razakhani Gat along with complete Instrument style.

(2). It is necessary to know only Chota khayal in the following raag groups. Dhrupad singing only for Dhrupad singing examinees. Razakhani Gat only for the examinees of Instrumental department.

  • Bhairav-Bahar
  • Gunkali
  • Bhupal Todi
  • Lalit Pacham,
  • Nand
  • Anand
  • Bhairav
  • Barwa.

(3).Ability to perform raag form of the following raag groups, extending the swar by Alap or Jod Alap (including Jhala) to raags-(Khyal, Dhrupad, or Gat is not required – )

  • Shukla Bilawal
  • Nat Bilawal
  • Khambavati
  • Gandhari
  • Bhima
  • Hans Dhwani
  • Dhana Shri
  • Bageshree
  • Kanhada.

(4).It is necessary to know two Dhrupads and two Dhamar with different laykari in any of the prescribed raags of this year –Two Dhamars and two Hori with different laykari for the students of Dhrupad gayan.

(5).Thumri in any five raags.

(6).It is essential to know two Tarana, one Tappa,Chaturang and one Trivat.

(7).It is necessary to know one bhajan ,two thumri and one Dadra with full singing.

(8).Ability to showing similarity-difference, Alpatva-Bahutva and Aavirbhav-Tirobhav in all raags prescribed in the syllabus.

(9).Ability to judge raag by listening to difficult swar.

(10).Practice of reciting prescribed taals in various layakari by showing khali tali.

(11). Prescribed taal-

  • Gajjhampa
  • Brahman
  • Farodast
  • Jat Taal.

Note- The syllabus of previous years will be combined.

Stage performance

(a) Any one raag from the prescribed raags of this year will have to be sung or played for 40 minutes with full singing or playing style.

(b) Thumri or Dhun playing in any raag!

Or

A Dhrupad or Dhamar or Tarana or Tappa or Trivat with full singing.