Vocal Praveen 7th Year Syllabus In English Prayag Sangeet Samiti

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Vocal Praveen 7th Year Syllabus In English

Prayag Sangeet Samiti Seventh Year Syllabus –

  • The practical test will be of 200 marks in which 100 marks will be for objective type practical test and 100 marks will be for stage performance.
  • There will be two question papers of theory of 50-50 marks. 36% marks is required to pass.
  • The entire syllabus from 1st to 6th year is also included in this examination.

Practical

(1).Detailed study of the following 15 raags-

  • Shuddha Sarang
  • Maru Bihag
  • Nand
  • Hansdhwani
  • Maluha Kedar
  • Jog
  • Madhumad Sarang
  • Narayani
  • Ahir Bhairav
  • Puriya Kalyan
  • Abhogi Kanhada
  • Sur Malhar
  • Chandrakaus
  • Gurjari Todi
  • Madhuwanti.

(2).-

(a). A. Complete preparation for vocal aspirants to sing Vilambit and Drut khayal in detail in all the above raags. Practice of singing Dhrupad, Dhamar, Tarana, Chaturang etc efficiently in some of these raags. Preparation to sing Thumri, Bhajan or Bhavgeet beautifully in any raags as per the choice of the students.

(b).  Complete preparation for playing beautiful Alap-Jod, Vilambit(Khayal or Masitkhani) and Drut(Chota Khayal or Razakhani) Gats in all the above raags for the examinees of Tantra Vadya and Sushir Vadya. Apart from Teentaal, complete practice of playing bandish in some of these raags in some other difficult taals as well. Practice of playing Dhun or thumri organ beautifully in any raags as per the choice of the examinees.

(3).Complete introduction to the following 15 raags, clearly demonstrating their form through Alap and practice of singing or playing any one of these bandish. There is no need to sing and play these restrictions in detail.

  • Bengal Bhairav
  • Reva
  • Hanskinkini
  • Jaladhar Kedar
  • Jait (Marwa Thaat)
  • Dhanashree (Kaphi Thaat)
  • Bhima
  • Shahana
  • Bhupal-Todi
  • Anand-Bhairav
  • Sarparda
  • Gara
  • Dhani
  • Jayant Malhar
  • Gopika Basant.

(4).Ability to recognize all the raags of the first and sixth years and of this year when sung and played.

(5).Complete practice of speaking in various rhythms by clapping the prevalent taals and simple practice of playing their contracts on the tabla.

(6).Complete introduction to the following taals and practice of recitation in laykari by tali them – Pashto, Farodast, Khemta, Ganesh.

Stage performance –

(1).In the stage performance, the examinees will first have to sing or play in any one of the 15 raags of the detailed study as per their choice, Vilambit and Drut khayal or last for about 30 minutes or in the time fixed by the examiner, with full singing, then for some time in any other Thumri of Raag or Bhajan or Bhav Geet will also have to be recited or any thing or tune of Thumri organ will have to be played.

First Paper(Shuddh Sidhdant)

For the students of singing, Tantra and Sushir instruments –

(1).Detailed and critical study of all Shuddha theory related topics and terminology given in all the previous year’s courses (Vocal and Instrumental).

(2).Scientific and applied analysis of the principles of music.

(3).Origin of music and critical views on it.

(4).Shruti- Problem, detailed and critical study of Shruti swar vibhajan and Saranan Chatushtayi.

(5). Adequate study on Gram, Murchhana, use of Murchhana in aadhunik music, jati singing and its development in raag singing etc.

(4).Period division of the history of Indian music, complete information about different opinions regarding it.

(5). Thorough consideration of the history and nature of Indian music in aadhunik times, Vedic music and its ideas, Music of Puranic kal, Music of Bharat kaal, Maurya kaal, Kanishka kaal, Gupta kaal music and Prabandh singing kaal.

(6). A detailed study of the contribution of Bharat Narad, Matang, Jayadev and Sharangadev in the development of Hindustani music.

(7). Study of the following music texts prior to the fourteenth century and their findings and the detailed, critical, comparative study of the topics described in them, Shruti, Swar, Shuddha and Vikrit Swar, Shuddha Mela, Raag Classification, Raag Swaroop, Singing paddhati etc. – (1) Bharat Krit Natya Shastra

(2) Matang Krit Vrihaddeshi(3) Naradiya Shiksha

(4) Sangeet Makarand (5) Jaydev Krit Geet Govind

(6) Sharangdev Krit Sangeet Ratnakar.

(8.) Complete information about swar, raag, taal and singing of Carnatic music paddhati and their characteristics and their comparison with swar, raag, taal singing of Hindustani music paddhati.

(9). Detailed study of the following topics – Swar-multiplication, Swar Samvad, Study of Swayambhu Swars, Harmony, Melody, Development of Western Swar Saptak, Shadaj-Pacham and Shadaj – Composition of Saptak with Madhyam Bhav, Development of Indian Swar Saptak, Art and Shastra Art and Science of Music, Kala Paksha and Bhav Paksha of Music, Gamak and its different types.

(10). Detailed study of the following topics related to Dhwani science- Acoustics, Origin of Dhwani, Aadolan, Conduction of Dhwani, Velocity of Dhwani, Overtones, Beats of Dhwani, Tarta, Tiwra, Species or properties of Dhwani, Reflection of Dhwani, Refraction of Dhwani, Diffraction of Dhwani, Resonance, Echo, Consonance, Negative Dissonance.

(11). Detailed description of all the terminologies related to musical instruments given in the syllabus from first to sixth years, such as Meend, Sut, Ghasit, Gamak, Kan, Khatka, Krintan, Zamzama, Laag-Daat, Ladi-Gutthi, Ladguthav, Choot, Pukar, Tar – Paran, Chhand, Fikra etc.

(12). Special ability to write articles on music topics.

Second paper

(There will be separate question papers for singing and playing)

(1).Detailed and critical study of the science related to Practical music from the first to the sixth years.

(2). Detailed, critical and comparative study of all the raags of the syllabus. Detailed knowledge in relation to topics such as Nyas Swar of Raags, Alpatva- Bahutva Swars,Vivadi Swars and their use, display of Tirobhav-Avirbhava, comparison of similar raags, chaya of other raags in raags etc. It is also necessary to have complete knowledge of all the raags of the past years.

(3). Classification of Indian instruments, introduction to pracheen,madhyam and aadhunik instruments. Adequate knowledge of the Bhu- swar generated by the instruments themselves.

(4).Detailed, critical and comparative study of different types of singing or playing styles of singing and instruments.

(5). Specialized, critical, and comparative knowledge of Western swarlipi paddhati such as the Solfa paddhati, the Cheevh paddhati, the Nyooms paddhati, and the staff notation paddhati. Chords and their use, merits and demerits of western swarlipi paddhati.

(6).Birth, history, development and full knowledge of their lineage traditions of various gharanas of singing or Tantra playing. Introduction to their singing or playing styles, detailed, critical and comparative study of their characteristics.

(7).Detailed, critical and comparative study of the prachalit swaralipi paddhati in the country. Suggestions related to future development of Indian music and critical study of swaralipi paddhati from this point of view.

(a) Complete knowledge of writing different types of songs and their singing in different laykari.

(b) Complete knowledge of writing Jod alap, Gat, Taan Toda, Jhala etc. in different laykari in tantra playing.

(8). Biographies of well-known singers or instrumentalists of the 20th century, their contribution to music and special study of the characteristics of singing or playing styles.

 (10).Complete knowledge of Tansen and his descendants and disciple tradition of Seni family. Detailed study of the singing or playing styles of the singers or Tantra players of this gharana.

(10). Full knowledge of all taals prescribed in all previous courses and full knowledge of writing them in different types of difficult laykari.

(11). Full ability to write articles on practical music related topics.

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