Vocal Praveen 8th Year Syllabus In English Prayag Sangeet Samiti

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Vocal Praveen 8th Year Syllabus In English

Vocal

8th year (Music Praveen)

  • The practical test will be of 200 marks. In which 100 marks will be for question based practical examination, 100 marks will be for stage performance. There will be two question papers of Theory of 50-50 marks. To pass the candidate will have to obtain 36 percent marks in all the three exams separately.
  • The syllabus from first to seventh years is also included in this examination.

Practical

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

  • Devagiri Bilawal
  • Yamani-Bilawal
  • Shyam Kalyan
  • Gorakh Kalyan
  • Megh Malhar
  • Jaitashri
  • Bhatiyar
  • Miyan ki Sarang
  • Suha
  • Nayaki-Kanada
  • Hemant
  • Kausi Kanhada
  • Jogkaus
  • Bilaskhani Todi
  • Jhijhoti.

(2).-

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

(b). Complete preparation for the students of Tantra Vadya and Sushir Vadya to play beautiful Alap-Jod,Vilambit (Masitkhani) and Drut (Razakhani) khayal or Gats in all the above raags in detail. Complete practice of playing bandish in some of these raags in addition to the three taals, in some other difficult taals as well. Practice of playing tune or thumri organ beautifully in any raag.

(3). Complete introduction to the following 15 raags – a clear demonstration of their form through Alap and practice of singing or playing any one of these bandish. There is no need to sing or play these bandish in detail – Bihagda, Nat Bihag, Jaitakalyan, Ramdasi Malhar, Shuklabilaval, Bhankhar, Shivmat-Bhairav, Sugharai, Gauri (Bhairav ​​Thaat), Lalita Gauri, Barwa, Khambavati, Patmanjari (Kaphi Thaat).

(4).Ability to recognize all raags from the first to the seventh year and all raags of that year when sung or played.

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

(6).Complete introduction to the following taals and practice of recitation in laykari by tali them- Ashtamangal Taal, Arjun Taal, Shikhar Taal and Kumbh Taal

Stage performance

(1).In the stage performance, the examinees of singing and playing will first have to sing in any one raag of their choice out of 15 raags of detailed study, Vilambit and Drut khayal or last for about 30 minutes or in the time fixed by the examiner, with complete singing. After that, for some time, you will have to recite thumri, devotional song of any raga or play some Dhun or Dhun of thumri organ.

(2).At the time of stage performance, the audience can also be present in the examination hall to listen to the program.

(3),The examiner will have the right that if he wants, he can end the performance of the examinee even before the scheduled time.

Theory

First Paper (Shudha Theory)

For the examinees of singing system and Sushir Vadya –

(1).Detailed and critical study of all the topics and terms related to musicology given in the courses (Vocal and Tantra Vadya) from 1st to 7th years.

(2).A detailed study of the history and development of Indian music in Madhyakalin and Aadhunik kalin.

(3). His contribution in the development of Indian music –

  • Amir Khusro
  • Ahobal
  • Swami Haridas
  • Tansen
  • Raja Mansingh Tomar
  • Sultan Hussain Shah Sharqi
  • Nyamat Khan (Sadarang)
  • Khusro Khan
  • Nawab Wajid Ali Shah
  • Hassu- Haddu Khan
  • Thakur Nawab Ali
  • Pt Vishnu Narayan
  • Bhatkhande
  • Pt Vishnu Digambar Paluskar
  • Omkar Nath Thakur
  • Kailashchandra Dev Brihaspati etc.

(4). Detailed study of the following music texts from the fourteenth to the eighteenth century – Raag Tarangini by Lochan, Swar Mail Kalanidhi by Ramamatya, Hridayanarayan Dev by Hriday Kotuk and Hriday Prakash, Raag Vivodh by Somnath, Sangeet Parijat by Ahobal, Raag Tattavibodh by Srinivas, Vyankatmukhi by Chaturdandiprakashika.

(5). Development of Indian music in 19th and 20th centuries and special study of music granth of this kaal.

(6).Separation of North and South Indian sangeet paddhati and the reason for this separation, beginning and development.

(7).A critical study of the influence of foreign music on Indian music.

(8). Detailed study of the spiritual characteristics of Indian music.

(9).Theoretical explanation of Ras element in music. Knowledge of aesthetics.

(10).Difference between artistic and scientific views of music. The place of music in the fine arts.

(11).Efforts by government and other institutions in relation to music and its dissemination and promotion in independent India.

(12). Detailed study regarding the origin and development of various tantras and dry instruments prevalent in Indian music.

(13).Detailed study of Natyashastra, Vrihaddeshi, Sangeet Makarand, Sangeet Ratnakar, Sangeet Darpan, Hanumat Mat, Shiv Mat, Someshwar Mat, Kallinath Mat, Bharat Mat, Ragang paddhati, Thaat-Raag paddhati in relation to Raag-Ragini classification.

(14). Ability to write articles on topics related to musicology.

Second Paper (Performance Music)

(The question paper will be different for singing and instrument candidates)

(1).A detailed and critical study of all functional musicology from the 1st to 7th year’s courses.

(2).Elements and principles of management science. Knowledge of composing modern arrangements like –

  • Dhrupad
  • Dhamar
  • Khayal
  • Thumri
  • Tappa
  • Dadra
  • Tarana
  • Trivat
  • Chaturang .

(3).Knowledge of composing new bandish of different types of Gat like-

  • Masitkhani
  • Razakhani
  • Amirkhani
  • Firozkhani.

(4). Present status of Indian music and its future.

(5).A detailed study of the origin and development of various Tantra Instrument in India and the characteristics of their playing styles.

(6).Reasonable views on the reasons for the decline of Dhrupad singing and the popularity of Khayal singing.

(7).Different types of means and madhayam and their advantages and disadvantages for the promotion and dissemination of Indian music in the present time.

(8).Critical and reasoned thoughts regarding various types of music education being given at the present time.

(9).Ability to compose own sargam and bandish in taals other than Teentaal in the raags of the syllabus.

(10).Detailed study of all raags of this year and comparison with similar raags, complete knowledge of showing examples of Alpatva- Bahutva and Tirobhav-Aavirbhav in these raags.

(11).Thorough knowledge of the western lipi paddhati and its comparison with the prachalit lipi paddhati in Indian music. Knowledge of writing Geet or Gat in western lipi paddhati.

(12).Full ability to write articles on f Practical musicology, related topics.