Vocal Music Sangeet Visharad Final Syllabus In English Pracheen Kala Kendra

Vocal Music Sangeet Visharad Final Syllabus In English

Vocal

Exam Marks      

Total Marks: 300

Theory-100

First Paper -50

Second Paper-50

Practical-125

Stage Performance-75   

Theory-

First Paper

(1).Definition- Complete and detailed explanation of the terms of Gayaki, Nayaki, Kalavant, Vagyekar, Dhrupad’s Vani Swasthaniyam, Gram, Murchhana and music from first year to fourth year.  

(2).- 

(a) Gamak and their different types.

(b) Various types of Indian instruments – Tat, Avandha, Ghan, Sushir.

(3).Detailed knowledge of Carnatak and North Indian sangeet paddhati and their comparative study.

(4).Complete introduction of  Prabandh ,Vastu and Rupak 

(5).Pracheen Raag Ragini paddhati, Pracheen Alap gayan, Swasthan Niyam, Alpatva,Bahutva and its comparison with Aadhunik Alap gayan, Raags with Re Dha komal, Re Dha Shuddha and Ga Ni komal.

(6).Shruti-swar vibhajan in different times, movement number of Indian and western swars, relation of movement with length of strings, raag classification and Indian instruments.

(7).History and characteristics of gharanas of Khayal gayan and their contributions to sangeet.

(8. Importance of Gram in Indian sangeet, complete introduction to Murchhana, Vagyekar, Vani, Aadhunik Thaat, Harmony, Thaat staff swar lipi of western music, Sahayak Naad and Tanpura.

(9).Critical discussion in relation to harmonium.

(10).Saranan Chatushtayi, views of different authors regarding Saman and Asaman Shruti.

(11).Comparison between Carnatak Taal paddhati and Northern Sangeet Taal paddhati

(12).Subsidiary Sahayak Naad from Tanpura –

• Harmony
• Melody
• Major Tone
• Semi Tone
• Chords

(13).-

(a)Classification of Ragas, their complete history and importance and thoughts regarding them.

(b)General knowledge of Western paddhati.

(14).Comparative study of Bhatkhande and Vishnu Digambara Swar lipi paddhati.

(15).Basic rules of Hindustani sangeet paddhati

Second Paper

(1).Complete introduction to the prescribed raags and Alap in them, practice of writing Taan, raags To clarify the Aavirbhav Tirobhav and scarcity of Alpatva Bahutva. looking at written swar  groups

(2).Knowledge of similarities and differences in prescribed raag groups from first year to fifth year.

(3).Practice of writing Bada Khayal and Chota khayal in 1 Dhrupad and Dhamar in THah, Dugun, Chaugun and Aad.

(4).There should be practice of Swarbaddh and Taalbaddh any song and writing them in swar lipi.

(5).Writing the taal groups prescribed in the syllabus in different laykari.

(6).Writing songs in staff notation and other swar lipi like Pandit Vishnu Narayan Bhatkhande and Pandit Vishnu Digambar Paluskar.

(7).Ability to show Alpatva Bahutva, Aavirbhav Tirobhav in Sam Prakrtik raags.

(8.Practice of writing all the taals of the syllabus in difficult laykari except for the taals of Dhrupad and Dhamar gayan.

(9).Swar baddh any poem according to raag and raas.

(10).Swar lipibaddh the Alap of Nom-Tom.

(11).Biography and contribution to sangeet –

• Fayaz Khan
• D.V. Paluskar
• Omkar Nath Thakur.

(12).Ability to write essays on various topics of sangeet.

Essay-

• Mastishk aur sangeet.
• Sangeet ki unnati mein gharanon ka yogadaan.
• Bharatiya vrndavadan.
• Bharatiya sangeet ke mool niyam.
• Bharatiya sangeet par pashchatya sangeet ka prabhav.
• Sangeet aur swar sadhana.

Practical

(1).It is necessary to know chota khayal along with full singing in the raags given below. It is necessary for the aspirants of Dhrupad gayan to know complete Dhrupad including Thah, Dugun, Tigun, Chaugun, Aad Biad and Kuad Laikari.  Prescribed raag-

• Shri
• Basant
• Paraj
• Puriya Dhanashree
• Miya-Malhar
• Sudha Kalyan
• Malgunji
• Chhayanat
• Desi
• Lalit
• Ramkali
• Rageshree
• Gaur-Sarang
• Gaur-Malhar.

(2).It is necessary to know Bada Khayal in any of the seven raags prescribed for this year. (It is necessary to engage in Bada Khayal Jhumra, Aadachartaal, Ektaal, and Tilwada) Dhrupad, Sooltaal, Chartaal, Teevra, Matt taal, and should be engaged in Rudra Taal.

(3).It is necessary to know three Dhrupad, three Dhamar, three Tarana in any of the prescribed raags for this year. Dhrupad and Dhamar, including Vilambit Dugun, Tigun, Chaugun, and Aad Laykari.

(4).Two thumri in any raag of the syllabus for students of Khayal gayan only.

Pilu                   Khamaz

Bhairavi            Jhinjhoti

(5).Information of all previous raags including Samprakrtik raags.

(6).Practice of making notes of songs and compositions sung in aakar.

(7).A geet in Raag Pahadi and Asa.

(8).Each Drut khayal in the prescribed raag with perfect singing . Alap, Taan, Kan, Murki, Meend, Gamak etc.

(8).It is essential to know one bhajan, one Tappa, one Chaturang, one raag mala with complete singing.

(9).Practice of showing similarity-difference, Alpatva Bahutva, Aavirbhav Tirobhav in all raags prescribed for the first year to the fifth year.

(10).Identifying Raags by listening to Alap.

(11).-

(a) Speech recitation practice of all the taals fixed for the first year to the fifth year.

 (b) Practice of reciting the bols of Shikhar, Lakshmi, Farodast and Aada Chartaal in different laykari.

(12). Singing on Tanpura is compulsory.

Note- The study of previous years will be combined.

Stage performance –

 (1).with one Vilambit and one Drut khayal full singing in any one of the prescribed raags for the fifth year. A Thumri, a Bhajan or Tarana or Bhav Sangeet. Singing time 35 minutes.