Vocal Music Sangeet Visharad Part 1 Syllabus In English
Vocal
Exam Marks
Total Marks- 200
Theory-50
Practical-150Â Â Â Â Â
Theory
(1).Definition-Pracheen and Aadhunik Alap gayan paddhati, Jati gayan, Alpti gaan, Raag lakshan, Nibaddh and Anibaddh gaan,and Ragalap,Roopakalap, Akshiptika, Vidari, Sannyas, Apanyas,Desi sangeet , Apanyas, Deshi sangeet, Margi sangeet, Alpatva,Bahutva, Sahayak Naad, Diatonic Scale, Gayaki, Nayaki, Dhrupad, Ghatu, Matu.
(2).General knowledge of Shruti-Swar Vibhajan paddhati in Pracheen, Madhaya, Aadhunik and establishment of shudha and vikrit swar on Veena.
(3).Comparative study of Taal paddhati of South and North India.
(4).Types of gaan – Thumri and Tappa.
(5).Ability to compose gaan and write them in different swar lipi.
(6).Knowledge of different types of singing: Chaturang, Prabandh, Trivat, Hori, etc.
(7).Shadaj – Madhyam and Shadaj – Pacham bhav, Harmani, movement and movement number.
(8).Practice of writing Bade and Chote Khayal’s swar lipi and Dhrupad and Dhamar’s swar lipi in Vilambit, Dugun, Tigub, Chugun and Aad laykari.
(9).Complete knowledge about equality-variation, Alpatva,Bahutva,Aavirbhav and Tirobhav in the prescribed raag group.
(10).Identifying raags by looking at written swar groups.
(11).Practice of writing Theka of prescribed Taal groups in different lakari
(12).Introduction to different gharanas of sangeet and their contribution, advantages and disadvantages in the field of promotion and dissemination ofsangeet.
(13).Biography and contribution of these artists in music-
- Haddu Khan
- Hassu Khan
- Baijubawara
- Gopal Nayak
- Adarang, Sadarang
- Ustad Bade Ghulam Ali Khankhan.
(14).Practice of writing essays on various topics of music-
- Sangeet aur Sahitya.
- Lok geet.
- Bhartiya vady yantr.
- The problem of musicians.
- Suggestions for popularizing Indian classical Sangeet.
- National Program (Radio and Durdarshan).
- Music reform in music school.
Practical
(1).It is necessary to know Chota Khayal in the following raag groups. Dhrupad with different types of laykari (Tha, Dugun, Tigun, Chaugun and Aad laykari) for the examinees of Dhrupad gayan
Prescribed raags –
- Puriya
- Hindol
- Shankara
- Darbari Kanhra
- Adana
- Bahar
- Sohini
- Jogiya
- Multani
- Jaunpuri
- Todi
- Vibhas.
(2).It is necessary to know Bada Khayal in any of the six raags given above (composition of these khayal should be in Rupaka, Ektaal, Jhumra taals).
It is necessary for the examinees of Dhrupad gayan to have Dhrupad gayan in Chartal, Sooltal, Teevra and Basant (Matra 9).
(3).Two Dhrupad, two Dhamar, one Tarana and one Tripat and one Chaturang are necessary in any of the raag groups prescribed for this year. (Dhrupad and Dhamar must be in Vilambit, Dugun, Tigun and Chaugun laykari) In addition to Dhrupad in the raag groups prescribed for the previous year for Dhrupad gayan examinees, two Dhamars with Vilambit, Dugun, Tigun and Chaugun rhythms, one Hori and one It is necessary to know the raag.
(4).Special attention towards singing.
(5).Singing a difficult swar lipi, practice singing some Shudha Vikrit swars at the same time.
(6).Practice of making swar lipi by listening to another person’s singing.
(7).To show Aavirbhav and Tirobhav in Sam Prakrtik ragas.
(9).Simple practice of one Thumri in any one Raag- Pilu, Khamaj and Tilang for the students of Khayal gayan.
(10) Showing of equality-variation, Alpatva-Bahutva,Aaavirbhav and Tirobhav in prescribed raag groups.
(11) –
(a)Practice of recitation in Thah, Dugun, Tigun, Chaugun and Aad and Kuad including Tali-Khali, the theka of taals fixed for the previous year.
(b).Practice of reciting the bols of Theka of Pancham Sawari, Deepchandi, Rupak, Jat, Gajjhampa, and Mat Taal.
(12).Decision of Raags by listening to Alap.
(13).The practice of singing with Tanpura is essential.
Note- The syllabus of previous years will be combined.
