PRACTICAL

M.M. 200

PRESCRIBED RAGAS

Category A

1.Yaman           2.Bilawal           3.Khamaj          4.Bhairva

5. Kafi                6.Asawari          7.Bhairavi

Aroh, Avroh and Paked. One Chota Khayal/Rajakhani Gat/Drut Gat with . Todas.

 

Category B

1.Poorvi            2.Marwa           3.Todi           

Brief introduction Aroh, Avroh and Paked in each of the above Ragas.

 

The following Talas with their Thekas :-

 (1)Teentaal       (2) Jhaptaal       (3) Dadra          (4) Kaharva

 

Note : There shall be no theory paper in Prathma (First Year) instrumental.

 

                                    INSTRUMENTAL PRATHAMA PRACTICAL
                    Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai

M.M.-200

 

PRESCRIBED RAGAS

A. Category: (1) Yaman (2) Alhaiya Bilawal (3) Bhairava (4) Bhoopali

(5) Desh (6) Khamaj (7) Kafi (8) Bhairavi (9) Asavari

Elementary knowledge of the above Ragas and one Vilambit Gat or Khayal and one Drut Gat or Khayal in each Ragas.

B. Category: (1) Poorvi (2) Marwa (3) Todi

One Drut Gat Khayal in each of the above Ragas.

 

SITAR OR SAROD

• One Masitkhani Gat and one Razakhani Gat with Todas and simple Alap in the Ragas of Calegory 'A'.

• One Razakhani Gat with Todas and simple Alap in Ragas of Category “B".

• Importance of left and right hands with their use on your instruments. Knowledge of Tuning of your instrument.

• Taal Padhant of the prescribed Taal.

VIOLIN, ESRAJ, SARANGI, GUITAR & MANDOLIN

• One Vilambit Khayal or Gat and one Drut Khayal or Gat in the Ragas of Category 'A’

• One Drut Khayal or Gat in the Ragas of Category 'B’

• National Anthem on your instrument.

• Tuning of your instrument.

• Taal Padhant of Prescribed Talas.

 

FLUTE & SHEHNAI

• One Vilambit Khayal or Gat and one Drut Khayal or Gat in the Ragas of category 'A'.

• One Drut Khayal or Gat in the Ragas of Category 'B'.

• Blowing, Breath control, fingering of different swaras production.

• National Anthem

• Taal PADHANT of Prescribed Talas. 

                                                      INSTRUMENTAL PRATHAMA
                            Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai

THEORY

M.M.-100

1.          A brief history of the Indian Music, Hindu period and Mohammedan period.

2.           Karnatki and Hindustani system of Music.

3.          Short  definitions of the following technical Terms:- Sangeet, Naad, Shruti, Swara, Saptak, Suddha Vikrita, Komal, Teevra,

Alap, Meend, Ghaseet, Soot, Kan, Pakad, Toda, Laya, Matra, Sam, Khali, Bhari, Vadi, Samvadi, Anuvadi, Vivadi Ashraya Raga, Swar Malika, Sargam, Alankar, Pakad, Vakra-Swara.

4.           Description & Comparison of prescribed Ragas

5.          Life Sketches of Pt. Bhatkhande, Pt. Vishnu Digambar Paluskar, Dr. Ratanjankar, Amir Khusro and their contribution.

6.           Detailed description of concerned instrument and their parts.

7.          Technique of Holding, Tuning, Playing and producting swaras of your instrument.

                                         INSTRUMENTAL MADHYAMA
                                                          PART I - PRACTICAL
                            Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai

 

M-M.-200

PRESCRIBED RAGAS

A. Category:     (1) Hamir           (2) Kedar           (3) Bihag

               (4) Bageshri      (5) Bhimpalasi

               (6) Jaunpuri       (7) Malkauns

B. Category:     (1) Tilak Kamod  (2) Sohini

 

SITAR or SAROD

• Complete knowledge of the Ragas of category 'A'.

• The candidate will prepare one Masitkhani Gat and one Razakhani Gat with Alap. Toda and Tihais in the prescribed Ragas with one Masitkani Gat and one Razakhani Gat with Alap and Toda.

• One Razakhani Gat with Alap and Toda in category 'B' Ragas.

• Any dhun or Gat set in a Taal other than Trital.

• Tuning of the instrument and proper use of plectrum with Kheench (stretch technique).

• Taal PADHANT of prescribed Talas.

 

  VIOLIN/ESRAJ/SARANGI /GUITAR / MANDOLIN

• One Vitambit Khayal or Gat and one Drut Khayal or Gat in the Ragas of category 'A'.

• One Drut Khayal or Gat in the Ragas of Category 'B'.

• To play more swaras by single finger on single string in one way bow or stroke.

• To play Dhuns in any suitable prescribed Ragas.

• Tuning of instrument.

• Taal Padhant of prescribed Talas.

 

FLUTE or SHEHNAI

• One Vilambit Khayal or Gat and one Drut Khayal or Gat in the Ragas of Category 'A'.

• One Drut Khayal or Gat in the Ragas of Category 'B'.

• Importance and their proper use in straight and side of Bansi.

• To play Sanyukta Swaras.

• Selection of flute for different scales and Tuning of Shehnai.

• Taal Padhant of prescribed Talas.

 

                                            INSTRUMENTAL MADHYAMA PART-I
                     Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai

THEORY

M.M. – 100

(1) Pt. Vyankatmakhi and his 72 Thaat.

(2) Origin of Ragas and their number.

(3) Raag Ragini Paddhati.

(4) Distinction between Thaat & Raag.

(5) Importance of Vadi Swar.

(6) Gat & Current Forms.

(7) Time Theory of Ragas(Time Circle).

(8) Short definition of the following terms:-

Gat, Khayal, Gamak, Varna, Raag, Sthayi, Antara, Sanchari, Abhog.

(9) Description and Comparison of Ragas Prescribed.

(10) Notations of Prescribed Ragas (Compulsory).

(11)   Knowledge of Sooltaal, Adachautaal, Jhoomra, Deepchandi and Tilwada Taal with Dugun, Tigun & Chaugun Layakari Including Previous year Talas.

                                  INSTRUMENTAL MADHYAMA PART II PRACTICAL
                          Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai

M.M.- 200

PRESCRIBED RAGAS

A. CATEGORY : (1) Desh (2) Shankara (3) Brindavani Sarang (4) Vibhas

                (5) Marwa (6) Kamod (7) Gaud Sarang

B. Category :   (1) Durga (Bilawal That) (2) Poorvi       (3) Jogiya

 

SITAR or SAROD

* Complete knowledge of the Ragas of category A.

*The candidate will prepare one Masitkhani Gat and one Razakhani Gat with Alaap, Toda & Tihai in the Prescribed Ragas.

* One Razakhani Gat with Alaap & Toda in the Ragas of Category B.

* Any Dhun or Gat set in a Taal other than Trital.

* Tuning of the Instrument and proper use of plectrum with Kheench(Stretch technique).

* Taal Padhant of Prescribed Taals.

VIOLIN, ESRAJ, SARANGI, GUITAR & MANDOLIN

* One Vilambit Khayal or Gat and one Drut Khayal or Gat in the Ragas of Category A.

* One Drut Khayal or Gat in the Ragas of Category B.

* To play more Swaras by single finger on single string in one way bow or Stroke.

* To play Dhun in any suitable prescribed Ragas.

* Tuning of the Instrument.

* Taal Padhant of Prescribed Talas.

FLUTE or SHEHNAI

* One Vilambit Khayal or Gat and one Drut Khayal or Gat in the Ragas of Category A.

* One Drut Khayal or Gat in the Ragas of Category B.

* Importance and their proper use in straight and side of Bansi.

* To play Sanyukta Swaras.

* Selection of flute for different scales and tuning of Shehnai.

 

Tal Padhant of Prescribed Talas.

 

                             INSTRUMENTAL MADHYAMA PART II THEORY
           Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai

 

M.M. – 100

(1) Medieval history of Indian Music.

(2) Brief Introduction of Karnatak Music System.

(3) Classification of Ragas.

(4) Gamak and its Types.

(5) 10 Characteristics of Jaati.

(6) Define the following terms :- Shuddha, Chhayalag & Sankeerna Raag, Poorvang Vadi, Uttarang Vadi, Parmelpraveshak & Sandhiprakash Raag

(7) Description of your Instrument with Sketch.

(8) Brief Knowledge of Western Notation System.

(9) Description and Comparison of Ragas Prescribed.

(10) Notations of Prescribed Ragas (Compulsory).

(11)  Knowledge of Dhamaar, Gajajhampa, Pancham Sawari & Matta Taal with Dugun, Tigun & Chaugun Layakari Including Previous years Talas.

 

                                   INSTRUMENTAL VISHARAD PART-I PRACTICAL
                         Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai

 

M.M.-200

PRESCRIBED RAGAS

A. Category:  (1) Hindol            (2) Jaijaiwanti

(3) Pooriya Dhanashri (4) Paraj

(5) Adana               (6) Bahar

(7) Gaud Malhar      (8) Miyan Malhar

(9) Shri

B. Category: (1) Kalingada

 

• SITAR OR SAROD

• One Masitkhani Gat and one Razakhani Gat in the Ragas of Category 'A' with full Alapchari and difficult laya - karis, Tihalas, Tan todas and Jhala.

• One Razakhani Gat in the Ragas of Category 'B' with Tans or Todas. At least two Gats set in any other Tal than Trital.

• Tuning of Instrument.

• Taal Padhant of prescribed Talas

 

VIOLIN, ESRAJ, SARANGI, GUITAR & MANDOLIN

• One Vilambit Khayal or Gat and one Drut Khayal or Gat in the Ragas of Category 'A' with full Alapchari and difficult layakaris, Tans and Tihais and Jhala.

• One Drut Khayal or Gat in the Ragas of Category 'B' with Tans.

• At least two compositions set in any other Tal than Trital.

• Performance and use of left and right hands and their importance.

• Tuning of instrument.

• Taal Padhant of prescribed Talas.

 

FLUTE or SHEHNAI

• One Vilambit Khayal or Gat and one Drut Khayal or Gat in the Ragas of Category 'A' with difficult layakaris with Tihai, Tans and Jhala.

• One Drut Khayal or Gat in the Ragas of Category 'B' with Tans.

• Finger technique and accuracy of Notes.

• Taal Padhant of prescribed Talas.

  

                                          INSTRUMENTAL VISHARAD PART- I
                         Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai 

THEORY

M.M.-100

1.           Notation of Prescribed Ragas (Compulsory)

2.          Shruti and Swara (Comparative study thereof) according to different Authors and different periods.

3.          Views of Bharata, Sharangdev, Ahobala, Shrinivas and Pt. Bhatkhande on the historical and tonal aspects of Shruti-Swara Sthans.

4.          Study of Note by length of the string of Vina (Suddha and Vikrita Notes of medieval and Modem Granthakars).

5.           Sadja Grama, Madhyam Grama.

6.           Relations between Notes length and frequency.

7.           Study of the following Technical terminology:-

Geet, Gandharva, Gan, Nayaki, Gayaki, Margi, Desi, Jod Alap, Ladi, Lad- Lapet, lad-Guthav, Grama Rag, Up-Raga, Raga-Bhasa, Vibhasaha, Antar- Bhasa, Ragang, Bhasang, Kriyang, Upanga, Baj. Sanyukta Swara, Zamzama, Ghaseet, Gitkiri, Krintan, Gayak, Nayak, Kalawant, Gandharva, Pandit.

8.           Methods of the different steps of Alapchari.

9.           Nibaddha and Anibaddha Gan.

10.        The famous instrumentalists- Ustad Allaudin Khan, Inayat Khan, Pt. Gajanan Rao Joshi, Pannalal Ghosh.

11.        Description and comparison of prescirbed Ragas.

12.        Study of the following Talas:-

                (A) Revision of Prathama & Madhyama Prescribed Talas

                (B) Sawari, Shikher, Yati Shikher Talas.

  

                                      INSTRUMENTAL VISHARAD PART II PRACTICAL
                               Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai

 

M.M.-200

PRESCRIBED RAGAS

(1) Suddha Kalyan	(2) Chayanat	(3) Kamod
(4) Deshkar	(5) Ramkali	(6) Basant
(7) Lalit	(8) Poorvi	(9) Pooriya
(10) Darbari Kanhada	(11) Multani	(12) Todi
(13) Peelu (Non detail)

 

SITAR OR SAROD

• A solo of 20 minutes duration of a prescribed Raga of your choice.

• One Masitkhani Gat and one Razakhani Gat with full elaboration of technique in the prescribed Ragas.

• Full knowledge of the previous course Ragas.

• Ability any given combination of swaras or composition on spot.

• Taal Padhant to the Talas prescribed.

• Any Dhun.

                                  VIOLIN, ESRAJ, SARANGI, GUITAR & MANDOLIN

• A solo of 20 minutes duration of a prescribed Raga of your choice.

• One Vilambit Khayal or Gat and one Drut Khayal or Gat with full elaboration of technique with prescribed Ragas.

• Full knowledge of previous course Ragas.

• Ability to play any given combination of Swar or composition on spot.

• Taal Padhant of the Talas prescribed.

• Any Dhun.

Flute or Shehnai

• A solo of 20 minutes duration of a prescribed Raga of your choice.

• One Vilambit Khayal or Gat and one Drut Khayal or Gat with full elaboration of Technique in the prescribed Ragas.

• Full knowledge of previous course Ragas.

• Ability to play any given combination of swar or composition on spro.

• Taal Padhant of Talas prescribed. 

                                          INSTRUMENTAL VISHARAD PART II
                         Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai

THEORY

M.M.-100

1.           Notation of Ragas prescribed (Compulsory).

2.          A comparative study of Moorchanas, the ancient musical Modes. The ancient classification of Ragas into 10 types:-

3.          Grama Raga, Up-Raga, Bhasa, Vibhasa, Anterbhasa, Raganga, Bhasanga, Krianga and Upanga.

4.          Music setting or closed forms of Music, Types of composition (classical and others) and their history. Dhrupad, Hori (Dhamar) Khayal, Tappa, Thumri, Tarana, Chaturang, Lakshari geet, Sargam,Kajri, Chaiti, Tillana, Pallavi, Anupallavi, Charnam, Chittaswaram.

5.          Swasthan, Akshiptika, ancient Raga Lakhns, Jati Ke Lashans, Ragalap, Roopakalap, Alapti, Avirbhava, Tirobhava, Vaggeyakar (Uttam Madhyama & Adham), Pandit, Demonstrator.

6.           Tan and it's kind, Suddha, Koot, Mishra, Bol, Gamak.

7.          The southern Taal system. The main Sapta Taal and their Jatis, Their comparison with Talas of Northern system.

8.          Comparative study of Hindustani and Kamataki system of Swar, Saptak, Thata, Raga, Taal.

9.           Study of the following Talas:-

            (A) Revision of Prathama, Madhyama and Visharad Part I Talas

            (B) Gajajhampa, Matta, Lakshami, Brahma and Rudra Talas.

10.        The origin history and contribution of different Gharanas and their Bai (Style) of your instrument.  

                                          INSTRUMENTAL NIPUN PART-I
                          Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai 

PRACTICAL                                                                                             M.M.-200

 Ragas:        (1) Shyam Kalyan                 (2) Jait Kalyan

                    (3) Yamni Bilawal                  (4) Jhinjhoti

                    (5) Suddha Sarang               (6) Vibhas

                     (7) Dhanashri                       (8) Jogia

                     (9) Nayaki Kanhada              (10) Jog

                     (11) Soor Malhar                  (12) Marg Behag

                    (13) Jait Shri                        (14) Durga (Bilawal Thata)

• Stage performance for a duration instructed by the examiners board in a prescribed Ragas of your choice with Vilambit (Masitkhani) Gator Khayal and Drut (Razakhani) Gat or Khayal with full elaboration of techniques.

• One Vilambit (Masitkhani) Gat or Khayal and one Drut (Razakhani) Gat Khayal in each of the prescribed Ragas.

• At least two Vilambit (Masitkhani) and two Drut (Razakhani) Gat or Khayal set in any other Taal than Trital.

• Ability to perform on spot the Swar combination or composition asked by examiners board.

• Ability to accompany.

• Ability to answer the analysis of the Ragas prescribed.  

                                                INSTRUMENTAL NIPUN PART I
                               Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai

                                               THEORY Paper I

 

Time: 3 Hours                                                                M.M. 100

Detailed Study of Sangeet Granthas, prescribed Ragas and History of Indian Classical Music.

Note: Students will be required to answer Five Questions and at least two questions from each group. 

GROUP 'A’

Detailed study of the following Sangit Granths:-

(i)          Sangit Parijat by Pt. Ahobal.

(ii)         Raga Tatwa Vibodh by Pt. Shriniwas

(ii)      Swarmelkalanidhi by Pt. Ramamatya.

(iv)        Rag Tarangini by Pt. Lochan

(v)         Chaturdandi Prakashika by Pt. Vyankatmakhi. 

GROUP 'B’

1            Importance of Chhandshastra in Music.

2            Study of different Gharanas & their main characteristic features.

3.           History of Music from the time of Sangit Ratnakar to present day.

4.           Detailed study of the Ragas prescribed.

5.           To compose a piece of your own notation in a given Taal & Raag.

6.           To compose a piece of your own notation in a given Taal & Raag.

7.          Contribution of Bharat, Sharangdev & Ameer Khusru in the field of Music.

                                      INSTRUMENTAL NUPUN PART-I
          Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Fuitar, Flute & Shehnai

Time: 3 Hours                                                                M.M.-100

THEORY PAPER II

SCIENTIFIC STUDY OF INDIAN MUSIC

1.          Sound Frequency, Pitch, Intensity, Timber, Amplitude, Waves- Transverse & Longitudinal, Resonance, Echo, Reverberation.

2.           Shruti Swar discourse in detail.

3.          Theory of production & propagation of sound, measurement of musical intervals according to Indian as well as Western theories of tonality.

4.           Study of Indian musical drone.

5.           Importance of intonation in Indian classical music.

6.          Forms of Indian melody mode pattern, Gram Raga, Moorchhana, Jatis according to ancient theory of Indian music.

7.          Detailed study of Ancient, medieval and modern and modern Swar- Gram

A	ANCIENT	i ii iii	Vaidic System Bharat System Sharangdev System
B.	MEDIEVAL	i	Southern System
		ii	Northern System
		iii	Swarit System
		IV	Swargram System
C	MODERN	I	Thaat System
		II	Shruti use System

8.           Short essay of not less than 400 words:-

            1. Philosophy of music.

            2. Language of music.

            3. Laws of musical composition.

            4. Folk & Classical music.

                                         INSTRUMENTAL NIPUN PART-II
                        Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai

PRACTICAL

M.M-200

Ragas:      

(1) Rageshri                        (2) Khambavati

(3) Deogiri Bilawal                (4) Nand

(5) Ahir-Bhairava                  (6) Hamsadhwani

(7) Gunakri                          (9) Gauri

(8) Bhatiyar                         (11) Madhyamadi Sarang

(13) Maru Behag                  (10) Mian-ki-Sarang

(12) Megh Malhar                 (14) Charukeshi

(15) Desi Todi

• Stage performance for a duration instructed by the examiners board in prescribed Ragas of your choice with Vilambit (Masitkhani) Gat or Khayal and Drut (Razakhani) Gat or Khayal with full elaboration of techniques.

• One Vitambit (Masitkhani) Gat or Khayal and one Drut (Razakhani) Gat or Khayal in each of the prescribed Ragas.

• At least two Vilambit (Masitkhani) and Two Drut (Razakhani) Gat Khayals set in any other Taal than Trital.

• Ability to perform on spot the Swar combination or composition asked the examiners board.

• Ability to tune your instrument before the examiners board.

• Ability for accompaniment.

• Ability to answer the analysis of the Ragas prescribed. 

                                         INSTRUMENTAL NIPUN PART II
                       Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai 

THEORY PAPER I

Time: 3 Hours                                                                M.M. 100

Detailed Study of Sangeet Granthas, prescribed Ragas and History of India

Classical Music.

Note: Students will be required to answer Five Questions and at least two questions from each group.

Detailed study of the following Sangit Granths:-

 

GROUP 'A’

(I)		Raga Vibodh	By Pt. Somnath
(ii)	(a)	Sadrag Chandrodaya	By Pundrik Vittal
	(b)	Raga Mala	By Pundrik Vittal
	(c)	Rag Manjari	By Pundrik Vittal
iii	(a)	Anup Sangit Ratnakar	By Pt. Bhavbhatt
	(b)	Anupankush	By Pt. Bhavbhatt
	(c)	Anup Vilas	By Pt. Bhavbhatt
(iv)		Ras Kaumadi	By Pt. Shreekantha
(v)	(a)	Shreemal Lakshya Sangitam	By Pt. Bhatkhande
	(b)	Abhinav Raga Manjari	By Pt. Bhatkhande

 

GROUP 'B’

1.           Prabandha - Detailed Study on ancient and modern Prabandha Gana

2.           History of Indian Classical Music (From Vaidic time to present day).

3.           Detailed study of Ragas prescribed for practical examination.

4            Detailed and comparative study of Ancient and modern Alap Gayan.

5            History of Raga Ragini Paddhati and Janya Janak Paddhati in detail.

 

                                          INSTRUMENTAL NIPUN PART II
                    Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai

THEORY PAPER-II

Time: 3 Hours                                                                M.M.-100

SCIENTIFIC AND AESTHETIC STUDY OF INDIAN CLASSICAL MUSIC

1            Detailed study of Harmony, Melody and it's use in Indian Classical Music.

2.           Consonance & Dissonance.

3.          Sound culture your instrument and its importance in rendering the Indian Classical Music.

4.           Sound acoustics & Relativity in Music.

5.          Scales-Tempered Scale, Enharmonic Scale and Chromatic Scale Major Scale and Minor Scale.

6.           Aesthetics of Indian classical music & their advantages.

7.           An essay of not less than 400 words.

i            Expression in Music

ii           Mind & Music

iii          Personality in Music

iv          Function of Music

v           Music & its influence. 

                                           INSTRUMENTAL NIPUN PART III
                   Sitar, Sarod, Violin, Esraj, Sarangi, Guitar, Mandolin, Flute & Shehnai

 

Note: There will be no theory papers. Only practical examination in two parts shall be conducted.

PRACTICAL

M.M.-400

A       STAGE PERFORMANCE                                      M.M.-200

Stage performance in one of the prescribed Ragas with Vilambit and Drut Khayal. Duration will be asked by the examiner.

Demonstration and questionnaires of the following Ragas:

(1) Gopi Basant                            (2) Basant Mukhari

(3) Bihagad                                  (4) Sahana

(5) Kausi Kanhada                        (6) Ramdasi Malhar

(7) Bilaskhani Todi                        (8) Narayani

(9) Gorakh Kalyan                        (10) Abhogi

(11) Sorath                                  (12) Gujri Todi

(13) Bhoopal Tudi                         (14) Bairagi Bhairava

(15) Ananda Bhairava

 

B.          VIVA VOCE                                                          M.M.-200

Specialisation in any one of the following Raga Prakar:-