GURU NANAK DEV UNIVERSITY AMRITSARgndu.ac.in/syllabus/201415/VISPERF/MA MUSIC HONS VOCAL SEMESTER I... · GURU NANAK DEV UNIVERSITY ... Indian Music in Professional Dr. Manju Shree

FACULTY OF VISUAL & PERFORMING ARTS

SYLLABUS

FOR

M.A. MUSIC (HONS.) (VOCAL)(SEMESTER: I – IV)

(Under Credit Based Continuous Evaluation Grading System)

EXAMINATIONS: 2014-15

______________________________________________________________________________________

GURU NANAK DEV UNIVERSITYAMRITSAR

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1

M.A. MUSIC (HONS.) VOCAL (SEMESTER – I)(Under Credit Base Continuous Evaluation Grading System)

Programme Code: MUB (V)SCHEME

SEMESTER – I: CreditsCourse No. C/E/I Course Title

L T P

TotalCredits

MUL (V) 401 C THEORETICAL SURVEY OFINDIAN MUSIC

3 1 0 4

MUL(V)402 C HISTORY OF INDIAN MUSIC 3 1 0 4MUL(V)403 C BIOGRAPHICAL AND

ANALATICAL STUDY OFINDIAN CLASSICAL MUSICIANS

3 0 0 3

MUP (V) 421 C STAGE PERFORMANCE 0 0 4 4MUP (V) 422 C ADVANCE STUDY OF RAGAS 1 0 3 4MUP (V) 423 C SEMINAR (MUSIC

APPRICIATION) BASED ONPOWER POINT PRESENTATION /ACTIVITIES

0 0 2 2

I INTER DISPLINARY(ANY DEPTT.) OTHER THANMUSIC

– – – 3

Total Credits: – – – 24

General Instructions for All Papers (Semester: I – IV)I. Each written paper in Minor I & II shall be of one hour duration.

II. Practical paper shall be of 15 minutes duration each.

III. Each written paper in Major shall be of three hours duration and practical paper shall be

of 30 minutes duration each

IV. Harmonium will not be allowed as an accompaniment in Vocal.

V. After every second minor in all papers there will be a Quiz.

2


PAPER: MUL–(V) 401: THEORETICAL SURVEY OF INDIAN MUSIC(THEORY)

UNIT–INote: The paper setter will set three questions. All questions are compulsory.1. Write short notes on the following in the context of musicology:–

Aptitude, Interest, Learning, Memory, musicology, environment, imitation.2. Detailed study of Moorchana.3. Critical survey of Ancient to Medieval Rag Vargikaran (Classification of Ragas).

UNIT–IINote: The paper setter will set three questions. All questions are compulsory.1. Shruti as defined by Bharat and Bhatkhande.2. Comparative study of Rag, Shailies and Thata of Uttari and Dakshini systems of

Music.3. Importance of swarit (Key note) in Music.4. Detailed study of Geeti Gaan.

UNIT–IIINote: The paper setter will set five questions. Selecting one question each from

Unit – I & II. All questions are compulsory1. Detailed knowledge of Staff Notation & its relevance in Indian Music.2. Contribution of Sufi Saints towards music.3. Ten Paraans of Tala.4. The devine power of music.

Books Recommended:

1. Bhartia Kanth Sangeet

Avam Vadya Sangeet

Dr. Arun Mishra, Kanishka Publishers,New Delhi.2002.

2. Nibandh Sangeet Laxmi Naryan Garg, Sangeet Karyala Hathras, 1989.

3. Punjab Ki Sangeet Parampara Dr. Geeta Pental, Radha Publication, New Delhi,1989.

4. Bhartia Sangeet Ka

Adhiyatmik Sawroop

Dr. Rajiv Verma & Neelam Parikh, Amar Granth

Parkashan, 2004.

5. Indian Music in Professional Dr. Manju Shree Chowdry, & Academic Institutions

Sanjay Parkashan, New Delhi, 1999.

3


PAPER: MUL–(V) 402: HISTORY OF INDIAN MUSIC(THEORY)

UNIT–INote: The paper setter will set three questions. All questions are compulsory.1. Historical Development of Indian Classical Music during ancient to medieval period.2. Historical development of Quawaali Gayan Shallie.3. Historical background of learning Indian Classical Music.

UNIT–IINote: The paper setter will set three questions. All questions are compulsory.1. Historical development of Gazal Gayaki.2. Development of Indian Music after independence.3. Historical development of Swar from Vedic to Medieval period.

UNIT–IIINote. The paper setter will set five questions. Selecting one question each from

Unit – I & II. All questions are compulsory.

1. Contribution of Shri Guru Gobind Singh Ji in Indian Music.2. Relation of Chhand and Music in singing styles of Gurmat Sangeet.3. Sikh religion & other contemporary religious musical traditions of Punjab.4. Importance of music in Shri Guru Granth Sahib.

Books Recommended:

1. Bhartia Kanth Sangeet

Avam Vadya Sangeet

Dr. Arun Mishra, Kanishka Publishers,

New Delhi.2002.

2. On Indian Music Pt. Debu howdery Roshan Press, 2005.

3. Sangeetayan Seema Johri Radha Publication, Nedw Delhi, 2003.

4. Nibandh Sangeet Laxmi Naryan Garg, Sangeet Karyala Hathras, 1989.

5. Hamare Sangeet Ratan Sangeet Karyala Hathras, 1989.

6. Gurmat Sangeet Parbandh Te

Parsar

Dr. Gurnam Singh, Pbi. Uni. Patiala, 2000.

7. Punjab Ki Sangeet Parampra Dr. Geeta Paintal, Radha Publication, New Delhi, 1998.

4


PAPER: MUL–(V) 403:BIOGRAPHICAL & ANALYTICAL STUDY OF INDIAN CLASSICAL MUSICIANS

(THEORY)

UNIT–INote: The paper setter will set three questions. All questions are compulsory. Biographical Study and contribution towards Indian classical music of the followings

musicians:1. Pt. Shankar Pandit (Vocal)2. Ustad Bismilla Khan (Shehnai)3. Pt. Kanthey Maharaj Ji (Tabla)

UNIT–IINote: The paper setter will set three questions. All questions are compulsory.

Biographical and Study and contribution towards Indian classical music of followingmusicians:

1. Vidushi Girija Devi (Vocal)2. Pt. Shiv Kumar Sharma (Santoor)3. Ustad Zakir Hussain (Tabla)

UNIT–IIINote: The paper setter will set five questions. Selecting one question each from


Biographical Study and contribution towards Indian classical music of following musicians:1. Ustad Ameer Khan (Vcoal)2. Ustad Alaudeen Khan (Sarod)3. Ustad Habibudeen Khan (Tabla)4. Guru Rajinder Gangaani (Dance)

Books Recommended:

1. Bhartiya Sangeet AurSangeetagya

Rampal Mathur, Classic Collections, Jaipur

2. Hindustani Sangeet MeinTantar Vadakon Ka Yogdan

Smt. Veena Sharma, Kanishak Publishers, New Delhi

3. Madhya Kalin SangeetEvam Unka Tatkalin SamajPar Parbhav

Dr. Namita Banerjee, Radha Publications, New Delhi.

4. Bhartiya sangeet Sarita Dr. Rma Saraaf, Vidya–Nidhi Parkashan, Delhi.5. Hamare Sangeet Rattan Laxmi narayan Garg Sangeet Karaylya Haathras, UP.6. Bhartiya Sangeet Ko Mahaan

Sangeetagyon Ki DenDr. Kavita Chakravarti, Rajasthani Granthagar, Jodhpur

5


PAPER: MUP–(V) 421: STAGE PERFORMANCE(PRACTICAL)

UNIT–I

1. Ability to sing the alankars of ten thaats.2. One Drut khyal with proper Alaap Taan3. Tarana, Tirvat and Chaturang

UNIT–II

1. One Vilambit and Drut khyal of your own choice with proper singing style.2. Ability to play the thekas of Ektal, Teental, Jhaptal on tabla with vocalist and

instrumentalist.

UNIT–III

1. One Vilambit and Drut khyal with proper singing style in raga other than choiceof second minor.

2. Recite on hand and ability to play following thekas on tabla: Rupak, Tilwada,Chautal and Dhammar.

3. General Maintenance of your Instrument.

6


PAPER: MUP–(V) 422: ADVANCE STUDY OF RAGAS(PRACTICAL)

UNIT–I

1. Two Drut khyals in ragas Jog and Kalawati.2. Critical and detailed study of above mentioned ragas and non detailed ragas Tilang and

Jansammohini.

UNIT–II

1. Any one Vilambit khyal and two Drut khyals with proper singing styles in ragasBhimplasi and Shudh Sarang.

2. Critical and detailed study of above mentioned ragas.

UNIT–III

1. One Vilambit khyal and three Drut khyals with proper singing styles in ragas Ahir Bhairav,Durga and Kalyan.

2. Full definition and few alaps in non detailed ragas Bhairav, Asa and Shudh Kalyan.

Books Recommended:

1. Sangeetanjali, Part–I to V Onkar Nath Thakur

2. Rag Vigyan, Part–IV to VII V.N. Patwardhan

3. H.S. Kramik Pustak Malika Parts–II to VI V.N. Bhatkhande

4. Aprachalit Raga Part–I & II J.K. Pataki

5. Abhinav Geet Manjari Parts–I & II Dr. S.N. Ratanjankar, Lucknow.

6. Rag Parichay Harish Chander Shrivastav

7. Gurmat Sangeet Prabandh Dr. Gurnam Singh

8. Gurmat Sangeet Darpan Prof. Kartar Singh, Published by SGPC

9. Anbhinav Geetanjali Part I to V Pt. Ramashray Jha

7


Paper: MUP–(V) 423 (Practical)

Seminar (Music Appreciation) based on Power Point Presentation/Activities.

8

M.A. MUSIC (HONS.) VOCAL (SEMESTER – II)(Under Credit Base Continuous Evaluation Grading System)

Programme Code: MUB (V)SCHEME

SEMESTER – II: CreditsCourse No. C/E/I Course Title

L T P

TotalCredits

MUL (V)451 C STUDY OF RAGA ANDAESTHETICS

3 1 0 4

MUL(V)452 C A CRITICAL STUDY OFGRANTHAS

3 1 0 4

MUL(V)453 C THEORETICAL STUDY OFFOLK MUSIC OF PUNJAB

3 0 0 3

MUP (V) 471 C STAGE PERFORMANCE 0 0 4 4MUP (V) 472 C ADVANCE STUDY OF RAGAS 1 0 3 4MUP (V) 473 C SEMINAR (MUSIC

APPRICIATION) BASED ONPOWER POINT PRESENTATION/ ACTIVITIES

0 0 2 2

I INTER DISPLINARY (ANYDEPTT.) OTHER THAN MUSIC

– – – 3

Total Credits – – – 24

General Instructions for All Papers (Semester: I – IV)VI. Each written paper in Minor I & II shall be of one hour duration.

VII. Practical paper shall be of 15 minutes duration each.

VIII. Each written paper in Major shall be of three hours duration and practical paper shall be


IX. Harmonium will not be allowed as an accompaniment in Vocal.

X. After every second minor in all papers there will be a Quiz.

9


PAPER: MUL–(V) 451: STUDY OF RAGA AND AESTHETICS(THEORY)

UNIT–I

Note: The paper setter will set three questions. All questions are compulsory.

1. Critical study of prescribed Ragas.

2. Study of Melody & Harmony in various forms of musical compositions.

3. Basic Principles of Thematic Music.

UNIT–II

Note: The paper setter will set three questions. All questions are compulsory.

1. The role of Laykaries in different Gayan Shaillies

2. Definition and Principles of aesthetics in music

3. Notation of prescribed Talas : Ektal, Jhaptal, Teental, Rupak, Tilwara, Chautal and

Dhamar.

UNIT–III

Note. The paper setter will set five questions. Selecting one question each fromUnit – I & II. All questions are compulsory.

1. Indian Music in Professional and Academic Institutions.

2. Critical Study and significance of different musical terms in Shri Guru Granth Sahib’s.

Sangeet Parbandh System : Rag, Rahao, Mohalla, Ank, Yatti.

3. Analysis of Aesthetics in the context of Indian Cinema’s Music.

4. Importance of Kaku in Indian Classical Music.

10


Books Recommended:

1. Bhartia Kanth Sangeet Dr. Arun Mishra

Avam Vadya Sangeet Kanishka Publishers,New Delhi. 2002.

2. On Indian Music Pt. Debu Chaudhary Roshan Press. 2005.

3. Nibandh Sangeet Laxmi Naryan Garg, Sangeet Karyala Hathras. 1989.

4. Bhartia Sangeet Main Aneeta Gautam

Vigianik Upkarnon Ka Paryog Kanishka Publishers,New Delhi. 2002.

5. Bhartia Talo Ka Arun Kumar Sen

Shastriya Vivechan Madhaya Pardesh Academy,Bhopal. 2002.

6. Indian Music in Professional Dr. Manju Shree Chowdry

and Academic Institutions Sanjay Parkashan,New Delhi.1999.

7. Indian Concept of Rhythem A.K. Sen, Knishka Publishers,New Delhi.1994.

8. Man and Music in India Rashmi Goswami Indian Institute at Advance Study.1992.

9. Gurmat Sangeet Parbandh Dr. Gurnam Singh, Punjabi University, Patiala.2002.

te Parsar

11


PAPER: MUL–(V) 452: A CRITICAL STUDY OF GRANTHAS(THEORY)

UNIT–I

Note: The paper setter will set three questions. All questions are compulsory.A critical study of following Granths as:1. Brehdeshi : Matang2. Sangeet Ratnakar : Sharangdev

UNIT–II

Note: The paper setter will set three questions. All questions are compulsory. A critical study of following Granths as:

1. Rag Tatav Vibodh : Shri Niwas2. Swarmale Kalanidhi : Ramamatya

UNIT–III

Note. The paper setter will set five questions. Selecting one question each fromUnit – I & II. All questions are compulsory.

1. Natya Shastra : Bharat2 Pranav Bharati : Pt. Omkar Nath Thakur6. Sangeet Parijat3. Sangeet Parijaat : Pt. Ahobal.

Books Recommended:

1. Sangeet Ratnakar : Sharangdev, Sangeet Karyalaya Hathrash, 1964.2. Brehdeshi : Matang Publication Scheme, Jaipur, 1972.3. Uttart Bhartia Sangeet Paddhation : V.N. Bhatkhande Sangeet Karyalaya Hathrash,

Ka Tulnatamak Adhayan 1965.4. Sawar Mala Kalanidhi : Ramamatya Sangeet Karyalaya Hathrash, 1967.6. Naitya Shastra : Bharat Chokhamba Sanskrit Sansthan Varanasi,

1985.7. Sangeet Ratnakar : Dr. R.K. Shringi

Dr. Prem Lata Sharma

12


PAPER: MUL–(V) 453: THEORETICAL STUDY OF FOLK MUSIC OF PUNJAB(THEORY)

UNIT–INote: The paper setter will set three questions. All questions are compulsory.

1. Origin and development of folk music of Punjab2. Historical development of Vaar, folk singing style of Punjab.3. Detailed study of folk dances of Punjab.

UNIT–IINote: The paper setter will set three questions. All questions are compulsory.

Biographical and analytical study of following Punjab’s folk artists.1. Asa Singh Mastana2. Bibi Surinder Kaur3. Lal Chand Yamala Jatt

UNIT–IIINote. The paper setter will set five questions. Selecting one question each from


1. Detailed study of Taal Vadya used in Punjabi Folk Music.2. Detailed study of Suwar Vadya used in Punjabi Folk Music3. Detailed knowledge of Merrital Song of Punjab with special reference to Ghoriyan

& Suhaag.4. Detailed knowledge of Punjabi Folk Songs related to season and Festivals of

Punjab.

Books Recommended:

1. Sangeet Chintan (PrathamKhand)

Dr. Saubhagya Vardan Brehaspati, AbhishekPublicatins, Chandigarh.

2. Punjab Ki Sangeet Parampra Geeta Paintal , Radha Publication, New Delhi.3. Punjabi Lok Sangeet

Virasat(Part I & II)Dr. Gurnam Singh, Publication Bureau Punjabi Uni.,Patiala.

4. Punjabi Gayaki Vibhin Pasaar Dr. Harinder Kaur Sohal, Nanak Singh Pustak–Mala,Patiala

5. Punjab Dian Lok Dhuna Gurpartap Singh Gill, Publication Bureau Punjabi Uni.,Patiala.

6. Punjab Da Sangeet virsa teVikas

Darshan Singh Narula, Punjabi WritersCo–operative Society, New Delhi.

13


MUP–(V) 471: STAGE PERFORMANCE(Practical)

UNIT–I

1. One Drut khyal with proper Alaap Taan2. Tuning of Tanpura3. Dhrupad or Dhammar in different layakaris

UNIT–II

1. One Vilambit and Drut khyal of your own choice with proper singing style.2. Ability to demonstrate and recite the thekas of Ektal, Jhaptal on hand with Dugun, Tigun and

Chaugun Layakaris.

UNIT–III

1. One Vilambit and Drut khyal with proper singing style in raga other than choice of secondminor.

2. Ability to demonstrate and recite the thekas of Rupak and chautal on hand with Dugun,Tigun and Chaugun Layakaris.

3. Ability to play ten Alankars on Sitaar.

14


MUP–(V) 472: ADVANCE STUDY OF RAGAS(PRACTICAL)

UNIT–I1. Two Drut khyals in ragas Malkauns and Puriya Kalyan2. Critical and detailed study of above mentioned ragas and non detailed ragas Puriya and

Chandarkauns.

UNIT–II1. Any one Vilambit khyal and two Drut khyals with proper singing styles in ragas

Bageshwari and Maru Bihag.2. Critical and detailed study of above mentioned ragas and non detailed ragas named

Rageshwari & Bihag.

UNIT–III1. One Vilambit khyal and three Drut khyals with proper singing styles in ragas Megh

Malhar, Darbari Kanada and Nat Bhairav.2. Full definition and few alaps in non detailed ragas Madhmadh Sarang , Adana and

Charukeshi.

Books Recommended:

1. Sangeetanjli, Parts–III to V Onkar Nath Thakur

2. Rag Vigyan, Parts–IV to VII V.N. Patwardhan

3. H.S. Kramik PustakMalika Parts–IV to VI

V.N. Bhatkhande

4. Aprachalit Raga Parts–I & II K.K. Pataki

5. Abhinav Geet ManjariParts–I & II

Dr. S.N. Ratan Jankar, Lucknow.

6. Gurmat Sangeet Prebandh Dr. Gurnam Singh

7. Raga Vyakaran Bimal Kaant Roy Chaudhury

8. Abhinav Geetanjali Part I– V Pt. Ramashrya Jha

9. Raga Rahasaya Acharya Brahaspati

15


MUP–(V) 473


16

M.A. MUSIC (HONS.) VOCAL (SEMESTER – III)(Under Credit Base Continuous Evaluation Grading System)

SEMESTER – III: CreditsCourse No. C/E/I Course Title

L T P

TotalCredits

MUL (V) 501 C SCIENTIFIC STUDY OF INDIANVOCAL MUSIC

3 1 0 4

MUL(V) 502 C STUDY OF GURMAT SANGEET 3 1 0 4MUL(V)503 C INDIAN CINEMATIC MUSIC 3 0 0 3

MUP (V) 521 C STAGE PERFORMANCE 0 0 4 4

MUP (V) 522 C ADVANCE STUDY OF RAGAS 1 0 3 4MUP (V) 523 C SEMINAR (MUSIC

APPRICIATION ) BASED ONPOWER POINT PRESENTATION /ACTIVITIES

0 0 2 2


– – – 3


General Instructions for All Papers (Semester: I – IV)XI. Each written paper in Minor I & II shall be of one hour duration.

XII. Practical paper shall be of 15 minutes duration each.

XIII. Each written paper in Major shall be of three hours duration and practical paper shall be


XIV. Harmonium will not be allowed as an accompaniment in Vocal.

XV. After every second minor in all papers there will be a Quiz.

17


MUL-(V) 501: SCIENTIFIC STUDY OF INDIAN VOCAL MUSIC(THEORY)

UNIT – I

Note: The paper setter will set three questions. All questions are compulsory.1. Principles of Indian Music: Drone, Frequency, pitch, intensity, timber.2. Write short note on following:

a) Sangatkari b) Fusion Musicc) Back-ground music Pop Music d) Rabindra Sangeete) Avirbhav – Tirobhav f) Sound arrangement

UNIT – IINote: The paper setter will set three questions. All questions are compulsory.1. Correct intonation of swars in various ragas.2. Voice culture and its importance in layranics.3. Various methods of teaching Vocal music with the help of audio video aids.4. Methods and techniques of Saam-Gaan.

UNIT – IIINote. The paper setter will set five questions. Selecting one question each from

Unit – I & II. All questions are compulsory.1. Interaction between vocal & Instrumental music.2. Role of psychology in teaching and learning music.3. Raag Lakshans of Indian Music and practical uses of its helping elements.4. Detailed study of Gram.

Books Recommended:

1. Bhartia Kanth SangeetAvam Vadya Sangeet

Dr. Arun Mishra, Kanishka Publishers,New Delhi,2002.

2. On Indian Music Pt. Debu Chaudhary, Roshan Press, 2005.3. Nibandh Sangeet Laxmi Naryan Garg, Sangeet Karyala Hathras, 1989.4. Bhartia Talo Ka

Shastriya VivechanArun Kumar Sen, Madhaya Pardesh Academy, Bhopal,2002.

5. Indian Music in Professional& Academic Institutions

Dr. Manju Shree Chowdry Sanjay Parkashan, NewDelhi, 1999.

6. Indian Concept of Rhythem: A.K. Sen Knishka, Publishers, New Delhi,19947. Man & Music in India Rashmi Goswami, Indian Institute at Advance Study,

1992.8. Bhartiya Sangeet Vadya Dr. Lalmani Mishra

18


MUL-(V) 502: A STUDY OF GURMAT SANGEET(THEORY)

UNIT – INote: The paper setter will set three questions. All questions are compulsory.1. Musical elements in Rag Mala in the context of Guru Granth Sahib.2. Element and Gayan Shallies of folk music in Gurmat Sangeet.3. Different classical singing styles of Gurmat Sangeet.

UNIT – IINote: The paper setter will set three questions. All questions are compulsory.1. Contribution of Shri Guru Nanak Dev Ji towards Indian Music.2. The contribution of Bhagtas Bani towards music in the context of Shri Guru Granth

Sahib.3. The Banies of Bhattas in Gurmat Sangeet.


Unit – I & II. All questions are compulsory.1. Contribution of Sufi Saints in the field of Gurmat Sangeet.2. Critical and comparative study of different singing styles of Gurmat Sangeet.3. Salient features of Kirtan Chowki.4. Critical Studies of Ragas used in Shri Guru Granth Sahib.

Books Recommended:

1. Sikh Musicology : Dr. Gurnam Singh Krishka Publication,New Delhi.

2. Gurmat Sangeet Parbandh TePasar

: Dr. Gurnam Singh Pbi. Uni.,Patiala, 2000.

3. Bhagat Rag Ratnawali : Prof. Tara Singh Gurmat Sangeet PublicParkashan, Patiala, 1992.

4. Guru Nanak Dev Ji TeSangeet

: Dr. Jagir Singh Lok Sangeet Parkashan,Chandigarh, 2007.

5. Bharti Sangeet ka Itihas : Dr. Joginder Sharma & Bachiter Singh PunjabiUniversity, Patiala, 1988.

6. Shri Guru Granth Sahib RagRatnawali

: Prof. Tara Singh Punjabi Universtiy, Patiala,1991.

7. Punjab Ki Sangeet Prampara : Dr. Geeta Pantel Radha Publication, New Delhi,1988.

19


PAPER: MUL-(V) 503: INDIAN CINEMATIC MUSIC(THEORY)

UNIT – INote: The paper setter will set three questions. All questions are compulsory.

1. Origin & development of Indian Cinema.2. Classical and Semi Classical singing styles used in Indian Cinema.3. Contribution of Devotional Music in Indian Cinema.

UNIT – IINote : The paper setter will set three questions. All questions are compulsory.

Biographical Study and contribution of the following Music Directors :1. Naushad2. R.D. Berman3. A.R. Rahman


Unit – I & II. All questions are compulsory. Biographical Study and contribution of the followings singers :1. Mohd. Rafi2. Mukesh3. Lata Mangeshkar4. Kavita Krishna Murti

Books Recommended:

1. Sangeet Sudha Dr. Lavaanya Kirti Singh, KanishakPublishers New Delhi

2. Hindi Chitarpatt Evam Sangeet Ka Itihaas Dr. Vimal Sanjay Parkashan Delhi3. Bhartiya Cinema Parsoon Sinha Sh. Natraj Parkashan

Delhi4. Sangeet Ka Saundrya Bodh Dr. Uma Garg, Sanjay Parkashan, Delhi

(Film Sangeet Ke Sandrabh Mein)

5. Bhartiya Challchitar Ka Itihaas Feroz Rangoon-Wala, Rajpal & SonsKashmiri Gate Delhi

6. Film Sangeet Nirdeshak Sema Johri, Radha Publications, New DelhiRoshan V Unke Samkaleen Sangeetkaar

7. Cinema Aur Sahitya Harish Kumar, Sanjay Parkashan Delhi.8. Bhartiya Shastriye Gayan Ka Dr. Rma kant Divedi, Sahatya Ratnalya,

Dhwaniankit Kanpur

20


MUP-(V) 521: STAGE PERFORMANCE(PRACTICAL)

UNIT – I

1. One Drut khyal with proper Alaap Taan2. Partal Gayaki ( A Partal from sri Guru Granth Sahib)

UNIT – II

1. One Vilambit and Drut khyal of your own choice with proper singing style.2. Bhajan/ Geet/ Gazal on Harmonium.

UNIT – III

1. One Vilambit and Drut khyal with proper singing style in raga other than choiceof second minor.

2. Ability to tune Tanpura.3. Ability to play any Dhun based on folk music of Punjab on Sitaar.4. General Maintenance of your Instrument.

21


MUP-(V) 522: ADVANCE STUDY OF RAGAS(PRACTICAL)

UNIT – I1. Two Drut khyals in ragas Shree and Hansdhwani2. Critical and detailed study of above mentioned ragas and non detailed ragas Jaitshree and

Shankara.

UNIT – III1. Any one Vilambit khyal and two Drut khyals with proper singing styles in ragas

Madhuwanti and Kedar.2. Critical and detailed study of above mentioned ragas

UNIT – III1. One Vilambit khyal and three Drut khyals with proper singing styles in ragas Miyan ki

todi, Sham Kalyan and Abhogi Kanda.2. Full definition and few alaps in non detailed ragas Abhogi, Kamodh and Gujari todi

Books Recommended:

1. Sangeetanjli, Parts-III to V Onkar Nath Thakur

2. Rag Vigyan, Parts-IV to VII V.N. Patwardhan

3. H.S. Kramik PustakMalika Parts-IV to VI

V.N. Bhatkhande

4. Aprachalit Raga Parts-I & II K.K. Pataki

5. Abhinav Geet ManjariParts-I & II

Dr. S.N. Ratan Jankar, Lucknow.

6. Gurmat Sangeet Prebandh Dr. Gurnam Singh

7. Raga Vyakaran Bimal Kaant Roy Chaudhury

8. Abhinav Geetanjali Part I- V Pt. Ramashrya Jha9.

9. Raga Rahasaya Acharya Brahaspati

22


MUP (V) 523


23

M.A. MUSIC (HONS.) VOCAL (SEMESTER – IV)(Under Credit Base Continuous Evaluation Grading System)

SEMESTER – IV:

CreditsCourse No. C/E/I Course TitleL T P

TotalCredits

MUL (V) 551 C INDIAN MUSIC ANDAESTHETICS

3 1 0 4

MUL(V)552 C ESSAYS ON INDIAN MUSI C 3 1 0 4

MUL(V)553 C SURVEY OF INDIAN CLASSICALINSTRUMENTS

3 0 0 3

MUP (V) 571 C STAGE PERFORMANCE 0 0 4 4

MUP (V) 572 C ADVANCE STUDY OF RAGAS 1 0 3 4MUS (V) 573 C SEMINAR (MUSIC

APPRICIATION) BASED ONPOWER POINT PRESENTATION /ACTIVITIES

0 0 2 2


– – – 3


General Instructions for All Papers (Semester: I – IV)XVI. Each written paper in Minor I & II shall be of one hour duration.

XVII. Practical paper shall be of 15 minutes duration each.

XVIII. Each written paper in Major shall be of three hours duration and practical paper

shall be of 30 minutes duration each

XIX. Harmonium will not be allowed as an accompaniment in Vocal.

XX. After every second minor in all papers there will be a Quiz.

24


MUL-(V) 551: INDIAN MUSIC & AESTHETICS(THEORY)


1. Principles of Alap in Classical Music.2. Raga and Rasa3. Job Avenues & Opportunities in music.

UNIT – IINote: The paper setter will set three questions. All questions are compulsory.

1. Aesthetic & Music2. Dhyanas of Raga picture.3. Detailed study of different Gayan Shallies of Indian Classical Music.


Unit – I & II. All questions are compulsory1. Basic Principles of Aesthetics in Vrind Gaan and Smooh Gaan.2. Historical development of Indian film Sangeet3. Principles of Taan in Classical Music.4. The concept of Saarna – Chatushtai.

Books Recommended:

1. Bhartia Kanth Sangeet AvamVadya Sangeet

: Dr. Arun Mishra KanishkaPublishers,New Delhi. 2002.

2. On Indian Music : Pt. Debu Chaudhary Roshan Press,2005.

3. Bhartia Talon Ka ShastriyaVivechan

: Arun Kumar Sen. Madhaya PardeshAcademy,Bhopal. 2002.

4. Indian Music in Professional andAcademic Insitutions

: Dr. Manju Shree Chaudhary SanjayParkashan, New delhi. 1999.

5. Indian Concept of Rythem : A.K. Sen Kanishka Publishers, NewDelhi. 1994.

6. Sangeet Main Sondhriya Bodh : Uma Garg Sanjay Parkashan, NewDelhi. 2000.

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MUL-(V) 552: ESSAY ON INDIAN MUSIC(THEORY)


1. Inter-relation between music and paintings.2. Relation between Music & Yoga3. Sangeet Samiksha. (Appreciation of Music)


1. The Role of Media in music.2. Vartman Gayan Sangeet Shiksha Ke Gun aur Dosh.3. Sahityak or Sangeet.


Unit – I & II. All questions are compulsory1. Instrument-Tabla as solo vadan.2. Music therapy.3. Manch Pardarshan.4. Psycho, Socio effects of music.

Books Recommended:

1. Sangeet Nibhandh Sangeet Karyala Hathras (U.P),1989.

2. Bharti Kanth Aur Vadya Sangeet Dr. Arun Mishra KnishkaPublication, New Delhi, 2002.

3. Sangeetayan Dr. Seema Johri Radha Publication,New Delhi, 2003.

4. Punjab Ki Sangeet Parampra Dr. Geeta Paintel Radha Publication,New Delhi, 1988.

5. Bhartiya Sangeet Shikshan Parnali Dr. Madhu Bala Sexsena HariyanaAvem Uska Vartman Savroop Sahitya Academy, Chandigarh, 1996.

6. Patanjali Yog Sutter Geeta Press Gorakhpur, 1994.7. Sangeet Nibandh Mala Seema Johri Peush Publication,

Kabir Nagar, Shahdra, 2001.

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PAPER: MUL-(V) 553: SURVEY OF INDIAN CLASSICAL INSTRUMENTS(THEORY)


Origin, development of following instruments and their important in Indian ClassicalMusic.

1. Pakhawaj2. Bansuri (Flute)3. Veena


Origin, development of following instruments and its important in Indian ClassicalMusic.

1. Tabla2. Shehnai3. Sitar

UNIT – IIINote: The paper setter will set five questions. Selecting one question each from

Unit – I & II. All questions are compulsory Origin, development of following instruments and its important in Indian Classical

Music.1. Violin2. Harmonium3. Sarangi4. Tanpura

Books Recommended:

1. Uttar Bhartiya Sangeet Mein Tantar Dr. Sangeeta Singh, Kanishak Publisher,Vadyon Ka Sathaan Evam Upyogita New Delhi

Bhartiya Sangeet Shastron Mein Vadyon Dr. Anjna Bhargav, Kanishak Publisher,Ka Chintan New Delhi

2. Bhartiya Tantar Vadyon Ki Utpatti Dr. Rekha Seth, Ishan Parkashan, MeerutEvam Vikas

3. Swar Vadyon Ke Vadan Mein Thumri Dr. Seema Rani Walia, Sanjay ParkashanAur Dhun (Parchalan Evam Mahatav) New Delhi

4. Bhartiya Sangeet Vadya Dr. Lal Mani Mishar, Bhartiya Gyaan Peeth,New Delhi

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MUP-(V) 571: STAGE PERFORMANCE(PRACTICAL)

UNIT – I1. One Drut khyal with proper Alaap Taan2. One Thumri in any Mishar Raga.

UNIT – II1. One Vilambit and Drut khyal of your own choice with proper singing style.2. Tuning of Tanpura.

UNIT – III1. One Vilambit and Drut khyal with proper singing style in raga other than choice of

second minor.2. Ability to sing any light composition with harmonium.3. Ability to play any Cinematic song on Sitaar.

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MUP-(V) 572: ADVANCE STUDY OF RAGAS(PRACTICAL)

UNIT – I1. Two Drut khyals in ragas Kalyan and Ramkali2. Critical and detailed study of above mentioned ragas and non detailed ragas

Kalingra and Shudh-Kalyan.

UNIT – II 1. Any one Vilambit khyal and two Drut khyals with proper singing styles in ragas Puriya

Dhanasri and Jogkauns.2. Critical and detailed study of above mentioned ragas.3. Non Detailed study of Raga Poorvi & Jog.

UNIT – III1. One Vilambit khyal and three Drut khyals with proper singing styles in ragas

Hameer, Jai Jai Wanti and Bairagi.2. Full definition and few alaps in non detailed ragas Kedar, Khamaaj and Jogiya.

Books Recommended:1. Sangeetanjali Part III-IV Onkar Nath Thakur.2. Rag Vigyan Parts IV-VII V.N.Patwardhan.3. H.S.Kramik Pustak Malika Parts IV-VI V.N.Bhatkhande.4. Sangeet Vyas Krit, Parts-I and II S.G.Vyas.5. Aprachalit Raga Parts-I & II J.K.Pataki.6. Abhinav Geet Manjari Parts-I & II Dr. S.N. Ratanjankar, Lucknow.7. Geet Smooh Prof. G.N. Natu, Lucknow.8. Sangeet Shastra Parveen : Jagdish Narayan Pathak, Allahabad,

Published byRatnakar Pathak, 27, Mabajani Tola,Allahabad.

9. Abhinav Geetanjali Part I-V Pt. Ram Ashrya Jha10. Tantri Naad Part I Dr. Lal Mani Mishar11. Raga Vyakaran Vimak K. Roy Chaudhary12. Raga Rahasaya Acharya Brahspati

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MUP (V) 573


GURU NANAK DEV UNIVERSITY AMRITSARgndu.ac.in/syllabus/201415/VISPERF/MA MUSIC HONS VOCAL SEMESTER I... · GURU NANAK DEV UNIVERSITY ... Indian Music in Professional Dr. Manju Shree

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