GURU NANAK DEV UNIVERSITY AMRITSARgndu.ac.in/syllabus/201213/VISPERF/MA MUSIC HONS VOCAL...3 M.A....

FACULTY OF VISUAL & PERFORMING ARTS

SYLLABUS

FOR

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

(Under Credit Based Continuous Evaluation Grading System)

EXAMINATIONS: 2012-13

______________________________________________________________________________________

GURU NANAK DEV UNIVERSITY AMRITSAR

______________________________________________________________________________________ Note: (i) Copy rights are reserved.

Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time.

1 M.A. MUSIC (HONS.) VOCAL (SEMESTER SYSTEM)


Programme Code: MUB (V) SEMESTER – I:

Credits Course No. C/E/I Course Title L T P

Total Credits

MUL (V) 401 C THEORETICAL SURVEY OF INDIAN MUSIC

3 1 O 4

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

ANALATICAL STUDY OF INDIAN CLASSICAL MUSICIANS

3 1 0 4

MUP (V) 421 C STAGE PERFORMANCE 0 0 4 4 MUP (V) 422 C ADVANCE STUDY OF RAGAS 0 1 2 3 MUP (V) 423 C SEMINAR (MUSIC

APPRICIATION) BASED ON POWER POINT

0 0 2 2

I INTER DISPLINARY (ANY DEPTT.) OTHER THAN MUSIC

- - - 3

Total Credits - - - 24 Programme Code: MUB (V) SEMESTER – II:


Total Credits

MUL (V)451 C STUDY OF RAGA AND AESTHETIC

3 1 O 4

MUL(V)452 C A CRITICAL STUDY OF GRANTHAS

3 1 0 4

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

3 1 0 4

MUP (V) 471 C STAGE PERFORMANCE 0 0 4 4 MUP (V) 472 C ADVANCE STUDY OF RAGAS 0 1 2 3 MUP (V) 473 C SEMINAR (MUSIC


0 0 2 2


- - - 3

Total Credits - - - 24



Programme Code: MUB (V) SEMESTER – III:


Total Credits

MUL (V) 501 C SCIENTIFIC STUDY OF INDIAN VOCAL MUSIC

3 1 O 4

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

3 1 0 4

MUP (V) 521 C STAGE PERFORMANCE

0 0 4 4

MUP (V) 522 C ADVANCE STUDY OF RAGAS 0 1 2 3 MUP (V) 523 C SEMINAR (MUSIC

APPRICIATION ) BASED ON POWER POINT

0 0 2 2


- - - 3

Total Credits - - - 24 Programme Code: MUB (V) SEMESTER – IV:

Credits Course No.

C/E/I Course Title L T P

Total Credits

MUL (V) 551 C INDIAN MUSIC AND AESTHETICS

3 1 O 4

MUL(V)552 C ESSAYS ON INDIAN MUSI C

3 1 0 4

MUL(V)553 C SURVEY OF INDIAN CLASSICAL INSTRUMENTS

3 1 0 4

MUP (V) 571 C STAGE PERFORMANCE

0 0 4 4

MUP (V) 572 C ADVANCE STUDY OF RAGAS 0 1 2 3 MUP (V) 573 C SEMINAR (MUSIC


0 0 2 2


- - - 3

Total Credits

- - - 24



INSTRUCTIONS:

I. Each written paper in Minor I & II shall be of one hour duration and practical

paper shall be of 15 minutes duration each.

II. Each written paper in Major shall be of three hour duration and practical paper

shall be of 30 minutes duration each

III. Harmonium will not be allowed as an accompaniment in Inst.

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


4

Paper: MUL-(V) 401 (Theory) THEORETICAL SURVEY OF INDIAN MUSIC

UNIT-I

Note: 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-II Note: 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-III Note: The paper setter will set five questions. All questions are compulsory.

1. 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.



5

Books Recommended:

1. Bhartia Kanth Sangeet Dr. Arun Mishra Avam Vadya Sangeet Kanishka Publishers,New Delhi.2002 2. Sangeet Visharad Basant, Sangeet Karyala Hathras.2004 3. Nibandh Sangeet Laxmi Naryan Garg

Sangeet Karyala Hathras. 1989

4. Punjab Ki Sangeet Parampara Dr. Geeta Pental, Radha Publication, Nedw Delhi.1989 5. Bhartia Sangeet Main Vigianik Upkarnon Ka Paryog Aneeta Gautam

Kanishka Publishers,New Delhi.2002

6. Bhartia Sangeet Ka Adhiyatmik Dr. Rajiv Verma & Neelam Parikh. Sawroop. Amar Granth Parkashan.2004 7. Indian Music in professional Dr. Manju Shree Chowdry. And academic Institutions Sanjay Parkashan,New Delhi.1999.



6

Paper: MUL-(V) 402(Theory) HISTORY OF INDIAN MUSIC

UNIT-I

Note: 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-II Note: 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-II

Note: The paper setter will set three questions. 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 Dr. Arun Mishra Avam Vadya Sangeet Kanishka Publishers,New Delhi.2002 2. Sangeet Visharad Basant, Sangeet Karyala Hathras.2004 3. On Indian Music Pt. Debu howdery Roshan Press,2005 4. Sangeetayan Seema Johri Radha Publication, Nedw Delhi. 2003 5. Nibandh Sangeet Laxmi Naryan Garg

Sangeet Karyala Hathras. 1989 6. Hamare Sangeet Ratan Sangeet Karyala Hathras. 1989 7. Gurmat Sangeet Parbandh Dr. Gurnam Singh, Pbi. Uni. Patiala. 2000. Te Parsar 8. Punjab Ki Sangeet Parampra Dr. Geeta Paintal

Radha Publication, New Delhi. 1998.



7

Paper: MUL-(V) 403 (Theory) BIOGRAPHICAL AND ANALATICAL STUDY OF INDIAN CLASSICAL MUSICIANS

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

UNIT-I

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)


Biographical and Study and contribution towards Indian classical music of following musicians:

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

UNIT-III

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



8

Paper: MUP-(V) 421 (Practical) STAGE PERFORMANCE

UNIT-I

1. Ability to sing the alankars of ten thaats. 2. One Drut khyal with proper Alaap Taan 3. 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 choice of

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

Chautal and Dhammar.



9

Paper: MUP-(V) 422(Practical) ADVANCE STUDY OF RAGAS

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 ragas Bhimplasi

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.



10

Paper: MUP-(V) 423 (Practical) SEMINAAR MUSIC APPRICIATION BASED ON POWER POINT

M.A. MUSIC (HONS.) VOCAL (SEMESTER –II)


11

Paper: MUL-(V) 451 (Theory) STUDY OF RAGAS AND AESTHETICS

Note: i The paper setter will set three questions. All questions are compulsory. ii Syllabus of Paper-VIII regarding practical will also be sent to the examiner for

setting the question paper. UNIT-I

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 three questions. 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.

Books Recommended: 1. Bhartia Kanth Sangeet Dr. Arun Mishra Avam Vadya Sangeet Kanishka Publishers,New Delhi. 2002 2. Sangeet Visharad Basant, Sangeet Karyala Hathras. 2004 3. On Indian Music Pt. Debu Chaudhary Roshan Press. 2005 4. Nibandh Sangeet Laxmi Naryan Garg

Sangeet Karyala Hathras. 1989 5. Bhartia Sangeet Main Aneeta Gautam Vigianik Upkarnon Ka Paryog Kanishka Publishers,New Delhi. 2002 6. Bhartia Talo Ka Arun Kumar Sen Shastriya Vivechan Madhaya Pardesh Academy,Bhopal. 2002 7. Indian Music in Professional Dr. Manju Shree Chowdry and Academic Institutions Sanjay Parkashan,New Delhi.1999. 8. Indian Concept of Rhythem A.K. Sen Knishka Publishers,New Delhi.1994 9. Man and Music in India Rashmi Goswami

Indian Institute at Advance Study.1992. 10. Gurmat Sangeet Parbandh Dr. Gurnam Singh te Parsar Punjabi University, Patiala.2002



12

Paper: MUL-(V) 452 (Theory) A CRITICAL STUDY OF GRANTHAS

UNIT-I

Note: The paper setter will set three questions. All questions are compulsory. A critical study of following Granths as: 1. Brehdeshi : Matang 2. 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 Niwas 2. Sawarmale Kalanidhi : Ramamatya

UNIT-III

Note: The paper setter will set three questions. All questions are compulsory. 1. Natya Shastra : Bharat 2 Pranav Bharati . : Pt. Omkar Nath Thakur6. Sangeet Parijat 3. 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 Pangtion : 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.



13

Paper: MUL-(V) 453 (Theory) THEORETICAL STUDY OF FOLK MUSIC OF PUNJAB

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

UNIT-I

1. Origin and development of folk music of Punjab 2. Historical development of Vaar, folk singing style of Punjab. 3. Detailed study of folk dances of Punjab.

UNIT-II


Biographical and analytical study of following Punjab,s folk artists.

1. Asa Singh Mastana 2. Bibi Surinder Kaur 3. Lal Chand Yamala Jatt

UNIT-III Note: The paper setter will set five questions. All questions are compulsory.

1. Detailed study of Taal Vadya used in Punjabi Folk Music. 2. Detailed study of Suwar Vadya used in Punjabi Folk Music 3. 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.



14

MUP-(V) 471 (Practical)

STAGE PERFORMANCE

UNIT-I 1. One Drut khyal with proper Alaap Taan 2. Tuning of Tanpura 3. 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.


second minor. 2. Ability to demonstrate and recite the thekas of Rupak and chautal on hand with

Dugun, Tigun and Chaugun Layakaris.



15

MUP-(V) 472 (Practical) ADVANCE STUDY OF RAGAS

UNIT-I

1. Two Drut khyals in ragas Malkauns and Puriya Kalyan 2. Critical and detailed study of above mentioned ragas and non detailed ragas Puriya and

Chandarkauns.

UNIT-II 1. 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-III

1. 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.



16

MUP-(V) 473 SEMINAAR MUSIC APPRICIATION BASED ON POWER POINT

M.A. MUSIC (HONS.) VOCAL (SEMESTER –III)


17

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

UNIT-I Note: The paper setter will set three questions. All questions are compulsory. 1. Principles of Indian Music: Drone., Frequency, pitch, intensity, timber. 3. Write short note on following: a) Sangatkari b) Fusion Music

c) Back-ground music Pop Music d) Rabindra Sangeet e) Avirbhav – Tirobhav f) Sound arrangement

UNIT-II

Note: 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-III

Note: The paper setter will set three questions. 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 Sangeet Dr. Arun Mishra Avam Vadya Sangeet Kanishka Publishers,New Delhi.2002 2. Sangeet Visharad Basant, Sangeet Karyala Hathras.2004 3. On Indian Music Pt. Debu Chaudhary Roshan Press,2005 4. Nibandh Sangeet Laxmi Naryan Garg

Sangeet Karyala Hathras. 1989 5. Bhartia Sangeet Main Aneeta Gautam Vigianik Upkarnon Ka Paryog Kanishka Publishers,New Delhi.2002 6. Bhartia Talo Ka Arun Kumar Sen. Shastriya Vivechan Madhaya Pardesh Academy,Bhopal.2002 7. Indian Music in Professional Dr. Manju Shree Chowdry And Academic Institutions Sanjay Parkashan,New Delhi.1999. 8. Indian Concept of Rhythem A.K. Sen Knishka Publishers,New Delhi.1994 9. Man And Music in India Rashmi Goswami

Indian Institute at Advance Study.1992.



18

MUL-(V) 502 (Theory) A STUDY OF GURMAT SANGEET

UNIT-I

Note: 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.


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-III

Note: The paper setter will set three questions. 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 Te Pasar : Dr. Gurnam Singh Pbi. Uni.,Patiala, 2000.

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

4. Guru Nanak Dev Ji Te Sangeet : Dr. Jagir Singh Lok Sangeet Parkashan, Chandigarh, 2007.

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

6. Shri Guru Granth Sahib Rag Ratnawali

: 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 (Theory) INDIAN CINEMATIC MUSIC

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

UNIT-I

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-II

Note : The paper setter will set three questions. All questions are compulsory. Biographical Study and contribution of the following Music Directors :

1. Naushad 2. R.D. Berman 3. A.R. Rahman

UNIT-III

Note : The paper setter will set five questions. All questions are compulsory. Biographical Study and contribution of the followings singers :

1. Mohd. Rafi 2. Mukesh 3. Lata Mangeshkar 4. Kavita Krishna Murti



20

MUP-(V) 521(Practical) STAGE PERFORMANCE

UNIT-I

1. One Drut khyal with proper Alaap Taan

2. 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.


second minor.

2. Ability to tune Tabla.



21


UNIT-I

1. Two Drut khyals in ragas Shree and Hansdhwani

2. Critical and detailed study of above mentioned ragas and non detailed ragas Jaitshree and

Shankara.

UNIT-III

1. 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-III

1. 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



22

MUP (V) 523 -SEMINAR MUSIC APPRICIATION BASED ON POWER POINT

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


23

MUL-(V) 551 (Theory) INDIAN MUSIC & AESTHETICS

UNIT-I

Note: The paper setter will set three questions. All questions are compulsory. 1. Principles of Alap in Classical Music. 2. Raga and Rasa 3. Job Avenues & Opportunities in music.

UNIT-II

Note: The paper setter will set three questions. All questions are compulsory. 1. Aesthetic & Music 2. Dhyanas of Raga picture. 3. Detailed study of different Gayan Shallies of Indian Classical Music.

UNIT-III

Note: The paper setter will set three questions. All questions are compulsory. 1. Basic Principles of Aesthetics in Vrind Gaan and Smooh Gaan. 2. Historical development of Indian film Sangeet 3. Principles of Taan in Classical Music. 4. The concept of Saarna – Chatushtai.

Books Recommended: 1. Bhartia Kanth Sangeet Avam

Vadya Sangeet : Dr. Arun Mishra Kanishka

Publishers,New Delhi. 2002. 2. On Indian Music : Pt. Debu Chaudhary Roshan Press,

2005. 3. Bhartia Talon Ka Shastriya

Vivechan : Arun Kumar Sen. Madhaya Pardesh

Academy,Bhopal. 2002. 4. Indian Music in Professional and

Academic Insitutions : Dr. Manju Shree Chaudhary Sanjay

Parkashan, New delhi. 1999. 5. Indian Concept of Rythem : A.K. Sen Kanishka Publishers, New

Delhi. 1994. 6. Sangeet Main Sondhriya Bodh : Uma Garg Sanjay Parkashan, New

Delhi. 2000.



24

MUL-(V) 552 (Theory) ESSAY ON INDIAN MUSIC

UNIT-I


1. Inter-relation between music and paintings. 2. Relation between Music & Yoga 3. Sangeet Samiksha.

UNIT-II

Note: The paper setter will set three questions. All questions are compulsory. 1. The Role of Media in music. 2. Vartman Gayan Sangeet Shiksha Ke Gun aur Dosh. 3. Sahityak or Sangeet.

UNIT-III

Note: The paper setter will set three questions. All questions are compulsory. 1. 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 Knishka

Publication, 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 Hariyana Avom 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.



25

Paper: MUL-(V) 553 (Theory) SURVEY OF INDIAN CLASSICAL INSTRUMENTS


UNIT-I

Origin, development of following instruments and their important in Indian Classical Music. 1. Pakhawaj 2. Bansuri (Flute) 3. Veena

UNIT-II


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

1. Tabla 2. Shehnai 3. Sitar

UNIT-III

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

Origin, development of following instruments and its important in Indian

Classical Music. 1. Violin 2. Harmonium 3. Sarangi 4. Tanpura



26

MUP-(V) 571 (Practical) STAGE PERFORMANCE

UNIT-I

1. One Drut khyal with proper Alaap Taan 2. Thumri

UNIT-II 1. One Vilambit and Drut khyal of your own choice with proper singing style. 2. Tuning of Tanpura.

UNIT-III

1. 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



27


UNIT-I

1. Two Drut khyals in ragas Gorakh Kalyan and Ramkali 2. Critical and detailed study of above mentioned ragas and non detailed ragas Kalingra and

Narayani.

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

UNIT-III

1. 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, Maajh and Jogiya.



28

MUP (V) 573 (SEMINAR) MUSIC APPRICIATION BASED ON POWER POINT

GURU NANAK DEV UNIVERSITY AMRITSARgndu.ac.in/syllabus/201213/VISPERF/MA MUSIC HONS VOCAL...3 M.A....

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