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Detailed study of the following 15 ragas- Devgiri Bilawal, Yamani-Bilawal, Shyam Kalyan, Gorakh Kalyan, Megh Malhar, Jaitabhi, Bhatiyar, Miyan Ki Sarang, Suha, Nayaki Kanhda,

Hemant, Kausi Kanhda, Jogkaus, Bilaskhani Todi, Jhijhoti. &bull; a) Complete preparation for singing the vilambit and drut khayals in all the above mentioned ragas in detail for all the students of singing. Preparing to sing Thumri, Bhajan or Bhavgeet beautifully in any raga as per the choice of the examinee. b) For the examinees of Tantra Vadya and Sushir Vadya, adding beautiful alaps to all the above ragas, thorough preparation for playing Vilambit (Masitkhani) and Druta (Razakhani) Khayals or Gatas in detail, in addition to three talas, in some other difficult talas as well. Complete practice of playing bandish in some ragas form

Complete introduction of the following 15 ragas, clearly demonstrating their nature by aalap and the practice of singing or playing any one of these bandish. There is no need to sing or play these bandish in detail. Bihagda, Nat Bihag, Jaitkalyan, Ramdasi Malhar, Shuklabilawal Bhakhar, Shivamat Bhairav, Sucharai, Gauri (Bhairava Thaat), Lalita Gauri, Barwa, Khambavati, Patmanjari (Kafi Thaat) Quite Kanhda

Ability to recognize when all ragas are sung or played from the first to seventh years and this year

Practice of speaking in different rhythms by clapping the talas and playing their beats on the tabla &bull; Full introduction of the following taals and how to play them, The practice of clapping and speaking in rhythmic rhythms in Ashtamangala Taal, Arjuna Taal, Shikhar Taal and Kumbh Taal.

In the stage performance, the examinees of singing and playing will have to first sing any one of the 15 ragas of the above detailed study with a vilambit and drut khyal or for the last about 30 minutes or with full singing in the time prescribed by the examiner as per their choice. . After that, for a while, the thumri of a raga, Bhavgeet will have to be recited or some thing or melody of the thumri organ will have to be played.

At the time of stage performance, the audience can also be present in the examination hall to listen to the program.

The examiner will have the right that if he so desires, he can get the performance of the candidate terminated even before the stipulated time.

Shastra I Paper (Pure Theory)

For the students of vocal system and instrumental instrument

Detailed and critical study of all the musical disciplines and terminologies given in the first to seventh year courses (Gaan and Tantra Vaha).

A detailed study of the history and development of medieval and modern Indian music.

Amir Khusro, Ahoyal, Swami Haridas, Tansen, Raja Mansingh Tomar, Sultan Hussain Shah Sharfi, Nyagat Rakhon (Sadrang), Khusron Khan, Nawab Wajid Ali Shah, Hasu-had Khan, Thakur Nawab Ali, Pt. Vishnu in the development of Hindustani music Narayan

Contribution of Bhatkhande, Pt. Vishnu Digambar Paluskar, Omkar Nath Thakur, Kailashchandra Dev Brihaspati etc.

A detailed study of the following music texts from the fourteenth to the eighteenth century, Lauchankrit Raga Tarangini, Ramamatya&#39;s Swar Mel Kalanidhi Hridaynarayan Dev&#39;s Hriday Kautuk and Hriday Prakash, Somnath&#39;s Raga Vivodha, Ahobal&#39;s music

Raga Tattvibodh by Parijat, Srinivas, Chaturdandiprakashika by Vyankatmukhi

Development of Indian music in the nineteenth and twentieth centuries and special study of music texts of this period &bull; Separation of North and South Indian musical systems and the reason for this separation, beginning and development.

Critical study of the impact of foreign music on Indian music &bull; A detailed study of the spiritual characteristics of Indian music

Theoretical interpretation of the rasa element in music, knowledge of aesthetics.

Differences in the artistic and scientific views of music, The place of music in the fine arts.

Efforts by the government and other institutions in relation to music and its propagation and promotion in independent India.

Detailed study of the origin and development of various tantra and improvisational instruments prevalent in Indian music.

In relation to Raga Ragini classification, Natyashastra Vrhadeshi, Sangeet Makrad, Sangeet Ratnakar, Sangeet Darpan, Hanumat Mat, Shiv Mat, Someshvara Mata, Kallinatha Mata, Bharata Mata, Raganga System, That - Detailed Study of Raga System, Ability to write articles on musical topics.

Paper II (On Functional Music) (The question paper will be different for singing and instrumental candidates).

Extensive and critical analysis of all functional musical disciplines for courses from I to VII years Study.

Elements and rules of management modern management like Dhupada, Dhamar, Khayal, Thumri, Tappa, Dadra, Tarana, Trivat, Chaturanga

Knowledge of composing etc. &bull; To compose new bandish of different types of tals like Masitkhani, Razakhani, Amirkhani, Firozkhani knowledge.

Current Status of Indian Music and Its Future

A detailed account of the origins and development of various tantravadas in India and the characteristics of their playing styles study.

Reasonable thoughts on the reasons for the decline of Dhrupadh singing and the popularity of Khayal singing &bull; Various means and mediums and their goodness for the promotion and dissemination of Indian music in present times.

Critical and reasoned views regarding the different types of music education offered in the present time.

Ability to compose own sargam and bandish in taalas other than three talas in the ragas of the course

Detailed study of all the ragas of this year and comparison with the ragas similar to them.

Full knowledge of showing alpatva-bahutva and abirbhav-tirobhav examples. &bull; Complete knowledge of the Western Script (Staff Notation) system and its relation to the script systems prevalent in Indian music.

Comparison

Full ability to write articles on functional music topics.

<ul>
	<li>Knowledge of Thaath,Shudha Swaras, Vadi, Samvadi, Audav-Shadav,Aaroh-Avroh and one Chhota Khayal in each raga of the first year course.</li>
	<li>Knowledge of Shudha and Vikrit Swaras, Alankar, Nad, Saptak, Mela, Raga, Jati, Alap, Tan and Pakar.</li>
	<li>Knowledge of Taal Keherva, Taal Daadra, Taal Teen Taal.</li>
	<li>Ragas: asavari (shuddha rishabh), Bibhas,Kaafi, Khamaj, Bhup, Bageshri, Vridavani Sarang, Bhimpalas, Durga, Des.</li>
</ul>

<ul>
	<li>Matric Music Knowledge of Sangeet Dhwani, Naad, Swar, Shudh Swar, Vikrut Swar, Varjit Swar, Saptak, Mel, Alankar, Raag, Jati (Audav, Shadav, Sampoorna), Vadi, Samvadi, Pakad, Alap, Tan, Swar Malika, Lakshan Geet, Sthayi, Antara, Lay (Vilambit, Madhya, Dhrut), Matra, Taal, Bibhag, Sam, Khali.</li>
	<li>Ragas: Bageshri, Khamaj, Yaman, Kaafi, Bhimpalasi, Bhoopali.</li>
	<li>Tala: Ektal, Chautal, Jhaptal.</li>
	<li>&nbsp;Knowledge of systems of Hindustani and Carnatic music; specialities of Nad, Varna, Swaralipi of Vishnu Digambar and Bhatkhande paddhati.</li>
	<li>Definitions: Khayal, Dhrupad, Dhamar, Tappa, Thumri, Bhajan, Ghazal, Shruti, Janak and Janya Raga, Grah Ansha, Nyas, Meend, Kana Swara, Poorvang, Uttarang, Sankeerna Ragas, Gat, Tora, Sparsh, Krintan, Mizrab. Biography of Pt. Vishnu Digambar Paluskar.</li>
</ul>

<ul>
	<li>Matric Music Knowledge of Sangeet Dhwavni, Naad, Shruti, Saptak, Aaroh-Avroh, Gruh, Ansh, Nyas Swar, Purvang, Uttarang, Purva-Uttar Raag, Shudh, Chayalagh, Sankeerna Raag, Vakra Swar, Meend, Kampan, Sparsh Swar, Gamak, Ghaseet.</li>
	<li>Geet Ke Prakat &ndash; Dhrupad, Dhamar, Khayal (Vilambit), Drut Bhajan.</li>
	<li>Knowledge of systems of Hindustani and Carnatic music</li>
	<li>Swaralipi of Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande paddhati.</li>
	<li>Biography of Pt. Vishnu Digambar Paluskar and Swami Haridas, Alp Parichay of Gandharva Mahavidyalaya.</li>
	<li>Raag &ndash; Pratham Varsh ke raagon ki punaravrutti, Bade Khayal in Yaman and Bhup Raag (Keval Bandish), Alhaiya Bilawal, Vrundavani Sarang, Bhairav, Bihag, Kedar, Tilak Kamod, Asasavari, Bhairavi. In these Raag Prarambhik Alap and Madhya Laya Khayal with Alap Taan.</li>
</ul>

<ul>
	<li>Madhya Laya Khayals with improvisations in Jaunpuri, Malkauns, Hamir, Patdeep, Tilang, Deskar, and Kalingda.</li>
	<li>Vilambit and Drut Khayals with improvisations in Bhoopali, Yaman (Kalyan) Bageshri and Bihag.</li>
	<li>Tala: Jhumra, Vilambit Ektal, Sultal, Tilwada, Dhamar.</li>
	<li>Definition of Anulom, Vilom, Meend, Gamak, Sut, Ghaseet, Jamjama, Murki, Choot.</li>
	<li>Writing Dugun and Chaugun of Dhrupad and Dhamar; detailed knowledge of Swaralipi of Vishnu Digambar and Bhatkhande paddhati.</li>
</ul>

<ul>
	<li>Madhyam Laya Khayals with improvisations in Chhayanat, Kamod, Gaud Sarang, Jaijaoiwanti, Pooriya dhanashree, Shankara; Vilambit and Drut Khayals with improvisations in Jaunpuri, Malkauns, Bhairav, Bhimpalasi, Brindavani Sarang and Kedar.</li>
	<li>Taal - Rupak, Dipachandi, Chautal, dugun.</li>
</ul>

<ul>
	<li>Madhya Laya Khayals with improvisations.</li>
	<li>Vilambit and Drut Khayals with improvisations in ragas Gaud Sarang, Shankara, Jaijaivanti, Puriya Dhanashri, Hamir, Kamod, Madhyalay Khayal Miya Malhar, Mulatani, Mharubihag, Puriya, Shudhdha Kalyan, Darabari Kanada, Bahar. knowledge of singing from written Swaralipi; knowledge of Ada Chautal, Jhoomara, Dipachandi, Panjabi.</li>
	<li>Dhrupad-Dhamar in Dugun, Tigun, Chaugun and Chhagun.</li>
	<li>Writing in Swaralipi (notation).</li>
	<li>Classification of Ragas.</li>
	<li>Biographies of ancient musicians.</li>
</ul>

<ul>
	<li>Madhya Laya Khayals with improvisations in and Vilambit and Drut.</li>
	<li>Khayals with improvisations in Bhairav, Komalrishabha Asawari, Deshkar, Madhamad Sarang, Puria kalyan, Hamir, Bhupali, Kalavati, Gorakh Kalyan, Bahar.</li>
	<li>Detailed knowledge of these Ragas and also of Dhrupad, Dhamar, Maseetkhani and Razakhani Gat, Trivat, Chaturang; Vilambit and Drut Khayal, Thumri, Pad Kavita.</li>
	<li>Knowledge of different kinds of Layakaris of the talas: Matta, Sawari, Brahma, Laxmi, Rudra.</li>
	<li>Appropriate knowledge of the divisions of Shruti war as in ancient, medieval and modern times.</li>
	<li>Comparison of Hindustani and Karnatak tala systems.</li>
	<li>Knowledge of Gram, Moorchhana, Kalawant, Pandit, Vaggeyakar, Khandarbani, Nauharbani, etc. Varieties of Gamak, Rag-ragini paddhati, That paddhati and Raga paddhati.</li>
	<li>Biographies of Bharatmuni,Sharangdev,Matang,Raamaamatya,Ahobal,Aachaary Brihaspati,Thakur Jayadev Sing.</li>
	<li>Raagas - In detail- Vilambit Miya Malhar, Mulatani, Mharubihag, Puriya,Shudhdhakalyan, Darabari Kanada. Drut - Bibhas, Lalit, Todi, Basant, Sohani, Hindol, Marava.</li>
</ul>

Any one of the following three to be taken:

(a) Performance and Music Composition

(b) Practical Music

(c) Science and History of Music

Definition: sangeet dhvani, naad svar chal svar, achal - svar, shuddh svar, vikrt svar, aaroh, avaroh, vaadee sanvaadee , lay, maatra, sam, taalee khaalee, aur aavartan

Raga Introduction - Brief introduction to the Ragas of the course.

Rhythm Introduction - Brief introduction to the rhythms of the course.

Five simple Alankar.

The practice of singing the seven shuddha and vikrit swaras.

Raga Bilabal, Yaman, Bhupali and Khamaj.

Taal - Complete introduction to Dadra, Kaharwa and Tintaal and practice of speaking as if by clapping hands.

Definition: Two musical systems of India, Sound, Origin of sound, Naad, Naad-sthan, Shruti, Swar Prakrit Swar Achal and Movable Swar, Shuddha and Vikrit-Swara (soft and intense), Saptak (Mandra, Madhya, Tar), thaat, raga, varna (sthayi, aaroh, avroh, sanchari), alankar (palta), raga jaati (adav, shadav, sampurn), vadi, samvadi, anuvadi, varhit swar, pakad alap taan, khayal, sargam, sthayi, antara, lay (vilambit, madhya, drut), matra, rhythm department, sam tali, khali theka, avartan, thah and dugun.

Brief Introduction to Ragas of Raga Introduction Course.

Complete introduction to the rhythms of the rhythm introduction course and practice writing it in melody and duguns.

Raga recognition by writing swar samuha.

Elementary knowledge of any one system of Vishnu Digambar or Bharat Khande Swarscript.

Brief biographies of Vishnu Digambar and Bhatkhande and a brief introduction to&nbsp;their musical works.

Definition and Simple Explanation Sound, Origin of sound, Vibration, andolan (regular irregular, steady unsteady andolan), Movement number, Three characteristics of Naad, Naad, that high-lowness of andolan related to number, Naad and Shruti, Types of song

Bada Khayal, Chhota Khayal, Dhrupad and Lakshan - Components of the song (Sthayi, Antara, Sanchari, Aabhog), Janak Thaat, Janyaraga, Ashrayaga, Graha Ansh, Nyas, Vakra-Swara,

Samay time and Purvanga-Uttrang of the octave, Wadi Swara at the time of Raga Relation to, east-north raga, tigun, chaugun, mead, kana, sparsh-swar and vikrit swar

Raga Introduction: Complete introduction to first and second year ragas and practice of writing them in swara script including thaat, swar, aroh avroh, jaati, pakad, samay, varjyaswar and alap taan.

Taal Introduction A complete introduction to the Talas of both the years and the practice of writing them in Wah Dugun and Chaugun.

Knowledge of Bhatkhande vowel script system.

Melody Knowledge of telling similarities and differences in different ragas.

Brief biography of Tansen and Amir Khusrau and introduction to their musical works.

Vocal knowledge Special knowledge of singing and recognizing pure, soft and loud voices Practice of singing and recognizing difficult vocal groups than in the first year

Rhythm Knowledge- Showing the dugun and chaugun rhythms by clapping or with the help of swaras.

The practice of singing difficult alankars in sargam and aakar.

Chhote-Khyal in Raga Bageshree Durga, Asavari, Bhairavi, Vrindavani Sarang, BhimPalasi and Desh Ragas.

Practice of one-by-one chota khayal and swara vistaar in Yemen, Bihag, and

Alhaiya-Bilawal.

Practice singing in dhrupad thah, double and chaugun rhythms in any two ragas of the course.

In chota khayals, take aalap and simple tone from your mind and mix it with the tabla.

Taal- Ektaal, Rupak, Tivara, Jhaptal and Sul Tal - Knowledge of clapping in dugun and chaugun.

Raga recognition.

Full description of the Tanpura and Tabla and the full knowledge of the combination of them, the breadth of the andolan and the subsequent division of the 22 Shrutis into seven pure swaras (modern opinion), a more complete and clear description of the total terms of the first and second years. Definition, special rules of ghats and ragas, subtle distinctions between Shruti and Naad, according to the mathematical composition of 72 ghats and the origin of 484 ragas from one ghat, three classes of ragas according to tone and time (Ratha Komal Raga, Ray-Th Shuddha Vale Raga and Ga-Ni Komal Raga)

Sandhi Prakash Ram, Merits and Demerits of Singers, Types of Taanas (Shuddha or Saral, Koot, Mishra, Bol Taan), Ramak Aad, Types of Permanent Songs Bada Khagal Dhamar Hori, Tappa Ka Detailed Description

Complete introduction to the ragas of the course, including swara expansion and taan

Full introduction of all the taals of this year and last year to their contracts in dugun, tigun and chaugun rhythms.

Knowledge of the method of finding the place of starting a song in a rhythm, etc., through mathematics.

Writing the swara script of the songs Dhamaar and writing the verse in Dugun, Tigun and Chaugun.

Raga recognition by difficult swaras.

Comparison of Prakriti Ragas, Knowledge of Dugun, Tigun and Chaugun rhythms, only the initial introduction of Adalaya the practice of the use of vocal chords

One chota khayal each in Tilakkamod, Hamir, Kedar, Tilang, Kalingra, Patdeep, Jaunpuri, Malkosh and Peelu alap, taan and bol taan

Badanyal &ndash; Bageshree, Asavari, Vrindavani Sarang, Bhimpalasi, Desh, Jaunpuri, Hamir, Kedar Patdeep and Malkosh in these 10 ragas

In any of the 6 ragas, there is a lot of khayal, anap taan, bol taan etc.

Out of the above ragas, one dhupad in any two ragas and one chamar in any one raga including Dugun, Tigun, and Chaugun

The practice of speaking the beats of the rhythms of Deepchandi, Jhumra, Dhamar and Tilwara in thaah, dugun, tigun and chaugun laps

Types of songs Tappa, Thumri, Tarana, Tirvat, Baturang, Bhajan, Geet, Ghazal etc (management, vaastu etc.) metal unbounded songs

The division of the Shrutis into notes (modern and ancient) of twenty-two (22) strings, the length of the drawn strings&#39; relation with the height-depth of the sound

Comparison of swaras of southern and northern Hindustani systems in determining the timing of ragas. Significance of Purvanga-Uttrang, Chhayalag and narrow raga, Parmel Praveka raga, Time-cycle of ragas,

Composition of 32 Ghats from the North Indian saptak, Ancient names of modern Thaats, Tirobhava appearance, Alpatva Bahuva comparative study of ragas and raga-recognition.

Comparative study of both Vishnu Digambar and Bhatkhande scripts Practice of writing songs in both systems

The biography of Bharata, Ahoyal, Vyankatamkhi and Mansingh and the description of their musical works.

Method to find out the place of starting of all the talas of the course of dugun, tigun, chaugun by mathematics. Practice of writing the different laykaris in tala-script other than dugun, tigun, chaugun.

Special practice of vocal knowledge, Knowledge of singing and recognizing difficult vocal groups

Special knowledge of mixing Tanpura and Tabla performance of different rhythms by clapping with the help of numbers

Dugun (two quantities in one quantity), Tigun (3 in 1 st) Chaugun (4 in 1), Aad (3 in 2) and reverse of Aad (3 in 2 quantities), Pauguna (3 in 4) and Savagun (4 In 5) the display of quantities. hard and beautiful alaps and tana exercises

Raga Deshkar, Shankara, Jayjayvanti, Kamod, Marwa, Multani, Sohni, Bahar, Purvi in these ragas 1-1 with vilambit and drut khayal and Aalap, Tan, Bol-tan

In any two of the above mentioned ragas, 1-1 Drupadh and in any two 1-1 Dhamar with only Thah, Dugun, Tigun, and Chaugun and ability to sing a chord

Special proficiency in singing Khayal

Practice of speaking Jat and Aada Chartal in full, General knowledge of Tappa and Thumri contracts.

Identifying ragas by swara-groups.

Showing equality, variation in ragas in singing

Complete detailed study of previous year courses

Ancient forms of anibaddh singing Ragaalap, Rupkalap, Alaptigan, Sththan-niyama, Bidari, Raga Lakshman, Jaati-gaayan and features, Sanyas Vinyasa, Gaikki, Nayaki,

Gandharva Geet (Desi-Margi) showing tirobhav-abirbhav and alpatva bohutva in the course ragas.

In relation to the Shruti-Swar division, the whole history is divided into three main

periods (ancient, middle, modern), the time and difference in the texts of the authors of

these three periods and the opinions described in them, the Shadaj Pancham Bhava and

the andolan number and the number of strings. The relation of length, if the andolan

number of a note is given, then the length of the string is obtained (while both the items of the Shadaj are obtained. Comparing shuddh and vikrit sthaans with the help of their wire lengths.

Creating the sargams of simple rhythms of different ragas with the mind.

A detailed study of the ragas of this year and matching of ragas similar to them,

showing the alpatva-bahutva, tirobhav-abhirbhav in ragas.

Full introduction of this year&#39;s talas and showing their contracts in tala-script in

different lyakaris Or to fix the place of starting the dugun, tigun and chaugun of the rhythm.

Writing the song and melody bandish Dugun, Tigun and Chaugun Laykaris in swarlipi.

Essay Raga and Rasa, Music and Fine Arts, Music and Imagination, Influence of Pawan&nbsp;Culture on Hindustani Music

Music and its future, the place of instruments in music, folk music etc. 9. Practice of writing songs and rhythms in any swaralip.

Biography and musical work of Srinivas Ramamatya, Hriday Narayan Dev,

Mohammad Raza, Sadrang Adarang.

Clapping some difficult rhymes. Speaking 3 quantities in two quantities and speaking 4 quantities in 3 etc.

Special Practice of Aalap of Nom Log

Raag Puriya, Gaur Malhar, Chhayanat, Shri, Hindol, Gaud Sarang, Vibhas, Darbari

Kanhra, Todi, Adana 1-1 in these ragas vilambit and 1-1 drut khayal with completely beautiful singing, one dhamar in any two ragas and one in any two

One dhrupad in which it is necessary to do dugun, tigun and chaugun and aad.

Study of ragas and creative execution of tirobhav-abirbhav in ragas.

Full knowledge of Taal Pancham Sawari, Gajjampa, Adha, Mat and Punjabi Talas and clapping them in Thaa, Dugun and Chaugun Layas.

Simple practice of playing on the tabla of teen taal, jhaptal, chartal, ektal, kaharwa, and Dadra talas

A detailed comparative and subtle introduction of all ragas from the first to the sixth years, full knowledge of writing in their alap-tan etc.

Writing in aalap-taan swarlipi showing alpatva-bahutva in different ragas and shadow of other ragas etc.

Recognizing chords by hard written swaralipis.

Creating a sargam in the given ragas;

Writing the melody of songs, writing Dhamar and Dhupad in lyricals like Dugun, Tigun, Chaugun, and Aad etc.

Write the lyrics of the rhythm in different lyricals

The need of music in life, the singing of the gathering, the influence of classical music on the masses, radio and cinema music, background music, Hindustani music and raindrops, characteristic of Hindustani music, Swar Ka Lagaan Sangeet and Swarlipi etc.

Biography and work of Har-Hadu Khan Fayaz Khan, Abdul Karim Khan Bade Ghulam Ali and Omkarnath Thakur.

Comparison of swara sthaans of medieval and modern musicians with the help of andolan numbers and the length of strings, composition of western swars, rules of simple multiplication and shuddh swar samvad, Movement number of western voices, swar samvad in Hindustani vocals, Carnatic rhythm system and comparative study of Hindustani tala system. A brief history of music, gram, murchhana (gradual change in meaning) murchhana and modern thaat, kalavant, pandit, nayaka, vaggeykar, bani (khandar, dagur, nauhar, gobarahar), geet, geet&#39;s Types, types of Gamak, different types of Indian instruments (Tat, Avanadha, Dhan, Sushri) etc.

Knowledge of the following subjects: Auxiliary sound originating from Tanpura, Reason and description of conversion of Western swar saptak into swara, Major, Minor and Semitone, Merit and Defects of Western Modern Vowels, A Critical Look at Harmonium, Emancipation from Tanpura

The reconciliation of our modern swara places with the swars of ancient, medieval and modern raga classification, their importance and their different types Interrelationship of music, art and scripture, Bharata&#39;s Shrutis are similar and dissimilar views and arguments of various scholars on this Sarana

Chatushtai Study of North Indian music, Comparison of Hindustani and Carnatic musical systems by matching their swar taal and ragas, general knowledge of western swara script system, brief knowledge of gharanas of music Ratnakar&#39;s ten methods raga classification, language, language etc.

Comparative study of Bhatkhande and Bishnu Digambar swara scripts and their errors and suggestions for advancement Articles Suggestions for proper formation of future music, Main principles of Hindustani Music System Introduction to ancient and modern eminent musicians and their style, Music on human life effects, music and Errors and Advances in Music Education by Chitta Schools Music and Vocal Instruments

Scripture related subjects of all previous years micro and detailed study

Study of all ragas of earlier years to show mastery in raga recognition and to show alpatva-bahutva, tirobhav-abirbhav and samata variation

Preparation for singing, clear performance in alap taan, Introduction to thappa, thumri, tirbat and chaturanga, knowledge of any two of these songs is required

Raag Ramkali, Miyan Malhar, Paraj, Basanti, Raag Shree Pooriya Dhanashree, Lalit, Shuddh Kalyan, Desi and Malgunji

In the ragas, each bada khayal and chota khapal with full preparation

In any two ragas, one dhamar, one dhupada and one tarana each.

Chaturanga in any one raga (from the ragas of sixth to first year).

Kafi Peelu, Pahari, Jhinjhoti, Bhairavi and Samaj in any two of these ragas, two thumris and Tappa in any one &bull; Taal Laxmi Taal, Brahma Tal and Rudra Taal, their complete introduction and knowledge of hand clapping in all Laykaris.

Detailed study of the following 15 ragas

Shuddh Sarang, Maru Bihag, Nanda, Hansdhwani, Maluha Kedar, Jog, Madhumad Sarang,

Narayani Ahir Bhairav, Pooriya Kalyan, Aabhogi Kanhda, Sur Malhar, Chandrakaus, Gurjari

Todi and Madhuvanti.

&bull; A. Complete preparation to sing the vilambit and drut khayals in all the above ragas in

detail for the singing candidates. Preparing to sing Thumri, Bhajan or Bhavgeet

beautifully in any raga as per the choice of the examinees.

&bull; B. Addition of beautiful alaps to all the above ragas for the students of Tantra Vadya and

Sushir Vadya, complete preparation to play the vilambit (Khayal or Masit Khani and drut Chhota Khayal or Razakhani) Gatas in detail, in addition to the teen talas in some other

difficult talas as well. Complete practice of playing the bands in some of these ragas,

according to the choice of the examiners, the practice of playing the tune or thumri organ

in any raga beautifully., (3) Complete introduction of the following 15 ragas, a clear demonstration of their nature

by Aalap and the practice of singing or playing any one of these bandish, there is no need

to play these bandish in detail.

Bengal Bhairav, Reva, Hansarkikini, Jaldhar Kedar, Jait Marwa That), Dhanashree (Kafi

Thaat), Bhima, Shahana, Bhupal Todi, Anand Bhairav,

Sarparda, Gaara, Dhani, Jayant Malhar, Gopika Basant.

(4) Proficiency in identifying all the ragas of the first and sixth years and of this year when

they are sung and played.

(5) Full practice of speaking in various lyakaris by clapping the rhythms and the simple practice of playing their beats on the tabla.

(6) Full introduction of the following talas and the practice of clapping them in lyrical

words Pashto, Farodast, Khemta, Ganesh

stage performance

&bull; In stage performance, the examinees will first have to sing or play any one of the 15

ragas of the above detailed study in any one raga of their choice with a vilambit and drut

khayal or for the last about 30 minutes or with full singing in the time prescribed by the

examiner, then for a while Thumri or Bhajan or Bhava Geet of a Raga will also have to be

recited or some thing or tune of the Thumri organ will have to be played.

First Question Paper (Shuddha Siddhanta) -

For the students of singing, tantra and musical instrument

All pure scriptural subjects and terminology given in previous years&#39; courses (Gaan and

Tantravadya). Detailed and critical study of

&bull; Scientific and applied analysis of music principles.

&bull; The origin of music and its critical thoughts in relation to it, detailed and critical study of

Shruti problem, Shruti tone division and Saran Chatushtyi.

&bull; Adequate study on gram, Murchhana, use of Murchanao in modern music, jaati

singing and its development in raga singing etc., &bull; Complete information about the time division of the history of Indian music, various

theories regarding it.

Complete thoughts on the history and nature of Indian music in ancient times, Vedic

music and its ideas,

Music of Puranic period Music of Bharat period, Mauryan period, Kanishka period, Gupta

period music and Prabandha singing period.

&bull; A detailed study of the contribution of Bharata Narada Matang, Jayadeva and

Sharangdev in the development of Hindustani music.

&bull; Study of the following music texts before the fourteenth century and their conclusions

and detailed, critical, comparative study of the subjects described in them like Shruti,

Swara, Shuddha and Vikrit Swar, Shuddha Mel, Raga classification, Raga form, singing

system etc. (1) Bharata Krit Natya Shastra, (2) Matang&#39;s Vrhaddeshi, (3) Nardiya Shiksha

(4) Sangeet Makarand, (5) Jaydev&#39;s Geet Govind (6) Sharangdev&#39;s Sangeet Ratnakar

&bull; Complete knowledge of Swar, Raga, Taal and Gaikki of Carnatic music system and their

characteristics and Hindustani

Comparison of Swara Raag, Taal Gaikki with Music System, &bull; Detailed study of the following subjects: Swar-Guntar, Swar Samvad, Study of

Svayambhu Vowels, Harmony, Melody, Development of Western Swara Saptak, Shadaj

Pancham and Shadaj - Composition of the octave with the medium sense, Development

of Indian Swar Saptak, Art and Scripture, Music Art and Science, Art and Bhava Paksha of

Music, Gamak and its different types.

&bull; Detailed study of the following topics related to the science of phonics- Phonology,

Origin of sound, Movement, Transport of sound, Velocity of sound, Overtones, Vibration

or beats of sound, Stringency, Intensity, Type or quality of sound, Reflection of sound,

Refraction of sound, Diffraction of sound, Resonance, Echo, Consonance, Negative

Dissonance |

&bull; Detailed description of all the terms related to the instrument given in the course from

the first to the sixth years, such as Meand, Soot, Ghasit, Gamak, Kan, Khatka, Krintan,

Jamjama Lag Dat, Ladi Gutthi, Ladguthav, Wahut, Pukar, Tar-Paran, Chhand, Fikra etc.

&bull; Special ability to write articles on musical subjects.

second paper

functional musicology

(There will be separate question papers for singing and playing)

&bull; A detailed and critical study of the discipline of action music from the first to the sixth

years.

&bull; Detailed, critical and comparative study of all the ragas of the course, the Nyas swar of

ragas, the swar of the minority, the vivacious swaras and their use, the display of

tirvabhava manifestations, comparison of samprakriti ragas, the shadows of other ragas

in ragas, etc. Detailed in relation to topics Knowledge: It is necessary to have complete

knowledge of all the ragas of the past years.

&bull; Classification of Indian Instruments, Introduction to Ancient, Medieval and Modern

Tantravads

Extensive knowledge of ground sounds. &bull; A detailed, critical and comparative study of the

different types of vocal or instrumental styles of singing and tantravadas.

&bull; Specialized in Western vowel systems such as solfa system, chive system, numerals

system and staff notation system,

Critical and comparative knowledge of Chords and their use, merits and demerits of

western phonetics.

&bull; Full knowledge of the birth, history, development and their lineage traditions of different

gharanas of singing or playing the instrument.

Introduction to their singing or playing styles, detailed, critical and comparative study of

their characteristics. &bull; A detailed, critical and comparative study of the swarlip systems

prevalent in the country, the future development of Indian music.

Related suggestions and critical study of script system from this point of view.

&bull; (a) Complete knowledge of writing different types of songs and their singing in different

lyakaris.

&bull; (b) Complete knowledge of recording the jog, aalap, gat taan tode, jhala etc. in

various lyakaris in tantra playing.

(9) Biographies of famous singers or tantra players of the twentieth century, their

contribution to music and special study of the characteristics of singing or instrumental

styles.

(10) Complete knowledge of Tansen and his descendants and the disciple tradition of the

Seni Gharana, a detailed study of the singing or playing styles of the singers or tantra

players of this gharana.

(11) Thorough knowledge of all the talas prescribed in all previous courses and full

knowledge of writing them in different types of difficult lyakaris.

(12) Full ability to write articles on functional musical subjects.

CHAPTER ONE : THE BREATH

Understanding the breath analogy with breath management technique and building stamina and longevity.

CHAPTER TWO : THE VOICE

Understanding the voice technique with breath and vocal exercises to develop the self-voice through dimensions of length, breadth and depth.

CHAPTER THREE : THE MIND

Understanding the mind, voice and breath trilogy and exercises pertaining to develop the same through visualisation technique.

CHAPTER ONE : THE SHADJA CONCEPT

Understanding the concept of Shadja &ndash; the mother of all swaras. Application of the triology concept and enhancing exercises to amplify the importance of the concept.

CHAPTER TWO : THE KHARAJ

Understanding the importance of Kharaj and its application in singing. Exercise pertaining to the development of the concept.

CHAPTER THREE : RHYTHYM ZONE (LAYA - ASHTHAK) CONCEPT

Subtle understanding of the concept of Laya (Ashtak) the concept and use and application of its use in singing.

CHAPTER ONE : OMKAR &ndash;&nbsp; THE UNIVERSAL SOUND

The Universal sound the primordial concept is important with direction of the spiritual aspect of music. Exercise

CHAPTER TWO : THE SA - RE - GA COMBINATION 

(SHRUTI BASED)

Understanding the concept of three swar placement and combinations.

CHAPTER THREE : THE TAAL CONCEPT

First bases of taal concept by adding Laya concept (Ashtak) to it.