Madhuchhand.panda1

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.

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