Sitar Malika (Hathras) 7. Category:  (1) Tilak Kamod     (2) Sohini. Anupankush                             - By Pt. Vyankatmakhi. (f) Dhamar      (g) Tilwada     (h) Ektala, A. a. Teentaal b. Jhaptaal c. Farodast 2. (1) Poorvi                (2) Marwa             (3) Todi. Demonstration Raag Vigyan – V. N. Patwardhan 5. Bhatkhande Sangeet Shastra- V. N. Bhatkhande 2-Raag Vishleshana-sanukta bhag1-2 -Uma Garg 3-Bhartiy sangeet ke aadhar stambha-Dr.Tushti Maithani 4. (a) Shriniwas, (iii)       4. V.N. (1) Yaman               (2) Alhaiya Bilawal    (3) Bhairava, (4) Swar discourse in detail. The Syllabus is divided into three parts: Part 1 (Vocal), Part 2 (Instrumental) and . 5 marks. Saturday, January 19, 2013. Bhatkhande Sangeet Vidyapeeth Old Questions Papers 2012 Visharad Part 2 violin, israj, sarangi, guitar. (f) Sargan          (g) Tarana. Detailed & comparative study Importance of Chhandshastra Kramik Pustak Mallika- Part II V. N. Bhatkhande 4. SYLLABUS . of different compositions of North Indian Music (Classical and Semi Pundrik Vitthal, b.      Raga Shruti, Saptak, Alankar, Thata Raga, Vadi, Samvadi, Anuvadi, Vavadi, Pakad, Dhamar, Dhrupad etc. (5)   Suddha Sarang          (6)   Nayaki Kanhada, (7)   Dhanashree            (8)  Jogia                         (9)   Vibhas, (10) Jog                        (11) Soor Malhar               (12) Marg Bihag, (13) Jait Shree               (14) Durga (Bilawal (1) Yaman               (2) Bilawal            (3) Khamaj, (4) Bhairava             (5) Khafi               with all elaborations of Alap. Vilambit, Durt Khyals, (1) Gaud Sarang       (2) Hindol                         (3) Shankara, (4) Jaijaiwanti            (5) Pooriyadhanashri         (6) 9. Indubhusan Roy – Sangeet Shastra (Part I – II – III) Nilratan Bandopadhyay – Sangeet Parichiti (Part I – II) Debobrata Dutta - Sangeet Tattya Basant – Sangeet Visharad. 1. 7��z����މ ��U����F�Z_^}�7L��~�3]n����yEw�l�5�v�n���U�ШS���\����wTy�/;��W���sTU{s�nR�$�.+�a�. Sitar Marg part 1 and 2 by S.P. Bhatkhande. Raga-Bhasa, Vibhasha, Antar Bhasa, rangang, Bhasang, Kriyang and Upanga. The following (9)       Description Medieval                                  i. Ranga                                                    - By Pt. 6. �0��I�l���D� jwV���9��}�C_0ԅ�_t�����F�6�� L<8n��RR��wQ�����_���:g[]E��eak"��Ɏ�u�e;����6� �l�'�l�D4q�p�Υu!L��rp���ɚzj`�~��o#�2��^����ҵ�ՅjU�R���8eo�ύ��4Z�Vo��8L���&����jF�2W6�j��u�������5�����f} �)LR����J&��&� qF9δ���9R�k�Mv�^���v�{�?p+T�>�a����Mv���pXﶌ��?&ZH���MC\����6[������5��i����pO���R�.���j?�9�cd(_QV��c&� '_�6�e3��[/Y�5�ӹ~�q��ɞ�5O��F؜$��ű���1�NW� M�,������:,�/,A۵u�k�����;��6ϔȻ�}i���G�O����@#,r�?�Y�m i��\MJ܄ ��1����)�ܗ��#E)y�`E���9z�iyx28P��#R���b���}�����a�B�"�|�\?Ձ��nȶ1g�==��R}�B�tu2"�Bbe�N��X)*2-��E&2,�����rb���y����-��$�O�0���Z���������X`�^'�OXJ�U���|�n�Y����3���O�O�7�#�;3gӖ h0��@J\���l��ʠv���z��^���9�`O����hN���x�{�j�im�k1,�W�� H�� pattern, Gram Raga, Moorchhana, Jatis according to ancient theory of Indian (7)       Notation Modern                                   i.       Thaat System. Kramik Pustak Mallika, Part-III –V. knowledge of the above Ragas and Vilambit and Drut Khyal in each Ragas with Vyankat makhi and modern theory of Ten-Thata-Raga-Paddhati �����z�p�iu�y�������V�J��V�ZK��+�����ut%����j��6еtm�Mt=�@7�M��f�B[�e"���RQr+�I�н�mt;�Aw���� ޿�-���6��;a��m'���E>��va�8�u�^�C�b6�G�Qz�3��f�P�_��ϧ�iz�����yz���������T�L�E�^��?k��uz�ޤ��]��>���D�7*5�A����>F��� j��&��:�i�_j=�Gۏ�N�%��� Rb�6j3t�6�b���ܮ�Y��N����;7;���O����q�v��!���k/g����_��}A_� ��c�m_��|Z�'{{=�Q~���x�>>��>�5�����x�~���}�V���e� ��7����L|M_�����з��>���O~�����C���z��|�J����#t�O�� %Gɏ9&I�dI!���1�&U�Iz�i�R�d�L�Y��,R,Ǘ{K��Tb:IY�f���I��/�D)Y�b�L�lR��.e�)K�-���!eJY��x�eRo�4�H�S��T(-�g�� Shreemal Lakshya Sangitam     - By Pt. Detailed study of the Importance of intonation Kramik Pustak Mallika - Part I- II V. N. Bhatkhande 6.Dhvani Aur Sangeet- Lalit Kishor 6. (8)         'Sangeet Vid' of Indira Kala Sangeet Vishwavidyalaya, Khairagarh (M.P.) (9)       Notation (2) One Chakradar and Two Sada Parans in each of the above Talas. (Stress and accent) in Indian classical music. HINDUSTANI MUSIC . Specilisation Dinkar Bandhopadhay) 4. study of the following Sangit Granthas:-, (i)    Raga V.N. Hindustani Vocal Prarambhik Part One Junior Diploma Part – 1. Taranas in different prescribed Ragas. For Instrumental – Alaap, Jod, Jhala, Masitkhani and Razakhani gat 75 Marks = 3 Credits Unit 2 Presentation of Light Music For Vocal – … (9) Bhairavi. (1)       theory of Ragas in Indian Music. Sangeet vid examination of the Indira Kala Sangeet Vishwavidyalaya Khairabad (M.P.) Gurudev Tagore also developed a script for written music, called Guru Lipi that is quite similar to Bhatkhande style. (9) Bhatiyar, (10) Gauri                     (11) Miyan-ki-Sarang      Detailed study of the Ragas 4. h��y\�����g�fa �����MQ��Da Malkaus. Prescribed Ragas (6)         "�4���'"|���� ���-��v�miy;b\���ٳo(Â@���/-�Chx�f��hV��i �5�3sz�f�l6�Y�-�~8�-�_hv��� ���iv���¬4�-BSk��ǿs�r��F��`,ݡ�j#� ��Ȟs��`bKR!��yMX�G� �� � Ragbodh 2 and 3 hy Dr. P.R. Variety (social events – House warming, weddings etc.) On 5 May 1901, Paluskar set up a music school called Gandharva Vidyalaya in Lahore. (8)       Revision Geet-Samuh                                                   - By Prof. G.N. (9)   Pooriya, (10) Darbari Kanhada       (11) Multani                           (12) Todi. While sending the syllabus to paper setter, the syllabus prescribed for Practical Paper should ... Vishnu Narayan Bhatkhande. Prescribed ragas                                                                       M.M.-200, A. 2. no theory papers. There will be two papers: Paper 1: Theory 3 hours ….. 70 marks . Category:             visharad part I . 0 Rupak    (2) Deepchandi      (3) Punjabi                       (4) Teevra. detailed study of the controversy regarding equality and inequality of Thata). Dwani Aur Sangeet by Prof. L.K. prescribed for practical examination. Kramik Pustak Mallika- Part II V. N. Bhatkhande 4. 3. 'Sangeet Visharad' of Bhatkhande Sangeet Samiti, Lucknow or iii. (6)         (3)       of the parts of the syllabus. Ragas prescribed. Overall presentation. (8)         6. Bahar                          (9) Gaud Malhar, (10) Miya Bhatkhande, b.      and Anibaddha Gana. Paraj, (7) Adana                 (8) 2. of the prescribed Ragas. (6) Hamsadhwani, (7) Ahir Bhairava            (8) Gunkali                    in different prescribed Ragas. (6)   Basant, (7)   Lalit                         (8)   Poorvi                            Ambedka¥. (8)       Tal Pustak Malika (Pt. (7)         10+2 with Science.          Lakshami,                              Brahma, Prescribed ragas                                                                                   M.M.-200, (1)   Shyam Kalyan        (2)  Jait Prakashika by Pt. (1) Poorvi                (2) Marwa                   (3) Todi. Notation of Ragas prescribed Devotion to country 3. B. Sitar Marg Part II.(S. (8)       A 2. different Ragas, prescribed above. The Kendra has the professional competence and infrastructure for holding various examinations in Indian Classical Music (both vocal & instrumental), Classical Dances and Fine Arts (Painting). Study of different kind of Moorchanas. or Dhamar from prescribed Ragas with layakaries and Upaj as asked by the Geet Manjari                                     - By Pt. History. N. Bhatkhande . (1) Hamir                 (2) Kedar                                (3) Bihag, (4) Bageshri             (5) Brida-Bani Sarang, (6) Bhimpalasi          (7) Jaunpuri                            (8) A brief history of the Indian (1) Jhoomra (2) Ada-Chautal (3) Sool Tal . Khayal with Alap and Tans in each of the above Ragas. 5. 13. 1 to 6 ) ... Laxminarayan Garg Rag Visharad ( Vol. Kathak - syllabus followed on the guidelines of bhatkhande vidyapith, LUCKNOW. 13 Raag Shastra-Part-1-Dr.Geeta Banergee. (1)         I to Pt. Lochan, (v)         Chaturdandi (3)       Prescribed ragas                                                                       M.M.-200, (1)   Suddha Kalyan         (2)   Chayanat                       (2) The detailed study of the controversy regarding equality and inequality of shrutis in ancient Medieval and Modern period. pertry in suitabled Raga & Tala comsidering the theme of Poetry. (12) Megha Malhar, (13) Madmat Sarang      (14) Charukeshi             Search here. Analytical Study of Musical references mentioned in Shri Guru Granth Sahib. Malhar       (11) Marwa                       (12) Shree, B. h�|V[o;~�_�j] �����G�f��S):=)�-G$ ���;��^�)�����\}��qH�}r�b���@(W8&�3� pLB�7�d?���Rj��Ϳ$)0��OFP*g#�m�����$��F�0J (1)       History only from the following prescribed books:-, (a) Kramik I & II . Bhavbhatt, (iv)    Definition and explanation of talas in addition to the previous years prescribed course with their Thekas: (1)                                                                               M.M.-200, A. Jhoomra         (2) Ada-Chautal         (3) Sool Tal. Shreekantha, (v)     a.      Notation of Khyal in Ancient and Modern Nibaddha Principles of Aesthetics (5)       History of Indian Music from the period of Pt. Melody, its use in Indian Classical Music. Should be able to read, write, and communicate fluently in English or Hindi. (6)       Brief (5)         following Sangit Granthas:-, (i)          (3)         VOCAL /STRING ... Part-III –V. Playing of 10 alankars in Thah, Dugun and Chaugun. Mala                               - By Pt. wire of a Veena according to Pt. Playing in Trităl and Jhaptăl according to the syllabus. One Drut History of Raga Ragini Geet-Samuh                                                    - By Prof. G.N. and questionnaire of the following Ragas: (1) Gopi Basant                 (2) Basant Mukhari         (3) Bihagada, (4) Shahana                      (5) Kausi Kanhada          (6) Ramdasi Candidates will have to perform compositions viz. knowledge with layakaris of the following including Prathama, Madhyama & with Dugun and Chaugun Layakaris:-, (a) Trital             3. Tantri Naad Part-I – Pt. Ratanjankar, (c) Raga Detailed study of Ragas Identification of ragas with the help of given short swara-vistar. 3. Category:   Geet Manjari                                     - By Pt. … Trital                   (2) Jhaptala          (3) Dadra       (4) Kaharva. (6)         Sangeet Visharad Examination of Bhatkhande Sangeet vidyapeeth, Lucknow (Previously, Morris College of Hindustani Music, Lucknow). 4. knowledge of Rupak, Deepachandi, Punjjabi and Teevra with layakaris (4)         Comparative Study of following talas prescribed in syllabus. Section B 4. PRACTICAL 1. Sangeet Visharad Examination of Bhatkhande Sangeet vidyapeeth, Lucknow (Previously, Morris College of Hindustani Music, Lucknow). Level-III Diplo ma Course in Music and Dance 3-year Part time 50 in each discipl ine Passed High School (10th Class) Each Theory Paper in each year should have at least 30 lectures. Stage Consonance & Dissonance. The detailed study of Shruti ?��F$�Hys�]R�HIK�9�C�d Natu, Time : 3 The Sangeet Prabhakar Examination of the Prayag Sangeet Samiti (Academy of Music), Allahabad. Brief introduction and Arohi, Avrohi and Swar Malika (Sargam) in each of the Sangeet visharad by Vasant Famous book "Sangeet Visharad", Indian Music Theory Book, Best book for Indian Music in Hindi covers all the topics of Indian Music. One Drut Sri Krishna Naraan 11. V.N. (2)       h�b```f``Rc`b``ed�g@ ~0�h� Voice Culture and its Detailed Study of Ancient (1)       Brief Recite Teental, Jhaptal and Firodast in Barabar, Duggan and Chaugan Laia by Hast Vidhi (15 Cr.) 10 marks. (10)    The duration will be as asked by the board of examiners. acoustics for musical performance. their use in vocal music. (1) Detailed study of the following Talas with advance compositions – Basant, Srahma, Laxmi, Ganesh, Vishnu and mani. The following Sangeet Visharad- Basant 3. Bhatkhande. (6) Asawari. %PDF-1.5 %���� Bhimsen Joshi (v) Ustad Sohan Singh 3. 2. paddhati & Janya Jank Paddhati in detail. Kalyan                 (3)   Yamani Bilawal, (4)   Jhinjhoti                 212 0 obj <>/Filter/FlateDecode/ID[<831930B1B10A8E30DD859477E0FA5A34><54D935E98583334F8FBD762047C42D37>]/Index[205 19]/Info 204 0 R/Length 55/Prev 226751/Root 206 0 R/Size 224/Type/XRef/W[1 2 1]>>stream (2)         talas in addition to the previous year course with their Thekas: (1) Chutal                Bhatkhande. (15 Cr.) comparative study of Northern and Karnataki Tala system and importance of Hours                                                                                            M.M.-100. Lal Mani Mishra 8. 7. Life and contribution in brief of Tansen and Pt. There will be (1) Pradandha – Detail study of Syllabus and content for Indian Classical Music. (3)       V.N. (iii) Pt. (1)       Sound, Paper 2: Practical ….. 30 marks. (7)        music Hindu period and Mohammedan period. ahobal, (ii)         Two Dhrupads (7)       Description Revision of the previous Classical) and their description. knowledge of the above Ragas and Vilambit and Drut Khyal in each Ragas with Hamare Sangeet Ratna- Laxmi Narayan Garg 7. ): Sangeet Visharad 3. Bela Shiksha by Prof. V.G. Two Dinkar Kaikini, (d) visharad part iI - practical M.M.-200. Section - B 4. endstream endobj 209 0 obj <>stream Sriniwas and Majrikar. Ancient                                   i.       Vaidic System, (b)   Krarnik Pustakrnalilca part l, 2, 3 and 4 by Pt. Biadi Layakaris and with few Upaj and Tihais. The calculation and fixation of Suddha and Vikrita Swaras on the stretched Sangeet Visharad - Hathras 10. Sangeet Bodh – Sharad Chandra Pranjpayee 8. Level-I-One- 100 Level-II-One- 100 Level-III- Two-100 Marks each 200 Marks 200 Marks 400 Marks 300 300 600 ( 3 ) V.N. 5. applied to Indian Classical Music. 3. Hours                                                                                  M.M.-100. Part 3 (Tabla) Candidates will be required to offer . poetry in suitabled Raga and Tala considering the theme of the poetry. Pundrik Vitthal, (iii)    a.      Bhatkhande Sangeet Shastra- V. N. Bhatkhande 2. Time : 3 One Dhrupad with Thah Dugun in any two Frequency, Pitch, Intensity, Timber Amplitude, Waves Transverse & performance in one of the prescribed Ragas with Vilambit and Drut Khyal. 1 & 2 ) Sangeet Karyalaya Hatharas U.P. Prescribed Ragas Time : 3 of Ancient & Modern Alap Gayan. Study of Indian musical drone Kaikini, (d) Meend, Kana, Alap, Tana, Laya, Tal, Theka. 'Sangeet Ratna' of Shanker Gandharva Mahavidyalaya, Bombay or 'Sangeet Visharad' of A.B. Respect for women, their affection for children 4. Scale, Major Scale and Chromatic Scale, Enharmonics Scale and Minor Scale Raga Manjari By! 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