Course Content

Foundation Course

(Basics of Music)

Course Content for 1st Year:

Module 1: Understanding Swaras

Introduction to Swaras (Musical Notes)
- Sudh Swars (Natural)
- Vikrit Swars (Komal & Teevra)
Practical Exercises
- Practice sessions for Sudha, Komal, and Teevra Swars

Module 2: Thaats and Ragas

Overview of 5 Thaats
- Bilawal
- Kalyan
- Bhairav
- Kafi
- Bharavi
Detailed Study of Three Ragas
- Bhupali
- Yaman Kalyan
- Bhairav

Module 3: Taals in Indian Classical Music

Introduction to Taals
- Teen Tal
- Ek Tal
- Kaherva
- Dadra
Practical Application
- Hands-on practice sessions for each Taal by making them sing with Taal

Module 4: Genre Exploration

Bhajans, Geet & Ghazals
- Understanding the nuances of different genres
- Practical singing sessions

Module 5: Bollywood and Private Songs

Application of Ragas in Popular Music
- Learning and practicing Bollywood and private songs
- Understanding the connection between Ragas and songs

Module 6: Introduction to Instruments

Basics of Casio and Harmonium
- Basic playing techniques
- Understanding the role of these instruments in Indian music

Module 7: Advanced Singing Techniques

Singing with Tanpura
- Enhancing vocal strength and control
- Perfecting singing without instrumental support

Assessment and Evaluation:

Regular monitoring of student’s progress & practical assessments on the basis of practice audio clips shared by them.
Performance evaluations for individual on the basis of the audios/ videos shared by students

Note: The course is designed to progressively build the foundation of students in the field of music, providing them with a comprehensive understanding of both theoretical concepts and practical applications. The aim is to foster a love for music, encourage creativity, and prepare students for more advanced studies in subsequent years.

Degree Course

'Music Praveshika Exam Singing Course'

The practical test will be of 70 marks:

1. Practice of singing 7 pure and 5 distorted notes.

2. Alhaiya-Bilawal, Yaman, Khamaj and Bhupali ragas, one short each.Thoughts and two simple tones.

3. Practice of Five Simple Ornaments (in Delayed and Mid-Rhythms) 4. In Dadra, Kaharwa, clapping the contracts of Teen Taal, speaking in the rhythm of the thah.The scripture oral test will be of 30 marks, definition and knowledge of the following words:Sound, sound, sound, vowel, moving, and immovable vowel Pure vowel and distorted vowel Aroha, Avaroha, Wadi, Samavadi, Rhythm, Volume, Clap, Even and Rotation.

Singing First Year

Practical Examination of 100 marks, one question paper of 50 marks.

Functional

1. Vowel Knowledge: The knowledge of singing and recognizing 7 pure and 5 distorted notes, the practice of singing and recognizing simple groups of two notes each. Special knowledge of pure vowels.

2. Rhythm Knowledge: - Check the consistency of rhythm by clapping at each volume. A general introduction to late, middle and rapid rhythms. The teaching of various simple quantity divisions such as clapping while speaking two digits (one, two) or two vowels (sa, re) of half volume in a quantity Four digits (one, two, three, four) or four vowels (sa) of a quarter quantity in a quantity, Re, c, m) speaking.

3. Proper practice of ten simple ornaments both in scale and shape and in delayed and middle-rhythms.

4. Alhaiya Bilawal, Yaman, Khamaj, Kafi, Bihag, Bhairava and Bhupali ragas, one each with a small khyal, with some simple taans.

5. Ability to perform simple alaap in these ragas, practice of giving rhythm by hand while singing songs and practice singing with tabla.

6. Clapping the contracts of Teen Taal, Char Taal, Dadar, and Kaharwa Taals.

7. Identification of the raga by the main raga audience alaaps.

Code of law

1. A simple introduction to the following simple topics and terminologies:Music The two main musical systems of India are sound , the origin of sound, sound, shruti, swar, prakrit-swara, immovable and movable vowels pure and distorted- swara (soft and intense), octave (mandra, Madhya, Tar), Thaat, Raga, Varna (Permanent, Ascending Descending, Communicative), Alankara (Palta), Raga Jati (Odava, Shadava, Sampoorna) Diva, Samvadi, Translation, Forbidden Swar, Catch Alaap, Taan, Khayal, Sargam, Static, Antara, Laya (Delayed, Madhya, Dhrut), Volume, Taal Division, Sam Clap, Empty contract, rotation, turnover and double.

2. Write the introduction of this year's ragas with its thaat, swar, aaroha, avaroha, jati, grip-wadi, samvadi, taboo swara, time and some simple allegations.

3. The practice of writing in the rhythm script of this year's talas, including their volume, division, even, clap, empty, also double their writing.

4. Elementary knowledge of either of the Vishnu-Deci or Bharata-Khande vowel scripts.

5. Identification of melody by simple written vowel groups.

6. Brief Biographies of Vishnu December and Bhatkhande and their Music.A brief introduction to the functions.

Junior - Diploma

The practical test will carry 100 marks and one science paper will carry 50 marks.

The second-year exam also includes the entire syllabus of the first year.

Functional

1. Vocal Knowledge: Special knowledge of singing and recognizing pure, soft and sharp vowels, the practice of singing and recognizing vocal groups that are more difficult than in the first year.

2. Rhythm Knowledge: - To show the thah double and quadruple rhythms with the help of numbers or notes by clapping.

3. Special practice of singing some other ornaments in late, middle and rapid rhythms in scales and shapes as compared to the first year.

4.Practice of singing in Bageshri, Durga, Asavari, Bhairavi, Vrindavani Sarang, Bhimpalasi and Desh ragas with the small khayalas of the middle rhythm with simple rhythms.

5. Practice of singing two dhrupads in any two ragas of the syllabus in the permanent and interlude rhythms of each dhrupad in double and quadruple rhythms.

6.Practice of singing with one delayed khyal vowel and rhythms each in Yaman, Bihag and Alhaiya Bilawal.

7. Combine the tabla with your mind in small thoughts with a simple and simple tone.

8. Ektaal, Rupak, Teivra, Jhapatal and Sool Taals in Thah, Double and Quadruple rhythms by clapping.

9. Raga recognition.

Code of law

1. General knowledge of the following simple topics and terminologies – sound, origin of sound, vibration, movement (regular irregular stable unstable movement), movement number, three characteristics of sound, relation of sound to high-low movement, relation of sound to movement-number, Naad and Shruti, Types of Songs – Bada Khayal, Chhota Khayal, Dhrupad and Lakshana Elements of the Song (Sthaai, Antara, Sanchari Abhog), Janakthata Janyaraga, Ashrayraga, Graha, Ansh, Nyasa, Vakra- Pre-Introduction of Swara, Timing and Octave Relation of Uttaranga Vadi Swaram to the Time of Ragam, Pre-Uttara Raga, Triguna, Chauguna, Mead, Kaana, Sparsha-swaram and Vakra-swara.

2.Complete introduction to the ragas of the first and second year and the practice of writing them in the vowel script including thaat, swar, aroha-avaroha, jati, hold, time, taboo swaram and alaap taan.

3. Write in the rhythm script of double and quadruple rhythms showing the volume of the contracts of the locks of both the years, clap, empty, even, division, etc.

4. Knowledge of writing songs in Vishnu Digambara or Bhatkhande vocal script.

5. Recognition of melody by written vocal set.

6. Equanimity in similar ragas.

7. A brief biography of Tansen and Amir Khusrau and an account of their musical worksचय ।

Third Year

Practical test of 100 marks and one paper of science of 50 marks. The entire syllabus of previous years is also included in it.

Functional

1. Special advancement in vocal knowledge, proper practice of pure and distorted notes of the three octaves, singing and recognition of difficult vocal groups. 2. A special practice of singing ornaments in thick, double, quadruple rhythms.

3. To know how to mix tanpura.

4. Special advancement in rhythm knowledge, more clear and precise knowledge of double, triple and quadruple rhythms, only the initial introduction to the rhythm.

5. Practice of using particle notes from the throat the practice of certain figurative vowel groups or khatkas.

6. Tilak Kamod, Hamir, Kedar, Tilang, Kalingada, Patdeep, Jaunpuri, Malkauns and Pilu with one each Chhota Khayal, Alap, Tan and Bol-Tan.

7. Bageshri, Asavari, Vrindavani, Saranga, Bhimpalasi, Desh, Jaunpuri, Hamir, Kedara, Patdeep and Malkauns - any 6 of these 10 ragas including Bada Khayal – Alaap, Tan Bol-Tan etc.

8.One Dhrupad in any two of the above ragas and one Dhamar in any one raga with double, triple and quadrupal.

9.Deepchandi, Jhumra, Dhamar and Tilwara-Talas—speaking in Thah, Dougun, Triple, and Quadruple rhythms.

10. Proficiency in raga recognition.

Kulshastra

1. Full description of tanpura and tabla and complete knowledge of their mixing, breadth of the movement and its relation to the smallness and largeness of the naad, division of 22 shrutis into seven pure notes (modern opinion), more complete and clear definition of the terms of the first and second year, special rules of ghat and raga, subtle distinction between shruti and nada, The mathematically composed of 72 thaats of Venkatamakhi and the origin of 484 ragas from one ghat, three classes of Ra according to tone and time (Re-dh Komal raga, Re-dh Shuddha raga and Gani Komal ragas), Sandhi Prakash ragas, qualities and demerits of singers, types of tanas ( Detailed description of pure or simple, koota, misra, bol-tan), gamaka, aad, permanent types of songs, bada-khapal, dhamar, (hori), (tappa).

2. A complete introduction to the ragas of the course, including vocal elaboration and talo.

3. A complete introduction to all the locks of this year and the previous year. The method of calculating the place of starting a rhythm or song by calculating the place of doubling a rhythm or song, etc.

4. Write the vocals of songs. Write Dhamar and Dhrupad in double, triple and double.

5. Identifying chords by difficult vowel groups.

6. Comparison of Samanature ragas of course

7. Full knowledge of Bhatkhande and Vishnudigambar vowel script systems.

8. Brief biographies of Sharangadeva and Swami Haridas and introduction to their musical works.

Fourth Year

Senior Diploma Functional Examination of 100 marks and a question paper of Science of 50 marks includes the entire syllabus of previous years.

Functional

1. Vowels - Special practice of knowledge Identification of difficult vowel groups.

2. Special ability to meet tanpura and tabla.

3. Performing the following rhythms with the help of notes and notes. Twofold (1) speaking two quantities in quantity, triple (3 in 1), quadruple (4 in 1), ah (3 in 2), inversion of barricade (2 in 3), paungun (3 in 4) and savagun (5 in 4) quantities.

4. The practice of difficult and beautiful chants and taunts.

5. Deshkara, Shakra, Jayajaywanti, Kamod, Marwa, Multani, Sohni Bahar and Purvi ragas, one each with a belated and Drut Khayal, beautiful and difficult Alaap Tan and Bol-Taan.

6. One Ghrupada in any two of the above ragas and one Dhamar in each of the other two with one Tarana in each of the ragas - Thah, Dugun, Tripun and Chaugun.

7. Special proficiency in khayal singing.

8. General knowledge of Thumri and Tappa contracts, practice of speaking Ada Chartal and Jat Tal in its entirety.

9. Identification of melody by vowel groups.

10. Showing equanimity in ragas by singing.

Code of law

1. Types of Songs: Detailed description of Tappa, Thumri, Tarana, Tirawat, Chaturanga, Bhajan, Geet and Ghazal Raga-Ragini system, method of modern Alaap singing, description of various types of antiquity, use of Vivadi vowel, Nibandha-Types of Songs (Prabandha, Object, etc.), Metal, Unbounded Song, Adhya-Audience Voice.

2. Divisions of 22 Srutis into vowels (comparative study of modern and ancient opinions), the length of the written string by the highs and lows of the sound.Relation.

3. Chhayalayaka and narrow raga parmel praveshaka raga, ragi ka samaya, wah, adhyadarshakaka in determining the time of raga, swara vadi samvadi and poorvanga. Importance of Uttaranga, notes of South and North Hindustani music systems

Comparison.

4. Composition of 32 Thaats from the notes of the North Indian Saptanka, Modern - Ancient Names of the Ghats, Tirobhava, Avarbhava and Minority.

5. Subtle comparative study of ragas and raga identification.

6. A comparative study of both Vishnudigambara and Bhatkhande vowel scripts. The practice of writing songs in both vocal scripts. Complete practice of writing Dhamar and Dhrupad in double, triple and quadruple vowel scripts.

7. Biography of Bharat, Ahobal, Venkatamakhi and Mansingh Tomar and description of their musical works.

8. Method of calculating the place of starting double, triple, quadruple of all the rhythms of the syllabus by mathematics. The practice of writing various rhythms in rhythm script other than double, triple and quadruped.

Fifth Year

The practical test will carry 100 marks and one scriptural paper will carry 50 marks. Previous years' syllabus is also included.

Functional

1. Clap some difficult rhythms such as speaking 3 volumes in 2 volumes and 4 volumes in 3 volumes, etc.

2. Special practice of the alaap of Nom-Tom.

3. Puria, Gaur-Malhar, Chhayanat, Shri, Hindol, Gaudasarang, Vibhas, Darbari Kanhra, Todi, Adana in these diseases, one delayed and quick thought is completely beautiful, one Dhamar in any two ragas and one in some two ragas. A dhrupad in which it is necessary to do doon, triple, quadruple and barricade.

4. Subtle study of ragas the active use of Arvibhava Tirobhava in ragas.

5. Full knowledge of Savari (Pancham), Gajjhampa, Adha, Matt, Punjabi Taals and speaking them in Thah, Dougun, Trigun, and Quadruple Lykaris.

6. The simple practice of playing Teen Taal, Jhapatal, Chartal, Ektaal, Kaharwa and Dadra Taals on tabla.

Code of law

1. Complete and detailed study of the syllabus up to the last fourth year.

2. Ancient Forms of Anibandha-Gaana, Ragalapa, Roopkalap, Alatpigana, Swasthana-niyama, Bidari, Raga-Lakshana, Jati-Singing and its characteristics, Sannyasa, Vinyasa, Singing, Nayaki, Gandharva, Geeta (Desi Margi) Show the abundance of Tirobhava and Lagtva in the ragas of the course.

3. Regarding the Shruti vowel division, the three main periods of the entire history (ancient, middle and modern), the texts of the texts of these three periods and the opinions mentioned in them, the relation between the Sadhya and the Bheda Shadja Fifth House and the Movement Number and the Length of the String, If the Movement Number of a Swara is given, then the length of the string is given (When the two objects of the shadja are given the length of the string in the same way, the movement number is to be compared, with the help of the lengths of the correct and distorted notes of medieval scholars and modern pundits.

4. Creating the gamut of simple-talas, in different ragas, with the mind.

5. A detailed study of this year's ragas and matching of similar ragas, showing the shortness of the ragas, the abundance of the ragas, the appearance of the Tirobhava.

6. A complete introduction to this year's talas and their contracts in various rhythms in the rhythm script. Mathematics to determine the place of starting a song or rhythm like Doon, Trigun, Quadruple, Cover, etc.

7. Writing songs and their double, triple and quadruple rhythms in vocal script.

8. Topics of essay such as raga and rasa, music and other fine arts, music and imagination, influence of Yavana Sanskrit on Hindustani music, music and its future, place of instruments in music, folk music etc.

9. The practice of writing songs and rhythms in any vowel script.

10.Biography and music work of Srinivas, Ramamatya Hridaynarayan Dev, Mohammad Raza, Adarang.

Sixth Year

Sangeet Prabhakar

The practical examination will be of 200 marks and two papers of science will be of 50 marks each. The entire syllabus of all previous years is also included.

Functional

1. All ragas of previous years can be used to show proficiency in raga identification, inferiority, plurality, arvibhava, tirobhava and samata variety. Therefore, it is necessary to have a special detailed study of everyone.

2. Preparation of singing, alap, cleanliness in tans, dexterity of singing mehfils.

3. Introduction to Tappa, Thumri, Tirukat and Chaturanga songs, any two of these songs are a must know.

4. Ramkali, Mian Malhar, Parj, Vasanth Rageshri, Puriavan Shri Lalit, Shuddha-Kalyana, Desi and Malgunji ragas, one Bada Khayal and one Chhota Khayal each in any two ragas with full preparation, one Dhamar each and one Dhrupad and one Dhrupad in each of the ragas with full preparation. -It is necessary to know a scale. Chaturanga in any one of the ragas from the first year to the sixth year.

5. Kafi, Pilu, Pahari, Jhinjhoti, Bhairavi, Tilang and Khamaj in any two of these ragas with one thumri each and tappa in one of these ragas

6. Lakshmi Taal, Brahma Taala and Rudra Taala Introduction to these three talas, and the practice of clapping them by hand in all the Lyakaris mentioned in the previous year.

Code of law

Paper 1 A detailed comparative and nuanced introduction to all ragas from the first to the sixth year and the practice of writing them in the vowel script of Alaap, Tana, etc. To show equanimity in the samprakriti ragas.

2. Writing in different ragas in alapa, Tan Swara script showing the multiplicity of the multiplicity, shadows of other ragas etc.

3. Identifying chords by difficult written vocal groups.

4. The knowledge of how to make a chord in a given raga.

5. Write songs in vocal script, write Dhamar and Dhrupad in double, trigun, chaugun, aad etc.

6. Writing the locks contracts in different rhythms.

7. Some articles such as the need for music in life, Alaap Vidhi, Mehfil singing, Influence of classical music on the masses, Radio and Cinema-Music, Background Music, Hindustani Music and Vrinda-Vadana, Characteristics of Hindustani Music, Attachment to Vocals, Music and Vocal Script etc.

8. Hassu - Biography and work of Haddu Khan, Fayyaz Khan, Abdul Karim Khan, Bade Ghulam Ali Khan, Thakur Onkar Nath

Paper II (Shastri Related)

1. A detailed and detailed study of the subjects related to scriptures during the last few years.

2. Movement of vowel spaces of medieval and modern musicians with the help of numbers, comparison with the help of string length, composition of western octaves, rules of simple resonance and auspicious vowel dialogue, movement numbers of western voices, vocal dialogue in Hindustani voices, Carnatic A Comparative Study of the Tala System and the Hindustani Tala System, A Brief Evolutionary History of Music, Gram, Moorchhana (Gradual Change in Meaning), Moorchhana and Modern Thaat, Kalavant, Pandit, Nayak, Singer, Vaggeyakar, Bani (Khandar, Dagur, Nauhar, Gauvarhar) Geeti, types of motion, etc., different types of Gamak, different types of Hindustani instruments (Tat, Vit, Avandh, Ghan and Sushir).

3. Knowledge of the following topics: Aids arising in the tonal- Naad Post-True Swara Octave Conversion of Diatonic Scale into Equally Tempered Scale and Description, Major, Minor and Semitone, Pros and Cons of Western Modern Swaras, Critical Eye on Harmonium. The matching of our modern vowel spaces with the notes emanating from the tanpura, the ancient, medieval, and modern raga classifications, their importance and the comparison of their different types, the interplay of music, art and scriptures, the views and arguments of various scholars on whether Bharata's shrutias were the same or unequal. A study of Sarana Chatushtai, the contribution of Sangeet Parijat to North Indian music, comparing Hindustani and Carnatic music systems to match their tones, rhythms and ragas. General knowledge of western vocal scriptures, brief knowledge of musical gharanas, Ratnakara's ten methods of raga classification, language and language, etc.

4. Comparative study of Bhatkhande and Vishnu Digambara vowel scripts, errors in them and suggestions for advancement.

5. Articles such as: - Suggestions for the proper preparation of future music, main principles of Hindustani music system, introduction of ancient and modern famous musicians and their style of music on human life. Errors in Music Education by Mind and Music Schools and Suggestions for Advancement Music and Instruments.

Course Content

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Foundation Course

(Basics of Music)

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