Implementation of Choice Based Credit System - The … OF T… · Web viewTo introduce word of Taal . To improve knowledge of student in taal system . Introduction of taal and its

Implementation of Choice Based Credit System

Department of TABLA

Faculty of Performing Arts

The M. S. University of Baroda

(Appendix – A)

A general framework for Master’s Program shall as follows.

Level Semester – Wise credits Total Credits1 2 3 4

Master’s program 24 - - 96

The credit framework for the Core course shall be as follows.

Course Credit HoursTheory+Practical

% Marks

Core Compulsory Theory I Principles of Tabla I 03 03 + 00 30%+70%Core Compulsory Theory II Technical Terms of

Percussion Instruments I03 03 + 00 30%+70%

Core Compulsory III History of Music and Percussion Instruments I

03 03 + 00 30%+70%

Core Cmpulsory IV Study of Ancient Taal System I 02 02 + 00 30%+70%Core Compulsory Practical I Traditional Compositions of

Tabla/Pakhwaj I05 02 + 05 30%+70%

Core Compulsory Practical II Practical Solo and Accompaniment of Tabla I

05 02 + 05 30%+70%

Core Compulsory Practical III Stage Performance I 03 01 + 03 30%+70%Core and Foundation Subject Total Credits 24 16 + 13 30%+70%

Department of TablaFaculty of Performing Arts

The Maharaja Sayajirao University of Baroda

Academic Year 2015-16

Master of Performing Arts(M.P.A) : Tabla Post Graduate ProgrammeYear 1 Core Compulsory-1 : Principles of Tabla Credit 3Semester 1 Hours 45

OBJECTIVESTo introduce word of Taal To improve knowledge of student in taal system Introduction of taal and its Comparison

Unit-1 Introduction of Taal systemOrigin of word Taal Definition of taal

12 hours

Unit-2 Importance of TaalDevelopment of taalImportance of taal in MusicImportance of Matras(beats) in Taal system

11 hours

Unit-3 Detailed comparative study of same matras taals1) Sawari and Gajazampa 3)Zoomra and Ada-Chautaal2) Laxmi and Matt 4)Vishnu and Shikhar

11 hours

Unit-4 Essay on TaalImportance of Taal in Music TherapyComparative study of Prachin and Arvachin TaalImportance of music in National Unity

11 hours

Assessment:1.Continuous Assessment :30%

One class test(Theory) One written Assessment(Minor)

2.Written Examination :70%REFERENCES

1) Pt.Lalmani Mishra-Bhartiya Vadhya Sangeet2) Pt.Bharatmuni-Bharat Natya Shashtra and All edited volumes of Bharat Natya Shashtra3) Dr.Arunkumar Sen-Bhartiya Taalo ka Shashtriya vivechan4) Dr.Yogmaya Shukla-Tabla ka Udgam, vikas aur vadan shailiya5) Shri Umesh Joshi-Bhartiya Sangeet ka Itihas




Master of Performing Arts (M.P.A) : Tabla Post Graduate ProgrammeYear 1 Core Compulsory-2 : Technical Terms of Percussion Instruments Credit 3Semester

1 Hours 45

OBJECTIVESTo introduce ancient percussion instrumentsTo Introduce Technical terms of TablaTo Introduce orchestration of percussion Instruments

Unit-1 Detail study of Ancient Percussion Instruments.Origin of Percussion InstrumentsUtilisation of percussion instruments in ancient music. (any five) Comparative study of ancient percussion instruments.

11 hours

Unit-2 Definition in detailAvagraha,Adhagun,Aadilaya,Kuaadi,Biaadi,Kakpad,Chilla,Jod,Upaj,Ladant,Lahera,VarnaOrigin, Development and Utilisation of Peshkar in solo Tabla playing

11 hours

Unit-3 Orchestration of Percussion InstrumentsIntroduction of orchestrationUtilisation of various instruments in orchestration musicNature and theme of orchestration

11 hours

Unit-4 Detail study of Notation and Padhant of Taals Notation of all taals which are included in your syllabus in Single,Dugun,Tigun and Chaugun and bol compositions.Meaning Of Padhant Utilisation and importance of Padhant in tabla playing in detail

12 hours


One class test(Theory) One written Assessment(Mionor)


1) Pt.Girishchandra Shrivastav, Taal-Kosh,2) Pt.Girishchandra Shrivastav,Lay-Taal vichar manthan3) Sangeet Karyalay Haath Ras Publication,Vishwa Sangeet Ank and Vadya Vadan Ank4) Dr.Arun kumar Sen,Bhartiya taalo ka Shashtriya Vivechan5) Dr.Sharadchandra Shridhar Paranjape, Bhartiya Sangeet Ka itihas




Master of Performing Arts (M.P.A) : Tabla Post Graduate ProgrammeYear 1 Core Compulsory-3 : History of Music and Percussion Instruments Credit 3Semester 1 Hours 45

OBJECTIVESTo introduce history of Music To introduce history of Tabla and Khyal GaykiNew Research in Indian Music

Unit-1 Introduction of 13 th Century Development of Music Knowledge of Volumes wrote in above centuryNew experiments of above century

11 hours

Unit-2 Introduction of 14 th Century Development of Music Knowledge of Volumes wrote in above centuryNew experiments of above century

11 hours

Unit-3 Advance Study of History of TablaOrigin of Word TablaFables of History of TablaKnowledge of different research work done in Modern periodDevelopment of TablaModern aspects of Tabla

12 hours

Unit-4 History of Khyal GayanOrigin and Development of Khyal GaykiImportance of Tabla playing in Khyal GaykiAccompaniment with that particular singing style

11 hours




1) Prof.Gaurang Bhavsar,Tabla no Itihas ane Parampara 2) Dr.Yogmaya Shukla,Tabla ka Udgam Vikas and Vadanshailiya3) Sangeet Karyalay Haath Ras Publication,Tabla Ank and Vadya Vadan Ank4) Dr.Arun kumar Sen,Bhartiya taalo ka Shashtriya Vivechan5) Dr.Sharadchandra Shridhar Paranjape, Bhartiya Sangeet Ka itihas6) Shri Umesh Joshi, Bhartiya Sangeet Ka itihas7) Vasant,Sangeet Visharad




Master of Performing Arts (M.P.A) : Tabla Post Graduate ProgrammeYear 1 Core Compulsory-4 : Study of Ancient Taal System Credit 2Semester 1 Hours 30

OBJECTIVESTo introduce ancient Taal system of Indian MusicTo introduce detail study of Natya Shashtra and Sangeet Ratnakar Taal SystemTo introduce ten Pranas of Taal

Unit-1 Study of Ancient Taal SystemTaal systems in reference to different ancient volume

07 hours

Unit-2 Detail Study of Taals with reference to “Bhatra Natya Shashtra”Study of Taal system as given in Bharatra’s “Natya Shashtra”Use of Taals in Music as per Bharat Natya Shashtra in Bharatmuni period

08 hours

Unit-3 Detail Study of Taals with reference to “Sangeet Ratnakar”Study of Taal system as given in Pt. Sarangdev’s “Ratnakar”Use of Taals in Music as per Sangeet Ratnakar in Sarangdev period

08 hours

Unit-4 Study of Ten Pranas of TaalsIntroduction of Ten Pranas in different volumes.Knowledge of all pranas of Taal system.Use of Ten pranas of taals in Morden taal system.

07 hours




1) Pt.Lalmani Mishra-Bhartiya Vadhya Sangeet2) Pt.Bharatmuni-Bharat Natya Shashtra and All edited volumes of Bharat Natya Shashtra3) Pt. Sarang Dev-Sangeet Ratnakar and all edited volumes4) Dr.Arunkumar Sen-Bhartiya Taalo ka Shashtriya vivechan5) Dr.Gaurang Bhavsar, Tabla no Itihas ane Parampara6) Shri Umesh Joshi-Bhartiya Sangeet ka Itihas




Master of Performing Arts (M.P.A) : Tabla Post Graduate ProgrammeYear 1 Core Compulsory-1 : Traditional Compositions of

Tabla/PakhawajCredit 5

(P3+Th2)Semester 1 Hours 75

OBJECTIVESTo introduce Theoretical aspects of thekas and bandishes. Provide knowledge of Traditional and Contemporary Compositions of Tabla/Pakhawaj

Provide knowledge of Padhant, Nikas and concepts of Riyaz.

Unit-1 Theoretical aspects of Solo PresaentationTheoretical aspects of theka.Theoretical aspects in solo playing.Theoretical aspects of Padhant.Theoretical aspects of different bandishes.Theoretical aspects of playing style of different Gharana’s of tabla.Theoretical Techniques of Riyaz.

15 hours

Unit-2 Advance Solo in Aadachautaal with Traditional and contemporary compositions Vilambeet laya bandishes: a) Different Gharana’s Peshkar. b) Four kayadas of Various Gharanas of Tabia c) Chala, Chalan and RauMadhya and Drut laya bandishes:a)Two rele b) Traditional and Contemporary Bandishes(Mukhda, Types of Gat,Gat-Tukda,Tukda,Simple,Farmaishi and Kamali Chakradar,Uthan,Paran etc.)

25 hours

Unit-3 Advance Compositions of SooltaalThree Simple and Chakradar UthanThree Simple and ChakradarParanThree Simple and Chakradar TukdaVarious types of Tihai

20 hours

Unit-4 PadhantSingle,Double,Tigun and Chaugun and Aadilaya of Gajazampa andVarious bandishes and Taals of same paper

15 hours




1) Pt.Girishchandra Shrivastav , Taal-Kosh2) Pt.Sudhir Mainkare,Tabla Vadan me Nihit Saundrya3) Pt.Arvind Mulgaonkar,Ijazat4) Dr.Aban Mistry, Tabla ki Bandishe5) Pt.Purshottam das,Mrudang Vadan(Naath Dwara Parampara)




Master of Performing Arts (M.P.A) : Tabla Post Graduate ProgrammeYear 1 Core Compulsory-2 : Solo and Accompaniment of Tabla Credit 5


OBJECTIVESTo introduce Theoretical aspects of Accompaniment. Provide knowledge of Traditional and Contemporary Compositions for Tabla SoloProvide knowledge of Padhant , Nikas,Upaj and concepts of Riyaz.

Unit-1 Advance Solo in Pancham Sawari with Traditional and contemporary compositions Vilambeet laya bandishes: a) Different Gharana’s Peshkar. b) Four kayadas of Various Gharanas of Tabia c) Chala, Chalan and RauMadhya and Drut laya bandishes:a)Two rele b) Traditional and Contemporary Bandishes(Mukhda, Types of Gat,Gat-Tukda,Tukda,Simple,Farmaishi and Kamali Chakradar,Uthan,Paran etc.)

25 hours

Unit-2 Theoretical aspects of Traditional BandishesTheoretical aspects of theka.Theoretical aspects in solo playing.Theoretical aspects of Padhant.Theoretical aspects of different bandishes.Theoretical aspects of playing style of different Gharana’s of tabla.Theoretical Techniques of Riyaz.

15 hours

Unit-3 PadhantSingle,Double,Tigun,Chaugun and Aadilaya of Matta andVarious bandishes and Taals of same paper

15 hours

Unit-4 Accompaniment with Semi- Classical MusicSystem of AccompanimentTechniques of AccompanimentTheoretical aspects of AccompanimentImportance of Upaj in AccompanimentKnowledge of Accompaniment of Various Tabla player’s style through audio-video visual

20 hours




1) Pt.Lalmani Mishra, Bhartiya Vadhya Sangeet2) Pt.Chotelal Mishra,Tabla Granth3) Pt.Arvind Mulgaonkar,Ijazat4) Dr.Aban Mistry, Tabla ki Bandishe5) Dr.Gaurang Bhavsar,Bandishe Teentaal




Master of Performing Arts (M.P.A) : Tabla Post Graduate ProgrammeYear 1 Core Compulsory-3 : Stage Performance Credit 3Semester 1 Hours 45

OBJECTIVESTo introduce Theoretical aspects of stage performance. Advance knowledge of sequence of bandishes in Tabla solo.Advance knowledge of Nagma/Lahera and Listening lectures

Unit-1 Introduction of stage performance in reference to theoretical aspects:Stage manners.Theoretical aspects in Tabla solo and Accompaniment.Advance Knowledge of Padhant.System of Tabla solo of different Gharana’s.Techniques of producing different bandishes.

08 hours

Unit-2 Solo Performance:Students choice of any taals from syllabusKnowledge of sequence of solo, Nikas of Bandishes System of Riyaz for Stage Performance

15 hours

Unit-3 Solo Performance:Examiners choice of any taals from syllabus.Knowledge of sequence of solo, Nikas of Bandishes System of Riyaz for Stage Performance

15 hours

Unit-4 Basic knowledge of Nagama/Lahera and how to play with Nagma/LaheraVarious Raag base Nagma/Lahera of Aadachautaal and EktaalKnowledge of Vilambeet laya and Madhya laya Nagma/LaheraConcept of solo playing with Nagma/Lahera

07 hours




1) Pt.Girishchandra Shrivastav (2001) Taal-Kosh,2) Sangeet Karyalay Haathras Publication,Vadhya Vadan Ank3) Dr.Aaban Mistry,Tabla ki Bandishe4) Prof.Sudhirkumar Saxena,The Art of Tabla Rhythm 5) Pt.Sudhir Mainkare,Tabla Vadan me Nihit Saundrya

Periodical progress of a semester

Weightage of evaluation

I Internal Evaluation 30% and

II Semester end examination 70%.

Component Units covered inA course

Weightage Weightage Unit wise

Period of Continuous and Comprehensive

assessmentI 1 & 2 15% 7.5% To be consolidated by

8th week

II 3 & 4 15% 7.5% To be consolidated by 15th / 16th week

III Entire Course 70% 17.5% To be consolidated by 18th to 20th week

Final Grades to be announced by 24th week

Evaluation Method:

Evaluation through Comprehensive Continuous Assessment (CCA): The semester assessment through CCA is spread through the duration of the course and is to be done by the teacher teaching the course. The assessment is to be done by various means including:

1. Written Tests

2. MCQ based quiz

3. Presentations/Seminars

4. Project work/Field work

5. Group discussions/Group activities.

The end of Semester examination shall have an assessment based upon following perspective with respect to all the courses:

1. Evaluation with respect to Knowledge

2. Evaluation with respect to Understanding

3. Evaluation with respect to Skill

4. Evaluation with respect to Applications

5. Higher order Thinking Skills.

With respect to all above components, there will be following four types of questions from each unit of the course:

1. MCQ

2. Short Answer Questions

3. Long Answer Questions

4. Very Long Answer Questions

The questions may largely be from the question bank for the each course.

Grading

Grade Points

Description % of marks Division / Grade

10 Outstanding 90% to 99% First / O9 Excellent 80% to 89% First / A8 Very good 70% to 79% First / B7 Good 60% to 69% First / C6 Fair 50% to 59% Second / D5 Average 40% to 49% Pass / E4 Dropped Below 40% F

The % of marks taken into considerations includes marks of component I, II, III of each semester.

SGPA

Semester Grade Point Average (SGPA) indicates the performance of a student in a given semester. SGPA is based on the total credit points earned by the student in all the courses and the total number of credit assigned to the course in a semester.

Course Credit Marks obtained

by student

in %

Grade letter

Grade point

Credit assigned X Grade Point = Credit

PointCore Compulsory I Principles of Tabla I 3 52 D 6 3 x 6 = 18

Core Compulsory II - Technical Terms of Percussion Instruments II

3 45 E 5 3 x 5 = 15

Core Compulsory Practical I Detail Practical study of Tabla I

6 55 D 6 6 x 6 = 36

Core Compulsory Practical II Tradition & Composition of Tabla II

6 56 D 6 6 x 6 = 36

Elective Open Appreciation of Tabla I (Vocal/Sitar/Violin)/Tabla/Dance/Drama

4 50 D 6 4 x 6 = 24

Foundation Compulsory English I (SEM I, III, V)

2 53 D 6 2 x 6 = 12

Foundation Elective Cultural Heritage of India / Applied

Physics / Psychology / Indian Aesthetics / Western Aesthetics-I (SEM II, IV, VI)

2 60 C 7 2 x 7 = 14

24 141

SGPA = Total credit points earned in a semester / Total credits for that semester.

Thus SGPA for the above semester = 141 / 24 = 5.87.

CGPA

CGPA Cumulative Grade Point Average is obtained by dividing the total number of credit points earned in all the semester by the total number of credits in all the semester.

For Example

I Semester Total Credit

Point 141

II ’’ ’’ ’’ ’’ 130III ’’ ’’ ’’ ’’ 122

IV

’’ ’’ ’’ ’’ 136

V ’’ ’’ ’’ ’’ 128VI

’’ ’’ ’’ ’’ 130

Total 787

Total credits for semester I + II + III + IV + V + VI = 144

CGPA =787 / 144 = 5.46.

The Class / Division shall be awarded on the basis of CGPA as under:

1. First Division with Distinction CGPA 9.00 to 10.00

2. First Division CGPA 8.00 to 08.99

3. Higher Second Division CGPA 7.00 to 07.99

4. Second Division CGPA 6.00 to 06.99

5. Pass Division CGPA 5.00 to 05.99

Thus in the above case the division is Pass Division.


Department of TABLA



(Appendix – A)



Master’s program 24 96



% Marks

Core Compulsory Theory I Principles of Tabla II 03 03 + 00 30%+70%Core Compulsory Theory II Technical Terms of

Percussion Instruments II03 03 + 00 30%+70%

Core Compulsory III History of Music and Percussion Instruments II

03 03 + 00 30%+70%

Core Cmpulsory IV Gharana of Indian Percussion I (Tabla/Pakhawaj)

02 02 + 00 30%+70%

Core Compulsory Practical I Traditional Compositions of Tabla/Pakhwaj II

05 02 + 05 30%+70%

Core Compulsory Practical II Practical Solo and Accompaniment of Tabla II

05 02 + 05 30%+70%

Core Compulsory Practical III Stage Performance II 03 01 + 03 30%+70%Core and Foundation Subject Total Credits 24 16 + 13 30%+70%




Master of Performing Arts (M.P.A) : Tabla Post Graduate ProgrammeYear 1 Core Compulsory-1 : Principles of Tabla Credit 3Semester 2 Hours 45

OBJECTIVESTo introduce detail study of Peshkar and Peshkar KaydaTo introduce Naad and its typesTo introduce Tihai and its types Introduction of Ravindra Sangeet

Unit-1 Detail study of Peshkar and Peshkar KaydaDefinition of Peshkar and Peshkar KaydaUse of Peshkar and Peshkar Kayda in Solo and Accompaniment

12 hours

Unit-2 Introduction of ‘NAAD’Describe the word NaadDefinition of NaadTypes of Naad Aahat and Anahat

11 hours

Unit-3 Detail study of TihaiDefinition and meaning of TihaiDetailed knowledge about various types of tihai with ExamplesUse of tihai in different musical forms

11 hours

Unit-4 Introduction of Ravindra Sangeet and Taal systemBasic introduction of Ravindra SangeetTaal system of Ravindra Sangeet in DetailTaals and Theka used in Ravindra Sangeet

11 hours




1) Pt.Lalmani Mishra,Bhartiya Vadhya Sangeet2) Pt.Ramcharan Aacharya,Shabda Brahma-Naad Brahma3) Dr.Arunkumar Sen,Bhartiya Taalo ka Shashtriya vivechan4) Dr.Anita Sen,Ravindra Sangeet5) Pt.Sudhir Mainkar,Tabla Vadan me Nihit Saundrya6) Dr.Aban Mistry,Bandish




Master of Performing Arts (M.P.A) : Tabla Post Graduate ProgrammeYear 1 Core Compulsory-2 : Technical Terms of Percussion Instruments Credit 3Semester 2 Hours 45

OBJECTIVESProvide knowledge of notation system to students about lay and its different variationTo introduce technical terms of TablaTo introduce detail study of KaydaTo introduce different style of tabla playing

Unit-1 Detail study of ancient and Modern Tabla playingComparative study of ancient and Modern system of Solo Tabla playingComparative study of ancient and Modern style of AccompanimentUtilisation of Upaj in Tabla playing

11 hours

Unit-2 Definition in detail with exampleFarmaishi Chakradar,Kamali Chakradar,Fard,Paran,Uthan,Ekhatthi paran,Tukda,Mukhda,Aamad with example

11 hours

Unit-3 Detail knowledge of KaydaDefinition of KayadaOrigin and Development of KaydaUtilization of Kayda in Solo playing and Accompaniment

11 hours

Unit-4 Detail study of Notation and Padhant of Taals Notation of all Taals which are included in your syllabus in Single, Dugun,Tigun and Chaugun and Aadilaya and bol compositionsMeaning Of Padhant Utilisation and importance of Padhant in tabla playing in detail

12 hours




1) Pt.Girishchandra Shrivastav, Taal-Kosh,2) Pt.Girishchandra Shrivastav,Lay-Taal vichar manthan3) Prof.Sudhirkumar Saxena,The Art of Tabla Rhythm4) Dr.Arun kumar Sen,Bhartiya taalo ka Shashtriya Vivechan5) Pt.Sudhir Mainkar,Tabla Vadan me Nihit Saundarya6) Pt.Arvind Mulgaonkar,Tabla7) Pt.Vijayshankar Mishra,Tabla Puran




Bachelor of Performing Arts : Tabla Graduate ProgrammeYear 1 Core Compulsory-3 : History of Music and Percussion Instruments Credit 3Semester 2 Hours 45

OBJECTIVESTo introduce history of Indian Classical Music of 15th and 16th century.To introduce history of Music.To introduce history of Dhrupad-Dhamar

Unit-1 Introduction of 15 th Century Development of Music in above centuryKnowledge of Volumes wrote in above centuryNew experiments done in above century

11 hours


11 hours

Unit-3 History of Dhrupad-DhamarOrigin and Development of Dhrupad-DhamarImportance of Pakhawaj(Mrudang) in Dhrupad-Dhamar Accompaniment with that particular singing style

11 hours

Unit-4 History of Indian MusicFables of history of Indian MusicDevelopment of Indian Music

12 hours




1) Dr.Gaurang Bhavsar,Tabla no Itihas ane Parampara 2) Dr.Yogmaya Shukla,Tabla ka Udgam Vikas and Vadanshailiya3) Sangeet Karyalay Haath Ras Publication,Tabla Ank and Vadya Vadan Ank4) Dr.Arun kumar Sen,Bhartiya taalo ka Shashtriya Vivechan5) Dr.Sharadchandra Shridhar Paranjape, Bhartiya Sangeet Ka itihas6) Shri Umesh Joshi, Bhartiya Sangeet Ka itihas7) Dr.Aban Mistry,Pakhawaj aur Tabla ke Gharane evam paramparaye




Bachelor of Performing Arts : Tabla Graduate ProgrammeYear 1 Core Compulsory-4 : Gharana of Indian Percussion

(Tabla and Pakhawaj)Credit 2

Semester 2 Hours 45

OBJECTIVESTo Introduce Indian Traditional education system.To introduce concept of Gharana.To introduce biography of Eminent Artist.

Unit-1 Concept of GharanaMeaning and Definition of GharanaOrigin of Gharanas in Indian MusicOrigin and Developement of Gharana (Tabla and Pakhawaj)

07 hours

Unit-2 Introduction of Gharanas of Pakhawaj (Mrudang)Detail Study of Gharanas of Pakhawaj(Mrudang)

08 hours

Unit-3 Introduction of Gharanas of TablaDetail Study of Gharanas of Tabla

08 hours

Unit-4 Life sketch and contribution of Eminent artist Life sketch of Tabla ArtistLife Sketch of Pakhawaj Players

07 hours




1) Dr.Gaurang Bhavsar,Tabla no Itihas ane Parampara 2) Dr.Yogmaya Shukla,Tabla ka Udgam Vikas and Vadanshailiya3) Sangeet Karyalay Haath Ras Publication,Tabla Ank and Vadya Vadan Ank4) Dr.Arun kumar Sen,Bhartiya taalo ka Shashtriya Vivechan5) Dr.Sharadchandra Shridhar Paranjape, Bhartiya Sangeet Ka itihas6) Shri Umesh Joshi, Bhartiya Sangeet Ka itihas7) Dr.Aban Mistry,Pakhawaj aur Tabla ke Gharane evam paramparaye




Master of Performing Arts (M.P.A) : Tabla Post Graduate ProgrammeYear 1 Core Compulsory-1 : Traditional Compositions of Tabla Credit 5


OBJECTIVESTo introduce Theoretical aspects of thekas and bandishes. Provide knowledge of Traditional and Contemporary Compositions of Tabla/Pakhawaj Provide knowledge of Padhant, Nikas and concepts of Riyaz.

Unit-1 Theoretical aspects of Solo presentationTheoretical aspects of theka.Theoretical aspects in solo playing.Theoretical aspects of Padhant.Theoretical aspects of different bandishes.Theoretical aspects of playing style of different Gharana’s of tabla.Theoretical Techniques of Riyaz.

15 hours

Unit-2 Advance Solo in Zaptaal with Traditional and contemporary compositions Vilambeet laya bandishes: a) Peshkar. b) Four kayadas of Various Gharanas of Tabia c) Chala, Chalan and RauMadhya and Drut laya bandishes:a)Two rele b) Traditional and Contemporary Bandishes(Mukhda, Types of Gat,Gat-Tukda,Tukda,Simple,Farmaishi and Kamali Chakradar,Uthan,Paran etc.)

25 hours

Unit-3 Advance Compositions of DhamarThree Simple and Chakradar UthanThree Simple and Chakradar ParanThree Simple and Chakradar TukdaVarious types of Tihai

20 hours

Unit-4 PadhantSingle,Double,Tigun and Chaugun and Aadilaya of Shikhar andVarious bandishes and Taals of same paper

15 hours




1) Pt.Purshottam das,Mrudang-Vadan(Naathdwara Parampara) 2 ) Dr.Hemant Sachdev,Tihaio evam Chakradaro ka Ganitik Vishleshan 3) Pt.Arvind Mulgaonkar,Ijazat 4) Dr.Aban Mistry, Tabla ki Bandishe 5) Dr.Gaurang Bhavsar,Bandishe Teentaal






OBJECTIVESTo introduce Knowledge of Accompaniment with Classical Vocal and Light Music. Provide knowledge of Traditional and Contemporary Compositions for Tabla SoloProvide knowledge of Padhant, Nikas, Upaj and concepts of Riyaz.

Unit-1 Accompaniment with Classical Vocal MusicSystem of AccompanimentTechniques of AccompanimentVarious Thekas and compositions used in Vilambeet,Madhya and Drut Laya Importance of Upaj in AccompanimentKnowledge of Accompaniment of Various Tabla player’s style through audio-video visual

15 hours

Unit-2 Advance Solo in Basant (9 beats) with Traditional and contemporary compositions Vilambeet laya bandishes: a) Peshkar. b) Four kayadas of Various Gharanas of Tabia c) Chala, Chalan and RauMadhya and Drut laya bandishes:a)Two rele b) Traditional and Contemporary Bandishes(Mukhda, Types of Gat,Gat-Tukda,Tukda,Simple,Farmaishi and Kamali Chakradar,Uthan,Paran etc.)

25 hours

Unit-3 PadhantSingle,Double,Tigun,Chaugun and Aadilaya of Rudra and Vilambeet Zoomra,Tilwada, EktaalVarious bandishes and Taals of same paper

15 hours

Unit-4 Accompaniment with Light Music and Folk MusicSystem of AccompanimentTechniques of AccompanimentAny Four Laggi and Ladi of Dadra and Kaherwa with Various VariationImportance of Upaj in AccompanimentKnowledge of Accompaniment of Various Tabla player’s style through audio-video visual

20 hours




1) Pt.Purshottam das,Mrudang-Vadan(Naathdwara Parampara) 2 ) Dr.Hemant Sachdev,Tihaio evam Chakradaro ka Ganitik Vishleshan 3) Pt.Arvind Mulgaonkar,Tabla 4) Dr.Aban Mistry, Tabla ki Bandishe 5) Prof.Sudhirkumar Saxena,The Art of Tabla Rhythm

Department of TablaFaculty of Performing Arts,




OBJECTIVESTo introduce Theoretical aspects of stsge performance. Advance knowledge of sequence of bandishes in Tabla solo.Advance knowledge of Nagma/Lahera and Listening lectures

Unit-1 Introduction of stage performance in reference to theoretical aspects:Stage manners.Theoretical aspects in Tabla solo and Accompaniment.Advance Knowledge of Padhant.System of Tabla solo of different Gharana’s.Techniques of producing different bandishes.

07 hours

Unit-2 Solo Performance:Students’ choice of any taals from syllabus.Knowledge of sequence of solo, Nikas of Bandishes System of Riyaz for Stage Performance

15 hours

Unit-3 Solo Performance:Examiners choice of any taals from syllabusKnowledge of sequence of solo, Nikas of Bandishes System of Riyaz for Stage Performance

15 hours

Unit-4 Accompaniment Accompaniment with Bada khyal and Chota Khyal in Various TaalsAccompaniment with Light Music

08 hours




1) Pt.Girishchandra Shrivastav,Taal Kosh2) Dr.Lalmani Mishra,Bhartiya Vadhya Sangeet3) Pt.Sudhir Mainkar,Tabla vadan me Nihit Saundrya4) Prof.Sudhirkumar Saxena,The Art of Tabla Rhythm5) Sangeet Karyalay Haathras Publication,Vadhya Vadan Ank









8th weekII 3 & 4 15% 7.5% To be consolidated by

15th / 16th weekIII Entire Course 70% 17.5% To be consolidated by

18th to 20th weekFinal Grades to be announced by 24th week

Evaluation Method:


1. Written Tests

2. MCQ based quiz











1. MCQ





Grading

Grade Points




SGPA



by student

in %

Grade letter

Grade point

Credit assigned X Grade Point = Credit Point

Core Compulsory I Principles of Tabla I 3 52 D 6 3 x 6 = 18Core Compulsory II - Technical Terms of

Percussion Instruments II 3 45 E 5 3 x 5 = 15


6 55 D 6 6 x 6 = 36


6 56 D 6 6 x 6 = 36


4 50 D 6 4 x 6 = 24


2 53 D 6 2 x 6 = 12



2 60 C 7 2 x 7 = 14

24 141



CGPA


For Example


Point 141

II ’’ ’’ ’’ ’’ 130III ’’ ’’ ’’ ’’ 122IV

’’ ’’ ’’ ’’ 136

V ’’ ’’ ’’ ’’ 128VI

’’ ’’ ’’ ’’ 130

Total 787


CGPA =787 / 144 = 5.46.









Department of TABLA



(Appendix – A)



Master’s program - 24 96



% Marks

Core Compulsory Theory I Principles of Tabla III 03 03 + 00 30%+70%Core Compulsory Theory II Technical Terms of

Percussion Instruments III03 03 + 00 30%+70%

Core Compulsory III History of Music and Percussion Instruments III

03 03 + 00 30%+70%

Core Cmpulsory IV Aesthetics of Percussion I 02 02 + 00 30%+70%Core Compulsory Practical I Traditional Compositions of

Tabla/Pakhwaj III05 02 + 05 30%+70%

Core Compulsory Practical II Practical Solo and Accompaniment of Tabla III

05 02 + 05 30%+70%

Core Compulsory Practical III Stage Performance III 03 01 + 03 30%+70%Core and Foundation Subject Total Credits 24 16 + 13 30%+70%




Master of Performing Arts (M.P.A) : Tabla Post Graduate ProgrammeYear 2 Core Compulsory-1 : Principle of Tabla Credit 3Semester 3 Hours 45

OBJECTIVESTo introduce various Taal system of Indian MusicTo introduce various Taal system of Western MusicIntroduction of Chand (Meatre)Introduction of Dissertation and Research Methodology

Unit-1 Knowledge of Time Theory (Western Taal System)Basic knowledge of Staff NotationIntroduction of Time Theory (Simple and Compound time)Use of Time Theory in different Musical forms

12 hours

Unit-2 Advance knowledge about South Indian Taal SystenOrigin of South Indian Taal SystemDevelopment of South Indian Taal System Use of Taal System in South Indian Music

11 hours

Unit-3 Taal and Chand (Meatre)Knowledge of different chand used in compositions of TablaComparative study of Taal and ChandAesthetical value of different chand which are used in compositions of Tabla

11 hours

Unit-4 Introduction of Western Rhythmic InstrumentsDetail study of any five western rhythmic Instruments Use of different instruments in music forms

11 hours




1) Pt.Lalmani Mishra,Bhartiya Vadhya Sangeet2) Vasant,Sangeet Visharad3) Dr.Arunkumar Sen,Bhartiya Taalo ka Shashtriya vivechan4) Sangeet Karyalay Haath Ras Publication,Vishwa Sangeet Ank5) Shri Umesh Joshi,Bhartiya Sangeet ka Itihas




Master of Performing Arts (M.P.A) : Tabla Post Graduate ProgrammeYear 2 Core Compulsory-2 : Technical Terms of Percussion Instruments Credit 3Semester 3 Hours 45

OBJECTIVESProvide knowledge of notation system to students about lay and its different variationTo introduce making a compositionsTo introduce Gat and Different Types of Gats

Unit-1 Detail Study of Gat Definition of GatTypes of Gats with examples

11 hours

Unit-2 Introduction of different Laykari in North Indian Taal SystemKnowledge of Poungun(3/4),Savagun(5/4)Notation of Dadra,Kaherva,Roopak,Zaptaal,Ektaal,Tritaal in Poungun and Savagun

12 hours

Unit-3 Compose kayda and Rela with the help of varna Dhir-Dhir,Tirakit and GhidanagaIntroduction of rules of Quayeda and Rela Rules of making Paltas

11 hours

Unit-4 Detail study of Notation and Padhant of Taals Notation of all Taals which are included in your syllabus in Single, Dugun,Tigun and Chaugun and Kuaad LayNotation of different compositions which are included in your syllabus

11 hours









OBJECTIVESTo introduce history of Indian Classical Music of 17th and 18th century.To introduce basic history of Kathak and South Indian Music.


11 hours


12 hours

Unit-3 Introduction of South Indian Percussion InstrumentsOrigin of South Indian Percussion InstrumentDetail study of South Indian Percussion InstrumentsUse of Different percussion Instruments in South Indian Music

11 hours

Unit-4 History of South Indian MusicOrigin of South Indian MusicDevelopment of South Indian Music

11 hours




1) Prof.Gaurang Bhavsar,Tabla no Itihas ane Parampara 2) Dr.Yogmaya Shukla,Tabla ka Udgam Vikas and Vadanshailiya3) Sangeet Karyalay Haath Ras Publication,Tabla Ank and Vadya Vadan Ank4) Dr.Arun kumar Sen,Bhartiya taalo ka Shashtriya Vivechan5) Dr.Sharadchandra Shridhar Paranjape, Bhartiya Sangeet Ka itihas6) Shri Umesh Joshi, Bhartiya Sangeet Ka itihas7) Vasant,Sangeet Visharad




Bachelor of Performing Arts : Tabla Graduate ProgrammeYear 2 Core Compulsory-4 : Aesthetic of Indian Percussion Credit 2Semester 3 Hours 30

OBJECTIVESTo understand basic elements of AestheticsTo impart knowledge of Aesthetics of Indian Performing ArtsTo introduce Aesthetics of Indian PercussionAesthetical aspects of Presentation

Unit-1 AestheticsMeaning, DefinitionAesthetics of Performing Arts in Indian and Western Philosophy

07 hours

Unit-2 Aesthetics in Percussion Element in Aesthetic in Rhythm (Lay)Value of Aesthetics in Taal and Composition

08 hours

Unit-3 Aesthetics of Language and Mathematics Aesthetics of Sam in Music

08 hours

Unit-4 Aesthetics of PresentationEnhancing Aesthetics in Solo PresentationEnhancing Aesthetics in Solo AccompanimentsAesthetics in Padhant

07 hours




1) Sdhir Mainkar, Tabla Vadan me Nihit Saundarya 2) Sudhir Mainkar, Aesthetics of Tabla3) Prof. Sudhirkumar Saxena, The Art of Tabla Rhythm4) Dr. Nagendra, Rasa Sidhhant5) Pt.Bharat Muni, Bharat Natya Shashtra







OBJECTIVESTo introduce Theoretical aspects of thekas and bandishes. Provide knowledge of Traditional and Contemporary Compositions of Tabla/Pakhawaj Provide knowledge of Padhant , Nikas and concepts of Riyaz.

Unit-1 Theoretical aspects of Theka,Laya and Laykari in Solo PlayingTheoretical aspects of Vilambeet laya theka.Theoretical aspects Padhant of different Laykar.Theoretical aspects of advance bandishes of different Gharana.Theoretical Techniques Riyaz of Lay and Laykari.

15 hours

Unit-2 Advance Solo in Ektaal with Traditional and contemporary compositions Vilambeet laya bandishes: a) Peshkar. b) Four kayadas of Various Gharanas of Tabia c) Chala, Chalan and RauMadhya and Drut laya bandishes:a)Two rele b) Traditional and Contemporary Bandishes(Mukhda, Types of Gat,Gat-Tukda,Tukda,Simple,Farmaishi and Kamali Chakradar,Uthan,Paran etc.)

25 hours

Unit-3 Advance Compositions of TevraThree Simple and Chakradar UthanThree Simple and ChakradarParanThree Simple and Chakradar TukdaVarious types of Tihai

20 hours

Unit-4 PadhantSingle, Double, Tigun, Chaugun and Aadilaya of Pashto andVarious bandishes and Taals of same paperProvide Knowledge of Self Composed Compositions(Tukda,Chakradar,Mukhda,Mohara etc.) in different Taals

15 hours




1) Pt.Purshottam das,Mrudang-Vadan(Naathdwara Parampara) 2 ) Sangeet Karyalay Haathras Publication,Mrudang Ank 3) Pt.Arvind Mulgaonkar,Ijazat 4) Dr.Aban Mistry, Tabla ki Bandishe 5) Dr.Gaurang Bhavsar,Bandishe Teentaal 6) Amod Dandage, Taalarnav 7) Pt.Sudhir Mainkar, Tabla Vadan me Nihit Saundarya






OBJECTIVESTo introduce Knowledge of Accompaniment with Classical Vocal and Light Music. Provide knowledge of Traditional and Contemporary Compositions for Tabla SoloProvide knowledge of Padhant , Nikas,Upaj and concepts of Riyaz.

Unit-1 Accompaniment with Kathak DanceSystem of Accompaniment with Kathak DanceTechniques of Accompaniment with Kathak DanceBasic Thekas and compositions of Kathak Dance Importance of Upaj in Accompaniment with Kathak Dance

20 hours

Unit-2 Advance Solo in Jay Taal (13 beats) with Traditional and contemporary compositions Vilambeet laya bandishes: a) Peshkar. b) Four kayadas of Various Gharanas of Tabla c) Chala, Chalan and RauMadhya and Drut laya bandishes:a)Two rele b) Traditional and Contemporary Bandishes(Mukhda, Types of Gat,Gat-Tukda,Tukda,Simple,Farmaishi and Kamali Chakradar,Uthan,Paran etc.)

25 hours

Unit-3 PadhantSingle,Double,Tigun,Chaugun and Aadilaya of Addha and Demonstration of Vilambeet Zoomra, Tilwada, EktaalVarious bandishes and Taals of same paper

15 hours

Unit-4 Theoritical Aspects of Accompaniment in Fusion Music and Indian Orchestration MusicSystem of Accompaniment with Fusion and Indian Orchestration MusicTechniques of AccompanimentContemporary Thekhas in Different Taals and basic knowledge of Western orchestrationImportance of Upaj in AccompanimentKnowledge of Fusion, Orchestration Music through audio-video visual

15 hours




1) Pt.Sudhir Mainkar,Tabla Vadan me Nihit Saundrya2) Pt.Chotelal Mishra,Tabla Granth3) Pt.Arvind Mulgaonkar,Ijazat 4) Dr.Aban Mistry, Tabla ki Bandishe5) Dr.Hemant Sachdev,Tihaio evam Chakradaro ka Ganitiya Vishleshan





OBJECTIVESTo introduce Theoretical aspects of stsge performance. Advance knowledge of sequence of bandishes in Tabla solo.Advance knowledge of Nagma/Lahera and Listening lectures

Unit-1 Introduction of stage performance in reference to theoretical aspectTheoretical aspects in Tabla solo and Accompaniment in Aprachlit TaalAdvance Knowledge of Padhant.System of Tabla solo of different Gharana’s.Techniques of producing different bandishes.

07 hours


15 hours


15 hours

Unit-4 Accompaniment Accompaniment with Dance Kathak in Various TaalsAccompaniment with Fusion Music

08 hours




1) Pt.Girishchandra Shrivastav,Taal Kosh2) Sangeet Karyalay Haathras Publication,Tabla Ank3) Pt.Sudhir Mainkar,Tabla vadan me Nihit Saundrya4) Prof.Sudhirkumar Saxena,The Art of Tabla Rhythm5) Sangeet Karyalay Haathras Publication,Vadhya Vadan Ank












Evaluation Method:


1. Written Tests

2. MCQ based quiz











1. MCQ





Grading

Grade Points




SGPA



by student

in %

Grade letter

Grade point





6 55 D 6 6 x 6 = 36


6 56 D 6 6 x 6 = 36


4 50 D 6 4 x 6 = 24


2 53 D 6 2 x 6 = 12



2 60 C 7 2 x 7 = 14

24 141



CGPA


For Example


Point 141

II ’’ ’’ ’’ ’’ 130III ’’ ’’ ’’ ’’ 122IV

’’ ’’ ’’ ’’ 136

V ’’ ’’ ’’ ’’ 128VI

’’ ’’ ’’ ’’ 130

Total 787


CGPA =787 / 144 = 5.46.









Department of TABLA



(Appendix – A)



Master’s program - 24 96



% Marks

Core Compulsory Theory I Principles of Tabla IV 03 03 + 00 30%+70%Core Compulsory Theory II Technical Terms of

Percussion Instruments IV03 03 + 00 30%+70%

Core Compulsory III History of Music and Percussion Instruments IV

03 03 + 00 30%+70%

Core Cmpulsory IV Dissertation I 02 02 + 00 30%+70%Core Compulsory Practical I Traditional Compositions of

Tabla/Pakhwaj IV05 02 + 05 30%+70%

Core Compulsory Practical II Practical Solo and Accompaniment of Tabla IV

05 02 + 05 30%+70%

Core Compulsory Practical III Stage Performance IV 03 01 + 03 30%+70%Core and Foundation Subject Total Credits 24 16 + 13 30%+70%




Master of Performing Arts (M.P.A) : Tabla Post Graduate ProgrammeYear 2 Core Compulsory-1 : Principle of Tabla Credit 3Semester 4 Hours 45

OBJECTIVESTo introduce Education system in MusicTo introduce self compose Tukda with the help of Different VarnaImportance of Riyaz in MusicTo introduce principles of compositions

Unit-1 Guru Shishya Parampara and Institutional EducationCharacteristics of Guru Shishya ParamparaModern Institutional Educational TrendsComparative study of Guru-Shishya Parampara and Institutional Education

12 hours

Unit-2 Compose Tukda with the help of Different VarnaIntroduction of rules of Tukda Compose Tukda with help of different Varna

11 hours

Unit-3 Principle of RiyazCharacteristics of Principle of RiyazMethod of Riyaz in different GharanasCompositions for Riyaz

11 hours

Unit-4 Principles of making Compositions of TablaRules of making Compositions

11 hours




1) Pt.Lalmani Mishra,Bhartiya Vadhya Sangeet2) Pt.Sarang Dev, Sangeet Ratnakar, edited volume by Dr. Subhadra Chaudhri3) Pt.Sudhir Mainkar, Tabla vadan me nihit saundarya4) Pt.Suresh Talwalkar, Aavartan5) Prof.Sudhirkumar Saxena, The Art of Tabla Rhythm




Master of Performing Arts (M.P.A) : Tabla Post Graduate ProgrammeYear 2 Core Compulsory-2: Technical Terms of Percussion Instruments Credit 3Semester 4 Hours 45

OBJECTIVESProvide knowledge of notation system To introduce YatiTo provide Knowledge of AlphabetsTo provide knowledge of Rela

Unit-1 Detail study of AlphabetsTechnique of Producing Different Varna

11 hours

Unit-2 Importance of Yati in CompositionsDefinition of YatiDescribe the Types of Yati with Examples

12 hours

Unit-3 Detail study of RelaDefinition of RelaImportance and use of rela in solo tabla playing and accompaniment

11 hours

Unit-4 Detail study of Notation and Padhant of Taals Notation of all taals which are included in your syllabus in Single,Dugun,Tigun,Chaugun,Aadi lay and bol compositions.Meaning Of Padhant Utilisation and importance of Padhant in tabla playing in detail

11 hours









OBJECTIVESTo introduce history of Indian Classical Music of 19th and 20th Century.To introduce south Indian percussion Instruments.


11 hours


12 hours

Unit-3 History of Kathak DanceOrigin and Development of Kathak DanceImportance of Tabla in Kathak Dance Accompaniment with that particular dance style

11 hours

Unit-4 Introduction of Western Percussion InstrumentsOrigin of Western Percussion InstrumentDetail study of Western Percussion InstrumentsUse of Different percussion Instruments in Western Music

11 hours




1) Dr.Aban Mistry,Pakhawaj evam Tabla ke gharane evam paramparaye 2) Dr.Yogmaya Shukla,Tabla ka Udgam Vikas and Vadanshailiya3) Sangeet Karyalay Haath Ras Publication,Tabla Ank and Vadya Vadan Ank4) Pt.Girishchandra Shrivastav,Taal Kosh5) Dr.Sharadchandra Shridhar Paranjape, Bhartiya Sangeet Ka itihas6) Shri Umesh Joshi, Bhartiya Sangeet Ka itihas7) Vasant,Sangeet Visharad8) Sangeet Karyalay Haath Ras Publication,Vishwa Sangeet Ank




Bachelor of Performing Arts : Tabla Graduate ProgrammeYear 2 Core Compulsory-4 : Dissertation Credit 2Semester 4 Hours 30

OBJECTIVESTo introduce Research Methodology Data CollectionTo prepare Dissertation Work

Unit-1 Introduction of ResearchDefine ResearchNeed of ResearchScope of Research in Arts and Performing Arts

05 hours

Unit-2 Introduction to Research MethodologyResearch Methodology in generalElement of ResearchScientific Research Writing

05 hours

Unit-3 Selection of TopicProposal making and ProcedureAnalytical study and Field Work

12 hours

Unit-4 Submission of Research Work and Presentation (Dissertation) 08 hoursAssessment:1.Continuous Assessment : 30%

Title and Proposal Assessment2.Presentation and Submission of Dissertation : 70%

REFERENCES1) Dr.Aban Mistry,Pakhawaj evam Tabla ke gharane evam paramparaye

2) Dr.Yogmaya Shukla,Tabla ka Udgam Vikas and Vadanshailiya3) Sangeet Karyalay Haath Ras Ank .4) Dr. C.R.Kothari,Research Methodology5) Dr.Sharadchandra Shridhar Paranjape, Bhartiya Sangeet Ka itihas6) Shri Umesh Joshi, Bhartiya Sangeet Ka itihas7) O.R.Krishnaswami, Method of Research in Social Science8) Sangeet Karyalay Haath Ras Ank9) Deepika Shah,Shaishanik Sanshodhan 10) Sangeet Ratnakar,Bharat Natya-Shashtra and ancient manuscriptsNote: Refer different books related to own subject







OBJECTIVESTo introduce Theoretical aspects of thekas and bandishes. Provide knowledge of Traditional and Contemporary Compositions of Tabla/Pakhawaj Provide knowledge of Padhant , Nikas and concepts of Riyaz.

Unit-1 Theoretical aspects of Solo PresentationTheoretical aspects of Vilambeet laya theka.Theoretical aspects Padhant of different Laykar.Theoretical aspects of advance bandishes of different Gharana.Theoretical Techniques Riyaz of Lay and Laykari.

15 hours

Unit-2 Advance Solo in Teentaal with Traditional and contemporary compositions Vilambeet laya bandishes: a) Peshkar. b) Four kayadas of Various Gharanas of Tabia c) Chala, Chalan and RauMadhya and Drut laya bandishes:a)Two rele b) Traditional and Contemporary Bandishes(Mukhda, Types of Gat,Gat-Tukda,Tukda,Simple,Farmaishi and Kamali Chakradar,Uthan,Paran etc.)

25 hours

Unit-3 Advance Compositions of ChautaalThree Simple and Chakradar UthanThree Simple and ChakradarParanThree Simple and Chakradar TukdaVarious types of Tihai

20 hours

Unit-4 PadhantSingle, Double, Tigun, Chaugun and Aadilaya of Pashto andVarious bandishes and Taals of same paperProvide Knowledge of Self Composed Compositions(Tukda,Chakradar,Mukhda,Mohara etc.) in different Taals

15 hours




1) Pt.Purshottam das,Mrudang-Vadan(Naathdwara Parampara) 2 ) Sangeet Karyalay Haathras Publication,Mrudang Ank 3) Pt.Arvind Mulgaonkar,Ijazat 4) Dr.Aban Mistry, Tabla ki Bandishe 5) Dr.Gaurang Bhavsar,Bandishe Teentaal






OBJECTIVESTo introduce Knowledge of Accompaniment. Provide knowledge of Traditional and Contemporary Compositions for Tabla SoloProvide knowledge of Padhant, Nikas, Upaj and concepts of Riyaz.

Unit-1 Accompaniment with Instrumental MusicSystem of Accompaniment with Instrumental MusicTechniques of Accompaniment with Instrumental MusicThekas and compositions used in Vilambeet, Madhya and Drut Laya Importance of Upaj in Accompaniment with Instrumental MusicKnowledge of Accompaniment of Various Tabla player’s style through audio-video visual

20 hours

Unit-2 Advance Solo in Roopak with Traditional and contemporary compositions Vilambeet laya bandishes: a) Peshkar. b) Four kayadas of Various Gharanas of Tabia c) Chala, Chalan and RauMadhya and Drut laya bandishes:a)Two rele b) Traditional and Contemporary Bandishes(Mukhda, Types of Gat,Gat-Tukda,Tukda,Simple,Farmaishi and Kamali Chakradar,Uthan,Paran etc.)

25 hours

Unit-3 PadhantSingle,Double,Tigun,Chaugun and Aadilaya of same paper andPadhant of Various bandishes

15 hours

Unit-4 Accompaniment withDhrupad-Dhamar and Semi Classical MusicSystem of Accompaniment with Dhrupad-Dhamar and Semi-Classical Music.Techniques of AccompanimentLaggi and Ladi Importance of Upaj in AccompanimentKnowledge of Accompaniment with Dhrupad-Dhamar and Semi-Classical Music through audio-video visual

15 hours




1) Pt.Sudhir Mainkar,Tabla Vadan me Nihit Saundrya2) Pt.Chotelal Mishra,Tabla Granth3) Pt.Arvind Mulgaonkar,Ijazat 4) Dr.Aban Mistry, Tabla ki Bandishe5) Dr.Hemant Sachdev,Tihaio evam Chakradaro ka Ganitiya Vishleshan





OBJECTIVESTo introduce Theoretical aspects of stage performance. Advance knowledge of sequence of bandishes in Tabla solo.Advance knowledge of Nagma/Lahera and Listening lectures

Unit-1 Introduction of stage performance in reference to theoretical aspects:Theoretical aspects in Tabla solo and Accompaniment.Advance Knowledge of Padhant.System of Tabla solo of different Gharana’s.Techniques of producing different bandishes.

07 hours


15 hours


15 hours

Unit-4 Accompaniment Accompaniment with Instrumental Music in Various TaalsAccompaniment with Orchestration Music

08 hours




1) Pt.Girishchandra Shrivastav,Taal Kosh 2) Sangeet Karyalay Haathras Publication,Tabla Ank 3) Pt.Sudhir Mainkar,Tabla vadan me Nihit Saundrya 4) Prof.Sudhirkumar Saxena,The Art of Tabla Rhythm 5) Sangeet Karyalay Haathras Publication,Vadhya Vadan Ank












Evaluation Method:


1. Written Tests

2. MCQ based quiz











1. MCQ





Grading

Grade Points




SGPA



by student

in %

Grade letter

Grade point





6 55 D 6 6 x 6 = 36


6 56 D 6 6 x 6 = 36


4 50 D 6 4 x 6 = 24


2 53 D 6 2 x 6 = 12



2 60 C 7 2 x 7 = 14

24 141



CGPA


For Example


Point 141

II ’’ ’’ ’’ ’’ 130III ’’ ’’ ’’ ’’ 122IV

’’ ’’ ’’ ’’ 136

V ’’ ’’ ’’ ’’ 128VI

’’ ’’ ’’ ’’ 130

Total 787


CGPA =787 / 144 = 5.46.








Documents

Implementation of Choice Based Credit System - The … OF T… · Web viewTo introduce word of Taal . To improve knowledge of student in taal system . Introduction of taal and its