Bpa Ug Vocal

Implementation of Choice Based Credit System
Department of Music (Vocal & Instrumental)

Faculty of Performing Arts
The M. S. University of Baroda
(Appendix – A)
A general framework for Bachelor’s Program shall as follows.
Level Semester – Wise credits Total Credits
1 2 3 4 5 6
Bachelor’s program 24 24 24 24 24 24 144
The credit framework for the Core course, Elective course and the foundation course
for a semester shall be as follows.
Course Credit Lecture % Marks

Practicle
Core Compulsory TheoryPrinciples of Music I 03 03 + 00 30%+70%
Core Compulsory Theory II Study of Ragas I I 03 03 + 00 30%+70%
Core Compulsory Practical IIntensive Practical study of 06 03 + 06 30%+70%
Ragas I
Core Compulsory Practical IIPractical Tradition and 06 03 + 06 30%+70%
composition of Ragas I I
Elective Open General History of Music I 04 04 + 00 30%+70%
(Vocal/Sitar/Violin)/Tabla/Dance/Drama)
Foundation Compulsory English I (SEM I, III, V) 02 02 + 00 30%+70%
Foundation Elective Cultural Heritage of India /Applied 30%+70%
02
Physics / Psychology/Indian Aesthetics/Western Aesthetics I 02 + 00
(SEM II, IV, VI)
1
Department of Music (Vocal & Instrumental) Academic
Faculty of Performing Arts Year 2018-19
The Maharaja Sayajirao University of Baroda
Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme
Year 1 Core Compulsory-1 : Theory I Principle of Music I Credit 3
Semester 1 Vocal / Sitar / Violin Hours 45
To improve knowledge of student in Principles of Music
OBJECTIVES To study Shruti - Swar & essential of Ragas.
To introduce Musical compositions.
Unit-1 Musical Sound and Noise: 12 hours
Naad, Ahat and Anahat Naad, Pitch, Intensity, Timbre, Unmusical Sound,
Noise. Musical Notes:- Naad, Shruti, Swara, Shuddha and Vikrut Swaras,
Saptak, Sthana, (Mandra, Madhya,Tara)
Unit-2 Shruti & Swar: 11 hours
22 Srutis, The present Sruti-Swara arrangement, 12 notes in a Saptak,

Thata, Mela, 10 Thatas of Pt. Bhatkhande system, Ashraya Raag.
Unit-3 Essentials of Raag: 11 hours
Vadi, Samvadi, Anuvadi, Vivadi, Jati, Varjya Swara, Vakra Swara Aroha
Avaroha, Pakad.
Unit-4 Musical compositions: 11 hours
Sargamgeet, Laxangeet, Cheeza, Khyal (Bada Khyal, Chhotakkhyal), Gat

(Massetkhani, Razakhani, Sthayi, Antara, Sanchari, Abhog. Tala, Matra,
Khand, Sama, Khali, Bhari, Bol, Theka.
Assessment:
1.Continuous Assessment :30%
 One class test(Theory)
 One written Assessment(Minor)
2.Written Examination :70%
REFERENCES
1) Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV
2) Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV
3) Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV
4) Vasant: Sangeet Visharad
5) Laxminarayan Garg: Rag Visharad (Vol. 1 & 2)
2
Year 1 Core Compulsory-2 : Theory II Study of Ragas I Credit 3
To introduce basic technique for improving knowledge as per theoretical and
OBJECTIVES practical aspects of the Ragas Prescribed
Provide knowledge to become a good performer
To introduce minute aspects of Gharanas
Unit-1 Study of the Ragas 11 hours

Detailed theoretical study of the Ragas prescribed for the practical study.
Unit-2 Comparative study of the Ragas 11 hours
Sam-Akrutic Ragas prescribed for Practical study.
Sam-Prakrutic Ragas prescribed for Practical study.
Unit-3 Alap 11 hours
Swaravistar, Alap, Tana and its different varieties, in the Ragas of the
practical study.
Unit-4 Writing notation 12 hours

Writing notation of Cheezas (Gats for instrumental Music)
Writing notation of Talas as prescribed.
Assessment:
 One written Assessment(Mionor)
REFERENCES
3
Faculty of Performing Arts Year2018-19
Year 1 Core Elective-1 : Intensive Practical Study of Ragas Credit 6
Semester 1 Vocal I / Sitar I / Violin I Hours 150
(Practical-3 credit & Theory-3 credit=6 credit)
To introduce Theoretical aspects of Ragas and bandishes.
OBJECTIVES Provide knowledge of introductory solo playing & Singing.
Provide knowledge of Padhant and basic concepts of Riyaz.
Unit-1 Detailed study of the following Raga 30 hours
Detailed study of the following Rags with Alap, Swara – vistar Sargam,
Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani
Gat. Yaman
Theoretical aspects of Thata., Theoretical aspects in solo Singsngplaying.
The oretical aspects of Padhant. ,Theoretical aspects of different Bandishes
/ Gatas. Theoretical aspects of playing & singing style of different Gharana.
Theoretical Techniques of Riyaz.
Unit-2 Intensive study of the following Raga 40 hours
Intensive study of the following Rags with Alap, Swara – vistar Sargam,
Gat. Bhairav
Elementary knowledge of solo performance. Vilambeet laya bandishes:
Different Tanas with Tihai. b)Two advance Bandish / Gatas with palatas
ended with tihai. Madhya laya bandishes / Gatas
Unit-3 Detailed and intensive study of the following raga:- One Thumari / 40 hours
Bandish or Razakhani Gat in Raag KHAMAJ
Basic knowledge of Taals(Tevra & Sooltaal)
Introduction of bandishes of above taals.
Unit-4 Detailed and intensive study of the following raga :- One Dhrupad only 40 hours
Bandish or one Composition set to the Taal other then Teentaal or
Razakhani gat from prescribed ragas of paper.
Elementary study of padhant of Roopak,Dadra,Teentaal in Single,Double,
Tigun & Chaugun.
Padhant of Bandishes.a)Vilambeet lay b)Madhya lay c)Drut lay
Assessment:
REFERENCES
4
Year 1 Core Elective-2 : Practical Tradition and Composition of Ragas Credit 6
Semester 1 Vocal I / Sitar I / Violin I Hours 150
(Practical-3credit & Theory-3 credit=6 credit)
To introduce Theoretical aspects of tradition and bandishes.
OBJECTIVES Provide knowledge of introductory solo playing & singing.
Unit-1 One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani 30 hours
Gat with Alap and Tana in –i) Bhupali
Practical knowledge in reference to theoretical aspects
Theoretical aspects of Ragas. Theoretical aspects in solo playing & singing.
Theoretical aspects of Padhant.
Theoretical aspects of different Bandishes / Gatas.
Theoretical aspects of playing style of different Gharana.
Theoritical Techniques of Riyaz.
(Note: All theoretical aspects of this practical paper included in first unit)
Unit-2 One more Chhota Khyal or Razakhani Gat, with Alap and Tana in 40 hours
i)Vibhas ii) Alhaiya Bilaval
Elementary knowledge of solo performance in Zaptaal
Vilambeet laya bandishes with paltas ended with Tihai.
Madhya laya bandishes with paltas ended with tihai.
Drut laya bandishes:
Unit-3 Detailed and intensive study of the following raga:- One Thumari / 40 hours
Bandish or Razakhani Gat in Raag Kafi
Unit-4 Detailed and intensive study of the following raga :- One Dhamar only 40 hours
Bandish or one Composition set to the Taal other then Teentaal or Razakhani gat
from prescribed ragas of paper.
Elementary study of padhant of Roopak,Dadra,Teentaal in Single,Double, Tigun &
Chaugun. Padhant of Bandishes.a)Vilambeet lay b)Madhya lay c)Drut lay
Assessment:
One class test(Theory)
One written Assessment(Minor)
REFERENCES
4) Pt. Vinayakrao Patwardhan: Rag Vigyaan Part I to V
6) Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III
8) Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan
5
Year 1 Elective Open : Appreciation of Vocal I / Sitar I / Violin I Credit 4
Semester 1 Hours 60
To introduce basic concepts basic varna and taals.
OBJECTIVES To help students understand the relationship between table and other field of
music.
Provide auto-biography of modern times of vocalist/sitar/violin & tabla player.
Unit-1 Music (Sangeet) – Definition, interrelation between Gayan, Vadan and 11 hours
Nartan. Playing Trital on Tabla: Detailed study of the Talas studied up till
now with Thaya Dugaun and Chaugun.Study of the following Talas –
Tilwada, Dhamar, Deepchandi. Meaning of varna, Development of varna,
Technique of producing different varnas on tabla jointly and individually
Unit-2 The two systems of Indian music (Hindustani and Karanatic) and their main 12 hours
characteristics. Voice Culture – Study of: (1) Sargam Exercises (2) Sargam
Patterns to study rhythms (3) Scale exercises. Detailed knowledge of the
Talas under practical study with Dugun and Chaugun., History of Pakhawaj,
Elementry knowledge of Pakhawaj. Anciant History of Pkhawaj,
Developement Of Pakhawaj.
Unit-3 Different opinions (Mythological and other) about the origin of music. 11 hours
The relation between folk music and classical music.
VOCAL: One Dhrupad in Ragas Kafi or One Chatarang in Des
INSTRUMENTAL: One Thumri in Bhairavi or One or Dhun in: Khamaj.
Swaravistar, Alap, Tanas of different varieties in the prescribed ragas.
Unit-4 General Survey of the evolution and development music from Vedic period 11 hours
to the present age with particular reference, to Shruti, Swara, Grama,
Muchhana, Jati and Raga. Light Songs (Vocal & Instrumental) (a) Jana Gana
Mana (b) Vande Mataram Short life sketch and contribution of the
following musicians and musicologists , Amir Khusru, Tansen, Sadarang,
Ustad Abdul Karim Khan, Ustad Faiyazkhan.
REFERENCES
6
Year 1 Core Compulsory-1 : Principle of Music II Credit 3
To study Rag samay
OBJECTIVES To study Melkartas & Thata System
To study Tal System
Unit-1 Raga Samaya 12 hours

Poorvang, Uttarang, Poorvangvadi,Uttarangvadi, Sandhiprakash Raga,
Seasonal Raga.Varna Sthayi, Arohi, Avarohi, Sanchari, Alankars, Paltas,
Kana Swara, Sparsh Swara Meend Vilom, Avilom, Ghaseet, Soot, Khatka,
Murki, Krintan, Zamzama, Andolan, Gamak.
Unit-2 72 Melakartas (Thata) of Pt. Vyankatmakhi. 11 hours
Unit-3 32 Thatas of Hindustani Music. Corresponding names of the 12 notes & 11 hours
10 Thatas in Hindustani and Karanatic systems.
Unit-4 Tala, Matra, Khand, Sama, Khali, Bhari, Bol, Theka. Laya, Vilambit, Madhya, 11 hours
Drut, Thaya, Dugun,Chaugun.
Assessment:
REFERENCES
7
Year 1 Core Compulsory-2: Study of Ragas II Credit 3
Semester 2 Hours 45
Vocal / Sitar / Violin
To enhance knowledge of Ragas under practical study .
OBJECTIVES To introduce comparative study of Ragas.
To Knowledge of teaching method ( Guru shishya parampara and modern method)
Unit-1 Writing notation of Cheezas (Gat for inst. Music) and Talas as Prescribed. 11 hours
Detailed theoretical study of the Ragas prescribed for the practical.
Detailed knowledge of the Talas under practical study with Dugun and
Chaugun. Study of Talas Dadra, Keharwa, Trital, Ektal, Jhaptal, Chautal,
Roopak.
Comparative study of teaching method (Guru shishya parampara and
modern method):
Introduction of Guru shishya Parampara teaching method.
Introduction of modern style of teaching method.
Comparative study of both teaching method.
Unit-2 Comparative study of the Rags, Sam-Akrutic and Sam-Prakrutic Ragas 11 hours
studied.
Comparative study :
Basic Introduction of both instruments.Compare of Technical aspects of
instruments. Comparative study of Compositions of instruments.
Unit-3 Swaravistar, Alap, Tana and its different varieties, in the Ragas of the 11 hours
practical study
Notation of alap and Bolalap Composition:
Introduction of Raga with reference to Alap.
Unit-4 Writing notation of Cheezas (Gats for inst. Music) and Talas as prescribed 12 hours
Detail study of Riyaz :Technical terms of Riyaz. Ancient method of riyaz
system.Modern riyaz system with electronic equipments. Principles of
Riyaz.Comparative study of both style of Riyaz system.Pattern of Riyaz in
each Gharana.
Assessment:
REFERENCES
8
Year 1 Core Elective-1 : Intensive Practical Study of Vocal II / Sitar II / Credit 6
Semester 2 Violin II Hours 150
(Practical-3 credit & Theory-3 credit=3credit)
Unit-1 Detailed & intensive study of the following Rags 30 hours

Bihag.
with Alap, Swara – vistar Sargam, Tana, One Bada Khyal or Maseetkhani
Gat, One Chhota Khyal or Razakhani Gat.
Practical knowledge in reference to theoretical aspects:
Theoretical aspects of the Raga.Theoretical aspects in solo playing.
Theoretical aspects of different bandishes.
Unit-2 Detailed & intensive study of the following Rags with Alap, Swara – vistar 40 hours
Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or
Razakhani Gat.
Malkauns.
Elementary knowledge of solo performance in Roopak;
Vilambeet laya bandishes: with paltas ended with Tihai.
Madhya laya bandishes: paltas ended with tihai. Drut laya bandishes:
Unit-3 :- One Thumari / Bandish or Razakhani Gat in Raag Durga & Bhairavi 40 hours
Chaugun.
Assessment:
REFERENCES
9
Semester 2 Vocal II / Sitar II / Violin II Hours 150
OBJECTIVES Provide knowledge of introductory solo playing.
Provide knowledge of Padhant , Nikas and basic concepts of Riyaz.
Gat with Alap and Tana in –
i) Bageshree
Theoretical aspects of Raga.Theoretical aspects in solo playing & singing.
Theoretical aspects of Padhant.Theoretical aspects of different bandishes.
Theoretical aspects of playing style of different Gharana.Theoritical Techniques of
Riyaz.
Unit-2 Unit II One more Chhota Khyal or Razakhani Gat, with Alap and Tana in 40 hours
i) Bhimpalasi
Elementary knowledge of solo performance
Madhya laya bandishes: with paltas ended with tihai. Drut laya bandishes:
Unit-3 One Thumari / Bandish or Razakhani Gat in Raag Desh & Vrundavani 40 hours
Sarang
Chaugun.
Padhant of Bandishes.a)Vilambeet lay b)Madhya lay c)Drut lay.
Assessment:
REFERENCES
10
Year 1 Elective Open : Appreciation of Vocal II / Sitar II / Violin II Credit 4
Semester 2 Hours 60
To introduce basic concepts of Gharana.
OBJECTIVES To help students to understand Laya in different form of music.
Provide auto-biography of Musician & Musicologists.
Unit-1 Study of following Talas: 15 hours

1. Dadra 2. Keharava 3. Trital 4. Zaptal 5. Ektal
6. Chautal 7. Roopak
Forms of composition in the modern age:
Dhrupad,Dhamar (Hori), Khyal, Tarana, Trivat, Chaturang, Sadara,
Swaramalika, Thumri, Tappa, Dadra.
Unit-2 Voice Culture – Study of : 15 hours
Alankars atleast ten alankaras in all Ragas of varying nature Sight singing
or playing of written notations, and writing notations on listening.
Musicologists of modern age – Pt. Bhatkhande, Pt. Paluskar, Acharya,
Brahaspati, Pt. Omkarnath Thakur, Pt. Vinayakrao, Patwardhan,
Pt. S. N. Ratanjankar,
Unit-3 VOCAL: One Dhrupad in Ragas Bhairavi or One Chatarang in Kafi 15 hours
INSTRUMENTAL: One Thumri in Khanmaj or One Thumari or Dhun in Kafi.
Musicians of modern age – Pt. Ravishankar, Ustad Vilayatkhan,
Ustad Ali Akbar Khan, Prof. V. G. Jog, Pt. Gajananrao Joshi,
Ustad Ahmed Jan Thirakhwa, Ustad Amir Hussain Khan,
Pt. Gyanprakash Ghosh
Unit-4 Light Songs (Vocal & Instrumental) Six light Songs to include Bhajan, 15 hours
Bhaktigeet, Garaba etc. (Gujarati, Hindi or Marathi).
Forms of composition during the ancient period
REFERENCES
11
Year 2 Core Compulsory-1 : Theory I Principle of Music Credit 3
Semester 3 Section – I Applied Physics; Section – II Music. Hours 45
To introduce basic definitions of Physical Phenomena of Sound
OBJECTIVES To improve knowledge of student in Principles of Music
To introduce Raga Classification
Unit-1 Production and propagation of sound. 12 hours

Stationary Waves, Nodes and Antinodes. Transverse vibrations in string,
Sonometer, Mede s experiment, combination of tones, Phenomenon of
beats, Vibrations of air. Columns.
Mechanism of transmission-Wave motion. Longitudinal and transverse
wave motion. Musical sound and noise. Pitch intensity and timbre.
Unit-2 The determination of the velocity of sound 11 hours
Speed of transmission of sound-Arage s Experiment
Elementary distinction between pitch and frequency of sound. Source and
its relations with the velocity of sound. Siren Savart s wheel.
Unit-3 Detailed study of the time theory of Ragas 11 hours

Its principles and relation to aesthetics, Raga-Samay Siddhant,
Classification of Ragas according to the Gayan Samya, Ardhwadarshak
Swara, Raga-Samaya Chakra.
Unit-4 Classification of Ragas: 11 hours

a) Raga-Ragini b) Mela-Raga c) Ragang-Raga
d) Shuddha-Chhayalage-Sankirna.
Assessment:
REFERENCES
1) Pt.Harishchandra Shrivastav Raga Parichaya
2) Pt. Bhatkhande Sangit Shashtra
3) Lalit kishor Singh Dhwani aur Sangeet
4) Arvind Mohan Dhwani aur Kampan
12
Year 2 Core Compulsory-2 : Theory II Study of Ragas Credit 3
To introduce minute aspects of Gharanas
Unit-1 Study of the Ragas 11 hours

Detailed theoretical study of the Ragas prescribed for the practical study.
Sam-Akrutic Ragas prescribed for Practical study.
Sam-Prakrutic Ragas prescribed for Practical study.
Unit-3 Alap 11 hours
Swaravistar, Alap, Tana and its different varieties, in the Ragas of the
practical study.
Unit-4 Writing notation 12 hours

Writing notation of Cheezas (Gats for instrumental Music)
Writing notation of Talas as prescribed.
Assessment:
REFERENCES
1)Pt. Harishchandra Shrivastav: Raga Parichaya Part I to IV
2)Pt. V. N. Bhatkhande: Bhatkhande Sangit Shashtra Part I to IV
3)Pt. V. N. Bhatkhande: Kramik Pustak Malika Part I to IV
4)Pt. S. N. Ratanjankar: Abhinav Geet Manjari Part I to III
5)Vasant: Sangeet Visharad
6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2)
13
Year 2 Core Compulsory-3 : Theory IIIHistory of Music Credit 3
To introduce basic history of Music.
OBJECTIVES To introduce basic history of Vocalist & Instrumentalist of North Indian Music.
Provide auto-biography of exponents of Musicologists
Unit-1 Study of Natya Shastra 11 hours

Pt. Bharata s Natyashastra with reference to the following.
Chatushta Sarana Pramanshruti , Grama, Murchhana, Jatigana,
Prabandha.
Unit-2 Vagyeyakar 12 hours
Merits & Demerits of Vagyeykar
Gamakas
Good points (Guna-Dosha) of a vocalist and instrumentalist
Unit-3 Study of the Granthakaras 11 hours
Medival period- Pt. Lochana, Pt. Ahobal, with reference to their Shruti-
Swara arrangement.
Length of Swaras on an open string.
Mela-Ragas arrangement.
Unit-4 Study of the Granthakaras 11 hours
Shrimallakshasangitam by Pt. Bhatkhande
Assessment:
REFERENCES
1) Acharya Bharat Natyashashtra
2) Vasant Sangeet Visharad
4) Pt Ahobal Sangeet Parijata
5) Pt lochan Ragatarangini
14
Year 2 Core Elective-1 : Intensive Practical Study of Ragas III Credit 3
(Practical-2 credit & Theory-1credit=3credit)
Gat. Shudhdha Kalyan
The oretical aspects of Padhant. ,Theoretical aspects of different Bandishes
/ Gatas. Theoretical aspects of playing & singing style of different Gharana.
Gat. Kedar Elementary knowledge of solo performance. Vilambeet laya
bandishes: Different Tanas with Tihai. b)Two advance Bandish / Gatas with
palatas ended with tihai. Madhya laya bandishes / Gatas
Unit-3 Detailed and intensive study of the following raga One more Chhota Khyal 20 hours
or Razakhani Gat in Raag (i) Poorvi (ii) Marwa (iii) Aasavari
Tigun & Chaugun.
Assessment:
REFERENCES
15
Unit-1 One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani Gat 15 hours
with Alap and Tana in – (i) Hansdhawni
(i) Jaunpuri
Unit-3 One Chhota Khyal or Razakhani Gat i) Hamir (ii) Keadr (iii) Patdeep 20 hours
Basic knowledge of Pakhawaj Taals(Chautaal & Dhamar)
Bandish or one Composition set to the Taal other then Teentaal or Razakhani
gat from prescribed ragas of paper.
Elementary study of padhant of Roopak, Dadra, Teentaal in Single, Double,
Tigun & Chaugun.
Assessment:
REFERENCES
16
Year 2 Core Elective-3 : Stage Performance Credit 3
To introduce Theoretical aspects of stsge performance.
OBJECTIVES Introductory knowledge of sequence of bandishes in solo playing.
Introductory knowledge of accompaniment with instrumental and vocal music.
Unit-1 For stage performance any five ragas can be chosen from core elective I & 15 hours
core elective II, being most popular and suitable for performance in vocal as
well as instrumental music. The students will have to prepare at least 5 Ragas
out of the prescribed Ragas for their own choice and the examiner s choice.
The total duration of the third paper will be 30mts.
Introduction of stage performance in reference to theoretical aspects

Stage manners.
Theoretical aspects in solo playing and Accompaniment.
System of solo playing of different Gharana.
Techniques of producing different bandishes.
Unit-2 Solo Performance: 20 hours
Candidate choice of any one taals from syllabus.
Knowledge of sequence of solo,Nikas of Bandishes .
a) Candidate choice of any one Raga from syllabus.
b) Examiners choice of any one Raga from syllabus.
Unit-4 Basic knowledge of Accompaniment with Instrumental and Vocal Music: 20 hours
Basic Knowledge of accompaniment.
Assessment:
REFERENCES
17
Year 2 Elective Open : Appreciation of Vocal / Sitar / Violin Credit 4
Semester 3 Hours 60
To introduce basic concepts basic varna and taals.
OBJECTIVES To help students understand the relationship between table and other field of
music.
Provide auto-biography of modern times of vocalist/sitar/violin & tabla player.
Unit-1 Detailed study of the Talas studied up till now with Thaya Dugaun and 11 hours
Chaugun.
Study of the following Talas – Tilwada, Dhamar, Deepehandi
Meaning of varna.
Development of varna.
Technique of producing different varnas on tabla jointly and individually
Unit-2 Detailed knowledge of the Talas under practical study with Dugun and 12 hours
Chaugun.
History of Pakhawaj
Elementry knowledge of Pakhawaj.
Anciant History of Pkhawaj.
Developement Of Pakhawaj.
Unit-3 Swaravistar, Alap, Tanas of different varieties in the prescribed ragas. 11 hours
Unit-4 Short life sketch and contribution of the following musicians and 11 hours
musicologists –
Amir Khusru, Tansen, Sadarang, Ustad Abdul Karim Khan, Ustad
Faiyazkhan.
REFERENCES
1) Pt.Girishchandra Shrivastav (2001) Taal-Kosh,
2) Pt.Girishchandra Shrivastav (1989) Taal Parichay(Part 1,2 & 3)
3) Pt. Bhatkhande Sangeet Shashtra
18
Year 2 Core Compulsory-1 : Principle of Music Credit 3
Section – I Applied Physics; Section – II Music.
Provide basic knowledge of Harmony, Discord & Idea of Resonance, Resonators
OBJECTIVES Provide knowledge of principles of old treatise
To introduce prachin Alapgana
Unit-1 Harmony and Discord 12 hours

Musical interval. Different Musical interval. Introduction to measurement
of intervals by Cants Savarts. Major tone, Minore tone, Semi tone, Limma.
Octave Major and Minor Diatonic Scales. Sharp and flat notes.
Temperament in music. Equally tempered scales. History of Indian Musical
Scales.
Physical significance of Structure of human throat and ear.
General principles of acoustics of buildings.
Unit-2 Elementary ideas-resonance and resonators. 11 hours
Organ pipes. Reed, Stationary Waves, Nodes andAntinodes. Transverse
vibrations in string, Memberanes.. Kunt s tube experiment, Chladini s
figures, Mono Metric flame. Arithamatic relations of Sruties. Fundamental
and overtones. Stroboscopic disc.
Unit-3 Principles of Raga according to the old treatises of Hindustani Music 11 hours
Graha, Ansha, Nyas, Apanyasa Mandra, Tara, Alpatwa, Bahutwa,
Shadavatwa, Audavatwa. Its relation with the modern system.
Unit-4 Prachin Alapgana 11 hours

Ragalap, Roopakalap, Alapti, Akshiptika, Nibaddha, Anibaddha Gana,
Avirbhava, Tirobhava.
Assessment:
REFERENCES
19
Year 2 Core Compulsory-2: Study of Ragas Credit 3
Semester 4 Hours 45
To enhance knowledge of Ragas under practical study .
OBJECTIVES To introduce comparative study of Ragas.
To Knowledge of teaching method ( Guru shishya parampara and modern method)
Unit-1 Detailed theoretical study of the Ragas prescribed for the practical. 11 hours
Comparative study of teaching method (Guru shishya parampara and
modern method):
Introduction of Guru shishya Parampara teaching method.
Introduction of modern style of teaching method.
Comparative study of both teaching method.
Unit-2 Comparative study of the Rags, Sam-Akrutic and Sam-Prakrutic Ragas 11 hours
studied.
Comparative study :
Basic Introduction of both instruments.
Compare of Technical aspects of instruments.
Comparative study of Compositions of instruments.
Unit-3 Swaravistar, Alap, Tana and its different varieties, in the Ragas of the 11 hours
practical study
Notation of alap and Bolalap Composition:
Introduction of Raga with reference to Alap.
Unit-4 Writing notation of Cheezas (Gats for inst. Music) and Talas as prescribed 12 hours
Detail study of Riyaz :
Technical terms of Riyaz. Ancient method of riyaz system.
Modern riyaz system with electronic equipments. Principles of Riyaz.
Comparative study of both style of Riyaz system.
Pattern of Riyaz in each Gharana.
Assessment:
REFERENCES
20

Year 2 Core Compulsory-3 : History of Music IV Credit 3
To introduce history of Indian Classical Music .
OBJECTIVES To introduce basic history.
Auto-biography of exponents of Musician & Musicologist
Unit-1 Study of Pt. Sharangadeva s Sangit Ratnakar with reference to the 12 hours
following. Chatushta Sarana Pramanshruti , Grama, Murchhana, Jatigana,
Prabandha.
Introduction of history of origin of Indian Classical Music
Definition of music.
History of ancient to modern music
Unit-2 Vagyeyakar, Gamakas, bad points (Guna-Dosha) of a vocalist and 11 hours

instrumentalist
Unit-3 Study of the Granthakaras of the medival period-Pt. Hridayanarayan deva 11 hours
and Pt. Shrinivas with reference to their Shruti-Swara arrangement, length
of Swaras on an open string. Mela-Ragas arrangement
Unit-4 Study of contribution of Pt. Bhatkhande and Pt. Paluskar, to Hindustani 11 hours
Music
Assessment:
REFERENCES
1) Acharya Bharat Natyashashtra
2) Sharangdev Sangeet Ratnakar
4) Vasant Sangeet Visharad
21
Year 2 Core Elective-1 : Intensive Practical Study of Vocal / Sitar / Violin Credit 3
Semester 4 (Practical-2 credit & Theory-1credit=3credit) Hours 75
To introduce Theoretical aspects of thekas and bandishes.
Unit-1 Detailed & intensive study of the following Rags 15 hours

Puriya Dhanashree with Alap, Swara – vistar Sargam, Tana, One Bada
Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat.
Theoretical aspects of the Raga.
Theoretical aspects in solo playing.
Unit-2 Detailed & intensive study of the following Rags with Alap, Swara – vistar 20 hours
Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or
Razakhani Gat.
Ramkali
Elementary knowledge of solo performance in Roopak;
Madhya laya bandishes: paltas ended with tihai. Drut laya bandishes:
Unit-3 Detailed and intensive study of the following ragas with Tana, One more 20 hours
Bada Khyal or Massethhani Gat, one more chhota Khyal or Razakhani Gat.
(i)Shankara (ii) kamod (iii) Soahani
Tigun & Chaugun.
Assessment:
REFERENCES
6)Laxminarayan Garg: Rag Visharad (Vol. 1 & 2
22
Year 2 Core Elective-2 : Practical Tradition and Composition of Ragas IV Credit 3
OBJECTIVES Provide knowledge of introductory solo playing.
Provide knowledge of Padhant , Nikas and basic concepts of Riyaz.
Gat with Alap and Tana in –
Jaijaivanti
Theoretical aspects of Raga.
Theoretical aspects in solo playing & singing.
Unit-2 Unit II One more Chhota Khyal or Razakhani Gat, with Alap and Tana in 20 hours
Chhaya Nat
Elementary knowledge of solo performance
Vilambeet laya bandishes:
with paltas ended with Tihai.
Madhya laya bandishes: with paltas ended with tihai. Drut laya bandishes:
Unit-3 One Chhota Khyal or Razakhani Gat 20 hours
i) Basant (ii) Bahar (iii) Hindol i
Introduction of bandishes of above Ragas.
Chaugun.
Assessment:
REFERENCES
23
Year 2 Core Elective-3 : Stage Performance Vocal / Sitar / Violin Credit 3
Semester 4 (Practical-2 credit & Theory-1 credit=3credit) Hours 75
To introduce Theoretical aspects of stage performance.
core elective II, being most popular and suitable for performance in vocal
as well as instrumental music. The students will have to prepare at least 5
Ragas out of the prescribed Ragas for their own choice and the examiner s
choice. The total duration of the third paper will be 30mts.
Introduction of stage performance in reference to theoretical aspects:
Stage manners.
Theoretical aspects in solo playing and singing.
How to Padhant.
Candidate choice of any one Raga from syllabus.

Examiners choice of any one Raga from syllabus.
Basic Knowledge of accompaniment with Instrumental Music
Basic Knowledge of accompaniment with Vocal Music
Assessment:
REFERENCES
24
Year 2 Elective Open : Appreciation of Vocal / Sitar / Violin Credit 4
Semester 4 Hours 60
To introduce basic concepts of Gharana of tabla and taals.
OBJECTIVES To help students to understand Laya in different form of music.
Provide auto-biography of modern times of tabla player
Unit-1 Detailed study of the Talas studied up till now with Thaya Dugaun and 15 hours
Chaugun.
Study of the following Talas – Tiwara, Panjabi, Dhumali
Basic Introduction of Tabla Garana :
Meaning of word gharana.
Development of gharana.
Unit-2 Detailed knowledge of the Talas under practical study with Dugun and 15 hours
Chaugun.
Notation System;
Elementry knowledge of notation system.
Notation of following taals in single and double speed.
a)Dadra b)Kaharva c)Roopak d)Teentaal
Unit-3 Swaravistar, Alap, Tanas of different varieties in the prescribed ragas. 15 hours
Unit-4 Short life sketch and contribution of the following musicians and 15 hours
musicologists –
Gopal Nayak, Ustad Hassu-Haddu Khan, Ustad Allauddin Khan, Ustad Munir
Khan.
REFERENCES
1)Shri L.N Garg Humare Sangeet ratna
4) Pt Girishchandra Srivastava Taal Parichaya
25
Year 3 Core Compulsory-1 : Theory I Principle of Music V Credit 3
(Practical- 0 credit & Theory-3 credit= 3 credit)
To introduce Concept of Shruti and its interpretations in ancient period
To introduce of Indian & Western Music scales & Notation systems
Unit-1 Concept of Shruti in Indian Music and ancient interpretations: 12 hours

Detailed study of Shruti in Indian Music – Interpretation of Praman Shruti
by Baharat Muni in Natya Shastra , and measurement of shruti.
Unit-2 Study of Western Music scales: 11 hours
Study of Tempered & Natural scales.
Unit-3 Indian & Western Music scales & concept of Moorchhana System: 11 hours
Introduction of scales in Indian & Western music. Moorchhana System &
Contemporary Indian Music scales
Unit-4 Staff Notation system: 11 hours
Scales in Western Music. Staff Notation of Music. Writing of Swaramalika
in staff notation
Assessment:
REFERENCES
1)Pt. Harishchandra Shrivastav Raga Parichaya
2)Pt. Bhatkhande Sangit Shashtra
3)Pt. L. N. Garg Sangeet Visharad
4)Sri S.C Paranjapee Sangeet Bodh
5)Prof L.K Singh Dhwani aur Sangeet
26
Year 3 Core Compulsory-2 : Theory II Study of Ragas V Credit 3
Introduction to Writing Notation
Unit-1 Study of the Ragas: 11 hours

Detailed of the Ragas prescribed for the practical study.
Comparative study of the Ragas studied up till now.
Unit-3 Study of stages in Raga improvisation: 11 hours
Swaravistar, Alap Tanas with different varieties in the Ragas learnt up till
now.
Unit-4 Writing notation: 12 hours

Notation writing of Cheezes (Gats for Inst. Music) and Talas studied under
practical course. Study of the following Talas with Dugun, Tigun and
Chaugun – Trital, Ektal, Jhaptal, Chautal, Dhamar.
Assessment:
REFERENCES
1) Pt. Harishchandra Shrivastav Raga Parichaya
2) Pt. Bhatkhande Kramik Pustak Malika
3) Pt. L. N. Garg Sangeet Visharad
4) Pt V.N Patwardhan Raag Vigyan
27
Year 3 Core Compulsory-3 : Theory III History of Music IV Credit 3
Introduction to basic history of Carnatic Music.
OBJECTIVES To introduce basic history of Vocalist & Instrumentalist of Carnatic Music.
Introduction to Musical forms and its compositions of Indian Music, traditions and
Gharanas of Khayal
Unit-1 Introduction to Carnatic Music with reference to Scale: 11 hours
The main corresponding scales of Hindustani and Carnatic music.
Unit-2 Introduction to Carnatic Music with reference to Taal: 12 hours

The Tala system in Carnatic music – 7 main Talas and 5 Jatis of each.
Conversion of North Indian Talas into Carnatic system.
Unit-3 Detailed study of the forms of Musical compositions and history of the 11 hours
principle Gharanas in Hindustani Music:
Dhrupad Dhamar:- Characteristics of the form. Four Banis and Gharanas.
The main exponents of Dhrupad.
Khyal:- Rising of the Khyal. Reasons of its popularity. Main characteristics

of Khyal. History of the main Gharanas of Khyal with special characteristics
of the respective Gharanas. Main contemporary exponents of Khyal. (Delhi,
Agra, Gwalior, Kirana and Jaipur Gharanas).
Unit-4 Introduction to Lighter varieties of compositions: 11 hours
Characteristics of folk songs in general with particular reference to Gujarati

folk songs.
Regional varieties of folk songs i.e. Kajri, Chaiti, Zula, Lawani, Bhatiyali and
their characteristics.
Assessment:
REFERENCES
3) Shri S.C Paranjapee Bhartiya Sangeet Ka Itihaas
4) Shri S.C Paranjapee Sangeet Bodh
5)Prof V.C Deshpande Indian music tradition

Year 2020-21
28
Faculty of Performing Arts
Year 3 Core Elective-1 : Intensive Practical Study of Ragas V Credit 5
Detailed study of the following Rags with Alap, Swara – vistar Sargam, Tana, One
Bada Khyal or Maseetkhani Gat, One Chhota Khyal or Razakhani Gat.Miyan Ki
Malhar
Theoretical aspects of Padhant. , Theoretical aspects of different Bandishes /
Gatas. Theoretical aspects of playing & singing style of different Gharana.
Gat Darbari Kanhada
Different Tanas with Tihai. b)Two advance Bandish / Gatas with palatas ended
with tihai. Madhya laya bandishes / Gatas
Unit-3 Detailed and intensive study of the following raga One more Bada Khyal 25 hours
or Massethhani Gat, one more Chhota Khyal or Razakhani Gat with Tana.
(i) Adana (ii) Gaud Malhar (iii) Dhani
Unit-4 One Dhurpad only Bandish or one Composition set to the Taal other then 25 hours
Teentaal or Razakhani gat from prescribed ragas of paper.
Tigun & Chaugun.
Assessment:
REFERENCES
1) Pt.Girishchandra Shrivastav Raga Parichaya
4) Pt V.N Patwardhan raag Vigyan
5) Dr B.R Deodhar Raag bodh
6) T.R Devangan Bela vigyan
29
Year 3 Core Elective-2 : Practical Tradition and Composition of Ragas V Credit 5
Gat with Alap and Tana in –i) Puriya
i) Lalit
Unit-3 One Chhota Khyal or Razakhani Gat i) Shree (ii) Tilang (iii) Piloo 25 hours
Basic knowledge of Pakhawaj Taals(Chautaal & Dhamar)
Unit-4 One Dhamar only Bandish or one Composition set to the Taal other then 25 hours
Tigun & Chaugun.
Assessment:
REFERENCES
4) Shri S.N Ratanjankar Abhinav Geet Manjari
5) Dr B. R Deodhar raag Bodh
30
Year 3 Core Elective-3 : Stage Performance IV Credit 3
(Practical - 2 credit & Theory-1 credit = 3 credit)
To introduce Theoretical aspects of stage performance.

Stage manners.
Knowledge of sequence of solo, Nikas of Bandishes .
Assessment:
REFERENCES
31
Year 3 Core Compulsory-1 : Theory I Principle of Music VI Credit 3
To introduce Concept of Shruti and its interpretations in ancient period
To introduce of Indian & Western Music scales & Indian Music Notation systems
Unit-1 Concept of Shruti in Indian Music and ancient interpretations: 12 hours

Detailed study of Shruti in Indian Music – Interpretation of Praman Shruti
by Pt. Sharang Dev Sangeet Ratnakar , and measurement of shruti.
Unit-2 Study of Western Music scales: 11 hours
Study of Diatonic and Chromatic scales.
Unit-3 Comparison of Indian and Western Music scales & Introduction 11 hours
of Staff Notation.
Comparative Study of Indian and Western Music scales. Introductory
knowledge of staff-notation system
Unit-4 Two main Notation systems of North Indian Music: 11 hours

The two main notation systems in North Indian Music, i.e. Pt. Bhatkhande
and Pt. Paluskar system.
Assessment:
REFERENCES
1)Pt. Harishchandra Shrivastav Raga Parichaya
2)Pt. Bhatkhande Sangit Shashtra
3)Pt. L. N. Garg Sangeet Visharad
4)Sri S.C Paranjapee Sangeet Bodh
5)Prof L.K Singh Dhwani aur Sangeet
32
Year 3 Core Compulsory-2 : Theory II Study of Ragas VI Credit 3
Introduction to Writing Notation
Unit-1 Study of the Ragas: 11 hours

Detailed study of Ragas prescribed for practicals.
Unit-2 Comparative study of the Ragas: 11 hours
Comparative study of the Ragas studied up till now.
Unit-3 Study of stages in Raga improvisation: 11 hours
Swaravistar, Alap Tanas with different varieties in the Ragas learnt up till
now.
Unit-4 Writing notation: 12 hours

Notation writing of Cheezes (Gats for Inst. Music) and Talas studied under
practical course. Study of the following Talas – Jhoomara, Adachoutal,
Gajajhampa, Matta, Shikhar.
Assessment:
REFERENCES
3) Pt. L. N. Garg Sangeet Visharad
4) Pt V.N Patwardhan Raag Vigyan
33
Year 3 Core Compulsory-3 : Theory III History of Music IV Credit 3
Introduction to Melkartas, Ragas of Carnatic Music
OBJECTIVES Basic elements of Carnatic music performance and its history. Introduction to
composers and present exponents of Carnatic Music:
Introduction to classical and Light classical forms of Indian Music
Unit-1 Understanding Melkartas & Ragas of Carnatic Music: 11 hours
The 72 Melakartas of the south. Derivation of Ragas from a Mala (Thata,
Derivation of total Ragas possible from 72 Melas (technically). The main
Ragas of South Indian Music.
Unit-2 Basic elements of Carnatic music performance and its history. 12 hours
Introduction to composers and present exponents of Carnatic Music:
i) The main points of the exposition, presentation and appreciation in
Carnatic Music. Outline of the history of Karanatic Music.
ii) The main composers and main contemporary exponents in Karanatic
Music.
Unit-3 Detailed study of the forms of Musical compositions and history of the 11 hours
principle Gharanas in Hindustani Music:
i) Thumri:- The history of the form. The main characteristics of thumri.
Main styles of signing Thumri i.e. Banaras, Jaipur and Punjab. The main
contemporary exponents of Thumri.
ii) History and the characteristics of Tarana, Trivat, Tappa, Chaturang,
Kawwali, Naat, Gazal, Maseetkhani Gat and Razakhani Gat.
Unit-4 Introduction to Lighter varieties of compositions:- 11 hours
i) Devotional songs:- Bhajan, Abhang, Kirtan, Aarti, etc.
ii) Modern Songs:- Bhavageet, Ravindra Sangit, Gazals in Hindi, Marathi,
Gujarati Lyrics.
Assessment:
REFERENCES
3) Shri S.C Paranjapee Bhartiya Sangeet Ka Itihaas
4) Shri S.C Paranjapee Sangeet Bodh
5)Prof V.C Deshpande Indian music tradition
34
Year 3 Core Elective-1 : Intensive Practical Study of Ragas VI Credit 5
Gat. Rageshree
The oretical aspects of Padhant. , Theoretical aspects of different Bandishes /
Gatas. Theoretical aspects of playing & singing style of different Gharana.
Gat. Todi
Different Tanas with Tihai. b)Two advance Bandish / Gatas with palatas
ended with tihai. Madhya laya bandishes / Gatas
Unit-3 Detailed and intensive study of the following raga One more Bada Khyal 25 hours
or Massethhani Gat, one more Chhota Khyal or Razakhani Gat with Tana.
(i)Tilak Kamod (ii) Bhinna Shadaj
Basic knowledge of Taals(Tevra & Sooltaal)Introduction of bandishes of
above taals.
Unit-4 One Dhrupad only Bandish or one Composition set to the Taal other then 24 hours
Tigun & Chaugun.
Assessment:
REFERENCES
4) Pt V.N Patwardhan raag Vigyan
5) Dr B.R Deodhar Raag bodh
35
Year 3 Core Elective-2 : Practical Tradition and Composition of Ragas VI Credit 5
Gat with Alap and Tana in –(i) Multani
Madhuwanti Elementary knowledge of solo performance in Zaptaal
Unit-3 One Chhota Khyal or Razakhani Gat i) Madhu kouns ii) Chandra kouns iii) 20 hours
Paraj Basic knowledge of Pakhawaj Taals(Chautaal & Dhamar)
Unit-4 One Dhamar only Bandish or one Composition set to the Taal other then 20 hours
Tigun & Chaugun.
Assessment:
REFERENCES
1. Pt.Girishchandra Shrivastav Raga Parichaya
2. Pt. Bhatkhande Sangit Shashtra
3. Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan
4. Shri S.N Ratanjankar Abhinav Geet Manjari
5. Dr B. R Deodhar raag Bodh
36
Year 3 Core Elective-3 : Stage Performance IV Credit 3
(Practical - 2 credit & Theory-1 credit = 3 credit)
To introduce Theoretical aspects of stsge performance.

Stage manners.
Knowledge of sequence of solo, Nikas of Bandishes.
Assessment:
REFERENCES
37

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Implementation of Choice Based Credit System

Department of Music (Vocal & Instrumental)

Course Credit Lecture % Marks

Unit-1 Musical Sound and Noise: 12 hours

Unit-2 Shruti & Swar: 11 hours

22 Srutis, The present Sruti-Swara arrangement, 12 notes in a Saptak,

Unit-3 Essentials of Raag: 11 hours

Unit-4 Musical compositions: 11 hours

Sargamgeet, Laxangeet, Cheeza, Khyal (Bada Khyal, Chhotakkhyal), Gat

Unit-1 Study of the Ragas 11 hours

Unit-4 Writing notation 12 hours

Unit-1 Raga Samaya 12 hours

Unit-2 72 Melakartas (Thata) of Pt. Vyankatmakhi. 11 hours

Unit-1 Detailed & intensive study of the following Rags 30 hours

Unit-1 Study of following Talas: 15 hours

Unit-1 Production and propagation of sound. 12 hours

Unit-3 Detailed study of the time theory of Ragas 11 hours

Unit-4 Classification of Ragas: 11 hours

Unit-1 Study of the Ragas 11 hours

Unit-4 Writing notation 12 hours

Unit-1 Study of Natya Shastra 11 hours

Introduction of stage performance in reference to theoretical aspects

Unit-1 Harmony and Discord 12 hours

Unit-4 Prachin Alapgana 11 hours

Department of Music (Vocal & Instrumental) Academic

Unit-2 Vagyeyakar, Gamakas, bad points (Guna-Dosha) of a vocalist and 11 hours

Unit-1 Detailed & intensive study of the following Rags 15 hours

Unit-3 Solo Performance: 20 hours

Unit-1 Concept of Shruti in Indian Music and ancient interpretations: 12 hours

Study of Tempered & Natural scales.

Unit-1 Study of the Ragas: 11 hours

Unit-4 Writing notation: 12 hours

Unit-2 Introduction to Carnatic Music with reference to Taal: 12 hours

Khyal:- Rising of the Khyal. Reasons of its popularity. Main characteristics

Characteristics of folk songs in general with particular reference to Gujarati

Department of Music (Vocal & Instrumental) Academic

Introduction of stage performance in reference to theoretical aspects

Unit-1 Concept of Shruti in Indian Music and ancient interpretations: 12 hours

Unit-2 Study of Western Music scales: 11 hours

Study of Diatonic and Chromatic scales.

Unit-4 Two main Notation systems of North Indian Music: 11 hours

Unit-1 Study of the Ragas: 11 hours

Unit-4 Writing notation: 12 hours

Introduction of stage performance in reference to theoretical aspects

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