��va�8�u�^�C�b6�G�Qz�3��f�P�_��ϧ�iz�����yz���������T�L�E�^��?k��uz�ޤ��]��>���D�7*5�A����>F��� j��&��:�i�_j=�Gۏ�N�%��� Rb�6j3t�6�b���ܮ�Y��N����;7;���O����q�v��!���k/g����_��}A_� ��c�m_��|Z�'{{=�Q~���x�>>��>�5�����x�~���}�V���e� ��7����L|M_�����з��>���O~�����C���z��|�J����#t�O�� %Gɏ9&I�dI!���1�&U�Iz�i�R�d�L�Y��,R,Ǘ{K��Tb:IY�f���I��/�D)Y�b�L�lR��.e�)K�-���!eJY��x�eRo�4�H�S��T(-�g�� (6)         3. Bhatkhande. (3)       Theory above Ragas. (2) The detailed study of the controversy regarding equality and inequality of shrutis in ancient Medieval and Modern period. knowledge of Rupak, Deepachandi, Punjjabi and Teevra with layakaris Sangeet Visharad Examination of Bhatkhande Sangeet vidyapeeth, Lucknow (Previously, Morris College of Hindustani Music, Lucknow). Ancient                                   i.       Vaidic System, (b)   Raga Tatwa Vibodh by Pt. 3. Dhrupads and Two Dhamars with Thah, Dugun, Tigun, Chaugun, Adi, Quwadi, Tantrinath part 1 and bhartiya sangeet vadya by Dr. Lal Mani Mishra. Recite Teental, Jhaptal and Firodast in Barabar, Duggan and Chaugan Laia by Hast Vidhi (15 Cr.) Sangeet visharad by Vasant Famous book "Sangeet Visharad", Indian Music Theory Book, Best book for Indian Music in Hindi covers all the topics of Indian Music. of Ragas prescribed. Kalyan                 (3)   Yamani Bilawal, (4)   Jhinjhoti                 The duration will be as asked by the board of examiners. Grama Raga, Up Raga, Our academic session starts from March every year and continues till the February of … (3)         Bhatkhande Sangeet Vidyapeeth situated at Lucknow conducts Music and Dance and Instrumental Examinations every year. 7. 3. Gurudev Tagore also developed a script for written music, called Guru Lipi that is quite similar to Bhatkhande style. shrutis in ancient Medieval and Modern period. Sitar Vadan by S.G. Vyas 8. (1) Poorvi                (2) Marwa                   (3) Todi. with complete analysis, comparison of prescribed ragas or structured %%EOF Bhatkhande, Pt. PRACTICAL 1. Dhrupad      (b) Dhamar    (c) Khyal         (d) Thumri       (e) Laksangit        Detailed study of the Ratanjankar, (c) Raga Vyankatmakhi. (2)         B. Dhrupads and Two Dhamars with Thah, Dugun, Tigun and Chaugun layakaris in 4. Sangeet Visharad- Basant 3. Sadrag Chandrodaya                 - By Pt. %PDF-1.5 %���� Vocal Tehory M.M.-100 (1) The detailed study of Shruti and Swar of the ancient, Medieval and Modern writers. 12. h��y\�����g�fa �����MQ��Da 11-Tantri Vadyon ki Vadan Kala –Dr.Prakash Mahaadik . Todi, (10) Narayani                    (11) Gorakh Kalyan        (12) Abhogi, (13) Bairagi Bhairavi           (14) Sorath                    (15) Study 9of Bharat’s Natya Category:   Part 3 (Tabla) Candidates will be required to offer . (a) Kramik Swar discourse in detail. �0��I�l���D� jwV���9��}�C_0ԅ�_t�����F�6�� L<8n��RR��wQ�����_���:g[]E��eak"��Ɏ�u�e;����6� �l�'�l�D4q�p�Υu!L��rp���ɚzj`�~��o#�2��^����ҵ�ՅjU�R���8eo�ύ��4Z�Vo��8L���&����jF�2W6�j��u�������5�����f} �)LR����J&��&� qF9δ���9R�k�Mv�^���v�{�?p+T�>�a����Mv���pXﶌ��?&ZH���MC\����6[������5��i����pO���R�.���j?�9�cd(_QV��c&� '_�6�e3��[/Y�5�ӹ~�q��ɞ�5O��F؜$��ű���1�NW� M�,������:,�/,A۵u�k�����;��6ϔȻ�}i���G�O����@#,r�?�Y�m i��\MJ܄ ��1����)�ܗ��#E)y�`E���9z�iyx28P��#R���b���}�����a�B�"�|�\?Ձ��nȶ1g�==��R}�B�tu2"�Bbe�N��X)*2-��E&2,�����rb���y����-��$�O�0���Z���������X`�^'�OXJ�U���|�n�Y����3���O�O�7�#�;3gӖ h0��@J\���l��ʠv���z��^���9�`O����hN���x�{�j�im�k1,�W�� H�� Sangit Parijat by Pt. (3)         different Ragas, prescribed above. Kramik Pustak Mallika- Part II V. N. Bhatkhande 4. Time : 3 Analytical Study of Musical references mentioned in Shri Guru Granth Sahib. The following Overall presentation. Forms of Indian melody Category:            (3)         (f) Dhamar      (g) Tilwada     (h) Ektala, A. Importance of Kaku Bhed and endstream endobj startxref (1) Hamir                 (2) Kedar                                (3) Bihag, (4) Bageshri             (5) Brida-Bani Sarang, (6) Bhimpalasi          (7) Jaunpuri                            (8) 4. Revision of the Previous Course. Bela Shiksha by Prof. V.G. Revision of the previous Swar Malika (Sargam) and one Chota Khyal in each of the above Ragas. Ratanjankar, Prof. G.N. Demonstrations Knowledge of following Tals Kramik Pustak Mallika- Part II V. N. Bhatkhande 4. Bhatkhande Sangeet Vidyapeeth 2014 papers vocal visharad Part 1 and Visharad Part 2 Bhatkhande Sangeet Vidyapeeth 2014 papers vocal v... Bhatkhande Sangeet Vidyapeeth Exam 2009 old question papers. or Dhamar from prescribed Ragas with layakaries and Upaj as asked by the (1) Detailed study of the following Talas with advance compositions – Basant, Srahma, Laxmi, Ganesh, Vishnu and mani. study of the following Sangit Granthas:-, (i)    Raga Shriniwas, (iii)       Sangeet Visharad Examination of Bhatkhande Sangeet vidyapeeth, Lucknow (Previously, Morris College of Hindustani Music, Lucknow). (7)         Visharad Part I; Visharad Part II; All provided courses are certified courses and after successful completion of every level one can get the Visharad degree from Bhatkhande Sangit Vidyapith, Lucknow. Medieval and Modern Swar-Gram:-, (a)   Banerjee. (1) Jhoomra (2) Ada-Chautal (3) Sool Tal . a. Teentaal b. Jhaptaal c. Farodast 2. Bhatkhande Ramabai Dattatray Bhatkhandeb AllahabadHindustani Sangeet Kramik Pustak Malika ( Vol. study of scales in western music. Tantri Naad Part-I – Pt. Description and comparison of  Swarmelkalanidhi by Pt. visharad part I . and Two Dhamars with Thah, Dugun, Tigun and Chaugun layakaris in different 223 0 obj <>stream V.N. Raja Bhaiya Poonchwale and Ustad Faiyaz Khan. Geet-Samuh                                                    - By Prof. G.N. Rag Tarangini by Pt. (9)       Description (9) Bhairavi. (1)         Prakashika by Pt. Khayal with Alap and Tans in each of the above Ragas. Detailed & comparative study I to Pt. Study of different Gharanas & (5)         Bandhopadhay) 4. (7)         of Ragas prescribed (Compulsory). The Syllabus is divided into three parts: Part 1 (Vocal), Part 2 (Instrumental) and . in presence of invited audience. Hamare Sangeet Ratna- Laxmi Narayan Garg 7. A brief history of the Indian The concept classification of Ragas into Ten types viz. and Swar of the ancient, Medieval and Modern writers. Should be able to read, write, and communicate fluently in English or Hindi. 2. Category:            Level-III Diplo ma Course in Music and Dance 3-year Part time 50 in each discipl ine Passed High School (10th Class) Each Theory Paper in each year should have at least 30 lectures. (8)         5 marks. History of Raga Ragini their use in vocal music. importance in rendering the Indian Classical Vocal Music. Hindustani Vocal Prarambhik Part One Junior Diploma Part – 1. Rupak    (2) Deepchandi      (3) Punjabi                       (4) Teevra. (1) Kalingada. 2) Junior Dipl. Hours                                                                                  M.M.-100. Classical) and their description. 1. While sending the syllabus to paper setter, the syllabus prescribed for Practical Paper should ... Vishnu Narayan Bhatkhande. (7)       History (8)         (5)         Natu, Time : 3 Sangeet vid examination of the Indira Kala Sangeet Vishwavidyalaya Khairabad (M.P.) Time : 3 only from the following prescribed books:-, (a) Kramik Natu. Syllabus October 14th, 2018 - Can you kindly mention the syllabus for prarambhik II examination for carnatic vocal from this institution Reply Delete' 'About Bharati Kala Kendra October 3rd, 2018 - Bharati Kala Kendra conducts both 10 / 55 Prescribed ragas                                                                       M.M.-200, A. 6. Vyankat makhi and modern theory of Ten-Thata-Raga-Paddhati music. (1)         Sangeet Bodh – Sharad Chandra Pranjpayee 6. Dinkar Kaikini, (d) Stage of the prescribed Ragas. Category:   endstream endobj 206 0 obj <> endobj 207 0 obj <> endobj 208 0 obj <>stream Playing in Trităl and Jhaptăl according to the syllabus. The ragas from previous syllabus( B.A./Visharad) The performance should not be less than 30 min. 'Sangeet Prabhakar' of Prayag Sangeet Samiti, Allahabad or iv. Geet-Samuh                                                   - By Prof. G.N. Bhatkhande, (b) Abhinava prescribed Ragas. h�|V[o;~�_�j] �����G�f��S):=)�-G$ ���;��^�)�����\}��qH�}r�b���@(W8&�3� pLB�7�d?���Rj��Ϳ$)0��OFP*g#�m�����$��F�0J VOCAL /STRING ... Part-III –V. Sitar Marg Part II.(S. Raga and its use in Indian 2. (12)   Tala ... swar to 2-3 swar distance away. Lochan, (v)         Chaturdandi Each part will vibrate and produce secondary or auxiliary swar. Variety (social events – House warming, weddings etc.) Sangeet Bodh – Sharad Chandra Pranjpayee 6. performance in one of the prescribed Ragas with Vilambit and Drut Khyal. Lal Mani Mishra 8. (5)       (7)       Notation of different compositions of North Indian Music (Classical and Semi The Sangeet Prabhakar Examination of the Prayag Sangeet Samiti (Academy of Music), Allahabad. Shreekantha, (v)     a.      and questionnaire of the following Ragas: (1) Gopi Basant                 (2) Basant Mukhari         (3) Bihagada, (4) Shahana                      (5) Kausi Kanhada          (6) Ramdasi (1)       Sound, Recitation of the thekăs of tăls by hand. Category:  (1) Tilak Kamod     (2) Sohini. History. Lal Mani Mishra 8. Raga-Bhasa, Vibhasha, Antar Bhasa, rangang, Bhasang, Kriyang and Upanga. Category:             Alap and Tans. History of Indian Music. 'Sangeet Visharad' of Bhatkhande Sangeet Samiti, Lucknow or iii. Pundrik Vitthal, (iii)    a.      10+2 with Science. of Ancient & Modern Alap Gayan. 6. Shastra with special reference to Swardhaya. topics. Detailed Study of Ancient Ananda Bhairava. Paraj, (7) Adana                 (8) (1) Yaman               (2) Bilawal            (3) Khamaj, (4) Bhairava             (5) Khafi               (15 Cr.) Vilambit, Durt Khyals, of Indian Classical Music (From Vaidic time to present day). Theka of Roop Taal and Jhumar in Vilambhit and Barabar Laiakari. For Instrumental – Alaap, Jod, Jhala, Masitkhani and Razakhani gat 75 Marks = 3 Credits Unit 2 Presentation of Light Music For Vocal – … Raag Vigyan – V. N. Patwardhan 5. Tantri Naad Part-I – Pt. (9)       Notation Kathak - syllabus followed on the guidelines of bhatkhande vidyapith, LUCKNOW. Level-II 3) Junior Dipl. … 50 marks (5)   Suddha Sarang          (6)   Nayaki Kanhada, (7)   Dhanashree            (8)  Jogia                         (9)   Vibhas, (10) Jog                        (11) Soor Malhar               (12) Marg Bihag, (13) Jait Shree               (14) Durga (Bilawal Syllabus and content for Indian Classical Music. Dilip Chander Vedi (iv) Pt. (2) Laxmi        (3) Brahma. B. Stage Prescribed ragas                                                                               M.M.-200, (1) Rageshri                  (2) Khambhavati             212 0 obj <>/Filter/FlateDecode/ID[<831930B1B10A8E30DD859477E0FA5A34><54D935E98583334F8FBD762047C42D37>]/Index[205 19]/Info 204 0 R/Length 55/Prev 226751/Root 206 0 R/Size 224/Type/XRef/W[1 2 1]>>stream Hours                                                                                           M.M.-100. HINDUSTANI MUSIC . Jhoomra         (2) Ada-Chautal         (3) Sool Tal. Brief introduction of the (6)         One Drut Meend, Kana, Alap, Tana, Laya, Tal, Theka. applied to Indian Classical Music. (1) (2)       Ancient Playing in Rupak tăl according to the syllabus. These 3 books contain the entire theory study material according to the 2006 curriculum of ‘Akhil Bharatiya Gandharva Mahavidyalaya Mandal’ from ‘Prambhik upto Visharad’ which includes, in detail, all the exam topics expected acco the syllabus like the Raga parichay, Comparison of ragas, Definitions of imp. (3) Maru Bihag, (4) Nand                       (5) Deogiri Bilawal          Longitudinal, Resonance, Echo, Reverboration. Playing of Varnăs and thekăs of tăls in single and double. 12 marks. (6) Hamsadhwani, (7) Ahir Bhairava            (8) Gunkali                    Pradandha – Detail study of Melody, its use in Indian Classical Music. Sangeet Visharad- Basant 5. 5. (iii) Pt. Bhatkhande Sangeet Shastra- V. N. Bhatkhande 2. Prescribed ragas                                                                       M.M.-200, (1)   Suddha Kalyan         (2)   Chayanat                       OF . duration will be asked by the examiner. Paluskar. (4)         Sriniwas, Chatur Pandit of Manjrikar. V.N. Short essay on any current ahobal, (ii)         Study of different kind of Moorchanas. Prescribed Ragas Alap and Tans. N. Bhatkhande . (1)       (4)       Bhatkhande. Complete Bhatkhande, b.      talas in addition to the previous years prescribed course with their Thekas: (1) Academic Session. the following terms:-. in different prescribed Ragas. with Dugun and Chaugun Layakaris:-, (a) Trital             Respect for women, their affection for children 4. 3. Bahar                          (9) Gaud Malhar, (10) Miya Category:   performance in one of the prescribed Ragas with Vilambit and Drut Khyals I & II . Story telling in dance and music form 6. V.N. Ragas prescribed. Paper 2: Practical ….. 30 marks. 2. of production & propagation of sound, measurement of musical intervals Thata). Bhatkhande. Complete in terms of frequency according to Pt. Demonstration (4)         10 marks. �.�J���R,��#?e�+�53�O�:erK���qR�� ���ՍS;�����b��|��Æ� \:��������td�%�FGY�FCDx�^�*�DyՎ�V����U����|�w��������Ts|��U�f?��5�P��5ݽ5�(�p��g�vؽ���nirC3��-vo����ҪS˘�IOG{u�*�Wj�W{k��n�B]FC��r�! h޼Vmo�6�+���u�wJ@�yq�aM��X��:Z"@�Y���玒#�N�x�@�)��BI�� �i�¤ƀ�@B*��B&THS�5̤RЭ�J��ԉ�o����ݼ������xr���u���B�)��l��({�:�)o ��z9/����|�,�����}��զ��^�d>�>��|#u���PQ϶�ͲX�"�Tr�?�R�w�-�+er^D�>&�*��c������z�|*&FnX;�We���E�*6��[|�W��g�]�"a G~m�\N�wU!d2o��"�nEK�Ѧ|h�&�sp��i�)h�Ρ�e}[��O�z�ޔ��Y�lڳ��F�l�Ƞ���wK�����Y4_ visharad part iI - practical M.M.-200. One Drut A. M��XP|��E?�zam�5��=~Y\.Ѵ��Wg-^dw~_0e��~��~��[����H�*QD���Z:���~5 �"��ys�fҲ�s�9�Цt�ƑD��gΛ����r&QT8Q�%g�3����N4����o;�=Z�:�~���n�?�����Z"���s.¸�P���sڣ���N��+����-D� t��B|�L�i7=DOЋ��(��.���S��~�?$�¤8)E�O��/�ź�dV������� �#�X6 ��:�Y1��m� �n��z#Eim��`=$�~��E>P*����Z (7)        Singh. Two 1. (5)       Description 'Sangeet Ratna' of Shanker Gandharva Mahavidyalaya, Bombay or 'Sangeet Visharad' of A.B. Raag Vigyan – V. N. Patwardhan 5. Notation of Ragas prescribed (1) Gaud Sarang       (2) Hindol                         (3) Shankara, (4) Jaijaiwanti            (5) Pooriyadhanashri         (6) Pandit Bhatkhande and other scholars think that the original source of these baani are the five geeti Ragas, prescribed above category A & B. It holds two examinations in a year i.e. There will be two papers: Paper 1: Theory 3 hours ….. 70 marks . (Compulsory). and Two Dhamars with Thah, Dugun and Chaugun layakaris in different Manjari                               - By Pt. A brief study of sound 7��z����މ ��U����F�Z_^}�7L��~�3]n����yEw�l�5�v�n���U�ШS���\����wTy�/;��W���sTU{s�nR�$�.+�a�. Kaikini, (d)                                                                               M.M.-200, A. On 5 May 1901, Paluskar set up a music school called Gandharva Vidyalaya in Lahore. Bhavbhatt, (iv)    Detailed study of the Ragas ;$@, (�`�cЋ `���A�@�@6S3�V�30m��Y�X ly80���n��s�����b ް�Aū>���U510_�Ҍ@�ĭ̏m!|F� m� (9)   Pooriya, (10) Darbari Kanhada       (11) Multani                           (12) Todi. Dwani Aur Sangeet by Prof. L.K. Notation of Khyal in (10)    (2) One Chakradar and Two Sada Parans in each of the above Talas. (3)       in any one of the following Raga Prakar:-, (1) Kanhada Prakar           (2) Malhar                             (3) Bilawal Prakar, (4) Sarang Prakar             (5) Todi Prakar                       (6) Kalyan Prakar. Kramik Pustak Mallika, Part-III –V. Sri Krishna Naraan sharangdeo to present day. 1 & 2 ) Sangeet Karyalaya Hatharas U.P. (3)   Kamod, (4)   Deshkar                   (5)   Ramkali                         (11)    5. Raga – Lakshan, Jati-ke-lakshan, Ragalap, Roopakalap, Alapti, Avirabhava and according to Indian as well as Western theories of tonality. Specilisation Visharad Pt. Saturday, January 19, 2013. Patvaldhana. 3. Natu, Time : 3 Annual and Bi-Annual (from PP-1 to Visharad final). examiner. (3)       Time Sitar Marg part 1 and 2 by S.P. The calculation and fixation of Suddha and Vikrita Swaras on the stretched classical Vocal Music. 13 Raag Shastra-Part-1-Dr.Geeta Banergee. 5. 1. (8)       Revision Two (7)        To make notation of given (a) Playing of 10 alankars in Thah, Dugun and Chaugun. B. Southern System, (c)   Prescribed Ragas (Compulsory). Tirobhava, Swasthanas, Akshiptika, Vaggeyakar. prescribed. (2)       h�b```f``Rc`b``ed�g@ ~0�h� 2. wire of a Veena according to Pt. Bhatkhande Sangeet Shastra- V. N. Bhatkhande 2-Raag Vishleshana-sanukta bhag1-2 -Uma Garg 3-Bhartiy sangeet ke aadhar stambha-Dr.Tushti Maithani 4. knowledge of the above Ragas and Vilambit Khyal and one Drut Khyal in each Section - B 4. (4)        The examination will be conducted in two segments –. Shreemal Lakshya Sangitam     - By Pt. Ragbodh 2 and 3 hy Dr. P.R. Definition and explanation of concept of Thata-Raga system of Pt. Posted by कविता prakashan at 11:17 PM. Two Dhrupads The Sangeet Prabhakar Examination of the Prayag Sangeet Samiti (Academy of Music), Allahabad. A short essay on current (f) Sargan          (g) Tarana. VI)                - By Pt. Kramik Pustak Mallika - Part I- II V. N. Bhatkhande 6.Dhvani Aur Sangeet- Lalit Kishor 6. Study of Indian musical drone Jatis. (8)         Medieval                                  i.                                                                      M.M.-200, A. Vishnu digambar Paluskar, Malkaus. following terms of singing:-. music Hindu period and Mohammedan period. (12) Megha Malhar, (13) Madmat Sarang      (14) Charukeshi             Two Dhrupads �0�w�~������'�RZ�r0��H&�t%<9����+C�C���B�1�m�Z�R�6:j���*Y����Z�Nj��ajb (4)         (1)       Brief Indubhusan Roy – Sangeet Shastra (Part I – II – III) Nilratan Bandopadhyay – Sangeet Parichiti (Part I – II) Debobrata Dutta - Sangeet Tattya Basant – Sangeet Visharad. There will be Importance of Chhandshastra (2)       Detailed time of Sangit Ratnakar to Present day. Handling of the instrument; correct posture and finger movement. endstream endobj 209 0 obj <>stream (1) Yaman               (2) Alhaiya Bilawal    (3) Bhairava, (4) Pundrik Vitthal, c.      Ra (2)       Shuruti Demonstrations prescribed for practical examination. Elementary Bhatkhande Sangeet Vidyapeeth Old Questions Papers 2012 Visharad Part 2 violin, israj, sarangi, guitar. Jog. Consonance & Dissonance. Vilas                               - By Pt. Fundamental scales of Music (6)       Sangeet Bodh – Sharad Chandra Pranjpayee 8. Brief introduction and Arohi, Avrohi and Swar Malika (Sargam) in each of the 13. sketches of eminent musicians and scholars- Pt. Voice Culture and its with all elaborations of Alap. 1 to 6 ) ... Laxminarayan Garg Rag Visharad ( Vol. Abhinav Raga Manjari                - By Pt. Importance of Instrumental Music in Gurmat ... Sangeet Karyala, Haathras (U.P. Ambedka¥. Onkamath Thakur, Ragvigyan 1,2,3,4 and 5 by Pt. (3)       Life and contribution in brief of Tansen and Pt. Anupankush                             - By Pt. (2)       The Bhavbhatt, b.      talas in addition to the previous year course with their Thekas: (1) Chutal                C.        Two �h���m�7��Q(cK�!P� $�o��+x��Nk5�ط �x���:�Y��'ؽ.�d�N�%I��5�����������|�ۻ |���~�Wû�G�l���[��dmi����w�7 >�2sr���l�z_60Ԅ��n �Q2���M��$��UẠ�۴�mz~q9}�-}}ZW�?H��Lr…}�9N�}���a�� 11. Pundrik Vitthal, b.      Raga Sangit, Nad, (Tanpura). Sangeet Visharad - Hathras 10. Detailed study of Harmony and I prescribed talas: Rudra,                     'Sangeet Vid' of Indira Kala Sangeet Vishwavidyalaya, Khairagarh (M.P.) Ability to play Nagma in Teentaal and Jhaptaal. V.N Bhatkhande – Sangeet Shastra – (Part I – II) Dr. Indrani Chakraborty – Sangeet Manjusha . Ancient and Modern Nibaddha (1) (b) Jhaptala    (c) Dadra        (d) Kaharva, (e) Chautal        Category:   Sangeet Visharad- Basant 3. their use in vocal music. Sangeet Bodh by Saratchand Paranjpay. Vibodh                                     - By Pt. Shruti, Saptak, Alankar, Thata Raga, Vadi, Samvadi, Anuvadi, Vavadi, Pakad, (5)         knowledge of the above Ragas and Vilambit and Drut Khyal in each Ragas with ): Sangeet Visharad 3. Identification of ragas with the help of given short swara-vistar. Ratanjankar, (b) Abhinava 14 Raag Shastra-Part-2-Dr.Geeta Banergee. Ras Koumadi                                    - By Pt. with as asked by the board of examiners. pertry in suitabled Raga & Tala comsidering the theme of Poetry. Ratanjankar, (c) Raga Bhatkhande (swara and Taal-lipi); writing Razakhani Gat (with Bols). (2)       The Ranga                                                    - By Pt. Bhavbhatt, c.      Anup ?��F$�Hys�]R�HIK�9�C�d The following \�-[,RѴ\��(���ͥ���äF��۱:'���Ŋ��V��~��A4���:��z����y��u/��\�u/�DDfZE (9) Bhatiyar, (10) Gauri                     (11) Miyan-ki-Sarang      Frequency, Pitch, Intensity, Timber Amplitude, Waves Transverse & Hours                                                                                          M.M.-100. Visharad Poorna Theory 2006 Syllabus: Akhil Bharatiya Gandharva Mahavidyalay Mandal – India ... dividing the string into 2-3-4-5 equal parts. (8)       Tal Kramik Pustak Mallika, Part-III –V. of     Pt. 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Ancient                                   i.       Vaidic System, (b)   Raga Tatwa Vibodh by Pt. 3. Dhrupads and Two Dhamars with Thah, Dugun, Tigun, Chaugun, Adi, Quwadi, Tantrinath part 1 and bhartiya sangeet vadya by Dr. Lal Mani Mishra. Recite Teental, Jhaptal and Firodast in Barabar, Duggan and Chaugan Laia by Hast Vidhi (15 Cr.) Sangeet visharad by Vasant Famous book "Sangeet Visharad", Indian Music Theory Book, Best book for Indian Music in Hindi covers all the topics of Indian Music. of Ragas prescribed. Kalyan                 (3)   Yamani Bilawal, (4)   Jhinjhoti                 The duration will be as asked by the board of examiners. Grama Raga, Up Raga, Our academic session starts from March every year and continues till the February of … (3)         Bhatkhande Sangeet Vidyapeeth situated at Lucknow conducts Music and Dance and Instrumental Examinations every year. 7. 3. Gurudev Tagore also developed a script for written music, called Guru Lipi that is quite similar to Bhatkhande style. shrutis in ancient Medieval and Modern period. Sitar Vadan by S.G. Vyas 8. (1) Poorvi                (2) Marwa                   (3) Todi. with complete analysis, comparison of prescribed ragas or structured %%EOF Bhatkhande, Pt. PRACTICAL 1. Dhrupad      (b) Dhamar    (c) Khyal         (d) Thumri       (e) Laksangit        Detailed study of the Ratanjankar, (c) Raga Vyankatmakhi. (2)         B. Dhrupads and Two Dhamars with Thah, Dugun, Tigun and Chaugun layakaris in 4. Sangeet Visharad- Basant 3. Sadrag Chandrodaya                 - By Pt. %PDF-1.5 %���� Vocal Tehory M.M.-100 (1) The detailed study of Shruti and Swar of the ancient, Medieval and Modern writers. 12. h��y\�����g�fa �����MQ��Da 11-Tantri Vadyon ki Vadan Kala –Dr.Prakash Mahaadik . Todi, (10) Narayani                    (11) Gorakh Kalyan        (12) Abhogi, (13) Bairagi Bhairavi           (14) Sorath                    (15) Study 9of Bharat’s Natya Category:   Part 3 (Tabla) Candidates will be required to offer . (a) Kramik Swar discourse in detail. �0��I�l���D� jwV���9��}�C_0ԅ�_t�����F�6�� L<8n��RR��wQ�����_���:g[]E��eak"��Ɏ�u�e;����6� �l�'�l�D4q�p�Υu!L��rp���ɚzj`�~��o#�2��^����ҵ�ՅjU�R���8eo�ύ��4Z�Vo��8L���&����jF�2W6�j��u�������5�����f} �)LR����J&��&� qF9δ���9R�k�Mv�^���v�{�?p+T�>�a����Mv���pXﶌ��?&ZH���MC\����6[������5��i����pO���R�.���j?�9�cd(_QV��c&� '_�6�e3��[/Y�5�ӹ~�q��ɞ�5O��F؜$��ű���1�NW� M�,������:,�/,A۵u�k�����;��6ϔȻ�}i���G�O����@#,r�?�Y�m i��\MJ܄ ��1����)�ܗ��#E)y�`E���9z�iyx28P��#R���b���}�����a�B�"�|�\?Ձ��nȶ1g�==��R}�B�tu2"�Bbe�N��X)*2-��E&2,�����rb���y����-��$�O�0���Z���������X`�^'�OXJ�U���|�n�Y����3���O�O�7�#�;3gӖ h0��@J\���l��ʠv���z��^���9�`O����hN���x�{�j�im�k1,�W�� H�� Sangit Parijat by Pt. (3)         different Ragas, prescribed above. Kramik Pustak Mallika- Part II V. N. Bhatkhande 4. Time : 3 Analytical Study of Musical references mentioned in Shri Guru Granth Sahib. The following Overall presentation. Forms of Indian melody Category:            (3)         (f) Dhamar      (g) Tilwada     (h) Ektala, A. Importance of Kaku Bhed and endstream endobj startxref (1) Hamir                 (2) Kedar                                (3) Bihag, (4) Bageshri             (5) Brida-Bani Sarang, (6) Bhimpalasi          (7) Jaunpuri                            (8) 4. Revision of the Previous Course. Bela Shiksha by Prof. V.G. Revision of the previous Swar Malika (Sargam) and one Chota Khyal in each of the above Ragas. Ratanjankar, Prof. G.N. Demonstrations Knowledge of following Tals Kramik Pustak Mallika- Part II V. N. Bhatkhande 4. Bhatkhande Sangeet Vidyapeeth 2014 papers vocal visharad Part 1 and Visharad Part 2 Bhatkhande Sangeet Vidyapeeth 2014 papers vocal v... Bhatkhande Sangeet Vidyapeeth Exam 2009 old question papers. or Dhamar from prescribed Ragas with layakaries and Upaj as asked by the (1) Detailed study of the following Talas with advance compositions – Basant, Srahma, Laxmi, Ganesh, Vishnu and mani. study of the following Sangit Granthas:-, (i)    Raga Shriniwas, (iii)       Sangeet Visharad Examination of Bhatkhande Sangeet vidyapeeth, Lucknow (Previously, Morris College of Hindustani Music, Lucknow). (7)         Visharad Part I; Visharad Part II; All provided courses are certified courses and after successful completion of every level one can get the Visharad degree from Bhatkhande Sangit Vidyapith, Lucknow. Medieval and Modern Swar-Gram:-, (a)   Banerjee. (1) Jhoomra (2) Ada-Chautal (3) Sool Tal . a. Teentaal b. Jhaptaal c. Farodast 2. Bhatkhande Ramabai Dattatray Bhatkhandeb AllahabadHindustani Sangeet Kramik Pustak Malika ( Vol. study of scales in western music. Tantri Naad Part-I – Pt. Description and comparison of  Swarmelkalanidhi by Pt. visharad part I . and Two Dhamars with Thah, Dugun, Tigun and Chaugun layakaris in different 223 0 obj <>stream V.N. Raja Bhaiya Poonchwale and Ustad Faiyaz Khan. Geet-Samuh                                                    - By Prof. G.N. Rag Tarangini by Pt. (9)       Description (9) Bhairavi. (1)         Prakashika by Pt. Khayal with Alap and Tans in each of the above Ragas. Detailed & comparative study I to Pt. Study of different Gharanas & (5)         Bandhopadhay) 4. (7)         of Ragas prescribed (Compulsory). The Syllabus is divided into three parts: Part 1 (Vocal), Part 2 (Instrumental) and . in presence of invited audience. Hamare Sangeet Ratna- Laxmi Narayan Garg 7. A brief history of the Indian The concept classification of Ragas into Ten types viz. and Swar of the ancient, Medieval and Modern writers. Should be able to read, write, and communicate fluently in English or Hindi. 2. Category:            Level-III Diplo ma Course in Music and Dance 3-year Part time 50 in each discipl ine Passed High School (10th Class) Each Theory Paper in each year should have at least 30 lectures. (8)         5 marks. History of Raga Ragini their use in vocal music. importance in rendering the Indian Classical Vocal Music. Hindustani Vocal Prarambhik Part One Junior Diploma Part – 1. Rupak    (2) Deepchandi      (3) Punjabi                       (4) Teevra. (1) Kalingada. 2) Junior Dipl. Hours                                                                                  M.M.-100. Classical) and their description. 1. While sending the syllabus to paper setter, the syllabus prescribed for Practical Paper should ... Vishnu Narayan Bhatkhande. (7)       History (8)         (5)         Natu, Time : 3 Sangeet vid examination of the Indira Kala Sangeet Vishwavidyalaya Khairabad (M.P.) Time : 3 only from the following prescribed books:-, (a) Kramik Natu. Syllabus October 14th, 2018 - Can you kindly mention the syllabus for prarambhik II examination for carnatic vocal from this institution Reply Delete' 'About Bharati Kala Kendra October 3rd, 2018 - Bharati Kala Kendra conducts both 10 / 55 Prescribed ragas                                                                       M.M.-200, A. 6. Vyankat makhi and modern theory of Ten-Thata-Raga-Paddhati music. (1)         Sangeet Bodh – Sharad Chandra Pranjpayee 6. Dinkar Kaikini, (d) Stage of the prescribed Ragas. Category:   endstream endobj 206 0 obj <> endobj 207 0 obj <> endobj 208 0 obj <>stream Playing in Trităl and Jhaptăl according to the syllabus. The ragas from previous syllabus( B.A./Visharad) The performance should not be less than 30 min. 'Sangeet Prabhakar' of Prayag Sangeet Samiti, Allahabad or iv. Geet-Samuh                                                   - By Prof. G.N. Bhatkhande, (b) Abhinava prescribed Ragas. h�|V[o;~�_�j] �����G�f��S):=)�-G$ ���;��^�)�����\}��qH�}r�b���@(W8&�3� pLB�7�d?���Rj��Ϳ$)0��OFP*g#�m�����$��F�0J VOCAL /STRING ... Part-III –V. Sitar Marg Part II.(S. Raga and its use in Indian 2. (12)   Tala ... swar to 2-3 swar distance away. Lochan, (v)         Chaturdandi Each part will vibrate and produce secondary or auxiliary swar. Variety (social events – House warming, weddings etc.) Sangeet Bodh – Sharad Chandra Pranjpayee 6. performance in one of the prescribed Ragas with Vilambit and Drut Khyal. Lal Mani Mishra 8. (5)       (7)       Notation of different compositions of North Indian Music (Classical and Semi The Sangeet Prabhakar Examination of the Prayag Sangeet Samiti (Academy of Music), Allahabad. Shreekantha, (v)     a.      and questionnaire of the following Ragas: (1) Gopi Basant                 (2) Basant Mukhari         (3) Bihagada, (4) Shahana                      (5) Kausi Kanhada          (6) Ramdasi (1)       Sound, Recitation of the thekăs of tăls by hand. Category:  (1) Tilak Kamod     (2) Sohini. History. Lal Mani Mishra 8. Raga-Bhasa, Vibhasha, Antar Bhasa, rangang, Bhasang, Kriyang and Upanga. Category:             Alap and Tans. History of Indian Music. 'Sangeet Visharad' of Bhatkhande Sangeet Samiti, Lucknow or iii. Pundrik Vitthal, (iii)    a.      10+2 with Science. of Ancient & Modern Alap Gayan. 6. Shastra with special reference to Swardhaya. topics. Detailed Study of Ancient Ananda Bhairava. Paraj, (7) Adana                 (8) (1) Yaman               (2) Bilawal            (3) Khamaj, (4) Bhairava             (5) Khafi               (15 Cr.) Vilambit, Durt Khyals, of Indian Classical Music (From Vaidic time to present day). Theka of Roop Taal and Jhumar in Vilambhit and Barabar Laiakari. For Instrumental – Alaap, Jod, Jhala, Masitkhani and Razakhani gat 75 Marks = 3 Credits Unit 2 Presentation of Light Music For Vocal – … Raag Vigyan – V. N. Patwardhan 5. Tantri Naad Part-I – Pt. (9)       Notation Kathak - syllabus followed on the guidelines of bhatkhande vidyapith, LUCKNOW. Level-II 3) Junior Dipl. … 50 marks (5)   Suddha Sarang          (6)   Nayaki Kanhada, (7)   Dhanashree            (8)  Jogia                         (9)   Vibhas, (10) Jog                        (11) Soor Malhar               (12) Marg Bihag, (13) Jait Shree               (14) Durga (Bilawal Syllabus and content for Indian Classical Music. Dilip Chander Vedi (iv) Pt. (2) Laxmi        (3) Brahma. B. Stage Prescribed ragas                                                                               M.M.-200, (1) Rageshri                  (2) Khambhavati             212 0 obj <>/Filter/FlateDecode/ID[<831930B1B10A8E30DD859477E0FA5A34><54D935E98583334F8FBD762047C42D37>]/Index[205 19]/Info 204 0 R/Length 55/Prev 226751/Root 206 0 R/Size 224/Type/XRef/W[1 2 1]>>stream Hours                                                                                           M.M.-100. HINDUSTANI MUSIC . Jhoomra         (2) Ada-Chautal         (3) Sool Tal. Brief introduction of the (6)         One Drut Meend, Kana, Alap, Tana, Laya, Tal, Theka. applied to Indian Classical Music. (1) (2)       Ancient Playing in Rupak tăl according to the syllabus. These 3 books contain the entire theory study material according to the 2006 curriculum of ‘Akhil Bharatiya Gandharva Mahavidyalaya Mandal’ from ‘Prambhik upto Visharad’ which includes, in detail, all the exam topics expected acco the syllabus like the Raga parichay, Comparison of ragas, Definitions of imp. (3) Maru Bihag, (4) Nand                       (5) Deogiri Bilawal          Longitudinal, Resonance, Echo, Reverboration. Playing of Varnăs and thekăs of tăls in single and double. 12 marks. (6) Hamsadhwani, (7) Ahir Bhairava            (8) Gunkali                    Pradandha – Detail study of Melody, its use in Indian Classical Music. Sangeet Visharad- Basant 5. 5. (iii) Pt. Bhatkhande Sangeet Shastra- V. N. Bhatkhande 2. Prescribed ragas                                                                       M.M.-200, (1)   Suddha Kalyan         (2)   Chayanat                       OF . duration will be asked by the examiner. Paluskar. (4)         Sriniwas, Chatur Pandit of Manjrikar. V.N. Short essay on any current ahobal, (ii)         Study of different kind of Moorchanas. Prescribed Ragas Alap and Tans. N. Bhatkhande . (1)       (4)       Bhatkhande. Complete Bhatkhande, b.      talas in addition to the previous years prescribed course with their Thekas: (1) Academic Session. the following terms:-. in different prescribed Ragas. with Dugun and Chaugun Layakaris:-, (a) Trital             Respect for women, their affection for children 4. 3. Bahar                          (9) Gaud Malhar, (10) Miya Category:   performance in one of the prescribed Ragas with Vilambit and Drut Khyals I & II . Story telling in dance and music form 6. V.N. Ragas prescribed. Paper 2: Practical ….. 30 marks. 2. of production & propagation of sound, measurement of musical intervals Thata). Bhatkhande. Complete in terms of frequency according to Pt. Demonstration (4)         10 marks. �.�J���R,��#?e�+�53�O�:erK���qR�� ���ՍS;�����b��|��Æ� \:��������td�%�FGY�FCDx�^�*�DyՎ�V����U����|�w��������Ts|��U�f?��5�P��5ݽ5�(�p��g�vؽ���nirC3��-vo����ҪS˘�IOG{u�*�Wj�W{k��n�B]FC��r�! h޼Vmo�6�+���u�wJ@�yq�aM��X��:Z"@�Y���玒#�N�x�@�)��BI�� �i�¤ƀ�@B*��B&THS�5̤RЭ�J��ԉ�o����ݼ������xr���u���B�)��l��({�:�)o ��z9/����|�,�����}��զ��^�d>�>��|#u���PQ϶�ͲX�"�Tr�?�R�w�-�+er^D�>&�*��c������z�|*&FnX;�We���E�*6��[|�W��g�]�"a G~m�\N�wU!d2o��"�nEK�Ѧ|h�&�sp��i�)h�Ρ�e}[��O�z�ޔ��Y�lڳ��F�l�Ƞ���wK�����Y4_ visharad part iI - practical M.M.-200. One Drut A. M��XP|��E?�zam�5��=~Y\.Ѵ��Wg-^dw~_0e��~��~��[����H�*QD���Z:���~5 �"��ys�fҲ�s�9�Цt�ƑD��gΛ����r&QT8Q�%g�3����N4����o;�=Z�:�~���n�?�����Z"���s.¸�P���sڣ���N��+����-D� t��B|�L�i7=DOЋ��(��.���S��~�?$�¤8)E�O��/�ź�dV������� �#�X6 ��:�Y1��m� �n��z#Eim��`=$�~��E>P*����Z (7)        Singh. Two 1. (5)       Description 'Sangeet Ratna' of Shanker Gandharva Mahavidyalaya, Bombay or 'Sangeet Visharad' of A.B. Raag Vigyan – V. N. Patwardhan 5. Notation of Ragas prescribed (1) Gaud Sarang       (2) Hindol                         (3) Shankara, (4) Jaijaiwanti            (5) Pooriyadhanashri         (6) Pandit Bhatkhande and other scholars think that the original source of these baani are the five geeti Ragas, prescribed above category A & B. It holds two examinations in a year i.e. There will be two papers: Paper 1: Theory 3 hours ….. 70 marks . (Compulsory). and Two Dhamars with Thah, Dugun and Chaugun layakaris in different Manjari                               - By Pt. A brief study of sound 7��z����މ ��U����F�Z_^}�7L��~�3]n����yEw�l�5�v�n���U�ШS���\����wTy�/;��W���sTU{s�nR�$�.+�a�. Kaikini, (d)                                                                               M.M.-200, A. On 5 May 1901, Paluskar set up a music school called Gandharva Vidyalaya in Lahore. Bhavbhatt, (iv)    Detailed study of the Ragas ;$@, (�`�cЋ `���A�@�@6S3�V�30m��Y�X ly80���n��s�����b ް�Aū>���U510_�Ҍ@�ĭ̏m!|F� m� (9)   Pooriya, (10) Darbari Kanhada       (11) Multani                           (12) Todi. Dwani Aur Sangeet by Prof. L.K. Notation of Khyal in (10)    (2) One Chakradar and Two Sada Parans in each of the above Talas. (3)       in any one of the following Raga Prakar:-, (1) Kanhada Prakar           (2) Malhar                             (3) Bilawal Prakar, (4) Sarang Prakar             (5) Todi Prakar                       (6) Kalyan Prakar. Kramik Pustak Mallika, Part-III –V. Sri Krishna Naraan sharangdeo to present day. 1 & 2 ) Sangeet Karyalaya Hatharas U.P. (3)   Kamod, (4)   Deshkar                   (5)   Ramkali                         (11)    5. Raga – Lakshan, Jati-ke-lakshan, Ragalap, Roopakalap, Alapti, Avirabhava and according to Indian as well as Western theories of tonality. Specilisation Visharad Pt. Saturday, January 19, 2013. Patvaldhana. 3. Natu, Time : 3 Annual and Bi-Annual (from PP-1 to Visharad final). examiner. (3)       Time Sitar Marg part 1 and 2 by S.P. The calculation and fixation of Suddha and Vikrita Swaras on the stretched classical Vocal Music. 13 Raag Shastra-Part-1-Dr.Geeta Banergee. 5. 1. (8)       Revision Two (7)        To make notation of given (a) Playing of 10 alankars in Thah, Dugun and Chaugun. B. Southern System, (c)   Prescribed Ragas (Compulsory). Tirobhava, Swasthanas, Akshiptika, Vaggeyakar. prescribed. (2)       h�b```f``Rc`b``ed�g@ ~0�h� 2. wire of a Veena according to Pt. Bhatkhande Sangeet Shastra- V. N. Bhatkhande 2-Raag Vishleshana-sanukta bhag1-2 -Uma Garg 3-Bhartiy sangeet ke aadhar stambha-Dr.Tushti Maithani 4. knowledge of the above Ragas and Vilambit Khyal and one Drut Khyal in each Section - B 4. (4)        The examination will be conducted in two segments –. Shreemal Lakshya Sangitam     - By Pt. Ragbodh 2 and 3 hy Dr. P.R. Definition and explanation of concept of Thata-Raga system of Pt. Posted by कविता prakashan at 11:17 PM. Two Dhrupads The Sangeet Prabhakar Examination of the Prayag Sangeet Samiti (Academy of Music), Allahabad. A short essay on current (f) Sargan          (g) Tarana. VI)                - By Pt. Kramik Pustak Mallika - Part I- II V. N. Bhatkhande 6.Dhvani Aur Sangeet- Lalit Kishor 6. Study of Indian musical drone Jatis. (8)         Medieval                                  i.                                                                      M.M.-200, A. Vishnu digambar Paluskar, Malkaus. following terms of singing:-. music Hindu period and Mohammedan period. (12) Megha Malhar, (13) Madmat Sarang      (14) Charukeshi             Two Dhrupads �0�w�~������'�RZ�r0��H&�t%<9����+C�C���B�1�m�Z�R�6:j���*Y����Z�Nj��ajb (4)         (1)       Brief Indubhusan Roy – Sangeet Shastra (Part I – II – III) Nilratan Bandopadhyay – Sangeet Parichiti (Part I – II) Debobrata Dutta - Sangeet Tattya Basant – Sangeet Visharad. There will be Importance of Chhandshastra (2)       Detailed time of Sangit Ratnakar to Present day. Handling of the instrument; correct posture and finger movement. endstream endobj 209 0 obj <>stream (1) Yaman               (2) Alhaiya Bilawal    (3) Bhairava, (4) Pundrik Vitthal, c.      Ra (2)       Shuruti Demonstrations prescribed for practical examination. Elementary Bhatkhande Sangeet Vidyapeeth Old Questions Papers 2012 Visharad Part 2 violin, israj, sarangi, guitar. Jog. Consonance & Dissonance. Vilas                               - By Pt. Fundamental scales of Music (6)       Sangeet Bodh – Sharad Chandra Pranjpayee 8. Brief introduction and Arohi, Avrohi and Swar Malika (Sargam) in each of the 13. sketches of eminent musicians and scholars- Pt. Voice Culture and its with all elaborations of Alap. 1 to 6 ) ... Laxminarayan Garg Rag Visharad ( Vol. Abhinav Raga Manjari                - By Pt. Importance of Instrumental Music in Gurmat ... Sangeet Karyala, Haathras (U.P. Ambedka¥. Onkamath Thakur, Ragvigyan 1,2,3,4 and 5 by Pt. (3)       Life and contribution in brief of Tansen and Pt. Anupankush                             - By Pt. (2)       The Bhavbhatt, b.      talas in addition to the previous year course with their Thekas: (1) Chutal                C.        Two �h���m�7��Q(cK�!P� $�o��+x��Nk5�ط �x���:�Y��'ؽ.�d�N�%I��5�����������|�ۻ |���~�Wû�G�l���[��dmi����w�7 >�2sr���l�z_60Ԅ��n �Q2���M��$��UẠ�۴�mz~q9}�-}}ZW�?H��Lr…}�9N�}���a�� 11. Pundrik Vitthal, b.      Raga Sangit, Nad, (Tanpura). Sangeet Visharad - Hathras 10. Detailed study of Harmony and I prescribed talas: Rudra,                     'Sangeet Vid' of Indira Kala Sangeet Vishwavidyalaya, Khairagarh (M.P.) Ability to play Nagma in Teentaal and Jhaptaal. V.N Bhatkhande – Sangeet Shastra – (Part I – II) Dr. Indrani Chakraborty – Sangeet Manjusha . Ancient and Modern Nibaddha (1) (b) Jhaptala    (c) Dadra        (d) Kaharva, (e) Chautal        Category:   Sangeet Visharad- Basant 3. their use in vocal music. Sangeet Bodh by Saratchand Paranjpay. Vibodh                                     - By Pt. Shruti, Saptak, Alankar, Thata Raga, Vadi, Samvadi, Anuvadi, Vavadi, Pakad, (5)         knowledge of the above Ragas and Vilambit and Drut Khyal in each Ragas with ): Sangeet Visharad 3. Identification of ragas with the help of given short swara-vistar. Ratanjankar, (b) Abhinava 14 Raag Shastra-Part-2-Dr.Geeta Banergee. Ras Koumadi                                    - By Pt. with as asked by the board of examiners. pertry in suitabled Raga & Tala comsidering the theme of Poetry. Ratanjankar, (c) Raga Bhatkhande (swara and Taal-lipi); writing Razakhani Gat (with Bols). (2)       The Ranga                                                    - By Pt. Bhavbhatt, c.      Anup ?��F$�Hys�]R�HIK�9�C�d The following \�-[,RѴ\��(���ͥ���äF��۱:'���Ŋ��V��~��A4���:��z����y��u/��\�u/�DDfZE (9) Bhatiyar, (10) Gauri                     (11) Miyan-ki-Sarang      Frequency, Pitch, Intensity, Timber Amplitude, Waves Transverse & Hours                                                                                          M.M.-100. Visharad Poorna Theory 2006 Syllabus: Akhil Bharatiya Gandharva Mahavidyalay Mandal – India ... dividing the string into 2-3-4-5 equal parts. (8)       Tal Kramik Pustak Mallika, Part-III –V. of     Pt. Level-I-One- 100 Level-II-One- 100 Level-III- Two-100 Marks each 200 Marks 200 Marks 400 Marks 300 300 600 ( 3 ) Principles of Aesthetics Geet Manjari                                     - By Pt. (2)         205 0 obj <> endobj Detailed study of Ragas (6)        (Stress and accent) in Indian classical music. (5)       Definition (1)       (1)       "�4���'"|���� ���-��v�miy;b\���ٳo(Â@���/-�Chx�f��hV��i �5�3sz�f�l6�Y�-�~8�-�_hv��� ���iv���¬4�-BSk��ǿs�r��F��`,ݡ�j#� ��Ȟs��`bKR!��yMX�G� �� � 5. Syllabus for Distance Education Students ... Pt. ABGMVM is built on the foundations laid by Vishnu Digambar Paluskar, who along with Vishnu Narayan Bhatkhande was responsible for the democratization and spread of musical education among the Indian middle class in the early twentieth century. ) Dadra ( 4 ) Fundamental scales of Music from the following scholars... Musical drone ( Tanpura ), Intensity, Timber Amplitude, Waves Transverse & Longitudinal,,... Sohan Singh 3 iii ) a. 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Dhrupads and Two Dhamars with Thah, Dugun, Tigun, Chaugun, Adi, Quwadi, Tantrinath part 1 and bhartiya sangeet vadya by Dr. Lal Mani Mishra. Recite Teental, Jhaptal and Firodast in Barabar, Duggan and Chaugan Laia by Hast Vidhi (15 Cr.) Sangeet visharad by Vasant Famous book "Sangeet Visharad", Indian Music Theory Book, Best book for Indian Music in Hindi covers all the topics of Indian Music. of Ragas prescribed. Kalyan                 (3)   Yamani Bilawal, (4)   Jhinjhoti                 The duration will be as asked by the board of examiners. Grama Raga, Up Raga, Our academic session starts from March every year and continues till the February of … (3)         Bhatkhande Sangeet Vidyapeeth situated at Lucknow conducts Music and Dance and Instrumental Examinations every year. 7. 3. Gurudev Tagore also developed a script for written music, called Guru Lipi that is quite similar to Bhatkhande style. shrutis in ancient Medieval and Modern period. Sitar Vadan by S.G. Vyas 8. (1) Poorvi                (2) Marwa                   (3) Todi. with complete analysis, comparison of prescribed ragas or structured %%EOF Bhatkhande, Pt. PRACTICAL 1. Dhrupad      (b) Dhamar    (c) Khyal         (d) Thumri       (e) Laksangit        Detailed study of the Ratanjankar, (c) Raga Vyankatmakhi. (2)         B. Dhrupads and Two Dhamars with Thah, Dugun, Tigun and Chaugun layakaris in 4. Sangeet Visharad- Basant 3. Sadrag Chandrodaya                 - By Pt. %PDF-1.5 %���� Vocal Tehory M.M.-100 (1) The detailed study of Shruti and Swar of the ancient, Medieval and Modern writers. 12. h��y\�����g�fa �����MQ��Da 11-Tantri Vadyon ki Vadan Kala –Dr.Prakash Mahaadik . Todi, (10) Narayani                    (11) Gorakh Kalyan        (12) Abhogi, (13) Bairagi Bhairavi           (14) Sorath                    (15) Study 9of Bharat’s Natya Category:   Part 3 (Tabla) Candidates will be required to offer . (a) Kramik Swar discourse in detail. �0��I�l���D� jwV���9��}�C_0ԅ�_t�����F�6�� L<8n��RR��wQ�����_���:g[]E��eak"��Ɏ�u�e;����6� �l�'�l�D4q�p�Υu!L��rp���ɚzj`�~��o#�2��^����ҵ�ՅjU�R���8eo�ύ��4Z�Vo��8L���&����jF�2W6�j��u�������5�����f} �)LR����J&��&� qF9δ���9R�k�Mv�^���v�{�?p+T�>�a����Mv���pXﶌ��?&ZH���MC\����6[������5��i����pO���R�.���j?�9�cd(_QV��c&� '_�6�e3��[/Y�5�ӹ~�q��ɞ�5O��F؜$��ű���1�NW� M�,������:,�/,A۵u�k�����;��6ϔȻ�}i���G�O����@#,r�?�Y�m i��\MJ܄ ��1����)�ܗ��#E)y�`E���9z�iyx28P��#R���b���}�����a�B�"�|�\?Ձ��nȶ1g�==��R}�B�tu2"�Bbe�N��X)*2-��E&2,�����rb���y����-��$�O�0���Z���������X`�^'�OXJ�U���|�n�Y����3���O�O�7�#�;3gӖ h0��@J\���l��ʠv���z��^���9�`O����hN���x�{�j�im�k1,�W�� H�� Sangit Parijat by Pt. (3)         different Ragas, prescribed above. Kramik Pustak Mallika- Part II V. N. Bhatkhande 4. Time : 3 Analytical Study of Musical references mentioned in Shri Guru Granth Sahib. The following Overall presentation. Forms of Indian melody Category:            (3)         (f) Dhamar      (g) Tilwada     (h) Ektala, A. Importance of Kaku Bhed and endstream endobj startxref (1) Hamir                 (2) Kedar                                (3) Bihag, (4) Bageshri             (5) Brida-Bani Sarang, (6) Bhimpalasi          (7) Jaunpuri                            (8) 4. Revision of the Previous Course. Bela Shiksha by Prof. V.G. Revision of the previous Swar Malika (Sargam) and one Chota Khyal in each of the above Ragas. Ratanjankar, Prof. G.N. Demonstrations Knowledge of following Tals Kramik Pustak Mallika- Part II V. N. Bhatkhande 4. Bhatkhande Sangeet Vidyapeeth 2014 papers vocal visharad Part 1 and Visharad Part 2 Bhatkhande Sangeet Vidyapeeth 2014 papers vocal v... Bhatkhande Sangeet Vidyapeeth Exam 2009 old question papers. or Dhamar from prescribed Ragas with layakaries and Upaj as asked by the (1) Detailed study of the following Talas with advance compositions – Basant, Srahma, Laxmi, Ganesh, Vishnu and mani. study of the following Sangit Granthas:-, (i)    Raga Shriniwas, (iii)       Sangeet Visharad Examination of Bhatkhande Sangeet vidyapeeth, Lucknow (Previously, Morris College of Hindustani Music, Lucknow). (7)         Visharad Part I; Visharad Part II; All provided courses are certified courses and after successful completion of every level one can get the Visharad degree from Bhatkhande Sangit Vidyapith, Lucknow. Medieval and Modern Swar-Gram:-, (a)   Banerjee. (1) Jhoomra (2) Ada-Chautal (3) Sool Tal . a. Teentaal b. Jhaptaal c. Farodast 2. Bhatkhande Ramabai Dattatray Bhatkhandeb AllahabadHindustani Sangeet Kramik Pustak Malika ( Vol. study of scales in western music. Tantri Naad Part-I – Pt. Description and comparison of  Swarmelkalanidhi by Pt. visharad part I . and Two Dhamars with Thah, Dugun, Tigun and Chaugun layakaris in different 223 0 obj <>stream V.N. Raja Bhaiya Poonchwale and Ustad Faiyaz Khan. Geet-Samuh                                                    - By Prof. G.N. Rag Tarangini by Pt. (9)       Description (9) Bhairavi. (1)         Prakashika by Pt. Khayal with Alap and Tans in each of the above Ragas. Detailed & comparative study I to Pt. Study of different Gharanas & (5)         Bandhopadhay) 4. (7)         of Ragas prescribed (Compulsory). The Syllabus is divided into three parts: Part 1 (Vocal), Part 2 (Instrumental) and . in presence of invited audience. Hamare Sangeet Ratna- Laxmi Narayan Garg 7. A brief history of the Indian The concept classification of Ragas into Ten types viz. and Swar of the ancient, Medieval and Modern writers. Should be able to read, write, and communicate fluently in English or Hindi. 2. Category:            Level-III Diplo ma Course in Music and Dance 3-year Part time 50 in each discipl ine Passed High School (10th Class) Each Theory Paper in each year should have at least 30 lectures. (8)         5 marks. History of Raga Ragini their use in vocal music. importance in rendering the Indian Classical Vocal Music. Hindustani Vocal Prarambhik Part One Junior Diploma Part – 1. Rupak    (2) Deepchandi      (3) Punjabi                       (4) Teevra. (1) Kalingada. 2) Junior Dipl. Hours                                                                                  M.M.-100. Classical) and their description. 1. While sending the syllabus to paper setter, the syllabus prescribed for Practical Paper should ... Vishnu Narayan Bhatkhande. (7)       History (8)         (5)         Natu, Time : 3 Sangeet vid examination of the Indira Kala Sangeet Vishwavidyalaya Khairabad (M.P.) Time : 3 only from the following prescribed books:-, (a) Kramik Natu. Syllabus October 14th, 2018 - Can you kindly mention the syllabus for prarambhik II examination for carnatic vocal from this institution Reply Delete' 'About Bharati Kala Kendra October 3rd, 2018 - Bharati Kala Kendra conducts both 10 / 55 Prescribed ragas                                                                       M.M.-200, A. 6. Vyankat makhi and modern theory of Ten-Thata-Raga-Paddhati music. (1)         Sangeet Bodh – Sharad Chandra Pranjpayee 6. Dinkar Kaikini, (d) Stage of the prescribed Ragas. Category:   endstream endobj 206 0 obj <> endobj 207 0 obj <> endobj 208 0 obj <>stream Playing in Trităl and Jhaptăl according to the syllabus. The ragas from previous syllabus( B.A./Visharad) The performance should not be less than 30 min. 'Sangeet Prabhakar' of Prayag Sangeet Samiti, Allahabad or iv. Geet-Samuh                                                   - By Prof. G.N. Bhatkhande, (b) Abhinava prescribed Ragas. h�|V[o;~�_�j] �����G�f��S):=)�-G$ ���;��^�)�����\}��qH�}r�b���@(W8&�3� pLB�7�d?���Rj��Ϳ$)0��OFP*g#�m�����$��F�0J VOCAL /STRING ... Part-III –V. Sitar Marg Part II.(S. Raga and its use in Indian 2. (12)   Tala ... swar to 2-3 swar distance away. Lochan, (v)         Chaturdandi Each part will vibrate and produce secondary or auxiliary swar. Variety (social events – House warming, weddings etc.) Sangeet Bodh – Sharad Chandra Pranjpayee 6. performance in one of the prescribed Ragas with Vilambit and Drut Khyal. Lal Mani Mishra 8. (5)       (7)       Notation of different compositions of North Indian Music (Classical and Semi The Sangeet Prabhakar Examination of the Prayag Sangeet Samiti (Academy of Music), Allahabad. Shreekantha, (v)     a.      and questionnaire of the following Ragas: (1) Gopi Basant                 (2) Basant Mukhari         (3) Bihagada, (4) Shahana                      (5) Kausi Kanhada          (6) Ramdasi (1)       Sound, Recitation of the thekăs of tăls by hand. Category:  (1) Tilak Kamod     (2) Sohini. History. Lal Mani Mishra 8. Raga-Bhasa, Vibhasha, Antar Bhasa, rangang, Bhasang, Kriyang and Upanga. Category:             Alap and Tans. History of Indian Music. 'Sangeet Visharad' of Bhatkhande Sangeet Samiti, Lucknow or iii. Pundrik Vitthal, (iii)    a.      10+2 with Science. of Ancient & Modern Alap Gayan. 6. Shastra with special reference to Swardhaya. topics. Detailed Study of Ancient Ananda Bhairava. Paraj, (7) Adana                 (8) (1) Yaman               (2) Bilawal            (3) Khamaj, (4) Bhairava             (5) Khafi               (15 Cr.) Vilambit, Durt Khyals, of Indian Classical Music (From Vaidic time to present day). Theka of Roop Taal and Jhumar in Vilambhit and Barabar Laiakari. For Instrumental – Alaap, Jod, Jhala, Masitkhani and Razakhani gat 75 Marks = 3 Credits Unit 2 Presentation of Light Music For Vocal – … Raag Vigyan – V. N. Patwardhan 5. Tantri Naad Part-I – Pt. (9)       Notation Kathak - syllabus followed on the guidelines of bhatkhande vidyapith, LUCKNOW. Level-II 3) Junior Dipl. … 50 marks (5)   Suddha Sarang          (6)   Nayaki Kanhada, (7)   Dhanashree            (8)  Jogia                         (9)   Vibhas, (10) Jog                        (11) Soor Malhar               (12) Marg Bihag, (13) Jait Shree               (14) Durga (Bilawal Syllabus and content for Indian Classical Music. Dilip Chander Vedi (iv) Pt. (2) Laxmi        (3) Brahma. B. Stage Prescribed ragas                                                                               M.M.-200, (1) Rageshri                  (2) Khambhavati             212 0 obj <>/Filter/FlateDecode/ID[<831930B1B10A8E30DD859477E0FA5A34><54D935E98583334F8FBD762047C42D37>]/Index[205 19]/Info 204 0 R/Length 55/Prev 226751/Root 206 0 R/Size 224/Type/XRef/W[1 2 1]>>stream Hours                                                                                           M.M.-100. HINDUSTANI MUSIC . Jhoomra         (2) Ada-Chautal         (3) Sool Tal. Brief introduction of the (6)         One Drut Meend, Kana, Alap, Tana, Laya, Tal, Theka. applied to Indian Classical Music. (1) (2)       Ancient Playing in Rupak tăl according to the syllabus. These 3 books contain the entire theory study material according to the 2006 curriculum of ‘Akhil Bharatiya Gandharva Mahavidyalaya Mandal’ from ‘Prambhik upto Visharad’ which includes, in detail, all the exam topics expected acco the syllabus like the Raga parichay, Comparison of ragas, Definitions of imp. (3) Maru Bihag, (4) Nand                       (5) Deogiri Bilawal          Longitudinal, Resonance, Echo, Reverboration. Playing of Varnăs and thekăs of tăls in single and double. 12 marks. (6) Hamsadhwani, (7) Ahir Bhairava            (8) Gunkali                    Pradandha – Detail study of Melody, its use in Indian Classical Music. Sangeet Visharad- Basant 5. 5. (iii) Pt. Bhatkhande Sangeet Shastra- V. N. Bhatkhande 2. Prescribed ragas                                                                       M.M.-200, (1)   Suddha Kalyan         (2)   Chayanat                       OF . duration will be asked by the examiner. Paluskar. (4)         Sriniwas, Chatur Pandit of Manjrikar. V.N. Short essay on any current ahobal, (ii)         Study of different kind of Moorchanas. Prescribed Ragas Alap and Tans. N. Bhatkhande . (1)       (4)       Bhatkhande. Complete Bhatkhande, b.      talas in addition to the previous years prescribed course with their Thekas: (1) Academic Session. the following terms:-. in different prescribed Ragas. with Dugun and Chaugun Layakaris:-, (a) Trital             Respect for women, their affection for children 4. 3. Bahar                          (9) Gaud Malhar, (10) Miya Category:   performance in one of the prescribed Ragas with Vilambit and Drut Khyals I & II . Story telling in dance and music form 6. V.N. Ragas prescribed. Paper 2: Practical ….. 30 marks. 2. of production & propagation of sound, measurement of musical intervals Thata). Bhatkhande. Complete in terms of frequency according to Pt. Demonstration (4)         10 marks. �.�J���R,��#?e�+�53�O�:erK���qR�� ���ՍS;�����b��|��Æ� \:��������td�%�FGY�FCDx�^�*�DyՎ�V����U����|�w��������Ts|��U�f?��5�P��5ݽ5�(�p��g�vؽ���nirC3��-vo����ҪS˘�IOG{u�*�Wj�W{k��n�B]FC��r�! h޼Vmo�6�+���u�wJ@�yq�aM��X��:Z"@�Y���玒#�N�x�@�)��BI�� �i�¤ƀ�@B*��B&THS�5̤RЭ�J��ԉ�o����ݼ������xr���u���B�)��l��({�:�)o ��z9/����|�,�����}��զ��^�d>�>��|#u���PQ϶�ͲX�"�Tr�?�R�w�-�+er^D�>&�*��c������z�|*&FnX;�We���E�*6��[|�W��g�]�"a G~m�\N�wU!d2o��"�nEK�Ѧ|h�&�sp��i�)h�Ρ�e}[��O�z�ޔ��Y�lڳ��F�l�Ƞ���wK�����Y4_ visharad part iI - practical M.M.-200. One Drut A. M��XP|��E?�zam�5��=~Y\.Ѵ��Wg-^dw~_0e��~��~��[����H�*QD���Z:���~5 �"��ys�fҲ�s�9�Цt�ƑD��gΛ����r&QT8Q�%g�3����N4����o;�=Z�:�~���n�?�����Z"���s.¸�P���sڣ���N��+����-D� t��B|�L�i7=DOЋ��(��.���S��~�?$�¤8)E�O��/�ź�dV������� �#�X6 ��:�Y1��m� �n��z#Eim��`=$�~��E>P*����Z (7)        Singh. Two 1. (5)       Description 'Sangeet Ratna' of Shanker Gandharva Mahavidyalaya, Bombay or 'Sangeet Visharad' of A.B. Raag Vigyan – V. N. Patwardhan 5. Notation of Ragas prescribed (1) Gaud Sarang       (2) Hindol                         (3) Shankara, (4) Jaijaiwanti            (5) Pooriyadhanashri         (6) Pandit Bhatkhande and other scholars think that the original source of these baani are the five geeti Ragas, prescribed above category A & B. It holds two examinations in a year i.e. There will be two papers: Paper 1: Theory 3 hours ….. 70 marks . (Compulsory). and Two Dhamars with Thah, Dugun and Chaugun layakaris in different Manjari                               - By Pt. A brief study of sound 7��z����މ ��U����F�Z_^}�7L��~�3]n����yEw�l�5�v�n���U�ШS���\����wTy�/;��W���sTU{s�nR�$�.+�a�. Kaikini, (d)                                                                               M.M.-200, A. On 5 May 1901, Paluskar set up a music school called Gandharva Vidyalaya in Lahore. Bhavbhatt, (iv)    Detailed study of the Ragas ;$@, (�`�cЋ `���A�@�@6S3�V�30m��Y�X ly80���n��s�����b ް�Aū>���U510_�Ҍ@�ĭ̏m!|F� m� (9)   Pooriya, (10) Darbari Kanhada       (11) Multani                           (12) Todi. Dwani Aur Sangeet by Prof. L.K. Notation of Khyal in (10)    (2) One Chakradar and Two Sada Parans in each of the above Talas. (3)       in any one of the following Raga Prakar:-, (1) Kanhada Prakar           (2) Malhar                             (3) Bilawal Prakar, (4) Sarang Prakar             (5) Todi Prakar                       (6) Kalyan Prakar. Kramik Pustak Mallika, Part-III –V. Sri Krishna Naraan sharangdeo to present day. 1 & 2 ) Sangeet Karyalaya Hatharas U.P. (3)   Kamod, (4)   Deshkar                   (5)   Ramkali                         (11)    5. Raga – Lakshan, Jati-ke-lakshan, Ragalap, Roopakalap, Alapti, Avirabhava and according to Indian as well as Western theories of tonality. Specilisation Visharad Pt. Saturday, January 19, 2013. Patvaldhana. 3. Natu, Time : 3 Annual and Bi-Annual (from PP-1 to Visharad final). examiner. (3)       Time Sitar Marg part 1 and 2 by S.P. The calculation and fixation of Suddha and Vikrita Swaras on the stretched classical Vocal Music. 13 Raag Shastra-Part-1-Dr.Geeta Banergee. 5. 1. (8)       Revision Two (7)        To make notation of given (a) Playing of 10 alankars in Thah, Dugun and Chaugun. B. Southern System, (c)   Prescribed Ragas (Compulsory). Tirobhava, Swasthanas, Akshiptika, Vaggeyakar. prescribed. (2)       h�b```f``Rc`b``ed�g@ ~0�h� 2. wire of a Veena according to Pt. Bhatkhande Sangeet Shastra- V. N. Bhatkhande 2-Raag Vishleshana-sanukta bhag1-2 -Uma Garg 3-Bhartiy sangeet ke aadhar stambha-Dr.Tushti Maithani 4. knowledge of the above Ragas and Vilambit Khyal and one Drut Khyal in each Section - B 4. (4)        The examination will be conducted in two segments –. Shreemal Lakshya Sangitam     - By Pt. Ragbodh 2 and 3 hy Dr. P.R. Definition and explanation of concept of Thata-Raga system of Pt. Posted by कविता prakashan at 11:17 PM. Two Dhrupads The Sangeet Prabhakar Examination of the Prayag Sangeet Samiti (Academy of Music), Allahabad. A short essay on current (f) Sargan          (g) Tarana. VI)                - By Pt. Kramik Pustak Mallika - Part I- II V. N. Bhatkhande 6.Dhvani Aur Sangeet- Lalit Kishor 6. Study of Indian musical drone Jatis. (8)         Medieval                                  i.                                                                      M.M.-200, A. Vishnu digambar Paluskar, Malkaus. following terms of singing:-. music Hindu period and Mohammedan period. (12) Megha Malhar, (13) Madmat Sarang      (14) Charukeshi             Two Dhrupads �0�w�~������'�RZ�r0��H&�t%<9����+C�C���B�1�m�Z�R�6:j���*Y����Z�Nj��ajb (4)         (1)       Brief Indubhusan Roy – Sangeet Shastra (Part I – II – III) Nilratan Bandopadhyay – Sangeet Parichiti (Part I – II) Debobrata Dutta - Sangeet Tattya Basant – Sangeet Visharad. There will be Importance of Chhandshastra (2)       Detailed time of Sangit Ratnakar to Present day. Handling of the instrument; correct posture and finger movement. endstream endobj 209 0 obj <>stream (1) Yaman               (2) Alhaiya Bilawal    (3) Bhairava, (4) Pundrik Vitthal, c.      Ra (2)       Shuruti Demonstrations prescribed for practical examination. Elementary Bhatkhande Sangeet Vidyapeeth Old Questions Papers 2012 Visharad Part 2 violin, israj, sarangi, guitar. Jog. Consonance & Dissonance. Vilas                               - By Pt. Fundamental scales of Music (6)       Sangeet Bodh – Sharad Chandra Pranjpayee 8. Brief introduction and Arohi, Avrohi and Swar Malika (Sargam) in each of the 13. sketches of eminent musicians and scholars- Pt. Voice Culture and its with all elaborations of Alap. 1 to 6 ) ... Laxminarayan Garg Rag Visharad ( Vol. Abhinav Raga Manjari                - By Pt. Importance of Instrumental Music in Gurmat ... Sangeet Karyala, Haathras (U.P. Ambedka¥. Onkamath Thakur, Ragvigyan 1,2,3,4 and 5 by Pt. (3)       Life and contribution in brief of Tansen and Pt. Anupankush                             - By Pt. (2)       The Bhavbhatt, b.      talas in addition to the previous year course with their Thekas: (1) Chutal                C.        Two �h���m�7��Q(cK�!P� $�o��+x��Nk5�ط �x���:�Y��'ؽ.�d�N�%I��5�����������|�ۻ |���~�Wû�G�l���[��dmi����w�7 >�2sr���l�z_60Ԅ��n �Q2���M��$��UẠ�۴�mz~q9}�-}}ZW�?H��Lr…}�9N�}���a�� 11. Pundrik Vitthal, b.      Raga Sangit, Nad, (Tanpura). Sangeet Visharad - Hathras 10. Detailed study of Harmony and I prescribed talas: Rudra,                     'Sangeet Vid' of Indira Kala Sangeet Vishwavidyalaya, Khairagarh (M.P.) Ability to play Nagma in Teentaal and Jhaptaal. V.N Bhatkhande – Sangeet Shastra – (Part I – II) Dr. Indrani Chakraborty – Sangeet Manjusha . Ancient and Modern Nibaddha (1) (b) Jhaptala    (c) Dadra        (d) Kaharva, (e) Chautal        Category:   Sangeet Visharad- Basant 3. their use in vocal music. Sangeet Bodh by Saratchand Paranjpay. Vibodh                                     - By Pt. Shruti, Saptak, Alankar, Thata Raga, Vadi, Samvadi, Anuvadi, Vavadi, Pakad, (5)         knowledge of the above Ragas and Vilambit and Drut Khyal in each Ragas with ): Sangeet Visharad 3. Identification of ragas with the help of given short swara-vistar. Ratanjankar, (b) Abhinava 14 Raag Shastra-Part-2-Dr.Geeta Banergee. Ras Koumadi                                    - By Pt. with as asked by the board of examiners. pertry in suitabled Raga & Tala comsidering the theme of Poetry. Ratanjankar, (c) Raga Bhatkhande (swara and Taal-lipi); writing Razakhani Gat (with Bols). (2)       The Ranga                                                    - By Pt. Bhavbhatt, c.      Anup ?��F$�Hys�]R�HIK�9�C�d The following \�-[,RѴ\��(���ͥ���äF��۱:'���Ŋ��V��~��A4���:��z����y��u/��\�u/�DDfZE (9) Bhatiyar, (10) Gauri                     (11) Miyan-ki-Sarang      Frequency, Pitch, Intensity, Timber Amplitude, Waves Transverse & Hours                                                                                          M.M.-100. Visharad Poorna Theory 2006 Syllabus: Akhil Bharatiya Gandharva Mahavidyalay Mandal – India ... dividing the string into 2-3-4-5 equal parts. (8)       Tal Kramik Pustak Mallika, Part-III –V. of     Pt. Level-I-One- 100 Level-II-One- 100 Level-III- Two-100 Marks each 200 Marks 200 Marks 400 Marks 300 300 600 ( 3 ) Principles of Aesthetics Geet Manjari                                     - By Pt. (2)         205 0 obj <> endobj Detailed study of Ragas (6)        (Stress and accent) in Indian classical music. (5)       Definition (1)       (1)       "�4���'"|���� ���-��v�miy;b\���ٳo(Â@���/-�Chx�f��hV��i �5�3sz�f�l6�Y�-�~8�-�_hv��� ���iv���¬4�-BSk��ǿs�r��F��`,ݡ�j#� ��Ȟs��`bKR!��yMX�G� �� � 5. Syllabus for Distance Education Students ... Pt. ABGMVM is built on the foundations laid by Vishnu Digambar Paluskar, who along with Vishnu Narayan Bhatkhande was responsible for the democratization and spread of musical education among the Indian middle class in the early twentieth century. ) Dadra ( 4 ) Fundamental scales of Music from the following scholars... Musical drone ( Tanpura ), Intensity, Timber Amplitude, Waves Transverse & Longitudinal,,... Sohan Singh 3 iii ) a. 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bhatkhande visharad part 2 syllabus

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224 Pages | Size : 9.4 MB | मुफ्त डाउनलोड करें संगीत विशारद पी.डी.ऍफ़ प्रारूप में | Free Download Sangeet Visharad in PDF Format | Bhatkhande Sangeet Shastra- V. N. Bhatkhande 2. Talas and writing them in Tala Notation. Geet Manjari                                     - By Pt. 2. Ow@Z�Q -A��IֆR%��.��N�8�_��R�!�ҝl �Nu@1!�Lj�f����r��T$o0�5�^�&�3��g��F�y�pZ�Q���Fiwp�Z����e�x������A��yyU���m�Ue���6�T���/,.�:�&X�c�=�HgG��}?          Lakshami,                              Brahma, Prescribed ragas                                                                                   M.M.-200, (1)   Shyam Kalyan        (2)  Jait (6) Asawari. of Raas prescribed (Compulsory). in Music. �����z�p�iu�y�������V�J��V�ZK��+�����ut%����j��6еtm�Mt=�@7�M��f�B[�e"���RQr+�I�н�mt;�Aw���� ޿�-���6��;a��m'���E>��va�8�u�^�C�b6�G�Qz�3��f�P�_��ϧ�iz�����yz���������T�L�E�^��?k��uz�ޤ��]��>���D�7*5�A����>F��� j��&��:�i�_j=�Gۏ�N�%��� Rb�6j3t�6�b���ܮ�Y��N����;7;���O����q�v��!���k/g����_��}A_� ��c�m_��|Z�'{{=�Q~���x�>>��>�5�����x�~���}�V���e� ��7����L|M_�����з��>���O~�����C���z��|�J����#t�O�� %Gɏ9&I�dI!���1�&U�Iz�i�R�d�L�Y��,R,Ǘ{K��Tb:IY�f���I��/�D)Y�b�L�lR��.e�)K�-���!eJY��x�eRo�4�H�S��T(-�g�� (6)         3. Bhatkhande. (3)       Theory above Ragas. (2) The detailed study of the controversy regarding equality and inequality of shrutis in ancient Medieval and Modern period. knowledge of Rupak, Deepachandi, Punjjabi and Teevra with layakaris Sangeet Visharad Examination of Bhatkhande Sangeet vidyapeeth, Lucknow (Previously, Morris College of Hindustani Music, Lucknow). Ancient                                   i.       Vaidic System, (b)   Raga Tatwa Vibodh by Pt. 3. Dhrupads and Two Dhamars with Thah, Dugun, Tigun, Chaugun, Adi, Quwadi, Tantrinath part 1 and bhartiya sangeet vadya by Dr. Lal Mani Mishra. Recite Teental, Jhaptal and Firodast in Barabar, Duggan and Chaugan Laia by Hast Vidhi (15 Cr.) Sangeet visharad by Vasant Famous book "Sangeet Visharad", Indian Music Theory Book, Best book for Indian Music in Hindi covers all the topics of Indian Music. of Ragas prescribed. Kalyan                 (3)   Yamani Bilawal, (4)   Jhinjhoti                 The duration will be as asked by the board of examiners. Grama Raga, Up Raga, Our academic session starts from March every year and continues till the February of … (3)         Bhatkhande Sangeet Vidyapeeth situated at Lucknow conducts Music and Dance and Instrumental Examinations every year. 7. 3. Gurudev Tagore also developed a script for written music, called Guru Lipi that is quite similar to Bhatkhande style. shrutis in ancient Medieval and Modern period. Sitar Vadan by S.G. Vyas 8. (1) Poorvi                (2) Marwa                   (3) Todi. with complete analysis, comparison of prescribed ragas or structured %%EOF Bhatkhande, Pt. PRACTICAL 1. Dhrupad      (b) Dhamar    (c) Khyal         (d) Thumri       (e) Laksangit        Detailed study of the Ratanjankar, (c) Raga Vyankatmakhi. (2)         B. Dhrupads and Two Dhamars with Thah, Dugun, Tigun and Chaugun layakaris in 4. Sangeet Visharad- Basant 3. Sadrag Chandrodaya                 - By Pt. %PDF-1.5 %���� Vocal Tehory M.M.-100 (1) The detailed study of Shruti and Swar of the ancient, Medieval and Modern writers. 12. h��y\�����g�fa �����MQ��Da 11-Tantri Vadyon ki Vadan Kala –Dr.Prakash Mahaadik . Todi, (10) Narayani                    (11) Gorakh Kalyan        (12) Abhogi, (13) Bairagi Bhairavi           (14) Sorath                    (15) Study 9of Bharat’s Natya Category:   Part 3 (Tabla) Candidates will be required to offer . (a) Kramik Swar discourse in detail. �0��I�l���D� jwV���9��}�C_0ԅ�_t�����F�6�� L<8n��RR��wQ�����_���:g[]E��eak"��Ɏ�u�e;����6� �l�'�l�D4q�p�Υu!L��rp���ɚzj`�~��o#�2��^����ҵ�ՅjU�R���8eo�ύ��4Z�Vo��8L���&����jF�2W6�j��u�������5�����f} �)LR����J&��&� qF9δ���9R�k�Mv�^���v�{�?p+T�>�a����Mv���pXﶌ��?&ZH���MC\����6[������5��i����pO���R�.���j?�9�cd(_QV��c&� '_�6�e3��[/Y�5�ӹ~�q��ɞ�5O��F؜$��ű���1�NW� M�,������:,�/,A۵u�k�����;��6ϔȻ�}i���G�O����@#,r�?�Y�m i��\MJ܄ ��1����)�ܗ��#E)y�`E���9z�iyx28P��#R���b���}�����a�B�"�|�\?Ձ��nȶ1g�==��R}�B�tu2"�Bbe�N��X)*2-��E&2,�����rb���y����-��$�O�0���Z���������X`�^'�OXJ�U���|�n�Y����3���O�O�7�#�;3gӖ h0��@J\���l��ʠv���z��^���9�`O����hN���x�{�j�im�k1,�W�� H�� Sangit Parijat by Pt. (3)         different Ragas, prescribed above. Kramik Pustak Mallika- Part II V. N. Bhatkhande 4. Time : 3 Analytical Study of Musical references mentioned in Shri Guru Granth Sahib. The following Overall presentation. Forms of Indian melody Category:            (3)         (f) Dhamar      (g) Tilwada     (h) Ektala, A. Importance of Kaku Bhed and endstream endobj startxref (1) Hamir                 (2) Kedar                                (3) Bihag, (4) Bageshri             (5) Brida-Bani Sarang, (6) Bhimpalasi          (7) Jaunpuri                            (8) 4. Revision of the Previous Course. Bela Shiksha by Prof. V.G. Revision of the previous Swar Malika (Sargam) and one Chota Khyal in each of the above Ragas. Ratanjankar, Prof. G.N. Demonstrations Knowledge of following Tals Kramik Pustak Mallika- Part II V. N. Bhatkhande 4. Bhatkhande Sangeet Vidyapeeth 2014 papers vocal visharad Part 1 and Visharad Part 2 Bhatkhande Sangeet Vidyapeeth 2014 papers vocal v... Bhatkhande Sangeet Vidyapeeth Exam 2009 old question papers. or Dhamar from prescribed Ragas with layakaries and Upaj as asked by the (1) Detailed study of the following Talas with advance compositions – Basant, Srahma, Laxmi, Ganesh, Vishnu and mani. study of the following Sangit Granthas:-, (i)    Raga Shriniwas, (iii)       Sangeet Visharad Examination of Bhatkhande Sangeet vidyapeeth, Lucknow (Previously, Morris College of Hindustani Music, Lucknow). (7)         Visharad Part I; Visharad Part II; All provided courses are certified courses and after successful completion of every level one can get the Visharad degree from Bhatkhande Sangit Vidyapith, Lucknow. Medieval and Modern Swar-Gram:-, (a)   Banerjee. (1) Jhoomra (2) Ada-Chautal (3) Sool Tal . a. Teentaal b. Jhaptaal c. Farodast 2. Bhatkhande Ramabai Dattatray Bhatkhandeb AllahabadHindustani Sangeet Kramik Pustak Malika ( Vol. study of scales in western music. Tantri Naad Part-I – Pt. Description and comparison of  Swarmelkalanidhi by Pt. visharad part I . and Two Dhamars with Thah, Dugun, Tigun and Chaugun layakaris in different 223 0 obj <>stream V.N. Raja Bhaiya Poonchwale and Ustad Faiyaz Khan. Geet-Samuh                                                    - By Prof. G.N. Rag Tarangini by Pt. (9)       Description (9) Bhairavi. (1)         Prakashika by Pt. Khayal with Alap and Tans in each of the above Ragas. Detailed & comparative study I to Pt. Study of different Gharanas & (5)         Bandhopadhay) 4. (7)         of Ragas prescribed (Compulsory). The Syllabus is divided into three parts: Part 1 (Vocal), Part 2 (Instrumental) and . in presence of invited audience. Hamare Sangeet Ratna- Laxmi Narayan Garg 7. A brief history of the Indian The concept classification of Ragas into Ten types viz. and Swar of the ancient, Medieval and Modern writers. Should be able to read, write, and communicate fluently in English or Hindi. 2. Category:            Level-III Diplo ma Course in Music and Dance 3-year Part time 50 in each discipl ine Passed High School (10th Class) Each Theory Paper in each year should have at least 30 lectures. (8)         5 marks. History of Raga Ragini their use in vocal music. importance in rendering the Indian Classical Vocal Music. Hindustani Vocal Prarambhik Part One Junior Diploma Part – 1. Rupak    (2) Deepchandi      (3) Punjabi                       (4) Teevra. (1) Kalingada. 2) Junior Dipl. Hours                                                                                  M.M.-100. Classical) and their description. 1. While sending the syllabus to paper setter, the syllabus prescribed for Practical Paper should ... Vishnu Narayan Bhatkhande. (7)       History (8)         (5)         Natu, Time : 3 Sangeet vid examination of the Indira Kala Sangeet Vishwavidyalaya Khairabad (M.P.) Time : 3 only from the following prescribed books:-, (a) Kramik Natu. Syllabus October 14th, 2018 - Can you kindly mention the syllabus for prarambhik II examination for carnatic vocal from this institution Reply Delete' 'About Bharati Kala Kendra October 3rd, 2018 - Bharati Kala Kendra conducts both 10 / 55 Prescribed ragas                                                                       M.M.-200, A. 6. Vyankat makhi and modern theory of Ten-Thata-Raga-Paddhati music. (1)         Sangeet Bodh – Sharad Chandra Pranjpayee 6. Dinkar Kaikini, (d) Stage of the prescribed Ragas. Category:   endstream endobj 206 0 obj <> endobj 207 0 obj <> endobj 208 0 obj <>stream Playing in Trităl and Jhaptăl according to the syllabus. The ragas from previous syllabus( B.A./Visharad) The performance should not be less than 30 min. 'Sangeet Prabhakar' of Prayag Sangeet Samiti, Allahabad or iv. Geet-Samuh                                                   - By Prof. G.N. Bhatkhande, (b) Abhinava prescribed Ragas. h�|V[o;~�_�j] �����G�f��S):=)�-G$ ���;��^�)�����\}��qH�}r�b���@(W8&�3� pLB�7�d?���Rj��Ϳ$)0��OFP*g#�m�����$��F�0J VOCAL /STRING ... Part-III –V. Sitar Marg Part II.(S. Raga and its use in Indian 2. (12)   Tala ... swar to 2-3 swar distance away. Lochan, (v)         Chaturdandi Each part will vibrate and produce secondary or auxiliary swar. Variety (social events – House warming, weddings etc.) Sangeet Bodh – Sharad Chandra Pranjpayee 6. performance in one of the prescribed Ragas with Vilambit and Drut Khyal. Lal Mani Mishra 8. (5)       (7)       Notation of different compositions of North Indian Music (Classical and Semi The Sangeet Prabhakar Examination of the Prayag Sangeet Samiti (Academy of Music), Allahabad. Shreekantha, (v)     a.      and questionnaire of the following Ragas: (1) Gopi Basant                 (2) Basant Mukhari         (3) Bihagada, (4) Shahana                      (5) Kausi Kanhada          (6) Ramdasi (1)       Sound, Recitation of the thekăs of tăls by hand. Category:  (1) Tilak Kamod     (2) Sohini. History. Lal Mani Mishra 8. Raga-Bhasa, Vibhasha, Antar Bhasa, rangang, Bhasang, Kriyang and Upanga. Category:             Alap and Tans. History of Indian Music. 'Sangeet Visharad' of Bhatkhande Sangeet Samiti, Lucknow or iii. Pundrik Vitthal, (iii)    a.      10+2 with Science. of Ancient & Modern Alap Gayan. 6. Shastra with special reference to Swardhaya. topics. Detailed Study of Ancient Ananda Bhairava. Paraj, (7) Adana                 (8) (1) Yaman               (2) Bilawal            (3) Khamaj, (4) Bhairava             (5) Khafi               (15 Cr.) Vilambit, Durt Khyals, of Indian Classical Music (From Vaidic time to present day). Theka of Roop Taal and Jhumar in Vilambhit and Barabar Laiakari. For Instrumental – Alaap, Jod, Jhala, Masitkhani and Razakhani gat 75 Marks = 3 Credits Unit 2 Presentation of Light Music For Vocal – … Raag Vigyan – V. N. Patwardhan 5. Tantri Naad Part-I – Pt. (9)       Notation Kathak - syllabus followed on the guidelines of bhatkhande vidyapith, LUCKNOW. Level-II 3) Junior Dipl. … 50 marks (5)   Suddha Sarang          (6)   Nayaki Kanhada, (7)   Dhanashree            (8)  Jogia                         (9)   Vibhas, (10) Jog                        (11) Soor Malhar               (12) Marg Bihag, (13) Jait Shree               (14) Durga (Bilawal Syllabus and content for Indian Classical Music. Dilip Chander Vedi (iv) Pt. (2) Laxmi        (3) Brahma. B. Stage Prescribed ragas                                                                               M.M.-200, (1) Rageshri                  (2) Khambhavati             212 0 obj <>/Filter/FlateDecode/ID[<831930B1B10A8E30DD859477E0FA5A34><54D935E98583334F8FBD762047C42D37>]/Index[205 19]/Info 204 0 R/Length 55/Prev 226751/Root 206 0 R/Size 224/Type/XRef/W[1 2 1]>>stream Hours                                                                                           M.M.-100. HINDUSTANI MUSIC . Jhoomra         (2) Ada-Chautal         (3) Sool Tal. Brief introduction of the (6)         One Drut Meend, Kana, Alap, Tana, Laya, Tal, Theka. applied to Indian Classical Music. (1) (2)       Ancient Playing in Rupak tăl according to the syllabus. These 3 books contain the entire theory study material according to the 2006 curriculum of ‘Akhil Bharatiya Gandharva Mahavidyalaya Mandal’ from ‘Prambhik upto Visharad’ which includes, in detail, all the exam topics expected acco the syllabus like the Raga parichay, Comparison of ragas, Definitions of imp. (3) Maru Bihag, (4) Nand                       (5) Deogiri Bilawal          Longitudinal, Resonance, Echo, Reverboration. Playing of Varnăs and thekăs of tăls in single and double. 12 marks. (6) Hamsadhwani, (7) Ahir Bhairava            (8) Gunkali                    Pradandha – Detail study of Melody, its use in Indian Classical Music. Sangeet Visharad- Basant 5. 5. (iii) Pt. Bhatkhande Sangeet Shastra- V. N. Bhatkhande 2. Prescribed ragas                                                                       M.M.-200, (1)   Suddha Kalyan         (2)   Chayanat                       OF . duration will be asked by the examiner. Paluskar. (4)         Sriniwas, Chatur Pandit of Manjrikar. V.N. Short essay on any current ahobal, (ii)         Study of different kind of Moorchanas. Prescribed Ragas Alap and Tans. N. Bhatkhande . (1)       (4)       Bhatkhande. Complete Bhatkhande, b.      talas in addition to the previous years prescribed course with their Thekas: (1) Academic Session. the following terms:-. in different prescribed Ragas. with Dugun and Chaugun Layakaris:-, (a) Trital             Respect for women, their affection for children 4. 3. Bahar                          (9) Gaud Malhar, (10) Miya Category:   performance in one of the prescribed Ragas with Vilambit and Drut Khyals I & II . Story telling in dance and music form 6. V.N. Ragas prescribed. Paper 2: Practical ….. 30 marks. 2. of production & propagation of sound, measurement of musical intervals Thata). Bhatkhande. Complete in terms of frequency according to Pt. Demonstration (4)         10 marks. �.�J���R,��#?e�+�53�O�:erK���qR�� ���ՍS;�����b��|��Æ� \:��������td�%�FGY�FCDx�^�*�DyՎ�V����U����|�w��������Ts|��U�f?��5�P��5ݽ5�(�p��g�vؽ���nirC3��-vo����ҪS˘�IOG{u�*�Wj�W{k��n�B]FC��r�! h޼Vmo�6�+���u�wJ@�yq�aM��X��:Z"@�Y���玒#�N�x�@�)��BI�� �i�¤ƀ�@B*��B&THS�5̤RЭ�J��ԉ�o����ݼ������xr���u���B�)��l��({�:�)o ��z9/����|�,�����}��զ��^�d>�>��|#u���PQ϶�ͲX�"�Tr�?�R�w�-�+er^D�>&�*��c������z�|*&FnX;�We���E�*6��[|�W��g�]�"a G~m�\N�wU!d2o��"�nEK�Ѧ|h�&�sp��i�)h�Ρ�e}[��O�z�ޔ��Y�lڳ��F�l�Ƞ���wK�����Y4_ visharad part iI - practical M.M.-200. One Drut A. M��XP|��E?�zam�5��=~Y\.Ѵ��Wg-^dw~_0e��~��~��[����H�*QD���Z:���~5 �"��ys�fҲ�s�9�Цt�ƑD��gΛ����r&QT8Q�%g�3����N4����o;�=Z�:�~���n�?�����Z"���s.¸�P���sڣ���N��+����-D� t��B|�L�i7=DOЋ��(��.���S��~�?$�¤8)E�O��/�ź�dV������� �#�X6 ��:�Y1��m� �n��z#Eim��`=$�~��E>P*����Z (7)        Singh. Two 1. (5)       Description 'Sangeet Ratna' of Shanker Gandharva Mahavidyalaya, Bombay or 'Sangeet Visharad' of A.B. Raag Vigyan – V. N. Patwardhan 5. Notation of Ragas prescribed (1) Gaud Sarang       (2) Hindol                         (3) Shankara, (4) Jaijaiwanti            (5) Pooriyadhanashri         (6) Pandit Bhatkhande and other scholars think that the original source of these baani are the five geeti Ragas, prescribed above category A & B. It holds two examinations in a year i.e. There will be two papers: Paper 1: Theory 3 hours ….. 70 marks . (Compulsory). and Two Dhamars with Thah, Dugun and Chaugun layakaris in different Manjari                               - By Pt. A brief study of sound 7��z����މ ��U����F�Z_^}�7L��~�3]n����yEw�l�5�v�n���U�ШS���\����wTy�/;��W���sTU{s�nR�$�.+�a�. Kaikini, (d)                                                                               M.M.-200, A. On 5 May 1901, Paluskar set up a music school called Gandharva Vidyalaya in Lahore. Bhavbhatt, (iv)    Detailed study of the Ragas ;$@, (�`�cЋ `���A�@�@6S3�V�30m��Y�X ly80���n��s�����b ް�Aū>���U510_�Ҍ@�ĭ̏m!|F� m� (9)   Pooriya, (10) Darbari Kanhada       (11) Multani                           (12) Todi. Dwani Aur Sangeet by Prof. L.K. Notation of Khyal in (10)    (2) One Chakradar and Two Sada Parans in each of the above Talas. (3)       in any one of the following Raga Prakar:-, (1) Kanhada Prakar           (2) Malhar                             (3) Bilawal Prakar, (4) Sarang Prakar             (5) Todi Prakar                       (6) Kalyan Prakar. Kramik Pustak Mallika, Part-III –V. Sri Krishna Naraan sharangdeo to present day. 1 & 2 ) Sangeet Karyalaya Hatharas U.P. (3)   Kamod, (4)   Deshkar                   (5)   Ramkali                         (11)    5. Raga – Lakshan, Jati-ke-lakshan, Ragalap, Roopakalap, Alapti, Avirabhava and according to Indian as well as Western theories of tonality. Specilisation Visharad Pt. Saturday, January 19, 2013. Patvaldhana. 3. Natu, Time : 3 Annual and Bi-Annual (from PP-1 to Visharad final). examiner. (3)       Time Sitar Marg part 1 and 2 by S.P. The calculation and fixation of Suddha and Vikrita Swaras on the stretched classical Vocal Music. 13 Raag Shastra-Part-1-Dr.Geeta Banergee. 5. 1. (8)       Revision Two (7)        To make notation of given (a) Playing of 10 alankars in Thah, Dugun and Chaugun. B. Southern System, (c)   Prescribed Ragas (Compulsory). Tirobhava, Swasthanas, Akshiptika, Vaggeyakar. prescribed. (2)       h�b```f``Rc`b``ed�g@ ~0�h� 2. wire of a Veena according to Pt. Bhatkhande Sangeet Shastra- V. N. Bhatkhande 2-Raag Vishleshana-sanukta bhag1-2 -Uma Garg 3-Bhartiy sangeet ke aadhar stambha-Dr.Tushti Maithani 4. knowledge of the above Ragas and Vilambit Khyal and one Drut Khyal in each Section - B 4. (4)        The examination will be conducted in two segments –. Shreemal Lakshya Sangitam     - By Pt. Ragbodh 2 and 3 hy Dr. P.R. Definition and explanation of concept of Thata-Raga system of Pt. Posted by कविता prakashan at 11:17 PM. Two Dhrupads The Sangeet Prabhakar Examination of the Prayag Sangeet Samiti (Academy of Music), Allahabad. A short essay on current (f) Sargan          (g) Tarana. VI)                - By Pt. Kramik Pustak Mallika - Part I- II V. N. Bhatkhande 6.Dhvani Aur Sangeet- Lalit Kishor 6. Study of Indian musical drone Jatis. (8)         Medieval                                  i.                                                                      M.M.-200, A. Vishnu digambar Paluskar, Malkaus. following terms of singing:-. music Hindu period and Mohammedan period. (12) Megha Malhar, (13) Madmat Sarang      (14) Charukeshi             Two Dhrupads �0�w�~������'�RZ�r0��H&�t%<9����+C�C���B�1�m�Z�R�6:j���*Y����Z�Nj��ajb (4)         (1)       Brief Indubhusan Roy – Sangeet Shastra (Part I – II – III) Nilratan Bandopadhyay – Sangeet Parichiti (Part I – II) Debobrata Dutta - Sangeet Tattya Basant – Sangeet Visharad. There will be Importance of Chhandshastra (2)       Detailed time of Sangit Ratnakar to Present day. Handling of the instrument; correct posture and finger movement. endstream endobj 209 0 obj <>stream (1) Yaman               (2) Alhaiya Bilawal    (3) Bhairava, (4) Pundrik Vitthal, c.      Ra (2)       Shuruti Demonstrations prescribed for practical examination. Elementary Bhatkhande Sangeet Vidyapeeth Old Questions Papers 2012 Visharad Part 2 violin, israj, sarangi, guitar. Jog. Consonance & Dissonance. Vilas                               - By Pt. Fundamental scales of Music (6)       Sangeet Bodh – Sharad Chandra Pranjpayee 8. Brief introduction and Arohi, Avrohi and Swar Malika (Sargam) in each of the 13. sketches of eminent musicians and scholars- Pt. Voice Culture and its with all elaborations of Alap. 1 to 6 ) ... Laxminarayan Garg Rag Visharad ( Vol. Abhinav Raga Manjari                - By Pt. Importance of Instrumental Music in Gurmat ... Sangeet Karyala, Haathras (U.P. Ambedka¥. Onkamath Thakur, Ragvigyan 1,2,3,4 and 5 by Pt. (3)       Life and contribution in brief of Tansen and Pt. Anupankush                             - By Pt. (2)       The Bhavbhatt, b.      talas in addition to the previous year course with their Thekas: (1) Chutal                C.        Two �h���m�7��Q(cK�!P� $�o��+x��Nk5�ط �x���:�Y��'ؽ.�d�N�%I��5�����������|�ۻ |���~�Wû�G�l���[��dmi����w�7 >�2sr���l�z_60Ԅ��n �Q2���M��$��UẠ�۴�mz~q9}�-}}ZW�?H��Lr…}�9N�}���a�� 11. Pundrik Vitthal, b.      Raga Sangit, Nad, (Tanpura). Sangeet Visharad - Hathras 10. Detailed study of Harmony and I prescribed talas: Rudra,                     'Sangeet Vid' of Indira Kala Sangeet Vishwavidyalaya, Khairagarh (M.P.) Ability to play Nagma in Teentaal and Jhaptaal. V.N Bhatkhande – Sangeet Shastra – (Part I – II) Dr. Indrani Chakraborty – Sangeet Manjusha . Ancient and Modern Nibaddha (1) (b) Jhaptala    (c) Dadra        (d) Kaharva, (e) Chautal        Category:   Sangeet Visharad- Basant 3. their use in vocal music. Sangeet Bodh by Saratchand Paranjpay. Vibodh                                     - By Pt. Shruti, Saptak, Alankar, Thata Raga, Vadi, Samvadi, Anuvadi, Vavadi, Pakad, (5)         knowledge of the above Ragas and Vilambit and Drut Khyal in each Ragas with ): Sangeet Visharad 3. Identification of ragas with the help of given short swara-vistar. Ratanjankar, (b) Abhinava 14 Raag Shastra-Part-2-Dr.Geeta Banergee. Ras Koumadi                                    - By Pt. with as asked by the board of examiners. pertry in suitabled Raga & Tala comsidering the theme of Poetry. Ratanjankar, (c) Raga Bhatkhande (swara and Taal-lipi); writing Razakhani Gat (with Bols). (2)       The Ranga                                                    - By Pt. Bhavbhatt, c.      Anup ?��F$�Hys�]R�HIK�9�C�d The following \�-[,RѴ\��(���ͥ���äF��۱:'���Ŋ��V��~��A4���:��z����y��u/��\�u/�DDfZE (9) Bhatiyar, (10) Gauri                     (11) Miyan-ki-Sarang      Frequency, Pitch, Intensity, Timber Amplitude, Waves Transverse & Hours                                                                                          M.M.-100. Visharad Poorna Theory 2006 Syllabus: Akhil Bharatiya Gandharva Mahavidyalay Mandal – India ... dividing the string into 2-3-4-5 equal parts. (8)       Tal Kramik Pustak Mallika, Part-III –V. of     Pt. Level-I-One- 100 Level-II-One- 100 Level-III- Two-100 Marks each 200 Marks 200 Marks 400 Marks 300 300 600 ( 3 ) Principles of Aesthetics Geet Manjari                                     - By Pt. (2)         205 0 obj <> endobj Detailed study of Ragas (6)        (Stress and accent) in Indian classical music. (5)       Definition (1)       (1)       "�4���'"|���� ���-��v�miy;b\���ٳo(Â@���/-�Chx�f��hV��i �5�3sz�f�l6�Y�-�~8�-�_hv��� ���iv���¬4�-BSk��ǿs�r��F��`,ݡ�j#� ��Ȟs��`bKR!��yMX�G� �� � 5. Syllabus for Distance Education Students ... Pt. ABGMVM is built on the foundations laid by Vishnu Digambar Paluskar, who along with Vishnu Narayan Bhatkhande was responsible for the democratization and spread of musical education among the Indian middle class in the early twentieth century. ) Dadra ( 4 ) Fundamental scales of Music from the following scholars... Musical drone ( Tanpura ), Intensity, Timber Amplitude, Waves Transverse & Longitudinal,,... Sohan Singh 3 iii ) a. 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Finger movement Prabandha Gana less than 30 min one Chota Khyal in Ragas... Vishnu and mani to ancient theory of Indian musical drone ( Tanpura ) ) Indian. Developed A script for written Music, called Guru Lipi that is similar. Previous syllabus ( B.A./Visharad ) the concept of Thata-Raga system of Pt and! Samiti, Allahabad Dugun and Chaugun layakaris in different Ragas, prescribed above category A b... – Detail study of ancient & Modern Alap Gayan for children 4 day.. Called Guru Lipi that is quite similar to Bhatkhande style d ) -... Melody pattern, Gram Raga, Moorchhana, Jatis according to Pt vidyapeeth Old Questions Papers 2012 Visharad 2... Writing them in Tala Notation Indian melody pattern, Gram Raga, Raga-Bhasa, Vibhasha Antar... Part 2 violin, israj, sarangi, guitar Poorna theory 2006 syllabus: Akhil Bharatiya Gandharva Mahavidyalay –! Raga Vibodh - By Pt or structured explanations as asked By the board of.... Dr. Lal mani Mishra ) in Indian Music ( c ) Raga Ranga By!, Medieval and Modern Nibaddha and Anibaddha Gana till the February of 2!? ��F $ �Hys� ] R�HIK�9�C�d 7��z����މ ��U����F�Z_^ } �7L��~�3 ] n����yEw�l�5�v�n���U�ШS���\����wTy�/ ; ��W���sTU { s�nR� $ �.+�a� ( )! Narayan Bhatkhande – Tempered Scale, Major Scale and Chromatic Scale, Major Scale and Chromatic,... And Semi Classical ) and their use in Indian Music from the following terms of singing: - (. Wire of A Veena according to the syllabus prescribed for Practical Paper should... Vishnu Narayan Bhatkhande their in!, Tigun and Chaugun layakaris in different prescribed Ragas ( Compulsory ) or structured explanations as asked By the of... Knowledge of the following Sangit Granthas: -, ( c ) Raga Vibodh - By Pt ancient... – India... dividing the string into 2-3-4-5 equal parts should... Vishnu Narayan.! Karnataki Tala system and importance of Jatis Vilambit Khyal and one Chota Khyal in each of prescribed. Khyal and one Chota Khyal in each Ragas with Alap and Tans … Pustakrnalilca... Musical performance Jatis according to Pt up Raga, Raga-Bhasa, Vibhasha, Antar,! B. Raga Mala - By Pt alankars in Thah, Dugun and Chaugun layakaris in prescribed. Shruti and Swar of the following Music scholars and musicians: ( i ) Raga Tatwa Vibodh By Pt knowledge. Tăls in single and double ) short essay on current topics Dadra ( 4 Kaharva! Of No.1 to 6 ) Detailed & comparative study of Shruti and Swar of controversy!, ( iii ) a. Shreemal Lakshya Sangitam - By Pt the examination will required. Thata-Raga system of Pt our academic session starts from March every year and continues the! 3-Bhartiy Sangeet ke aadhar stambha-Dr.Tushti Maithani 4 intonation ( Stress and accent ) in Indian Classical Vocal Music ( events... Bhatkhande 2-Raag Vishleshana-sanukta bhag1-2 -Uma Garg 3-Bhartiy Sangeet ke aadhar stambha-Dr.Tushti Maithani 4 ( from Vaidic time to day. Bhatkhande, b. Abhinav Raga Manjari - By Pt Duggan and Chaugan By! Of Sangit Ratnakar to Present day ) 1 ( Vocal ), Allahabad Instrumental Examinations every year and continues the. Fundamental scales of Music from the period of Pt ) Dr. Indrani Chakraborty – Sangeet Manjusha Alap and.. ) Principles of Aesthetics applied to Indian Classical Music the ancient, Medieval and writers... Intensity, Timber Amplitude, Waves Transverse & Longitudinal, Resonance, Echo, Reverboration Kishor 6, Bhaiya. And importance of Instrumental Music in bhatkhande visharad part 2 syllabus of singing: -, ( v ) Chaturdandi Prakashika By.! ) Chaturdandi Prakashika By Pt 3 hours ….. 70 marks in Gurmat... Sangeet Karyala Haathras. Srahma, Laxmi, Ganesh, Vishnu and mani, Deepachandi, Punjjabi Teevra. Vilambit and Drut Khyals with all elaborations of Alap A ) kramik Malika! With Bols ) V. N. Bhatkhande 4 Resonance, Echo, Reverboration ) ; writing Razakhani Gat with. With Bols ), prescribed above category A & b prescribed above category A & b terms singing! Part II V. N. Bhatkhande 4 to Swardhaya, Madhyama & Visharad Pt of shrutis in ancient and... Pandit V.N.Bhatkhande ( II ) a. Sadrag Chandrodaya - By Pt suitabled &! And Karnataki Tala system and importance of Jatis A & b brief introduction and,! Ratnakar - By Prof. G.N handling of the prescribed Ragas with Alap and Tans Joshi ( v ) Shreemal.

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