MUSIC (HONS./PG) [ CODE -20]]
HISTORY AND THEORY OF INDIAN MUSIC
1. Contents of Musicological tests:
(a) Ancient Period: Natyasastra, Brhaddesi, Sangita-ratnakara.
(b) Mediaeval Period: Sangita_Parijata, Hridyayaprakasa, Chaturddandi-
Parakasika.
(c) Modern Period: Srimallakshita-sangitam, Abhinava-ragamanjari,
Ragavijnana.
2. Musical Forms:
(a) Ancient & Classical forms ---
Dhruva, Prabandha, Dhrupada, Dhamar, Khayal, Tappa, Thumri
(b) Folk-songs of Bengal:
Regional Characteristics and social background of Bengali Folk songs.
(c) Bengali songs:
Nature of Bengali songs during 18th and 19th Century. A Brief account of
Kavigana and Bengali Tappa and also of Bengali Kirtana (contribution of
Nazrul, D. L. Roy and Atulprosad)
(d) Tagore Songs:
Chief features of Rabindra Sangit, Rabindranath’s contribution towards
the development of Bengali songs.
3. Life Sketches with contributions:
Kshetra Mohan Goswami, Sir S. M. Tagore, Pdt. V. N. Bhatkhandey, Swami
Prajnanananda, Dr. Bimal Roy, Rajeswar Mitra, Dr. K. C.D. Brihaspati.
4. Definition with examples:
Nada, Swara, Sruti, Murchhana, Alamkara, Tan, Raga, Mela, Thata, Tara,
Gamaka, Palta, Ghasit, Sunt, Mizrab, Jawa, Chikari, Parda, Gat, Meend, Ans.
Andla, Pakad, Tali, Khali, Bibhag, Sam, Laya, Alpatva Bahutva, Vadi, Samvadi
Anuvadi, Vivadi and Raga-jati.
5. Theory of Raga:
Ten Lakshanas of ancient and Hinsusthani Ragas. Uttarnanga and Purvanga
Ragas. Time theory (of pdt. Bhakhande) of Hindusthan Ragan Janaka and
Janya Raga, Sandhiprasashak and Paramela Praveshak Raga.
Ten Hindusthani Thatas, Theory of 72 Karnataka Melas of Pdt. Venkatamakhi.
Difference between Mela and Thata, Raga and Thata.
6. Musical Scales:
Three Ancient Indian Musical scales or Gra¯mas.
Hindustha¯ni and Karna¯taka. Suddha- Vikrita Swaras, Twenty one
Murchhana¯s in three ancient Indian Gramas.
Fixing Suddha and Vikrita Swaras on 22 sruits of modern Hindusthani musical
scale.
7. Musical Instruments (Stringed and Drum):
Hindusthani classical and Folk. Ability to draw pictures and to identity their
parts.
8. Notation systm:
Knowledge of Akarmatrik, Dandamatrik and Hindusthani notation system (of
Pdt. Bhatkhande). Ability to write a compostion of Dhrupad, Dhamar, Khayal,
Bengali, song, Folk song, Rabindra Sangeet, Dwijendra giti, Atulprasadi and
Nazrul-giti under any one of the above notation systems.
9. Theory of Tala:
Ten Pranas of ancient Tala system, Dugun- Trigun-Chougun Lavakari of Talas
as prescribed in Practical syllabus under Hindusthani Tl-lipi system. Jatis of
Hindusthani Talas.
HISTORY AND THEORY OF INDIAN MUSIC
1. Contents of Musicological tests:
(a) Ancient Period: Natyasastra, Brhaddesi, Sangita-ratnakara.
(b) Mediaeval Period: Sangita_Parijata, Hridyayaprakasa, Chaturddandi-
Parakasika.
(c) Modern Period: Srimallakshita-sangitam, Abhinava-ragamanjari,
Ragavijnana.
2. Musical Forms:
(a) Ancient & Classical forms ---
Dhruva, Prabandha, Dhrupada, Dhamar, Khayal, Tappa, Thumri
(b) Folk-songs of Bengal:
Regional Characteristics and social background of Bengali Folk songs.
(c) Bengali songs:
Nature of Bengali songs during 18th and 19th Century. A Brief account of
Kavigana and Bengali Tappa and also of Bengali Kirtana (contribution of
Nazrul, D. L. Roy and Atulprosad)
(d) Tagore Songs:
Chief features of Rabindra Sangit, Rabindranath’s contribution towards
the development of Bengali songs.
3. Life Sketches with contributions:
Kshetra Mohan Goswami, Sir S. M. Tagore, Pdt. V. N. Bhatkhandey, Swami
Prajnanananda, Dr. Bimal Roy, Rajeswar Mitra, Dr. K. C.D. Brihaspati.
4. Definition with examples:
Nada, Swara, Sruti, Murchhana, Alamkara, Tan, Raga, Mela, Thata, Tara,
Gamaka, Palta, Ghasit, Sunt, Mizrab, Jawa, Chikari, Parda, Gat, Meend, Ans.
Andla, Pakad, Tali, Khali, Bibhag, Sam, Laya, Alpatva Bahutva, Vadi, Samvadi
Anuvadi, Vivadi and Raga-jati.
5. Theory of Raga:
Ten Lakshanas of ancient and Hinsusthani Ragas. Uttarnanga and Purvanga
Ragas. Time theory (of pdt. Bhakhande) of Hindusthan Ragan Janaka and
Janya Raga, Sandhiprasashak and Paramela Praveshak Raga.
Ten Hindusthani Thatas, Theory of 72 Karnataka Melas of Pdt. Venkatamakhi.
Difference between Mela and Thata, Raga and Thata.
6. Musical Scales:
Three Ancient Indian Musical scales or Gra¯mas.
Hindustha¯ni and Karna¯taka. Suddha- Vikrita Swaras, Twenty one
Murchhana¯s in three ancient Indian Gramas.
Fixing Suddha and Vikrita Swaras on 22 sruits of modern Hindusthani musical
scale.
7. Musical Instruments (Stringed and Drum):
Hindusthani classical and Folk. Ability to draw pictures and to identity their
parts.
8. Notation systm:
Knowledge of Akarmatrik, Dandamatrik and Hindusthani notation system (of
Pdt. Bhatkhande). Ability to write a compostion of Dhrupad, Dhamar, Khayal,
Bengali, song, Folk song, Rabindra Sangeet, Dwijendra giti, Atulprasadi and
Nazrul-giti under any one of the above notation systems.
9. Theory of Tala:
Ten Pranas of ancient Tala system, Dugun- Trigun-Chougun Lavakari of Talas
as prescribed in Practical syllabus under Hindusthani Tl-lipi system. Jatis of
Hindusthani Talas.
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