[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css=”.vc_custom_1642492358755{background-color: #ffffff !important;}” z_index=””][vc_column][vc_empty_space height=”30px”][vc_single_image image=”207″ img_size=”full” alignment=”center” insomniacs_css_animation=””][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” el_id=”admission” css=”.vc_custom_1642492044881{padding-top: 30px !important;padding-bottom: 30px !important;background-color: #ffffff !important;}” z_index=””][vc_column width=”1\/2″][vc_column_text]<\/p>\n
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Practical<\/strong><\/p>\n Theory Oral<\/strong><\/p>\n [\/vc_column_text]\n\t\t\t<\/div>\n\t\t\t Eligibility<\/strong> : Complete B. Mus Part 1 or equivalent, Duration : One Year<\/p>\n Marks<\/strong> : Total Marks 100, Practical 70 Oral 30 ( Two Assessment )<\/p>\n<\/div>\n<\/div>\n<\/div>\n [\/vc_column_text]\n\t\t\t<\/div><\/div><\/div><\/div> Practical<\/strong><\/p>\n Theory Oral<\/strong><\/p>\n [\/vc_column_text]\r\n\t\t\t <\/div>\r\n \t<\/dd> Eligibility<\/strong> : Complete B. Mus Part 1 or equivalent, Duration : One Year<\/p>\n Marks<\/strong> : Total Marks 100, Practical 70 Oral 30 ( Two Assessment )<\/p>\n<\/div>\n<\/div>\n<\/div>\n [\/vc_column_text]\r\n\t\t\t <\/div>\r\n \t<\/dd>\r\n \t<\/dl>\r\n \r\n<\/div>\r\n\r\n<\/div>[\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n [\/vc_column_text] PRACTICAL<\/strong><\/p>\n 1. Knowledge of Previous year\u2019s Raag THEORY<\/strong><\/p>\n 1. Knowledge of previous years all musical term and definition Eligibility<\/strong> : Complete B. Mus Part 1 or equivalent, Duration : One Year<\/p>\n Marks<\/strong> : Total Marks 100, Practical 70 Oral 30 ( Two Assessment )<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n [\/vc_column_text]\n\t\t\t<\/div><\/div><\/div><\/div> PRACTICAL<\/strong><\/p>\n 1. Knowledge of Previous year\u2019s Raag THEORY<\/strong><\/p>\n 1. Knowledge of previous years all musical term and definition Eligibility<\/strong> : Complete B. Mus Part 1 or equivalent, Duration : One Year<\/p>\n Marks<\/strong> : Total Marks 100, Practical 70 Oral 30 ( Two Assessment )<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n [\/vc_column_text]\r\n\t\t\t <\/div>\r\n \t<\/dd>\r\n \t<\/dl>\r\n \r\n<\/div>\r\n\r\n<\/div>[\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" [vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css=”.vc_custom_1642492358755{background-color: #ffffff !important;}” z_index=””][vc_column][vc_empty_space height=”30px”][vc_single_image image=”207″ img_size=”full” alignment=”center” insomniacs_css_animation=””][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” el_id=”admission” css=”.vc_custom_1642492044881{padding-top: 30px !important;padding-bottom: 30px !important;background-color: #ffffff !important;}” z_index=””][vc_column width=”1\/2″][vc_column_text] TABLA \/ PAKHWAJ [\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text] Sitar, Flute, Harmonium [\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\n\n
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Sitar, Flute, Harmonium<\/strong><\/h4>\n
\n2. To sing\/play the Khayal ( Madhya Laya Drut ) of Puria, Chhayanat, Basant, Gour Malhar, Hindol, Bibhas, Darbari Kanara, Desh, Adana, Sohini, Patdeep, Sree, Gour Sarang, Kedar, Jaunpuri, Rageshree, Malgunji, Malkauns Practice Any one of Vilamvit Khayal with Taan, sargam and Bol Taan.
\n3. To Sing\/play Chaturang and Tarana of the above Raag
\n4, Practice Tirobhab, Avirbhaab of any one of above Raags
\n5. Learning of Taal : i) Pancham sawari ii) Matta Taal, iii) Punjabi taal, iv) Rudra Taal, v) Laksmi Taal Ability to tell the Theka of Taal with Taali and Thaay \/ Dwigun laya
\n6. To play with theka i) Teen Taal, ii) Dadra, iii) Kerwa, iv) Jhap Taal and v) Ektaal
\n7. Identify the the Aalap of the above Raag.
\n9. Raag Comparisons: i ) Bhairavi- Malkauns ii ) Shankara- Bihag, iii) Asavari- Jaunpuri iv) Hameer- Kedar,
\n10 . Sugam Sangeet : One Semi Classical Song Thumri and Kajri of any one of the above Raag, One Himachal Pradesh or Odiya Folk Song
\n12. Voice\/playing Training of Fifth Step. Merukhand Exercise 1.2.3.4 ( Sa Re Ga Ma ),
\n13. Raag Based Bollywood songs. One Raag Defferent Bollywood Song
\n13 . Karaoke Singing\/playing Practice of Bollywood songs and Practice of previous years karaoke song
\n14. Music Performing Training and Appreciations
\n15. Practical singing session and demonstration of Studio : Special Session with Special Guest.<\/p>\n
\n2. Anibaddh Gaan Anciant Type Raag alaap, Rupkalap, Alapti Gaan, Swasthan-Niyam, Vidari, Raag Lakshan, Jaati, Gayan and Visheshata. Sanyas- Vinyas Gandharva Geet ( Deshi Marg )
\n3. Shruti Swar Vibhajan ( Pracheen, Madhya, Adhunik )
\n4. To make simple Taal sargam of the Prescribed Raag.
\n5. Present years Taal parichaya
\n6. Compose a new song and make Swaralipi ( With out the support of Instrument ) .
\n7. Define Raag and Ras, Sangeet and Kalpana, Lok Sangeet.
\n9. Similarities and Dissimilarities : i ) Bhairavi- Malkauns ii ) Shankara- Bihag, iii) Asavari- Jaunpuri iv) Hameer- Kedar
\n8 . Brief Life story ( 100 words ) of Uatad Bade Gulam Ali , Pt. Ravi Shankar, Ustad Amjad Ali Khan, Pt.Jashraj[\/vc_column_text]\n\t\t\t<\/div>\n\t\t\t
\n2. To sing\/play the Khayal ( Madhya Laya Drut ) of Puria, Chhayanat, Basant, Gour Malhar, Hindol, Bibhas, Darbari Kanara, Desh, Adana, Sohini, Patdeep, Sree, Gour Sarang, Kedar, Jaunpuri, Rageshree, Malgunji, Malkauns Practice Any one of Vilamvit Khayal with Taan, sargam and Bol Taan.
\n3. To Sing\/play Chaturang and Tarana of the above Raag
\n4, Practice Tirobhab, Avirbhaab of any one of above Raags
\n5. Learning of Taal : i) Pancham sawari ii) Matta Taal, iii) Punjabi taal, iv) Rudra Taal, v) Laksmi Taal Ability to tell the Theka of Taal with Taali and Thaay \/ Dwigun laya
\n6. To play with theka i) Teen Taal, ii) Dadra, iii) Kerwa, iv) Jhap Taal and v) Ektaal
\n7. Identify the the Aalap of the above Raag.
\n9. Raag Comparisons: i ) Bhairavi- Malkauns ii ) Shankara- Bihag, iii) Asavari- Jaunpuri iv) Hameer- Kedar,
\n10 . Sugam Sangeet : One Semi Classical Song Thumri and Kajri of any one of the above Raag, One Himachal Pradesh or Odiya Folk Song
\n12. Voice\/playing Training of Fifth Step. Merukhand Exercise 1.2.3.4 ( Sa Re Ga Ma ),
\n13. Raag Based Bollywood songs. One Raag Defferent Bollywood Song
\n13 . Karaoke Singing\/playing Practice of Bollywood songs and Practice of previous years karaoke song
\n14. Music Performing Training and Appreciations
\n15. Practical singing session and demonstration of Studio : Special Session with Special Guest.<\/p>\n
\n2. Anibaddh Gaan Anciant Type Raag alaap, Rupkalap, Alapti Gaan, Swasthan-Niyam, Vidari, Raag Lakshan, Jaati, Gayan and Visheshata. Sanyas- Vinyas Gandharva Geet ( Deshi Marg )
\n3. Shruti Swar Vibhajan ( Pracheen, Madhya, Adhunik )
\n4. To make simple Taal sargam of the Prescribed Raag.
\n5. Present years Taal parichaya
\n6. Compose a new song and make Swaralipi ( With out the support of Instrument ) .
\n7. Define Raag and Ras, Sangeet and Kalpana, Lok Sangeet.
\n9. Similarities and Dissimilarities : i ) Bhairavi- Malkauns ii ) Shankara- Bihag, iii) Asavari- Jaunpuri iv) Hameer- Kedar
\n8 . Brief Life story ( 100 words ) of Uatad Bade Gulam Ali , Pt. Ravi Shankar, Ustad Amjad Ali Khan, Pt.Jashraj[\/vc_column_text]\r\n\t\t\t <\/div>\r\n \t<\/dd>