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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 [\/vc_column_text]\n\t\t\t<\/div>\n\t\t\t Eligibility<\/strong> : Complete M. Mus Part 1 or equivalent . Duration : One Year<\/p>\n Marks<\/strong> : Total Marks 250, Practical 200 Oral 50 ( Two Assesment )<\/p>\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 [\/vc_column_text]\r\n\t\t\t <\/div>\r\n \t<\/dd> Eligibility<\/strong> : Complete M. Mus Part 1 or equivalent . Duration : One Year<\/p>\n Marks<\/strong> : Total Marks 250, Practical 200 Oral 50 ( Two Assesment )<\/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_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][\/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":"full_width.php","meta":[],"yoast_head":"\n
\n2. To sing\/play the Khayal ( Madhya Laya Drut, Vilambit with beautifu aalap, jod and complete ready ) of Kaafi kanada, Jaitashree, Nayaki kanhada, Hemant, Kosi Kanada, Nat Bihag, ramdasi malhar, Khambavati, Gauri, Suha Kanada, Bhupal Todi and Lalita Gauri
\n3. To Sing\/play Dhrupad, Dhamar, Chaturang and Tarana of the above Raag
\n4, Practice Tirobhab, Avirbhaab of any one of above Raags
\n5. Learning of Taal : i) Ashta Mangal taal Taal ii) Shikhar Taal, iii) Arjun Taal iv) Kumbha taal Ability to tell the Theka of Taal with Taali and Thaay \/ Dwigun laya
\n6. To play with theka the any one of the above taal
\n7. Identify the the Aalap of the above Raag.
\n9. Raag Comparisons and explanation of the raags present and previous year
\n10 . Sugam Sangeet : One Thumri and Kajri of any one of the above Raag, Baul Song and Sufi song
\n11. Voice Training of Seventh Step. ( Vocal Only )
\n12. Raag Based Bollywood songs. Medley song of one particular Raag ( both for Vocal and Instrumental)
\n13 . Karaoke Singing\/playing Practice of Bollywood songs and Practice of previous years karaoke song
\n14. Practical singing\/playing session and demonstration of Studio: Special Session with Special Guest.<\/p>\n
\n2. Complete Shastriya Parichay ( Theoretical Introduction ) of Kaafi kanada, Jaitashree, Nayaki kanhada, Hemant, Kosi Kanada, Nat Bihag, ramdasi malhar, Khambavati, Gauri and Lalita Gauri
\n3. Compares of Bhatkhande and Pt. Vishnu Digambar Swaralipi. Critic analysis with merits and demerits.
\n4. To make simple Taal sargam of the Prescribed Raag.
\n5. Present years Taal parichaya
\n6. Compose a new song and make Swaralipi with western chord chart and make the prelude interlude music of the song with proper notation.
\n7. Define Pandit and Ustad, Gharana and Baaj, Tat Vadya, Avnadhya Vadya, Ghana Vadya
\n8. Similarities and Dissimilarities of the Present and Previous Raag
\n9 Number of Aandolans of Indian and Western Note ( swar )
\n10. Identify the Raag with Swar
\n11. Discuss and compare of seven musical Gharanas. Which Gharana is best for you and why?
\n12. What is scale in Western Music? What is Diatonic, Chromo tonic, Hole Tone and Pentatonic?
\n13. What are the contribution of Sangeet Parijat and Sangeet Ratnakar in the Hindustani Music
\n14. Brief musical back ground stories any Three (50 words each ) of Bharat Narad, Matang, Hazi Sujan Saheb
\n15. History of Shruti Vibhajan of three different period Ancient ( Pracheen Kaal) Middle ( Madhya kaal ) and Modern ( Adhunik )
\n16. What is Staff or Stave Notation? Design a song of four lines with staff notation.<\/p>\n<\/div>\n<\/div>\n<\/div>\n
\n2. To sing\/play the Khayal ( Madhya Laya Drut, Vilambit with beautifu aalap, jod and complete ready ) of Kaafi kanada, Jaitashree, Nayaki kanhada, Hemant, Kosi Kanada, Nat Bihag, ramdasi malhar, Khambavati, Gauri, Suha Kanada, Bhupal Todi and Lalita Gauri
\n3. To Sing\/play Dhrupad, Dhamar, Chaturang and Tarana of the above Raag
\n4, Practice Tirobhab, Avirbhaab of any one of above Raags
\n5. Learning of Taal : i) Ashta Mangal taal Taal ii) Shikhar Taal, iii) Arjun Taal iv) Kumbha taal Ability to tell the Theka of Taal with Taali and Thaay \/ Dwigun laya
\n6. To play with theka the any one of the above taal
\n7. Identify the the Aalap of the above Raag.
\n9. Raag Comparisons and explanation of the raags present and previous year
\n10 . Sugam Sangeet : One Thumri and Kajri of any one of the above Raag, Baul Song and Sufi song
\n11. Voice Training of Seventh Step. ( Vocal Only )
\n12. Raag Based Bollywood songs. Medley song of one particular Raag ( both for Vocal and Instrumental)
\n13 . Karaoke Singing\/playing Practice of Bollywood songs and Practice of previous years karaoke song
\n14. Practical singing\/playing session and demonstration of Studio: Special Session with Special Guest.<\/p>\n
\n2. Complete Shastriya Parichay ( Theoretical Introduction ) of Kaafi kanada, Jaitashree, Nayaki kanhada, Hemant, Kosi Kanada, Nat Bihag, ramdasi malhar, Khambavati, Gauri and Lalita Gauri
\n3. Compares of Bhatkhande and Pt. Vishnu Digambar Swaralipi. Critic analysis with merits and demerits.
\n4. To make simple Taal sargam of the Prescribed Raag.
\n5. Present years Taal parichaya
\n6. Compose a new song and make Swaralipi with western chord chart and make the prelude interlude music of the song with proper notation.
\n7. Define Pandit and Ustad, Gharana and Baaj, Tat Vadya, Avnadhya Vadya, Ghana Vadya
\n8. Similarities and Dissimilarities of the Present and Previous Raag
\n9 Number of Aandolans of Indian and Western Note ( swar )
\n10. Identify the Raag with Swar
\n11. Discuss and compare of seven musical Gharanas. Which Gharana is best for you and why?
\n12. What is scale in Western Music? What is Diatonic, Chromo tonic, Hole Tone and Pentatonic?
\n13. What are the contribution of Sangeet Parijat and Sangeet Ratnakar in the Hindustani Music
\n14. Brief musical back ground stories any Three (50 words each ) of Bharat Narad, Matang, Hazi Sujan Saheb
\n15. History of Shruti Vibhajan of three different period Ancient ( Pracheen Kaal) Middle ( Madhya kaal ) and Modern ( Adhunik )
\n16. What is Staff or Stave Notation? Design a song of four lines with staff notation.<\/p>\n<\/div>\n<\/div>\n<\/div>\n