Department

of Music
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Department of Music
BPA Syllabus (Honors)
Nature Credits
Theory 36
Practical 36
Total 72

Suggested Structure for Music – Undergraduate (Honors) 18*4=72 Credits in all

All the paper are equivalent to 4 Credit or 100 Mark
Abbreviations- MUS- Music, UGH- Under Graduation Honors, CP –Compulsory Practical Paper, CT-
Compulsory Theory Paper A – Vocal/ Instrumental Music, B – Percussion Music and FC- Foundation
Paper
Semester –I Semester -II
Credi
Code Course Code Course Credits
ts
MUS-UGH-CP101(A) Raga Studies-I MUS-UGH-CP201(A) Raga Studies-II
OR OR 4 OR OR 4
MUS-UGH-CP101 (B) Tala Studies-I MUS-UGH-CP201 (B) Tala Studies-II
Fundamental study of
Elementary Study of Hindustani
MUS-UGH-CT102(A) Hindustani Music MUS-UGH-CT202(A)
Music
OR OR 4 OR 4
OR
MUS-UGH-CT102 (B) Fundamental Study of MUS-UGH-CT202 (B)
Elementary Study of Tala
Tala
MUS-UGH-CP103 Western Music-I 4 MUS-UGH-CP203 Western Music II 4

Semester –III Semester –IV

Credi
Code Course Code Course Credits
ts
MUS-UGH-CP301(A) Raga Studies-III MUS-UGH-CP402(A) Intensive study of Raga-I
OR OR 4 OR OR 4
MUS-UGH-CP301 (B) Tala Studies-III MUS-UGH-CP402 (B) Intensive study of Tala -I
Analytical Study of Folk Music
MUS-UGH-CT302(A) Indian Classical Music
OR OR 4 MUS-UGH-CT405 4
MUS-UGH-CT302 (B) Analytical study of Tala
and Shastra
MUS-UGH-CP303 Western Music III 4 Communicative English 4

Semester –V Semester –VI

Credi
Code Course Code Course Credits
ts
MUS-UGH-CP502(A) Intensive study of Raga-II MUS-UGH-CP602(A) Intensive study of Raga-III
OR OR 4 OR OR 4
MUS-UGH-CP502 (B) Intensive study of Tala -II MUS-UGH-CP602 (B) Intensive study of Tala- III
MUS-UGH-CT505 Rabindra Sangeet 4 MUS-UGH-CT605 World music 4
Environmental Studies 4 Eastern Himalayan Studies 4

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Department of Music
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Course Details
A-Vocal Music/Instrumental Music

Semester I
MUS-UGH-CP101 (A):- Raga Studies-I
The Course will explain basic introduction of Hindustani Music, practical performance of
beginning Ragas with various rudiments of Hindustani Music.
Unit I: Comprehensive Study of Raga
Raga - Yaman and Bhairav
Unit II: General Study of Raga
Raga- Bhupali and Durga
Unit III: Knowledge of Tala with Tali-Khali
Knowladge of Tala and Laya with oral rendering of Teental , and Ektal with Tali- Khali
Unit IV: Study of Tanpura
Knowledge of Structure, parts and basic manufacturing techniques of Tanpura and the
instruments learnt

Suggested Reading
1) Bhatkhande V.N(2013) Kramik Pushtak Malika (Vol I-IV), Sangeet Karyalaya, Hatras
2) Srivastava Harishchandra (2008) Raga Parichay (Vol I-IV), Sangeet Sadan Prakashan,
Allahabad
3) Jauhari Shruti (2011) Elements of Hindustani Classical Music, D.K.Printworld, New
Delhi
4) Hirlekar Hema (2010) Nuances of Hindustani Classical Music, Unicorn Books, Mumbai
5) Roy Choudhuri Bimalakanta (2013) The dictionary of Hindustani Classical Music ,
Motilal Banarsi Dass, New Delhi

B-Percussion
MUS-UGH-CP101 (B):- Tala Studies-I
The Course will explain basic introduction of Hindustani Tala Systems, practical
performance of beginning Tala with various rudiments of Hindustani Percussion Music.

Unit I: Comprehensive Study of Tala

Simple knowledge of Teental and Ektal with its variation
Practice of tuning the Tabla
Unit II: General Study of Tala
Simple Theka in Dadra and Kaharwa Tala
Unit III: Basic components of Tabla
Laya, Tala, Matra, Vibhag, Tali, Khali, Sam

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Department of Music
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Unit IV: Analysis of Bols
Study of Various Kayada and Tukada

Suggested Readings
1) Chisti S.R(2016) Compositions of Great Table Maestros, Kanishka Publishers, New
Delhi
2) Naimapalli Sadananda (2011) Theory and Practice of Tabla: The Secular Nationalist
Reformer, Popular Prakashan, New Delhi
3) Naimapalli Sadananda(2009) Tabla For Advanced Students, Popular Prakashan, New
Delhi
4) Fox Dan (2006) Alfred’s Teach Yourself to Read Music for Guitar, Alfred Music, USA
5) Ferrante Damon (2012) Ultimate Guitar Chords, Scales and Arpeggios Hand book: 240
Lessons, Steepelchase Arts, USA

MUS-UGH-CT102 (A):- Fundamental Study of Hindustani Music

The Course deals with the fundamentals concepts of Hindustani Music. Notation System,
various intensity of sound and structural part of Tanpura will be discussed in the course.
Unit I: Sound and sound Physics
Difference between Musical and non musical Sound, Vibration, Intensity, Pitch, Timbre
Unit II: Fundamental component of Raga
Jati, Vadi, Samvadi, Aanuvadi, Vivadi, Varjitswar, Gayan Samey and Prahar, Aaroh, Avaroh,
Chalan, Pakad, Grah, Nyas, Aansa, Tirobhav, Aavirbhab, Sthai and Antara
Unit III: Concept of Raga and Tala
Raga- Ragini concepts in Hindustani Music
Tala Concept in Hindustani Music
Unit IV: History of Indian Music
Origin and Development of Indian Music during Vedic and Ancient India

Suggested Reading
1) Fox Dan (2006) Alfred’s Teach Yourself to Read Music for Guitar, Alfred Music, USA
2) Ferrante Damon (2012) Ultimate Guitar Chords, Scales and Arpeggios Hand book: 240
Lessons, Steepelchase Arts, USA
3) Singh Jaydev Thakur (Ed.Sharma Premalata) 1995, Indian Music, Sandeep Prakashan,
Kolkata
4) Deva B.C (1974) Indian Music, Indian Council for Cultural Relations, New Delhi
5) Regiland and Massey Jamila (1996), The Music of India , Abhinav Publications, Delhi

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Department of Music
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MUS-UGH-CT102 (B):- Fundamental Study of Tala
The course deals with the fundamentals components of music, basic concepts of Sound
and its intensity, various features and composition of Tabla recital in detail. The course also
thrashes out about the application of Tabla performance in detail.

Unit I: Sound and Sound Physics

Difference between Musical and Non-Musical Sound, Vibration, Intensity, Pitch, Timbre
Unit II: Fundamental concepts of Raga
Jati, Vadi, Samvadi, Aanuvadi, Vivadi, Varjitswar, Gayan Samey and Prahar, Aaroh, Avaroh,
Chalan, Pakad, Grah, Nyas, Aansa, Tirobhav, Aavirbhab, Sthai and Antara
Unit III: History of Indian Music
Origin and Development of Indian Music during Vedic and Ancient
Unit IV: Life history and contribution in the field of Tabla
Ram Shaye, Habibuddin Khan, Mahapurus Mishra and Kanthe Maharaj

Suggested Reading
1) Jauhari Shruti (2011) Elements of Hindustani Classical Music, D.K.Printworld, New
Delhi
2) Roy Choudhuri Bimalakanta (2013) The dictionary of Hindustani Classical Music ,
Motilal Banarsi Dass, New Delhi
3) Courtney,David R. (2013) Fundamentals of Tabla, Sursangeet Services, Texas, USA.
4) Saxena Sudhir Kumar (2006) the Art of Tabla, D.K.Print World, New Delhi.
5) Mishra Vijay Shanker(2015) Art & Science of Playing Tabla,Ministry of Informations
and Broadcasting,Gov of India, New Delhi.

MUS-UGH-CP103:- Western Music -I
The course will explain about the basic knowledge of western music theory and practical
aspects of Staff Notation. Various Rudiments of western music are also explained in detail in the
course.
Unit I: Rhythmic studies
Rhythmic studies (Whole, Half, Quarter and Eighth Notes). Continuation of Rhythmic Studies
(introduce tied notes), Simple Syncopation.
Unit II: Sight-reading – Performance Exercises
Simple sight-reading - Exercises with Whole, Half, Quarter, Eighth Notes and Rests and
Sixteenth Notes
Scales: C, D, A Major scales and Minor (Natural and Harmonic ( A, E, D – One Octave
3 pieces – Initial Level
Unit III: Staff Notation and keys

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Department of Music
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Staff Notation – Treble Clef/Note Identification, Keys and Key Signatures [C, F, G], Time
Signatures [4/4, 3/4, 2/4], Rhythms (Whole notes, Half notes, Quarter notes, Eighth notes).
Unit IV: Intervals and Harmonic Theory
Consonant and dissonant intervals, Accidentals, Basic Harmonic Theory, Diatonic triads.

Suggested Reading

1. Bohlman Philip V (2002), World Music : A Very Short Introduction, Oxford University
Press, UK
2. Miller Ron (2000) Modal Jazz Compositions and Harmony Vol-2, Advanced Music,
USA
3. Moore Allan F (2012) Song Means: Analysing and Interpreting Recorded Popular
Songs, Routledge, UK
4. Linden Bob Van Der (2013) Music and Empire in Britain and India, Identiy,
5. Arnold Alison (1999) The Garland Encyclopedia of World Music: South Asia; The
Indian Sub Continent , Routledge, UK

Semester II
MUS-UGH-CP201 (A):- Raga Studies-II
The Course will explain introduction of Hindustani Music, practical performance of
Ragas with various rudiments of Hindustani Music.
Unit I: Comprehensive Study of Raga
Raga –Khamaj and Kafi,
Unit II: General Study of Raga
Raga-Asawari and Bilawal/ Alahiya Bilawal
Unit III: Knowledge of Tala with Tali-Khali
Knowladge of Tala and Laya with oral rendering of Jhaptal , and Rupak with Tali- Khali
Unit IV: Study of Bhatkhande Notation System
Technique, Identity and key signature of Bhatkhande Notation System
Writing Notation of Raga and Tala

Suggested Reading

1) Mehra R.C (2011) Indian Classical Music and Gharana Tradition, Read Worthy, New
Delhi
2) Raja. S. Deepak (2012) Hindustani Music Today, D.K Print World, New Delhi
3) Bandopadhyaya S (2011) Wisdom of Raga (Elucidation of the Indian Arts), B.R, New
Delhi.

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Department of Music
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4) Evans John (2009) The School Music Teacher- A guide to teaching singing in school by
Tonic Sol-Fa and Staff Notation, Forgotten Books, London
5) Wyatt Keith and Schroeder Carl (1998) Harmony and theory, A Comprehensive Source
for All Musicians, Musicians Institute Press, CA

MUS-UGH-CP201 (B):- Tala Studies-II
The Course will explain basic introduction of Hindustani Tala Systems, practical
performance of beginning Tala with various rudiments of Hindustani Percussion Music.
Unit I: Analysis of Bols
Knowledge of Uthan and Peskar in Teental and Jhaptal
Unit II: Technique of Tabla Maintenance
Manufacturing and repairing of percussion Instruments
Unit III: Oral Demonstration
Oral Rendering of Tala and Bols clapping demonstration
Unit IV: Performance technique
Basic performance of Uthan, Peskar, Paran Tihai and Mohara in Ektal

Suggested Reading
1) Blom Eric (2007) Dictionary of Music, Bharatiya Kala Prakashan, Delhi.
2) Deshpande,Vamanrao,H (1987) Indian Music Tradition, Popular Prakashan, Bombay.
3) Prem Latha,V.(1985) Music through ages, Sundeep Prakashan, Delhi.
4) Popley, H. A. (1950) The Music of India, Y.M.C.A.,Publishing House, Calcutta.
5) Prajnananda, Swami (1965) Historical Study of Indian Music, Anandadhara Prakashan,
Calcutta.

MUS-UGH-CP202 (A):- Elementary study of Hindustani Music

The course deals with the analysis of the prescribed raga. Deep knowledge of Bhatkhande
notation system, comparison of Southern and Northern Music with Biography of renowned musicians
will be explained in the course.
Unit I: Indian concept of Swar and Shruti
Detail Study of Naad and Shruti with position of Shruti both in Ancient and Modern concept
Unit II: History of Indian Music
History of Indian Music during Medieval Period
Unit III: Gharana and musical trend
Comparative study of Carnatic and Hindustani Music
Gharana Tradition in Hindustani Music
Unit IV: Biography of Music Maestros
Swami Haridas, Tansen, Bade Gulam Ali Khan, Inayat Khan (Sitar), Pannalal Ghosh and
Bhimsen Joshi

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Suggested Reading
1) Carter Nicolas (2016) Music Theory: From Beginner to Expert- The Ultimate Step By
Step Guide in Understanding and Learning Music Theory Effortlessly, Musicians
Institute Press, CA
2) Mahajan Anupam (1994) Raga in the Indian Classical Music, Gyan Publishing House,
New Delhi
3) Bagchee Sandeep (1998) Nad-Understanding Raga Music, eeshwar, Mumbai
4) Jha Ramashraya (2014), Abhinava Geetanjali, Sangeet Kryalaya, Hatras
5) Roy Ashok (2004) Music Makers: Living :Legends of Indian Classical Music, Rupa, New
Delhi

MUS-UGH-CT202 (B):- Elementary Study of Tala
The course deals with the fundamentals components of Tala, comparative study laya and
Tala, gharana tradition and basic concept of Raga Lakshyana will be discussed in elaborated
manner. The course also thrashes out about the application of Swar, Nada Saptak and Thaat in
detail.

Unit I: Fundamental components of Tala

Knowledge of Laya, Tala, Matra, Vibhag, Tali, Khali, Sama
Unit II: Comparative components of Tala
Comparative study of Laya and Tala
Comparative Study of Chand and Tala
Unit III: Study of Naad and Swar
Naad, Shurti, Swar, Saptak, Thaat and Mela
Unit IV: History of Indian Music and Gharana Tradition
History of Indian Music during Medieval Period
Gharana- Origin, Characteristics, Merit and Demerits of Gharana tradition / Vocal, Dhrupad,
Sitar and Tabla
Suggested Readings
1) Mishra Vijay Shankar (2014) Tabla Rare Compositions of Great Masters, Neha
Publishers and Distributers, New Delhi
2) Saxena Sudhir Kumar (2006) The Art of Tabla Rhythm, D.K. Print World, New Delhi
3) Evans John (2009) The School Music Teacher- A guide to teaching singing in school by
Tonic Sol-Fa and Staff Notation, Forgotten Books, London
4) Wyatt Keith and Schroeder Carl (1998) Harmony and theory, A Comprehensive Source
for All Musicians, Musicians Institute Press, CA
5) Carter Nicolas (2016) Music Theory: From Beginner to Expert- The Ultimate Step By
Step Guide in Understanding and Learning Music Theory Effortlessly, Musicians
Institute Press, CA

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Department of Music
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MUS-UGH-CP203:- Western Music -II

The course will explain about the knowledge of western music theory and practical as
well the aspects of Major- Minor Keys and rhythmic studies. Chords constructions and
progression with Melody- Harmony are deeply discussed in course.

Unit I: Solfege and Keys

Major and Minor keys up to 4 sharps and flats. Further work with accidentals
Solfege in all keys and all accidentals
Unit II: Rhythmic Studies
– Sixteenth Notes, 32nd notes. Time Signatures 5/4,7/4,5/8,7/8 Introduce more complex
Rhythmic Studies, Odd Meters, Poly-Rhythms and Tuplets
Unit III: Chord construction and Sight Reading
Sight reading Major Scales- C, D- two Octave, A, E- One Octave and Minor Scales- A, D, E one
and Two Octave
Broken Chords: C major, G major, D Major One Octave
3 Pieces of Initial Level
Diatonic chord construction (triads) and secondary dominants, Chord Construction (Seventh
Chords)
Unit IV: Melody and Harmony
Melody – Melody-Harmony relationships, Upper/Lower neighbour tones, passing tones,
appoggiaturas.
Suggested Reading
1. Grout, Donald J. A History of Western Music: , W.W. Norton and Company, New York
2. Adler,Guido(1981) The Scope, Method, and Aim of Musicology, trans by Erica
Mugglestone. Yearbook for Traditional Music.
3. Bohlman Philip V (2002), World Music : A Very Short Introduction, Oxford University
Press, UK
4. Linden Bob Van Der (2013) Music and Empire in Britain and India, Identiy,
5. Arnold Alison (1999) The Garland Encyclopedia of World Music: South Asia; The
Indian Sub Continent , Routledge, UK

Semester III
MUS-UGH-CP301 (A):- Raga Studies-III

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Department of Music
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The Course will explain introduction of Hindustani Music, practical performance of
Ragas with its distinct Technique of Singing.
Unit I: Comprehensive Study of Raga
Knowledge of Bandish/Drut Gat, Aalap and Taan in Raga Kedar and Bihag
Unit II: General Study of Raga
Knowledge of Bandish/Drut Gat, Aalap and Taan in Malkouns and Vrindavani Sarang
Unit III: Oral Rendering and Knowledge of Tali- Khali
Knowledge of Kaharwa, Tevra and Chautal with Dugun and Chaugun Layakar
Unit IV: Performance technique of Raga
Knowledge of Simple Tihai and Badhat in prescribed Raga-
Kedar, Bihag, Malkouns and Vrindavani Sarang

Suggested Readings
1) Orsini Francesca and Schofield Butler (Ed.) (2015)Telling and Texts: Music, Literature
and Performance in North Indian, Open Book Publishers, UK
2) Datta Ashok Kumar, Solanki Sandeep Singh, Sengupta Ranjan, Chakrabarty Soubhik,
Mahto Kartik,Patranabis Anirban (2017), Signal Analysis of Hindustani Classical Music,
Springer, Germany
3) Linden Bob Van Der (2013) Music and Empire in Britain and India, Identiy,
Internationalism and Cross- Cultural Communication, Palgrave Macmillan,UK
4) Jairazbhoy Nazir Ali, (1971) The Rags of North Indian Music: Their Structure and
Evolution, Popular Prakashan, Mumbai
5) Manuel Peter (1990) Thumri in Historical and Stylistic Perspectives, Motilal
Banarasidass Publishers, New Delhi

MUS-UGH-CP301 (B):- Tala Studies-III

The Course will explain about the introduction of Hindustani Tala Systems, practical
performance of Tala with various composition of Hindustani Percussion Music. The course also
deals with the significance of Tabla recital.
Unit I: Comprehensive study of Gat
Basic knowledge of Madhyalaya Gat in Jhoomratal , Jhaptal and Teental
Unit II: Performance technique
Detail study of Kayada and Tihai in Jhaptal
Unit III: comparative Study of Tala
Comparative study of Sama Matra and Bisama Matra Talas
Unit IV: Knowledge of Layakari
Layakari in Tha, Dugun, Tigun, Chaugan in Trital, Jhaptal, and Jhoomratal

Suggested Readings

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Department of Music
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1) Mrdangacharya,B.D (1976) Mrdang-Tabla-Prabhakar (Vol.I) ,Sangeet karyalaya, India.

2) Jha Narayan (1983) Tal Prabhand, Prabhulal Grag, India.
3) Yadav B.L (2016) Tabla Prakash, Sangeet Sadan Prakashan, Allahbad
4) Agrwal Krishna Kumar (2010) How to Play Tabla, Manoj Publications, Delhi.
5) Mishra Vijay Shanker (2014) Tabla, Kanishka Publishers, New Delhi

MUS-UGH-CT302 (A):- Analytical Study of Indian Classical Music
The course deals with the study of Gharan and tradition of Thumri and Tappa. Time theory of
Raga and Biography of some renowned music maestros are deeply acknowledged in the Course.

Unit I: Study of Sangeet Shastra

Texts of Bharata, Matanga, Sarangdeva, Abhinavagupta, Dattilam, Nanyadeva
Unit II: History of Indian Music
History of Indian Music during Modern Period
Unit III: Time Theory and Semi classical Form
Time theory of Raga, Study of Thumri and Tappa Tradition in Hindustani Music
Unit IV: Biography of music Maestros
Biographies of-Omkarnath Thakur, Vilayat Khan, Amir Khan, Hariprasad Chaurasia, Ravi
Shankar

Suggested Reading
1) Jairazbhoy Nazir Ali, (1971) The Rags of North Indian Music: Their Structure and
Evolution, Popular Prakashan, Mumbai
2) Gautam M.R.(2008) Evolution of Raga and Tala in Indian Music, Munshiram
Manoharlal Publishers Ltd.,New Delhi.
3) Kulshrestha.K (2010) History and Evolution of Indian Music, Sri Natarajan Prakashan,
New Delhi.
4) Ranade Ashok Da. (2014) Keywords and Concepts Hindustani Classical Music, Promilla
& CO. Publishers, New Delhi.
5) Sambamoorthy P. (2013) South Indian Music,(Vol I – VI) , Indian Music Publishing
House, Chennai

MUS-UGH-CT302 (B):- Analytical Study of Tala and Shastra

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Department of Music
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The course deals with the evolution of Tabla and its history. Life sketch and contribution
of some Tabla Maestros are discussed in detail study of various composition of Tabla are highly
acknowledge in the course.
Unit I: Study of Sangeet Shastra
Texts of Bharata, Matanga, Sarangdeva,Abhinavagupta,Dattilam, Nanyadeva
Unit II: Analysis of various types of Bols
Definition of the following terms Kayada, Gat, Navhakka, Tripalli, Chaupalli, Bant, and Paran
Unit III: Characteristics of Tabla and History of Indian Music
Origin, Evolution and History of Tabla
History of Indian Music during Modern Period
Unit IV: Life history and contribution in the field of Tabla
Samata Prasad Mishra, Alla Rakha , Wajid Hussain and Kishan Maharaj

Suggested Reading
1) Kippen James, (2005) The Tabla Lucknow: A Cultural Analysis of a Musical Tradition,
Manoharlal Publishers and distributors, New Delhi
2) Bhandari Achyutram (2014) A Glance Play on Tabla: For beginners to Advanced Playes,
ARB Publications
3) Mishra Vijay Shankar (2014) Tabla Rare Compositions of Great Masters, Neha
Publishers and Distributers, New Delhi
4) Deshpande,Vamanrao,H (1987) Indian Music Tradition, Popular Prakashan, Bombay.
5) Mishra Chhotelal (2006) Tabla Grantha, Kanishka Publishers ,New Delhi

MUS-UGH-CP303:- Western Music -III

The course will explain about the intensive knowledge of western music theory and
practical aspects of western Music. Course also deals deeply with the practical performance of
melodies of classic genre in detail.
Unit I: Review of Stepwise Motion and tones
Review of Stepwise motion vs. Leaps, Upper and Lower neighbour tones, Passing tones,,
Diatonic/Chromatic approach notes, Appogiatura, Cambiata, Consonant and Dissonant
Intervals.
Unit II: Counter Point
Cantus Firmus, 1st and 2nd Species Counterpoint
Unit III: Figure Bass and Chorales
Introduction to Figured Bass, Further analysis of Chorales, applying figured bass
Unit IV: Relevant Pieces and Sight Reading
Sight reading major scales- D, E, A, F- One Octave and C, D, E- Two Octave
Sight Reading minor scales- B, C D, F, G, A# - Natural, Harmonic and Melodic- One, Two,
Three Octaves
Arpeggios- C, D, E, F-Major and A, B, F, E- Minor, - One and Two Octave

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Department of Music
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3 pieces and one Elude – Intermediate Level

Suggested Readings

1) Moore Allan F (2012) Song Means: Analysing and Interpreting Recorded Popular Songs,
Routledge, UK
2) Miller Ron (2000) Modal Jazz Compositions and Harmony Vol-2, Advanced Music, USA
3) Bohlman Philip V (2002), World Music : A Very Short Introduction, Oxford University
Press, UK
4) Courtney, Davia R.(2013) Fandamentals of Tabla, Sursangeet Services,Texas, USA.
5) Linden Bob Van Der (2013) Music and Empire in Britain and India, Identiy

Semester IV
MUS-UGH-CP402 (A):- Intensive Study of Raga- I
The course deeply deals with the intensive study of Ragas and its performance. Advance
knowledge of Gayaki will discuss in the course with various way Khayal Singing. Course also
deals with the advance concepts of Tala and layakari while singing and playing instrument.

Unit I: Comprehensive study of Raga

Bhairav, Bhimpalasi and Yaman - Vilambit Khyal
Unit II: General Study of Raga
Jaunpuri, Marwa and Miyan Ki Todi- Madhyalaya Khyal
Unit III: Knowledge of Light Music & Oral Rendering of Tali-Khali in Varaious Layakari
Two composition of Bhajan
Ability to demonstrate (Orally with Tali-Khali) in Teen Tala, Ektal and Jhaptal in Dugun and
Chaugun Layakari
Unit IV: Stage performance and Viva- Voce
Viva- Voce and oral rendering of all the aspect of Raga and Tala
Stage performance of choice Raga bada Khyal and Chota Khyal and one Bhajan in detail

Suggested Readings

1) Clements. E (1990) Encyclopaedia of Indian Music with Special Reference to Raga Sri
satguru Publications, New Delhi
2) Sharma Amal Das (1993) Musicians of Past and Present, Pilgrims Publishing , Varanasi
3) Sorrell Neil and Narayan Ram (1980) Indian Music in performance, Manchester
University Press, Manchester

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Department of Music
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4) Srivastava Indurama (2008) Practical Guide to North Indian Classical Vocal Music,
Munsiram Manoharlal, New Delhi
5) Sharma Manohar (2003) Folk India(11 Vols), Sandeep Prakashan, New Delhi

MUS-UGH-CP402 (B):- Intensive Study of Tala -I

The course deeply deals with the intensive study of Tala and its performance. Various
technique of tabla recital will discuss including the kayada, Prastar, Rela In various Tala.
Various layakari, composition and essence of performance are deeply discussed in course.
Unit I: Comprehensive study of distinct Bols of Tabla Recital
Study in Detail about Kayada, Prastar, Mukhada, Tukadas and Rela Nasrukh and Trital
Knowlwdge of Damdar and Bedam Tihai in Jhoomra, Chautal and Trital
Unit II: Advance Study of Uthan, paran and Rela
Analytical study of Uthan and Paran of various Baaj
Simple knowledge of Rela with varation in above mentioned Talas
Unit III: Variation of Theka, Mukhada and Tihai
Five Mukhada’s Five Parans with Tihai in Ektal, Adachartal and Trital
Variations of the Thekas of Dadra & Kaharwa
Unit IV: Stage performance and Viva- Voce
Viva-voce along with oral rendering of prescribed syllabus with Tali-Khali in various Layakari
Solo Performance with Uthan,Peskar, Kayada, Prastar and Tihai for 30 Minutes

Suggested Readings
1) Sharma Manohar (2003) Folk India(11 Vols), Sandeep Prakashan, New Delhi
2) Slobin Mark (2011) Folk Music: A Very Short Introduction, Oxford University Press,
New York
3) Barthakur Dillip Ranjan (2003) The Music and Musical Instruments of North Eastern
India, Mittal Publications, New Delhi
4) Gottlieb,R.S (1977) The Major Tradition of North India Tabla Drumming,Musikverlag
Emil Katzabichler, Germany.
5) Kartoki Margaret J.(1990) On Concept and Classifications of Musical Instruments, The
University of Chicago Press,Chicago and London.

MUS-UGH-CT405:- Folk Music
The course deals with the various aspects of other music rather than the classical music. Folk
music and its terminology with the various fragrance of North-Eastern music will be discussed in detail
with its all features.
Unit I: Introduction and features of Folk Music
Introduction to the Folk Music, definition and Features

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Department of Music
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Unit II: Music of North-East Indian and Short Biography
Folk Music of Assam, Meghalaya, Manipur
Folk Music of Mizoram, Tripura
Folk Music of Arunachal and Nagaland
Short Biography of Bupen Haziarika, Lalan Faqir, Sonam Tshering Lepcha, Abbas Uddin Ahamed,
Purandas Baul, Pratima Barua and Ramkailash Yadav
Unit III: Folk Music of Sikkim
Folk Music of Lepcha, Bhutia, Tamang, Rai, Limbu, Newar, Gurung, and Brahman- Kshitrya
Knowledge of Folk Songs -Chyabrung, Zo-malok, Denzong-Ne-Ha, Malashree, Asare Geet, Ghase Geet,
Sangani, Sorathi, Balan,
Unit IV: Folk music and social Life:
Ethnography of Sikkm and North Bengal, Ritual and Religious Value of Folk Music, Folk Music and
social Changes
Suggested Reading
1) Subba J.R (2008) History, Culture and Customs of Sikkim, Gyan Publishing House, New
Delhi
2) Sharma Prabal (2008),Music Culture of North East India, Raj Publications, New Delhi
3) Thomas Watre (2007) Music and Musical Instruments of the Garo Tribe of North East
India, Akansha Publishing House
4) Barthakur Dillip Ranjan (2003) The Music and Musical Instruments of North Eastern
India, Mittal Publications, New Delhi
5) Slobin Mark (2011) Folk Music: A Very Short Introduction, Oxford University Press,
New York

Communicative English

Semester V
MUS-UGH-CP502 (A):- Intensive Study of Raga-II
The course deeply deals with the intensive study of Ragas and its performance. Advance
knowledge of Gayaki will discuss in the course with various way Khayal Singing. Course also
deals with the performance of semi classical forms and advance concepts of Tala and layakari
while singing and playing instrument.
Unit I: Comprehensive Study of Raga
Puriya, Miya ki Todi and Bihag - Vilambit Khyal
Unit II: General Study of Raga
Hamsadhwani, Shankara and Bageshree- Madhyalaya Khyal
Unit III: Semi-classical Forms and Oral Rendering of Various Layakari with Tali-khali
Ability to demonstrate (Orally with Tali Khali) in Aada, Jhoomra, Panchamswari in Dugun,
Tigun and Chaugun Layakari
Simple Knowledge of Semi Classical form in Raga Bhairavi and Khamaj

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Department of Music
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Unit IV: Stage performance and Viva- Voce
Viva- Voce and oral rendering of all the aspect of Raga and Tala
Stage performance of choice Raga bada Khyal and Chota Khyal, Semi Classical form and
Bhajan in detail

Suggested Readings

1) Clayton Martin (2000) Time In Indian Music, Oxford University Press, New York
2) Wade Bonnie C (1984) Khyal: Creativity within North Indian’s Classical Musical
Traditional, Cambridge University Press, New York
3) Menon Jisha (2013) The Performance of Nationalism, Cambridge University Press, UK
4) Bharati Sangeet (2010), The Oxford Encyclopedia of Indian Music, OUP , India
5) Saxena S.K. (2012) The Winged Form, Sangeet Natak Akademi, New Delhi.
6) Lele, V (1983) Sathsangat, V. Joshi and Co, Puna.

MUS-UGH-CP502 (B):- Intensive Study of Tala -II

The course deals with the intensive study of Tala and its performance. Various technique
of tabla recital will discuss including the Uthan,Peskar, Kayada, Prastar, Rela in various Tala of
compound Layakari.
Unit I: Advance knowledge of Tabla Recital
Advance study of Dhamar Tala and Rudra Tala-Thekas, Paran, Tukdas, in various layakari
Unit II: Comprehensive Study of Various Bols and Layakari
Four Parans, Tukras (Chakkardar) Tihaies in Dhamar & Sooltal
Advance knowledge of Making Layakari in Kuaad and Viaad laya
Unit III: Playing Technique and Advance knowledge of various Bols
Advance knowledge of Uthan, Peskar and Rela in above prescribed Talas
Analysis of playing technique of Ajrana Gharana
Unit IV: Stage performance and Viva- Voce
Viva-Voce with oral presentation of above syllabus in various layakari
Solo Performance of Uthan, Peskar, Kayada, Prastar in any tala for 30 Minutes

Suggested Readings
1) Clayton Martin (2000) Time In Indian Music, Oxford University Press, New York
2) Wade Bonnie C (1984) Khyal: Creativity within North Indian’s Classical Musical
Traditional, Cambridge University Press, New York
3) Menon Jisha (2013) The Performance of Nationalism, Cambridge University Press, UK
4) Courtney, Davia R.(2013) Fandamentals of Tabla, Sursangeet Services,Texas, USA
5) Roy Bimal (2004) Sangiti Sabda Kosa, Sharada Publishing House, Delhi.
6) Dutta Aloke (1984) Tabla,Lesson and Practice, Janhabi Printers & Publishers, Calcutta

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Department of Music
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MUS-UGH-CT505:- Rabindra Sangeet

The course will be discussed about the various aspect of the music of Rabindranath
Tagore. The core concepts of Rabindra Sangeet with its basic eminent are discussed in detail.
The course will also largely explain about the various composition of Rabindra Sangeet.

Unit I: Introduction to the Rabindra Sangeet

Unit II: Parjyayas and upaparjyayas of Rabindra Sangeet
Unit III: Nationalism in Rabindra Sangeet
Unit IV: Some eminent musicians of Rabindra Sangeet

Suggested Reading
1) Ghosh Shantidev, Rabindra Sangeet Vichitra (2006) Concert Publishing Company,
Kolkata
2) Chaterjee Debashish(2014) Rabindranath Tagore in 21st Century, Spingers, Germany
3) Ghosh Shantidev, Rabindra Sangeet Vichitra (2006) Concert Publishing Company,
Kolkata
4) Internationalism and Cross- Cultural Communication, Palgrave Macmillan,UK
5) Bhattacharya, Susmita.,(2014) Timeless Rabindra sangeet, Sarat Book House, kolkata

Environmental Studies

Semester VI
MUS-UGH-CP602 (A):- Intensive Study of Raga- III
The course deeply deals with the intensive study of Ragas and its performance. Advance
knowledge of Gayaki will discuss in the course with various way Khayal Singing. Course also
deals with the performance of semi classical forms and advance concepts of Tala and layakari
while singing and playing instrument

Unit I: Comprehensive Study of Raga

Bageshree, Miya-Malhar and Malkouns-Vilambit Khyal
Unit II: General Study of Raga
Poorvi, Darbari Kanara and Rageshree- Madhyalaya Khyal
Unit III: Semi-classical Forms and Oral Rendering of Various Layakari with Tali-khali
Ability to demonstrate (Orally with Tali-Khali) in Aada Chowtal, Deepchandi in Dugun, Tigun,
Chaugan and Aad Layakari
Knowledge Thumri and Dadra in Raga Khamaj, Mishra Bhairavi, Desh and Mishra Kafi
Unit IV: Stage Performance and Viva-Voce
Stage performance of choice Raga Bada Khyal and Chota Khyal/Drut and Vilambit

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Department of Music
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Suggested Readings

1) Manuel Peter (1990) Thumri in Historical and Stylistic Perspectives, Motilal

Banarasidass Publishers, New Delhi
2) Mehra R.C (2011) Indian Classical Music and Gharana Tradition, Read Worthy, New
Delhi
3) Bagchee Sandeep (1998) Nad-Understanding Raga Music, eeshwar, Mumbai
4) Atre Prava (2016) Swarangee:Compositions in North Indian Semi- Classical and light
Music, Thumri, Daadra , Ghazal, Bhakti Geet and Marathi Ghazal, B.R. Rhythm, New
Delhi
5) Kippen, James (1988) The Tabla of Lucknow, Cambridge, Great Britain:Cambridge
University Press

MUS-UGH-CP602 (B):- Intensive study of Tala -III

The course deals with the intensive study of Tala and its performance in various advance
Talas. Various technique of tabla recital will discuss including the Uthan,Peskar, Kayada,
Prastar, Rela in various Tala of compound Layakari.

Unit I: Advance knowledge of Tabla Recital

Advance study of Peshkar, Kayada, Gat, Tukda, Mukhada, Rela and Palta in Panchamsawari,
Rudra Tala and Trital
Unit II: Comprehensive Study of Various Bols
Four Tukdas and two Parans(Simple & Chakkardar) with advanced of Tihai in Chutal and
Dhamar Tala
Unit III: Analysis of Baaj of Different Gharana
Critical Studies of Various Gat of Farukhhabad Gharana
Critical Studies of Various Paran of Banaras Gharana
Unit IV: Stage Performance and Viva-Voce
Viva- Voce along with oral rendering of advance components of Tabla and Pakhawaj
Solo performance followed by all the advance component of Tabla for 30 Minutes

Suggested Readings

1) Leak, Jerry (1993) Indian Influence (Tabla Perspective), series A.I.M. Percussion Text
(Second Edition).Boston: Rhombus Publishing.
2) Shepherd, F.A.(1976) Tabla and the Benares Gharana, Ann Arbor: University
Microfilms International.(Ph.D. Dissertation)
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Department of Music
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3) Stewart, R. M. (1974) The Tabla in Perspective. Ann Arbor: University Microfilms
International.(Ph.D. Dissertation )
4) Banerjee Sudhir Chandra (2012) Tabla & the Word of Indian Rhythms, Shubhi
Publication, Gurgaon, Hariyana.
5) Mistry Aban E (1999) Pakhawaj & Tabla History,Schools and Traditions, Pt.Keki
S.Jijina Swar Sadhana Samiti, Mumbai.
6) Malik Anil, Ratan Seema (2014) Dictionary of Music, Khurana Publishing House, Delhi.
7) Durga S.A.K. (1996) Ethnomusicology, Center for Ethnomusicology, Madras.

MUS-UGH-CT605:- World Music
The course will cover music performed in different countries of world ranging from America, Europe,
and Middle East to the Asian Countries. Acknowledging that teach country showcases a variety of music
genres and musical practices, this course highlights more than one genre of music –classical, folk,
religious, folk, popular etc.

Unit I: Musical Genre of America and Europe

North America, Central and South America (Cuba and Brazil)
Western Europe-Spain, Eastern Europe-Bulgaria
Unit II: Musical Genre of Asia
Music of East Asia China, Japan and Korea
Middle East- South Asia,Turkey, Iran, Egypt

Unit III: Globalization and musical perspective
Study of Indian Music in Western Diaspora
Study of Western Music in India Diaspora
Unit IV: Film and Musical Scenario
Analytical study of Indian Classical Music in Film Music
Film Industry and Music

Suggested Readings

1) Clements. E (1990) Encyclopaedia of Indian Music with Special Reference to Raga Sri
satguru Publications, New Delhi
2) Sharma Amal Das (1993) Musicians of Past and Present, Pilgrims Publishing , Varanasi
3) Linden Bob Van Der (2013) Music and Empire in Britain and India, Identiy,
4) Bohlman Philip V (2002), World Music : A Very Short Introduction, Oxford University
Press, UK
5) Miller Ron (2000) Modal Jazz Compositions and Harmony Vol-2, Advanced Music, USA

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Department of Music
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6) Moore Allan F (2012) Song Means: Analysing and Interpreting Recorded Popular Songs,
Routledge, UK
7) Arnold Alison (1999) The Garland Encyclopedia of World Music: South Asia; The
Indian Sub Continent , Routledge, UK

Eastern Himalayan Studies

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