Scribd
Upload
87 views9 pages

Musicology PG CBCS

This document provides a syllabus for an M.A. in Musicology at Rabindra Bharati University. It outlines the course content, learning objectives, and assessments for 14 core courses that cover topics such as the history of Indian music, music terminology, musical forms, instruments, folk music traditions, and interdisciplinary connections between music and other fields. Students will demonstrate their knowledge through written exams, practical demonstrations of vocal music and instruments, dissertation writing, and course projects.

Uploaded by

Gctcyc6
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
87 views9 pages

Musicology PG CBCS

This document provides a syllabus for an M.A. in Musicology at Rabindra Bharati University. It outlines the course content, learning objectives, and assessments for 14 core courses that cover topics such as the history of Indian music, music terminology, musical forms, instruments, folk music traditions, and interdisciplinary connections between music and other fields. Students will demonstrate their knowledge through written exams, practical demonstrations of vocal music and instruments, dissertation writing, and course projects.

Uploaded by

Gctcyc6
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 9

SYLLABUS CBCS 2017

M.A. in Musicology
Rabindra Bharati University

CC-1.1 - General principles in Musicology

a) Definition of Musicology
b) Introduction of Musicology(Indian &Western)
c) Scope of Musicology
d) History of Musicology
e) Contents of the following Musicological Texts: Natyasastra, Brihaddesi, Sangit- Parijata,
Sangit- Ratnakar, Sangit-Samayasar, Swaramela-Kalanidhi, Caturddandi-Prakasika, Sangit-
Chinta, Gita-Sutrasar.

CC-1.2 - History of Indian Music

a) Primitive Music
b) Vedic & Pauranik Music
c) Gandharva or Marga & Deshi Sangit
d) Evolution of Prabandha Gana & Raga
e) Evolution of Devotional Song
f) Study of Historical Development of Hindustani & Karnatic Music
g) Short Survey of Classical Dances of India

CC- 1.3-Music Terminology

a) Raga, Varna, Alankara, Gamaka, Jati, Grama, Murchhana, vadi,Samvadi, Vivadi, Anuvadi, Upanga,
Bhasanga, Raganga, Kriyanga, Swara, Suddha & Vikrita Swara, Shruti, Alapti, Raga Lakshana, Pakar,
Chalan, Mela, Thata, Tana.

b)Gat, Jhala, Jor, Tala, Tali, Khali, Loya, Chhanda or Baj, Badan Shaily, Lahora, Graha, laggi.

c)Bat, Mukhra, Tukra, Bol, Rela, Palta, Peskar, Som, Phank, Kyada, Matra, Paran .

CC-1.4- Music Preservation & Notation System


Music Preservation & Notation System

a)- Study of Preservation:

What is Preservation, Utility, History, Vedic Period, Medieval Period, Systems, Problems, Media,
Hindustani Classical Music, Bengali Music, Rabindra Sangeet, Preservation through Education of Music,
Music Preservation through different recording media.

b)- Study of Notation System:

Utility & limitation of Notation, Dandamatrik, Akarmatrik, Bhatkhande, Koshimatrik & Staff Notation
System.
CC-1.5- Classical Vocal : Raga Demonstration (Practical)

Four Pair Raga ( Students Choice)

Iman, Iman Kalyan, Ragesree, Bagesree, Bhairav, Ahir Bhairav, Suddha Sarang, Brindabani Sarang,
Darbari Kanada, Abhogi Kanada, Mian Malhar, Gour Molhar etc.

Two Tarana (on any Raga)

CC-2.1 –Theory of Tala & Tala System

a) Tala in relation to Chhanda


b) Ancient & Modern System of Tala
c) Various Tala used in Dhrupad, Khayal,Thumri, Tappa
d) Rabindrik Tala & Karnatic Tala System
e) Marga & Deshi Tala System
f) Hindustani Tala System
g) Kirtanagiyo Tala System

CC-2.2.1- Aesthetics & Psychology of Music

a) Definition of Art & Aesthetics


b) Bharat’s Conception of Rasa
c) Concept of Universality
d) Intuition & Communication theory
e) Views of Rabindranath Tagore & other Aesthetic thinkers in relation to Music
f) Classicism, Romanticism, Idealism, Realism. & Symbolisim

CC-2.2.2- Aesthetics & Psychology of Music

a) Psychology of Musical Mind


b) Assessment of Musicality
c) Analysis of Musical talent
d) Psychology of creative talent & creative Process
e) Construction & mode of Vibration of the following Instruments:
Sitar, Sarod, Tanpura, Violin, Esraj, Piano, Tabla,Khol, Pakhawaj

CC-2.3- History & Comparative Studies of Indian Musical Forms

Dhrupad, Dhamar , Kheyal,Tarana,Tribat, Chaturanga ,Dadra, Kajri,Thumri, Tappa, Dhruba Gana


Charja- Gana, Sadra, Gazal, Bhajan.

CC-2.4- Study of Instrumental Music

a) Tata, Sushir, Ghana, Anaddha Vadya


b) Sitar, Sarod, Esraj, Tabla, Flute, Srikhol, Pakhawaj, Sehanai, Shankha, Ghanta, Kartal.

CC-2.5- Raga Demonstration

Dhrupad ,Dhamar & Bhajan (on any Raga)

CC-3.1- Technical Aspects of Music & Sound Analysis

a) Definition of Sound, Characteristics of Musical Sound


b) Sound Waves: Its Production & Propagation
c) Types of Waves: Longitudinal ,Transverse, Progressive & Stationary Waves
d) Resonance in Music & Musical Instruments
e) Organ of Hearing, its Structure &Function
f) Structure & Production of Human Voice
g) Construction & Mode of Vibration of the following Instruments:
Tabla, Khol, Pakhwaj,Sehanai, Tanpura, Guitar

CC-3.2- Indian Folk Literature

a) Music: Bhatiyali, Bhawaiya, Tusu, Jhumur, Chatka, Bhadu, Sari, Murshida, Islami, Baul, Nouka
Bilas, Dhamail.

b) (1) Dance: Bihu Dance, Garba Dance, Jhumur Dance, Dandia,

(2) Dhamali Dance,chou dance, Bhangra Dance, Java Dance.

CC-3.3- Study of World Music

Western, Chinese, Japanese, Indonesian, Arabic, Persian.

CC-3.4- Contribution of Musicians

A) Kshetramohan Goswami, Sourindramohan Tagore, Krishadhan Banerjee, Rabindranath Tagore,


Gopeswar Banerjee, TanSen.

b) Girijashankar Chankraborty, V.N.Bhatkhande, Dr. Bimal Roy, Rajyeswar Mitra, Dr. Kailash Ch.
Brihaspati, Amir khusro.

CEC-3.1 & CEC-3.2 (Any one) Practical

CEC-3.1 Modern Songs (10) or Two Kirtan (Practical)

CEC-3.2 Folk Songs (10) (Practical)

CC-4.1- Interdisciplinary Approach in Indian Music

a) Music & Religion


b) Music & Culture
c) Music & Social Science
d) Music & Science
e) Influence of Folk Music on Indian Classical Music
f) Music & Philosophy
g) Use of Music in Cinema & Drama

CC-4.2- Music Teaching & Research Methodology

CC-4.3- Subjects for Dissertation & Viva

1. How to use Music for Strengthening National Integration.

2. Contribution of Krishna Chandra De, Abbasuddin. Sachindev Barman, Bhismadeb


Chattopadhya, Jnanendra Prasad Goswami, Jnanpraksh Ghosh, Kaji Nazrul Islam, Tarapada
Chokraborty, Inayat Khan, Alauddin Khan, Bismillah Khan, Vilayet Khan, Ravi Shankar,
Nikhil Banerjee, Amir Khan, Radhika Mohan Maitra, Bade Gulam Ali Khan, A.T. Kanan,
Bhimsen Joshi, Mustaq Hussain Khan, Mustaq Ali Khan, V.G.Jog, Allarakkha, Keramatullah
Khan.

3. Band Music – Causes of its Popularity, Especially amongst the Young Generation.

4. Importance’s of maintaining Archieves for Music.

5. Role of Music Arranger,Merits of good Arranger.

6. How to face Audition for Music.

CEC-4.1 & CEC-4.2 (Any one) Practical

CEC-4.1 Modern Songs (10) or Two Kirtan (Practical)

CEC-4.2 Folk Songs (10) (Practical)

OBC-4.1 & OBC-4.2 (Any one) Practical

OBC-4.1 Instrument(Non Percussion)

OBC-4.2 Instrument( Percussion)

You might also like

pFad - Phonifier reborn

Pfad - The Proxy pFad of © 2024 Garber Painting. All rights reserved.

Note: This service is not intended for secure transactions such as banking, social media, email, or purchasing. Use at your own risk. We assume no liability whatsoever for broken pages.


Alternative Proxies:

Alternative Proxy

pFad Proxy

pFad v3 Proxy

pFad v4 Proxy