SEMESTER BASED UNDER-GRADUATE HONOURS COURSES

Distribution of Marks & Teaching Hours

The Semester-wise distribution of papers for the B.A. (Honours), B.Com.

(Honours), B. Com., B.Sc. (Honours) Statistics and B.Sc. (Honours) Computer
Science will be as follows:

Type of Paper Max. Marks Theory I.A. Teaching per

Exam. week

Main Papers 100 75 25 5 Lectures

1 Tutorial

Concurrent Courses 100 75 25 4 Lectures

1 Tutorial

Credit Courses for 100 75 25 4 Lectures

B.Sc.(Hons.) 1 Tutorial
Mathematics

 Size of the Tutorial Group will be in accordance with the existing norms.
 The existing syllabi of all Concurrent/Credit Courses shall remain
unchanged.
 The existing criteria for opting for the Concurrent /Credit Courses shall also
remain unchanged.

3
 B.A (Hons) 1st Year

Semester-I
Course-101 Theory

General Musicology

(i) Nada, Swara, Shruti, Raga, Mela ( Thata), Alankar, Tana, Gamak,
Sthaya, Kaku, Margi-Deshi, Ragalap-Rupkalap, Vadi, Samvadi,
Anuvadi, Vivadi, Tala, Laya, Avirbhav, Tirobhav,
Parmelpraveshak Raga, Sandhiprakash Raga, Vaggeyakara,
Kalawant.

(ii) Vibration, Pitch, Intensity, Timbre, Just intonation, Equal tempered

scale, forced Vibration, Free Vibration.

Internal Assessment

Course-101

Recommended Books

1. S.S. Paranjape - Bhartiya Sangeet Ka Itihasa

2. S.S. Paranjape - Sangeet Bodh
3. V.N. Bhatkhande - Bhatkhande Sangeet Shastra Part-I-II
4. Swami Prajnananda - History of Indian Music
5. Swami Prajnanada - Historical Study of Indian Music
6. Lalit Kishore Singh - Dhvani Aur Sangeet
7. Govind Rao Rajurkar - Sangeet Shastra Parag
8. Dr. Swatantra Sharma - Fundamentals of Indian Music
9. Dr. Pannalal Madan - Sangeet Shastra Vigyan

4
Course- 102 Practical-1

Stage Performance & Viva Voce

Prescribed Ragas

Bhairav, Bhupali, Yaman, Durga

Vocal Music - Vilambit and Drut Khayal with gayaki in all the
ragas and Dhrupad or Dhamar in all the ragas.

Instrumental Music - Masit Khani and Razakhani gat with elaboration in

all the ragas.

Internal Assessment:

Course-102

Recommended Books

1. V. N. Bhatkhande - Kramik Pustak Malika Part-I-II

2 V.R. Patvardhan - Rag Vigyan part-I-III

5
 PAPER 103

CONCURRENT- QUALIFYING
LANGUAGE

6
 Semester-II
Course-104

Theory of Indian Music

(i) Rudiments of staff Notation, Harmony, Melody, Polyphony.

(ii) Life and contribution of the following:

(a) Pt. V. N. Bhatkhande –His works and Notation System
(b) Pt. V.D Paluskar - His works and Notation System.
(iii) Masitkhani and Vilambit Gat, Razakhani & Drut
Gat, Krintan, Zamzama, Ghaseet, Jor Alap, Gitkiri, Meend, Sut, Kan

Internal Assessment

Course-104

Recommended Books

1. E. Clements - Study of Indian Music

2. Ra. Avtar ‘Vir’ - Theory of Indian Music
3. V. N. Bhatkhande - Bhatkhande Sangeet Shastra Part-I-II
4. Dr. Swantantra Sharma- Bhartiya Sangeet Ek Vaigyanik Vishleshan
5. Jagdish Narayan Pathak- Sangeet Shastra Praveen
6. V.S. Nigam - Sangeet Kaumudi Part-I-III
7. Music Profiles - Paschatya Swarlipi Paddhati evam
8. Swantantra Sharma - Bharatiya Sangeet

7
 Practical-II
Course-105

Stage Performance & Viva Voce

Ragas Prescribed

Alhaiya Bilawal,Vrindavani Sarang, Kafi, Jaunpuri

Vocal Music - Vilambit and Drut Khayal in all the Ragas, Dhrupad or
Dhamar should cover all the above Ragas.

Instrumental Music- Masitkhani and one Razakhani gat with elaboration in

all the above ragas.

Internal Assessment

Course-105

Recommended Books

1. V. N. Bhatkhande Kramik Putsaka Malika Part-I-III

2. V.R. Patvardhan Rag Vigyan Part-I-IV
3. Omkar Nath Thakur Sangeetanjali Part- I-IV

8
 PAPER 106

CONCURRENT – CREDIT LANGUAGE

9
 Semester-III
Course-107

Historical Study of the Musical Terms

i) Grama, Moorcchana, Jati Gayan, Gandharava, Gana, Nibaddha –

Anibaddha gana, Prabandha, Alap, Alapti, Tala-Dasapranas.
ii) Life and contribution of Karnatak Musicians Trinity-Tyhagaraja,
Muthuswamy Dikshitar, Shyama Sastri
iii) Life and contribution of Western Musicians - Bach, Beethoven,
Mozart.
iv) Musical forms of Karnatak Music : Kriti, Pallavi, Tillana,
Varnam, Padam, Javali. Comparison of Hindustani musical forms
with their Karnatak counterparts.
v)

Internal Assessment

Course-107

Recommended Books

1. S.S. Paranjape Sangeet Bodh

2. Thakur Jaidev Singh Bharatiya Sangeet ka Itihasa
3. Swami Prajnananda Historical Study of Indian Music
4. V.S. Nigam Sangeet Kaumudi Part-III
5. P. Sambamoorthy Great Composers
6. Thakur Jaidev Singh Indian Music
7. Baker’s Biographical Dictionary of musicians
8. Jagdish Narayan pathak Sangeet Shastra Praveen
9. Eric Blom ( edited by) Groves Dictionary of Music & Musicians

10
 Practical-III
Paper- 108

Stage Performance and Viva Voce

Prescribed Ragas

Des, Bageshri, Bhimpalasi, Khamaj

Vocal Music- Vilambit and Drut Khayal with gayaki in all the ragas
and Dhrupad or Dhamar should cover in all the above
ragas.

Instrumental Music- Masitkhani and Razakhani gat in all the above ragas.

Internal Assessment

Course- 108

Recommended Books

1. V.N. Bhatkhande Kramik Pustak Malika Part-I-III

2. S.N. Ratanjankar Abhinavageet Manjari
3. V.R. Patwardhan Rag Vigyan part-I-V

11
 PAPER 109

CONCURRENT -
INTERDISCIPLINARY

12
 Semester-IV

Course-110 Theory

Biographies of Musicians and Composers

Life Sketch and Contributions of the following:

1. Abhinavagupta 2 Nanyadeva 3) Jaidev 4 Amir Khusro 5. Nayak
Bakshu 6. Sultan Hussain Sharki 7. Raja Mansingh Tomar 8. Tansen
9 Sadarang-Adarang 10 Miyan Shori, 11.Rabindranath Tagore 12.
Alauddin Khan 13, S.N. Ratanjankar 14. Vilayat Hussain Khan,
(Pranpiya) Khan 15 Ravi Shankar 16 Vilayat Khan

Internal Assessment

Course -110

Recommended Books

1. Sushila Mishra Some immortals of Hindustani Music

2. Narmadeshwar Chaturvedi Sangeetagya Kavion ki Hindi
Rachanyen
3. A.D. Ranade On Music and Musicians of Hindustan
4. Amal Das Sharma Musicians of India
5. Harihar Niwas Dvivedi Mansingh Aur Mankutuhal
5. Susheela Mishra Great Masters of Hindustani Music
6. Sulochana Brihaspati Khusro Tansen Tatha Anya Kalakar

13
 Practical-IV
Course-111

Stage Performance and Viva Voce

Prescribed Ragas:

Bihag, Ramkali, Deshkar, Hameer

Vocal Music - Vilambit & Drut Khayal with gayaki in all the Ragas
Dhrupad or Dhamar should cover all the above
ragas.
Instrumental Music - Masitkhani and Razakhani gat with elaboration in
all the above ragas

Internal Assessment

Course- 111

Recommended Books

1. V. N. Bhatkhande Kramik Pustak Malika Part-III-IV

2. S.N. Ratanjankar Abhinav Geetmanjari
3. Raman lal Mehta Agra Gharana Parampara Gayaki Aur Cheeje
4. V.R. Patwardhan Rag Vigyan

14
 PAPER 112

CONCURRENT – DISCIPLINE
CENTERED - I

15
 Semester – V
Course – 113 Theory History of Indian Music

i) Vedic Music: Sama and stobhaksharas, the notes of Vedic

music, Gramgeya gana, Aranyageya gana, Poorvarchicka,
Uttararchicka, Udatta, Anudatta, Swarita, Vedic and Loukik
scales, Panchvidha & Saptavidha sama, Vedic instruments
ii) Musical references in Ramayana, Mahabharata and Puranas
(Harivansh & Vayu Puranas)

Internal Assessment

Course – 113

Recommended Books:

1. Swami Prajanananda Historical Development of Indian Music

2. S.S.Paranjape Bharatiya Sangeet Ka Itihasa
3. Thakur Jaidev Singh Bharatiya Sangeet Ka Itihasa
4. Swami Prajnanananda History of Indian Music

16
Course – 114 Practical - V Stage Performance

Prescribed Ragas:

Gaudsarang, Pooriya Dhanashri, Kedar, Kamod, Chayanat

Performance of half an hour, planned by the candidate within the above

prescribed ragas.
Vocal Music - i) Vilambit and Drut Khyal with gayaki to be presented
in any one raga.
ii) Dhrupad-Dhamar or Sadra composition in each of the
prescribed Ragas. Alap, Layakari & upaj in any one
Dhrupad & Dhamar with layakary & upaj in any other
ragas.
Instrumental music-i) Masit khani and razakhani gats with elaboration to
be presented in any one raga.

ii) Gat with elaboration in any 3 of the following Talas –

Dhamar, Ektal, Jhaptal, Ada-Chautal

Internal Assessment

1. V.N.Bhatkhande Part-IV
2. S.N.Ratanjankar Abhinavgeet Manjari
3. Omkarnath Thakur Sangeetanjali Part-I-VI
4. V.R. Patwardhan Rag Vigyan Part-I – VII

17
Course – 115 Practical – VI Viva Voce

Viva Voce-vilambit khyal with Gayaki and Madhyalaya Khyal with

gayaki in each of the prescribed ragas of course-110. For instrumental
music, Masit khani and razakhani gats with elaboration in all the
prescribed ragas of Course

Internal Assessment

18
Course-116 Theory- Applied Musicology

i) Gharanas – Prominent Gharanas of Dhrupad (Dagar, Betia,

Darbhanga) and Khayal (Gwalior, Agra, Delhi, Jaipur, Kirana) and
their significant features regarding techniques.
ii) Gharanas of Instrumental music and their leading styles (Senia,
Maihar, Gauripur)
iii) Detailed and Comparative study of the Ragas prescribed in Ist,
IInd and IIIrd year.
iv) Study of Hindustani musical forms - : Alap, Dhrupad, Dhamar,
Sadra, Khayal, Thumri, Tappa, Tarana, Chaturang, Raga Sagar

Internal Assessment

Course – 116

Recommended Books

1. V.H.Deshpande Indian Musical Tradition

2. Dhrupad Annual Edited by Premlata Sharma
3. V.K.Aggarwal Indian Music : Trends and traditions
4. S.K.Chaubey Sangeet me Gharana ki Charcha
Sangeet Gharana Ank
5. Shanno Khurana Khyal Gayaki Vividh Gharana
6. M.R.Guatam Musical Heritage of India
7. V.N.Bhatkhande Bhatkhande Sangeet Shastra Part-I-III

19
 Semester – VI
Course – 117 Theory: “Study of the ancient and medieval Treatises”

General Review of the works of the following authors:-

Bharat, Matang, Someshwar, Narad (Sangeet Makarand), Parshvadeva,

Sharangdeva, Ramamatya, Somnath, Ahobal, Bhavabhatt, Fakirullah,
Sriniwas, Vyankatmakhi, Lochan, Pundarikvithal, Hridaynarayandeva.

Internal Assessment

Course 117

Recommended Books

1. Bharat Natyashastra
2. Matang Brihaddeshi
3. Sharangdeva Sangeet Ratnakar
4. Narad Sangeet Makarand
5. Ahobal Sangeet Parijat
6. V.N.Bhatkhande A Short Historical survey of the Music of
Upper India
7. V.N.Bhatkhande A Comparative Study of the leading
music systems oif the 15th, 16th, 17th, & 18th
centuries
8. N.P.Ahmad Hindustani Music

20
Course – 118 Stage Performance

Prescribed Ragas
Todi, Multani .Patdeep, Jaijaiwanti, Malkauns

Performance of half an hour, planned by the candidate within the above

prescribed ragas.
Vocal Music - i) Vilambit and Drut Khyal with gayaki to be presented
in any one raga.
ii) Dhrupad-Dhamar or Sadra composition in each of the
prescribed Ragas. Alap, Layakari & upaj in any one
Dhrupad & Dhamar with layakary & upaj in any other
ragas.
Instrumental music-i) Masit khani and razakhani gats with elaboration to
be presented in any one raga.

ii) gat with elaboration in any 3 of the following Talas –

Dhamar, Ektal, Jhaptal, Ada-Chautal

Internal Assessment

21
Course – 119 Viva Voce

Prescribed Ragas:

Todi, Multani, Patdeep, Jaijaiwanti, Malkauns

Vocal Music - -Vilambit khyal with Gayaki and Madhyalaya Khyal with
gayaki in each of the prescribed ragas of course-114.

Instrumental music- Masit khani and Razakhani gats with elaboration in all
the prescribed ragas.

Internal Assessment

22
 PAPER 120

CONCURRENT- DISCIPLINE
CENTERED -II

23
 B.A. (HONOURS) MUSIC- TABLA & PAKHAWAJ
(PERCUSSION)

(Three Year Full Time Programme)

COURSE CONTENTS
(Effective from the Academic Year 2011-2012 onwards)
DEPARTMENT OF MUSIC
UNIVERSITY OF DELHI
DELHI - 110007
 University of Delhi
Name of the Department: Music
Paper: B.A. (Hons.) Music – Tabla & Pakhawaj

Paper 101-Theory-Musicology
Semester I Paper 102- Practical-Stage Performance & Viva
Voce

Paper 103- Concurrent – Qualifying Language

Paper 104- Theory-Biographies

Semester II Paper 105- Practical-Stage Performance & Viva
Voce
Paper 106- Concurrent – Credit Language

Paper 107- Theory-Ancient & Medieval History of

Semester III Avanaddha Vadyas
Paper 108- Practical-Stage Performance & Viva
Voce
Paper 109- Concurrent – Interdisciplinary

Paper 110- Theory-History of Indian Tala System

Semester IV Paper 111- Practical-Stage Performance & Viva
Voce
Paper 112- Concurrent – Discipline Centered I

Paper 113- Theory-Gharana System

Semester V
Paper 114- Practical-Stage Performance

Paper 115- Practical Viva Voce

Paper 116- Theory-Applied Theory

Paper 117- Theory- Applied Theory

Semester VI
Paper 118- Practical-Stage Performance & Viva
Voce
Paper 119- Practical-Accompaniment with vocal
& Instrumental Music
Paper 120- Concurrent – Discipline Centered II
 SEMESTER BASED UNDER-GRADUATE HONOURS COURSES
Distribution of Marks & Teaching Hours

The Semester-wise distribution of papers for the B.A. (Honours), B.Com.

(Honours), B. Com., B.Sc. (Honours) Statistics and B.Sc. (Honours) Computer
Science will be as follows:

Type of Paper Max. Marks Theory I.A. Teaching per

Exam. week

Main Papers 100 75 25 5 Lectures

1 Tutorial

Concurrent Courses 100 75 25 4 Lectures

1 Tutorial

Credit Courses for 100 75 25 4 Lectures

B.Sc.(Hons.) 1 Tutorial
Mathematics

 Size of the Tutorial Group will be in accordance with the existing norms.
 The existing syllabi of all Concurrent/Credit Courses shall remain unchanged.
 The existing criteria for opting for the Concurrent /Credit Courses shall also
remain unchanged.
 B.A. ( Hons) Tabla and Pakhawaj

Semester I

Paper 101
Avanaddha Vadya,Taal, Laya, Matra, Tali, Khali, Vibhag, Sam, Avartan,
Peshkar, Kayada, Palta, Rela, Tihai, Uthan,Gat, Chakradar,Farmaisi, Paran,
Gat- Dupalli, Tripalli, Choupalli, Khali Bhari ki Gat, Naad, Swar, Shruti Saptak,
Raga Alankar, Andolan, Sangeet, Meend, Ghaseet, Krintan, Vibration ,
Gtrquency , Pitch Intensity, Timbre Pitch, Timbre Classification of
Instruments, briefStructural knowledge of Tabla &Pakhawaj.Brief introduction
of following instrument:-Mridangam,Dholak, Khanjari, Nakkara, Rudra Veera,
Tanpura, Sitar, Sarod, Sarangi, Bansuri and Sehnai.

Paper – 101
Recommended Books

1 rcyk&Jh vjfoUn eqyxkaodj

2 Hkkjrh; laxhr ok|& MkW ykyef.k feJk
3 y; SakL= % Jh xq:ukFk fSaoiwth
4 Lakxhr SakL= izoh.k & txnhSa ukjk;.k ikBd
5 Rkky ifjp; Hkkx 1] & fxjhSa pUnz JhokLro
 Paper-102 Practical (Tabla)

(1) Padhant and playing of Teen taal, Jhaptal, Ektaal, Rupak & Ada
Chautaal, with Thah Dugun & Chaugun.
(2) Practice & knowledge of the following composition in teentaal
(a) Peshkar with four variations
(b) Two kayada’s with four Paltas with Tihai.
(c) One Baant with four Paltas with Tihai
(d) Four Tukra and one Paran.
(e) Two Chakradar.
(3) Knowledge of Thekas of Taal Dhamar, Chautaal, Sultaal &
Teevra
(4) Playing knowledge of Teentals( theka ke Prakar).
(5) Basic Knowledge of tuning of the instrument(Tabla).

Paper-102 Practical (Pakhawaj)

1. Padhant with Tali Khali and playing of Dhamar,Chautaal,Sultaal and

Tivra with Thah,Dugun and Chaugun.
2. Knowledge of Playing Dhamar with two simple Tihais.
3. Knowledge of playing Sadharan Paran in Dhamar & Sooltaal with
Padhant ( with Tali Khali).
4. Practice & Knowledge of the following in Chautal ( Chartaal)
(a) Knowledge of different uthan of Tehai ( 1,3,4,7,9,11)
(b) Varities of Theka.
(c) Prastaar of Madhya Laya with four variations.
(d) Two Sadharan Paran.
(e) One Chakradar Paran.
(f) One Ganesh Stuti Paran.
5. Basic knowledge of tuning of the instrument ( Pakhawaj)
Recommended Books
1 Rkky izlwu& ia- NksVs yky feJ
2 Indian concept of Rhythm : S.K.Saxena
3 Hkkjrh; laxhr esa rky vkSj NUn & Jh lqcks/k uUnh
4 e`nmx rcyk oknu i)fr % Jh nÙkk=; oklqnso iVo/kZu
5 Rkky ifjp; Hkkx 2 & Jh fxjhSa pUnz JhokLro
 PAPER 103

CONCURRENT – QUALIFYING
LANGUAGE
 Semester-II

Paper-104- Theory Biographies

Section – I
1. Ustad Natthu Khan

2. Ustad Habibuddin Khan

3. Ustad Hajji Vilayet Ali

4. Ustad Abid Hussain Khan

5. Pandit Ram Shaye

Section – II
1. Pandit Kudau Singh

2. Pandit Nana Panse

3. Pandit Purusottam Das

4. Babu Jodha Singh Maharaj

5. Pandit Parwat Singh

Section – III
1 Bach
2Mozart
3Beethoven

Section IV
 Swami Haridas, Amir Khusrau, Tansen Sadarang- Adarang, Raja Mansingh
Tomar,

Section –V:
Trinity of Karnatak Music: Tyagaraja, Muthuswamy, Dixitar, Syama Shastri,
Section -VI Rabindranath Tagor, Bbaba Allauddin Khan, Hafix ali
Khan Omkarnath thakur, Amir Khan, Bade Gulam Ali
Khan
Recommended Books
1 Some immortals of Hindustani Music: Sushila Mishra

2 On Music and Musicians of Hindustan: A.D.Ranade

3 Musicians of India- Amal Das Sharma

4 Ik[kkot dh mRifÙk ivakasa evaM oknu SaOiyyaa^M & MkW vt; dqekj

Paper-105- Practical Tabla;

1. Padhant and playing of Teental, Ektaal, Roopak and Jhaptak with
Derhgun (3/2) and Tigun.

2. One Kayada of Ada Laya with four Paltas with Tihai.

3 .Knowledge and practice of playing 4 gats in Teental( Dupalli, Tripalli,
Chaupalli & Khali-Bhari ki Gat).
4. Knowledge of playing and padhant of following thekas on Tabla
Dhamar, Chautal, Sultaal, Tivra, Addha & Deepchandi.
5. Two laggies each in Keharwa and Dadra.

Paper 105- Practical Pakhawaj;

1. Padhant & Playing of Chautal, Sultal & Tivra with Thah,
Dugun,Tigun and Chaugun.
2. Knowledge of playing with padhant of following Thekas, Tilwara,
Adachautal, Deepchandi, Ektaal.
3. Rela, 3 Chakradars , 3 Parans in Sultaal & Tivra.
4. Two Tehais each in Dhamar & sultaal.
5. Knowledge and Practice of playing in Chautaal with one Stuti Paran,
& two Farmaisi Chakradar.
Recommended Books
1 Rkcyk xzaFk& ia- NksVs yky feJk
2 Rkcyk dkSeqnh & jkeSaMdj ikxynkl
3 e`nax rcyk izHkkdj ¼Hkkx 1]2½% Jh Hkxoku e`naxkpk;Z ,oa Jh
jkeSaadj ikxynkl
4 rcyk e`nax fSa{kk % pM lkjokjke jkepUnz xqjo
 PAPER 106

CONCURRENT – CREDIT LANGUAGE

 SEMESTER-III

Paper 107- Theory

Ancient and Medieval History of Avanaddha Vadya

1. Brief History of Avanaddha Vadyas, from Vedic to modern period.

2. Instruments of vedic and ancient period, Bhumi Dundubhi, Dundubhi ,

Tripuskar, Ankik, Urdhawak, Alingyak, Panawa, Dardur, Karata, Ghadas.

3. History of evolution of Tabla & Pakhawaj, Review of different opinions of

originof Tabla & Pakhawaj.

4. Importance & relevance of Avanaddha Vadyas in music.

5. General review of the following authors: Bharata , Sarangdev.

6. Elementary Knowledge of Notation system of V. N. Bhatkhande

Recommended Books
1 Playing Techniques of Tabla : Banaras Gharana - Pt.Chhote Lal Misra

2 fgUnh ukV~;SakL= Hkkx IV - ckcwyky SaqDy SakL=h

3 laxhrjRukdj & lqHkznzk pkS/kjh
4 Rkcys dk mn~xe fodkl ,oa oknu SaSfy;k¡& MkW ;ksxek;k SauDyk
5 Rkcyk ,oa i[kokt ds ?kjkus ,oa ijEijk^M & MkW vcku , feL=h
6 The Tabla of Lucknow :Jems Kippen
7 Classical Musical Instruments: Dr. Suneera Kasliwal
Paper-108- Practical Tabla;

1. Knowledge of Playing with Padhant of following taalas:

Tilwada, Jhoomara, Deepchandi and Pancham Sawari.
2. Practice of following in Teental:-
(A) Two Bant with four variations and tihai.
(b) Rela of Dhir dhir with Paltas and tihai
(c) Two Farrukhabadi Gat
(d) Two Gats of Banaras.
(e) Tihaies starting from Sam, 5th Matra, 9th Matra & 13th
Madtra in different layas.
3. A complete solo performance of at least 15 mints in Teentala

4. Knowledge of different layakaries such as Aad, Kuaad, Viaad., i.e‐ 3/2,

5/4, 7/4.

5. Practice of Padhant and playing of above mentioned layakaris.

Paper‐108‐ Practical Pakhawaj;

1. Knowledge of playing with Padhant of following taals:‐ Dhamar,

Chautal Sooltaal

2. Practice of following in Chautaal: (a) One Rela (b) Two Chakradar (c)
Playing Dhenenakd Baaj (d) Stuti Paran (e) Nauhakka.
 3. Complete Sole performance for at least 15 minutes in Teevra with
Dhum Kit ka Vadan, Paran, Chhanda & Relas.

4. Knowledge of different layakaris such as Aad Kuad and Viaad. i.e. ‐

3/2, 5/4, 7/4.

5. Practice of Padhant and playing of above mentioned layakaris

Recommended Books
rcyk e`nax oknu i)fr & ia- oknukpk;Z nÙkk=; oklqnso
A compositional Documentation Delhi Gharana of Tabla - Imam

rky nhfidk & eUuw th e`naxkpk;Z

The Art of Tabla Playing - Prof. S.K.Verma
 PAPER 109

CONCURRENT – INTERDISCIPLINARY
 SEMESTER-IV

Paper-110 Theory History of Indian Tala System

1. Brief history of Indian Tala system

2. General Introduction of medieval leading texts of music with their

references on tala system and avanaddha vadyas.

3. Importance of tala in Hindustani music.

4. Detailed knowledge of Bhatkhande and Paluskar notation systems

5. Ability of writing different Layakaris innotation system 2/3, 3/2, 4/3

6. Practice of writing of Tabla & Pakhawaj compositions in Bhatkhande

notation System in Teen Tala and Chautala.

Recommended Books

1 Rkcyk SakL= & e/kqdj x.ksSa xksMcksys

2 Hkkjrh; laxhr esa fuc)& MkW- lqHknzk pkS/kjh

3 Hkkjrh; laxhr esa rky vkSj :Ik fo/kku & MkW lqHknzk pkS/kjh

4 Rkky ifjp; Hkkx 3 & Jh fxjhSa pUnz JhokLro

5 Ek`nax oknu & xq: Jh iq:"kksÙke nkl th
Paper-111 Practical Tabla

(1) Solo Performance of minimum 15 mints in Teentala and Jhaptala.

(2) Two Mukhda, Two Tukdas & two Tihai each in Ada Choutal ,Ektaal
and Teentala.
(3) Ability of accompany various singing styles: like Khayal ( Choota),
Tarana, Dadra & Razakhani gat of instrumental Music
(4) Ability of Padhant with Tali-Khali and playing of Dugun, Tigun &
Chougun of the following Talas: Teentala, Dhamar, Ektaal, Jhaptaal,
rupak, Keharwa, Dadra, Choutaal & Pandham Savari.

Paper 111 Practical Pakhawaj;

(1) Solo Performance of minimum 15 mints. In Chautaal and Sooltal

(2) Two damdar , Two bedamdar & two simple Tihai each in Dhamar&
Tivra Taal.
(3) Ability to accompany with dhrupad dhamar style of vocal music &
Instrumental Music.
(4) Ability of Padhant with Tali Khali and playing of Dugun, Tigun &
Chougun of the following Talas:, Chartaal, Adachautaal, Sooltaal,
Teevra and Dhamar.

Recommended Books
1 rky ok| SakL= & Jh euksgj Hkky pUnz jko ejkBs
2 laxhr esa rky ok| SakL= dh mi;ksfxrk % Da^ fp=k xqIrk
3 Rkcyk izHkkdj izSuksrj % Jh fxjhSa pUnz JhokLro
4 Hkkjrh; rkyksa dk SakL=h; foospu & Mk v:.k dqekj lsu
 PAPER 112

CONCURRENT – DISCIPLINE
CENTERED I
 SEMESTER-V

Paper 113- Theory Gharana

1. A general review of aesthetics of Gharana system in Hindustani
Music.

2. Historical Development of various paramparas of Pakhawaj playing

and their salient features.

3. Historical development of Gharanas of Tabla Playing and their

salient features.

4. Brief Bipgraphical sketch of following artists with special reference

to their contribution in the field of music:‐

5. Pakhawaj Players: Pandit Sakharam Mridangacharya

Pandit Ayodhya Prasad

Pandit Ghanshyam Pakhawaji
Pandit Mannuji Mridangacharya
Pandit Amarnath Mishra
Pandit Ramshankar Das ( Pagal Dasji)
Pandit Ramjee Upadhyay
Pandit Amba Das Pant Agle
Raja Chhatrapti Singh
Pandit Shankar Rao Bapu Apegaonkar
Tabla Players: Ustad Inam Ali
Ustad Game Khan
Pt. Anokhelal Mishra
Ustad Allarakha Khan
Ustad Karamat Khan
Ustad Wazir Hussain
Ustad Lateef ahmed Khan
Ustad Ahmed Jaan Thirkawa
Ustad Amir Hussain Khan
Ustad Masset Khan
Recommended Books
1 uk f/ka f/ka uk ds tknwxj & ia- vuks[ks yky feJ % Mk^ izse ukjk;.k
flag
2 Musical heritage of India – M.R.Gautam

3 rky dks’k & ia- fxjhSa pUnz JhokLro

4 Lakxhr esa ?kjkus dh ppkZ laxhr ?kjkuk vad& ,l-ds pkScs
5 Lkaxhr fSa{k.k ds fofo/k vk;ke % MkW dqekj _f"krks"k
6 rky izdkSa & Hkxor Saj.k vaekZ
Paper-114 Practical Tabla

1. Ability of playing at least one composition of each Gharana in Teentala

2. Solo in Roopak with Peshkar or Uthan Kayada, tukra, Rela, Chakradar for
atleast 10 mts.

3. Damdar & Bedamdar Tihais in Teentala, Jhaptala and Rupak

4. Two Tukra, Two Parans & two Chakradars in Pancham Sawari.

5. Two Bant of Banaras Gharana with variations & Tihai in Teentala

6. Tuning of Tabla.

Paper-114 Practical Pakhawaj

1. Ability of playing compositions(2 each) of different Gharanas in

Chautaal.

2. At least 10 minutes solo in dhamar with stuti paran, improvisation of

Theka, Rela and chakradar.

3. Damdar 7 Bedamdar Tihai in Teevra, Sooltala & Dhamar

4. Two Rela & Two Parans & Two chakaradars in Gajjhampa Taal.

5. Two compositions in Nathdwara tradition

6. Tuning of Pakhawaj

Recommended Books

1 rcyk oknu dyk vkSj SakL=& Jh lq/khj ekbZ.kdj

2 Hkkjrh; laxhr SakL= dk nSau-ijd vuqSahyu & MkW foeyk
eqlyxkaodj
Paper-115 Practical Viva Voce ( Tabla & Pakhawaj)

1 rky nhfidk & Jh e/kqdj x.ksSa xksMcksys

2 e`nax rcyk fSa{kk % lkjokjke jkepUnz xqjo
3 Rkky iq"ikatfy ¼Hkkx 1]2]3]½ & Jh xksfoUn jko ijokoth
4 rky ds y{;&y{k.k Li:Ik esa ,d:irk & Mk^ olq/kk lDlsuk
Paper-116 Applied Theory

1. Merits and Demerits of Pakhawaj and Tabla Player.

2. Elementary knowledge of karnatic tala system.

3. Brief knowledge of Kettle Drum, Snare Drum, Bass Drum, Tenour

4. Brief knowledge of Dhrupad, Dhamar, Khayal , Hori Sadra, Thumri,

Tappa, Bhajan , Gazal and Kaavali and also the Talas used to accompany
these styles.

5. Brief knowledge of various styles of instrumental music

6. Basic principles of art of accompanying various instrumental and vocal

styles.

Recommended Books

1 Rkky izcU/k & ia- NksVs yky feJ

2 Hkjr dk laxhr fl)kUr & vkpk;Z c`gLifr
3 Lakxhr cks/k & Jh/kj ijkatis
4 Theory of Indian Music : Ramavatar Veer
 SEMESTER VI
Paper-117 Applied Theory

1. Brief introduction of Tala ke Dashaprana

2. Comparative study of Talas having equal matras Teetala‐ Tilwara, Ektaal‐

Choutaal, Rupak‐Tiwra, Jhaptaal‐Sultaal, Dhamar‐Adachautal

3. Elemantry knowledge of staff notation system.

4. Ability o to Write at least 4 taals in staff notation.

5. Knowledge to tune the Tabla and Pakhawaj.

1 IkkSpkR; Lojfyfi i)fr ,oa Hkkjrh; laxhr & MkW Lora= SaekZ
2 Lakxhr SakL= foKku & Mk^ iUuk yky foKku
3 /ofu o laxhr & yfyr fdSaaor flag
4 Solo Tabla Drumming of North India : Robert S. Gottlieb
Paper-118 Practical Tabla

1. Complete aesthetical Tabla solo playing with different Gharanedar

Compostions in Teentala and Rupak for at least 20 mints.

2. Practice of playing two Parans & two Tihai’s each in choutal, Dhamar
Sultaal & Tivra

3. Padhant with Taali‐Khali‐Thah, Derhgun, Dugun, Tigun & Chougun of the

following talas: Dadra Kaharwa, Rupak, Jhaptal, Ektaal,
Adachoutal& Pancham Sawari,

4. Brief knowledge of amad, Paran, tore, Tatkar and Parmilly of Kathak

dance

5. Viva Voce.

Paper-118 Practical Pakhawaj

1. Complete rendering of solo Pakhawaj for at least 20 mints.

2. Practice of plaing two Parans in Jhulana Laya each in choutal, Dhamar

3. Sooltaal & Tivra

4. With padhant & Taali‐Khali‐ Thah, Derhgun, Dugun, Tigun & Chougun of
the following talas: Dhamar, Gujjhampa Sooltaal and Chartaal

5. Brief knowledge of Amad, Paran,tore, Tatkar and Parmillu of Kathak

dance

6. Viva Voce.

1 Hkkjrh; laxhr dk bfrgkl & Bkdqj t;nso flag

2 u`Rr uVojh & iaa- rhjFkjke vktkn
3 dFkd u`R; esa rcyk laxfr & MkW ukxsSoj yky d.kZ
4 dFkd u`R; fSa{kk & MkW- iq: nk/khp
 Paper-119 Practical Tabla

1. Knowledge of accompaniment with instrumental styles.

Masitkhani Gat, Razakhani Gat, Thumri/Dhun

2. Knowledge of accompaniment wit6h vocal styles i.e. Khayal

(bada & chhota) Tarana, thumri/Dadra

3. Knowledge of talas of Pakhawaj: Chautala, Dhamar , Sooltala

and Tivra.

Paper-119 Practical Pakhawaj

1. Knowledge of accompaniment with instrumental styles:

Instrumental composition of Dhrupad – Dhamar styles

2. Knowledge of accompaniment with vocal styles: Dhrupad,

Dhamar

3. Knowledge of talas of Tabla: Jhaptala, Ektala, Ektala,

Keharwa and Dadra

Apart from the main subject a minimum of six papers will be required to be
cleared as a minor subject. Papers of minor subject will be chosen from the
papers already available in that subject such as Sanskrit, Philosophy, History
and Karnatak Music ( percussion). There shall be ¾ elective papers of which
one paper in language (English, Hindi, Urdu Persian) one paper in
computational technique (compulsory) and one paper on environmental studies
(compulsory).

In brief the bifurcation of 24 papers at the undergraduate level is as follows

Practical 8 papers
Theory 7 papers
Minor subject 6
Language 2 ( English compulsory)
Computer Science 1
Enviromental Studies 1

Note: Recommended material for other interdisciplinary courses shall be provided by the
concerned departments.
 PAPER 120

CONCURRENT – DISCIPLINE
CENTERED II