M.Phil (Hindustani) Music Syllabus

SYLLABUS OF THE M. PHIL (HINDUSTANI) MUSIC PROGRAMME

 

(Subject to change as per semester system required under the University Guidelines)
Layout of the Course

  1. Course-I Research Methodology 50 Marks
  2. Course-II History and Theory of Indian Music 100 Marks
  3. Course-III Lecture Demonstration 50 Marks
  4. Course-IV (A) Performance Practical 50 Marks
  5. Course-IV (B) Viva-voce 50 Marks
  6. Internal Assessment 100 Marks
  7. Dissertation 100 Marks

Course-I Research Methodology 50 Marks

(Two Hours)
Research, its aims and objectives, methodology, process, types, methods of data collection-
Questionnaire, Schedule. observation. interview, case-study, Experimental.

  1. Preparing synopsis, Bibliography, Index.
  2. Preface, Introduction, Foot notes, Selection of Research Topic, Report Writing. Primary and Secondary sources for research in Indian Music.
  3. Manuscripts and Books;
  4. Inscriptions,
  5. Coins,
  6. Sculptures, Frescoes,Paintings. etc.
  7. Musical Compositions,
  8. Discs and Tapes
  9. Qral tradition.

Course-II History & Theory of Indian Music 100 Marks

1. Evolution of the following from ancient times of the present:

  1. Swara, Grama, Murchhana, Raga, Mela, Gamaka, Sthaya, Nibaddhgaan and Anibaddhagana, Tala, Instruments, Schools of Music. Aesthetics of Indian Music Theory of Rasa in the context of Indian Music Music and Religion

Social and Cultural Aspects of Music
Appreciation and Criticism of Music
Modern Trends in Hindustani Music
Psychology of Music

  1. Topic No.1 is compulsory for all. Out of the remaining topics any four will be selected.

Course-III Lecture Demonstration 50 Marks

Lecture demonstration of half an hour duration on any topic, to be approved by the M.Phil
Committee.

Course-IV (A) Performance Practical 50 Marks

Performance of half an hour’s duration planned by the candidate. Choice of Ragas should be
confined to those prescribed for course IV-A and B (see Appendix).

Course-IV (8) Viva Voce 50 Marks

Vocal Music: Elaborate treatment of slow and fast khyals in Ragas Selected for detailed
study and only fast khyals with brief treatment of the rages chosen for Non-detailed study by
the teachers concerned. One Dhrupad/and Dhamarl Sadra in any Raga.
Instumental Music:

    1. Elaborate treatment of Slow and fast gats in Ragas selected for detailed study and only fast gats with brief. treatment of the ragas chosen for Non-detailed study by the teachers concerned.
    2. Four gats in any tala other than Teental i.e. Ektal, Dhamar, Roopak, etc. List of Raqas Prescribed:

    Note:

  1. Ragas mentioned in section A are compulsory and one Raga from section B is to be selected by the teachers concerned for detailed treatment of Raga.
  2. One Raga is to be selected from section C by the teacher concerned for non detailed treatment of Raga.

Bhairav Bhairav Ahir Bhairav Prabhat Bhairav Ramkali Shivamat Bhairav Anand Bhairav Todi Mian Ki Todi Bilaskhani Todi Bhopal Todi Gurjari Todi Bahaduri Todi Lachari Todi Bilawal Alhaiya Bilwal Yamani Bilawal Kukubh Bilawal Devgiri Bilawal Shukla Bilawal Sarparda Bilawal Sarang Brindavani Sarang Shuddha Sarang Mian ki Sarang Madhumad
Sarang Samant Sarang Badhans Sarang Kalyan Yaman Shudda Kaiyan Jait Kalyan Puria Kalayan Shyam Kalyan Purava Kalyan Malhar Mian Malhar Megh Malhar Nat Malhar Goud Malhar Dhulia Malhar Charju Ki Malhar Kanhada Darbari Kanhada Nayaki Kanhada Adana, Shahana, Abhogi Suha Poorvi Poorvi Shri, Puria Triveni, Jaitashree Dhanashree Rewa Marwa Marwa Puriya, Bhatiyar Varati, Sohini, Hindol Asawari Jaunpuri Desi, Komal Gopika Basant, Rishabh Gandhari, Dev Gandhar (Candidates will be required to choose any five angas to be submitted at the time of practical examination).