Unit II: Notation: Ability to write notation of Ragas, Aalap, and Bandish/compositions in all the Ragas mentioned in Bhatkhande Notation system. Unit I: Raga Studies: Detailed Studies of following Ragas. Stage performance and viva-voce will be subjected to explore the musical confidence to the candidate during examination. Pradhan Aneesh (2011) Tabla: A Performers Perspectives, Underscore RecordsĬourse Detail: The Course explains practical performance of various ragas prescribed in syllabus with Alap, Bada-Khyal/ Vilambit Gat, Chota-Khyal/Drut Gat, Tarana, Trivat and Chaturang followed by some composition in Semi-Classical Forms like- Thumri, Dadra, Tappa, Kajri and Hori. David (2001) Fundamentals of Tabla-1, New Delhi, Sur Sangit Services.ĥ. Bhandari Achyuta Ram(2014), A Glance Play on Tabla, New Delhi, ARB Publications.Ĥ. Srivastava Sunita (2012), Tabla Vadan Kala ki takniki abam Saundraya Paksh, New Delhi, Anubhav Publishing House.ģ. Saxena Sudhir Kumar (2006), The Art of Tabla Rhythm: Essentials, traditions and creativity, New Delhi, D.K.Print World.Ģ. Unit I V: Tabla Traditions of Bengal: Bishnupur, Dhaka, Agartala, Babukhans Suggested Reading sġ. Unit I II: Kayda: Ekholi, Lom-Bilom,Peshkaranga kaida, Pench, Gansha U nit II : Gat: Gat kaida, Chakradar Gat, Dupalli Gat, Dudhari Gat, Tripalli Gati in Jhoomra and Panchamswari Unit I: Paran: Tal Paran, Farmaisy Paran, Kamali Paran, Tar Paran, Jugalbandi Paran Various Tala It includes concepts like variety of gats kayda and other Tala forms like Rabindrik and Carnatik tala systems. MUS-PG-CP102 (B) : – Analytical Study of Tala-IĬourse Details: The Course deals with the analytical Concepts of Tabla playing beyond the performance and technical aspects. I to IV) ,4 th Impression, Madras: The Music Academy. Saxena Sunil Kumar (2010), Hindustani Sangeet: Some perspectives, some performers, 1 st edn., New Delhi: Sangeet Natak Akademi and D.K.Printworld.ĥ. Jha Ramshray (1999) Abhinav Geetanjali, Allahabad, Sangeet Sadan Prakashan.Ĥ. Bandopadhyaya S (2011) Wisdom of Raga (Elucidation of the Indian Arts), New Delhi, B.R.ģ. Deepak (2016) The Raga-ness of Raga: Ragas Beyond the Grammar, New Delhi ,D.R. Unit IV: Raga Rendition: Difference in rendition of ragas in vocal and instrumental Music. Unit III: Raga Analysis: Analysis of south Indian ragas in hindustani classical music. Miyan KI Todi- Gurjari Todi, Sudha Sarang- Shyam Kalyan Unit II: Raga Comparison: Comparison of following ragas: Unit I: Ragas: Non-Detailed Studies of the following ragas. MUS-PG-CP102 (A): – Analytical Study of Raga-IĬourse Details: This course deals with the analytical aspects of raga like essence, comparison of ragas along with the performance techniques. Mittal Anjali (2000) Hindustani Music and the aesthetic concept of form, New Delhi, D.K. Scruton Roger (1993) The Aesthetics of Music, UK, Clarendon Pressĥ. Barlingay S.S (2007) A Modern introduction to the Indian Aesthetic Theory, New Delhi, D.K. Herwitz Daniel (2008) Aesthetics: Key Concepts in Philosophy, London, Continuum International, Publishing group.ģ. Martinez Jose Luiz (2001) Semiosis in Hindustani Music, New Delhi, Motilal Banarsidass Publishers.Ģ. Unit IV: Application of Aesthetic theory: Interrelationship of fine arts with special reference to Raga-Ragini painting Suggested Readingsġ. Unit III: Modern Aesthetics: Aesthetical Views of Tagores Unit II: Ancient Aesthetics: Bharata Rasa theory and its application to Indian Music Unit I: Introduction: Introduction to Aesthetics (Indian and Western) The course will discuss Mimesis/ Imitation theory, Intuition Theory, Romanticism, Classicism, Idealism, Realism and it will take up the general debate between Art for Art Sake and Art for Purpose. Moreover the course will also discuss about the about Western philosophy of arts and aesthetics. The discussions will range from Rasa and its varieties, thoughts of Rabindranath Tagore and Abanindranath Tagore on music to aesthetics and general comparative. Theory- 28 Credits :- Abbreviations- MUS- Music, PG- Post Graduation, C –Compulsory Paper, P- Practical, T- Theory A – Vocal/ Instrumental Music, B – Percussion MusicĪ-Vocal Music/Instrumental Music, B-Percussion Music Semester IĬourse Detail-The course will primarily provide an overview of music and allied issues like Aesthetics.
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