Prayag Vocals Year 8 by Rishabh Vishwakarma

Detailed study of the following 15 ragas- Devgiri Bilawal, Yamani-Bilawal, Shyam Kalyan, Gorakh Kalyan, Megh Malhar, Jaitabhi, Bhatiyar, Miyan Ki Sarang, Suha, Nayaki Kanhda,

Hemant, Kausi Kanhda, Jogkaus, Bilaskhani Todi, Jhijhoti. • a) Complete preparation for singing the vilambit and drut khayals in all the above mentioned ragas in detail for all the students of singing. Preparing to sing Thumri, Bhajan or Bhavgeet beautifully in any raga as per the choice of the examinee. b) For the examinees of Tantra Vadya and Sushir Vadya, adding beautiful alaps to all the above ragas, thorough preparation for playing Vilambit (Masitkhani) and Druta (Razakhani) Khayals or Gatas in detail, in addition to three talas, in some other difficult talas as well. Complete practice of playing bandish in some ragas form

Complete introduction of the following 15 ragas, clearly demonstrating their nature by aalap and the practice of singing or playing any one of these bandish. There is no need to sing or play these bandish in detail. Bihagda, Nat Bihag, Jaitkalyan, Ramdasi Malhar, Shuklabilawal Bhakhar, Shivamat Bhairav, Sucharai, Gauri (Bhairava Thaat), Lalita Gauri, Barwa, Khambavati, Patmanjari (Kafi Thaat) Quite Kanhda

Ability to recognize when all ragas are sung or played from the first to seventh years and this year

Practice of speaking in different rhythms by clapping the talas and playing their beats on the tabla • Full introduction of the following taals and how to play them, The practice of clapping and speaking in rhythmic rhythms in Ashtamangala Taal, Arjuna Taal, Shikhar Taal and Kumbh Taal.

In the stage performance, the examinees of singing and playing will have to first sing any one of the 15 ragas of the above detailed study with a vilambit and drut khyal or for the last about 30 minutes or with full singing in the time prescribed by the examiner as per their choice. . After that, for a while, the thumri of a raga, Bhavgeet will have to be recited or some thing or melody of the thumri organ will have to be played.

At the time of stage performance, the audience can also be present in the examination hall to listen to the program.

The examiner will have the right that if he so desires, he can get the performance of the candidate terminated even before the stipulated time.

Shastra I Paper (Pure Theory)

For the students of vocal system and instrumental instrument

Detailed and critical study of all the musical disciplines and terminologies given in the first to seventh year courses (Gaan and Tantra Vaha).

A detailed study of the history and development of medieval and modern Indian music.

Amir Khusro, Ahoyal, Swami Haridas, Tansen, Raja Mansingh Tomar, Sultan Hussain Shah Sharfi, Nyagat Rakhon (Sadrang), Khusron Khan, Nawab Wajid Ali Shah, Hasu-had Khan, Thakur Nawab Ali, Pt. Vishnu in the development of Hindustani music Narayan

Contribution of Bhatkhande, Pt. Vishnu Digambar Paluskar, Omkar Nath Thakur, Kailashchandra Dev Brihaspati etc.

A detailed study of the following music texts from the fourteenth to the eighteenth century, Lauchankrit Raga Tarangini, Ramamatya's Swar Mel Kalanidhi Hridaynarayan Dev's Hriday Kautuk and Hriday Prakash, Somnath's Raga Vivodha, Ahobal's music

Raga Tattvibodh by Parijat, Srinivas, Chaturdandiprakashika by Vyankatmukhi

Development of Indian music in the nineteenth and twentieth centuries and special study of music texts of this period • Separation of North and South Indian musical systems and the reason for this separation, beginning and development.

Critical study of the impact of foreign music on Indian music • A detailed study of the spiritual characteristics of Indian music

Theoretical interpretation of the rasa element in music, knowledge of aesthetics.

Differences in the artistic and scientific views of music, The place of music in the fine arts.

Efforts by the government and other institutions in relation to music and its propagation and promotion in independent India.

Detailed study of the origin and development of various tantra and improvisational instruments prevalent in Indian music.

In relation to Raga Ragini classification, Natyashastra Vrhadeshi, Sangeet Makrad, Sangeet Ratnakar, Sangeet Darpan, Hanumat Mat, Shiv Mat, Someshvara Mata, Kallinatha Mata, Bharata Mata, Raganga System, That - Detailed Study of Raga System, Ability to write articles on musical topics.

Paper II (On Functional Music) (The question paper will be different for singing and instrumental candidates).

Extensive and critical analysis of all functional musical disciplines for courses from I to VII years Study.

Elements and rules of management modern management like Dhupada, Dhamar, Khayal, Thumri, Tappa, Dadra, Tarana, Trivat, Chaturanga

Knowledge of composing etc. • To compose new bandish of different types of tals like Masitkhani, Razakhani, Amirkhani, Firozkhani knowledge.

Current Status of Indian Music and Its Future

A detailed account of the origins and development of various tantravadas in India and the characteristics of their playing styles study.

Reasonable thoughts on the reasons for the decline of Dhrupadh singing and the popularity of Khayal singing • Various means and mediums and their goodness for the promotion and dissemination of Indian music in present times.

Critical and reasoned views regarding the different types of music education offered in the present time.

Ability to compose own sargam and bandish in taalas other than three talas in the ragas of the course

Detailed study of all the ragas of this year and comparison with the ragas similar to them.

Full knowledge of showing alpatva-bahutva and abirbhav-tirobhav examples. • Complete knowledge of the Western Script (Staff Notation) system and its relation to the script systems prevalent in Indian music.

Comparison

Full ability to write articles on functional music topics.