राजकीय महाविद्यालय, कण्डाघाट
Music vocal is a creative and expressive art form that encompasses the study and performance of various singing styles, including classical, semi-classical, and folk traditions. It serves as a medium to explore the intricate nuances of melody, rhythm, and emotion, while fostering cultural heritage and artistic expression. The subject provides in-depth knowledge of vocal techniques, raga structures, and tala systems, enabling students to master the traditional and contemporary aspects of Hindustani music. By integrating theoretical and practical components, music vocal not only enhances the aesthetic and creative abilities of learners but also nurtures their personal and professional growth in the field of performing arts. This discipline plays a vital role in preserving the rich legacy of Indian music while adapting to the evolving demands of the modern music landscape.
| Month | Week | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 4 | (Section I) Definition of the following terms: Swara, Sangeet, Saptak, Laya, Rãga, Varna |
Lecture Method | Group Discussion |
| September | 4 | Study of the following: Jatis of Raga - Audav, Shadav, Sampuran | Lecture Method | Group Discussion |
| October | 4 | Nãd, Nãd ki Jati – Tarta, Tivrata, Gun | Lecture Method | Class Test |
| November | 4 | Ãroha, Avroha, Pakad | Lecture Method | – |
| December | 4 | Basic knowledge of the following instruments: Tãnpura, Sitar, Tabla, Harmonium | Lecture Method | Demonstration, Group Discussion |
| February | 4 | (Section II) Biographies & Contributions of the following: Tansen, Ustad Shahid Parvez, Ustad Zakir Husain, Ustad Amir Khan (Vocal) |
Lecture Method | PPT, Class Test |
| March | 4 | (Section III) Study of prescribed Rãgas & Tãlas: Rãga – Alhaiya Bilawal, Kafi, Bhairav, Tãla – Teentãl, Dadra |
Lecture Method | Demonstration, Class Test, Demonstration & Presentation |
| Month | Week | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 4 | Alankaar & Drut khyal in Raag Alhaiya Bilawal | Demonstration | Alankar Practice |
| September | 4 | Alankaar & Drut khyal in Raga Kafi | Demonstration | Raga Practice |
| October | 4 | Alankaar & Drut khyal in Bhairav | Demonstration | Raga Practice |
| November | 4 | Basic technique to play Tanpura | Demonstration | Playing of Tanpura |
| December | 4 | Ability to recite the following Thekas with Tãli & Khãli: Teentãla, Dadra | Demonstration | Tala Practice |
| February | 4 | Practice | – | – |
| March | 4 | Revision / Annual Practical | – | – |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 4 | SECTION-I: Study of the following terms: Mela (Thãt), ÃshrayRãga, RãgaLakshana, Shruti, Alankar, Gamak | Lecture Method | Group Discussion |
| September | 4 | Vadi-Samvãdi, Anuvãdi-Vivãdi, VakraSwara, Varjit-Swara | Lecture Method | Class test |
| October | 4 | SECTION-II: Biographies & contributions of Pt. Jaidev, Ustad Abdul Karim Khan | Lecture Method | PPT presentation |
| November | 4 | Biographies & contributions of Pt. Bhatkhande, Pt. Ravi Shankar | Lecture Method | – |
| December | 4 | SECTION-III: Study of Rãgas & Tãla - Rãga- Yaman, Tãla- Ektãl | Lecture Method, Demonstration | Writing of notation |
| February | 4 | Raga Bhopali, &Tala Jhaptãl | Lecture Method, Demonstration | Writing of Notation |
| March | 4 | Raga Bihag | Demonstration | Group performance |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 4 | Sargam geet in Raga Yaman | Demonstration | Swar practice |
| September | 4 | Drut khyal in Yaman | Demonstration | Raga practice |
| October | 4 | Drut khyal in Bhoopali | Demonstration | Raga practice |
| November | 4 | Drut khyal in Bihag | Demonstration | Raga practice |
| December | 4 | Ability to recite the following Tãlas with Tãli & Khãli with Thah and Dugun: Ektãl, Jhaptãl | Lecture Method, Demonstration | Tala demonstration through hands |
| February | 4 | Revision of all Ragas | - | Group performance |
| March | 4 | Practice/Practical | - | - |
| Month | Week | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 4 | (SECTION-I) General discussion and definition of the following: Khyãl, MaseetKhani - Razakhani gat, Dhrupad, Tarana, Meend, Soot, Murki, Kan, Khatka, Krintan, Harmony, Melody |
– | – |
| September | 4 | Comparative study of Bhatkhande & Vishnudigamber Paddhati (Notation System) | – | – |
| October | 4 | Writing of Talas & Compositions in Notation | – | – |
| November | 4 | Detailed study of Rãgas (Rãga-Maru-Bihag, Malkauns, Vrindavani Sarang) & Talas prescribed in syllabus and comparative study of Rägas with the Ragas of the previous semester | – | – |
| December | 4 | Essay on Shastriya Sangeet (Classical Music) & Sugam Sangeet (Light Music) | – | – |
| February | 4 | (SECTION-II) General study of following Granths: Natyashastra, Sangeet Ratnakar, Vrihdeshi |
– | – |
| March | 4 | (SECTION-III) Life & Contribution of the following: Pt. V. D. Paluskar, Swami Tyagraja, Pt. Sharangde |
– | – |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August & September | 8 | One vilambit khyal in any of the prescribed Rägas | Lecture cum Demonstration | Raga practice and improvisation |
| October & November | 8 | Madhya laya khyal in Malkauns & Maru bihag Rãga | Lecture cum Demonstration | Raga practice and improvisation |
| December | 4 | Madhya laya khyal in Vrindawani sarang & Ability to recite the Thekas, Dugun & Chaugun of Chautãla, Dhamar, Roopak, Jhaptal | Lecture Method Demonstration | Improvisation of Raga & Playing of talas on Tabla |
| February & March | 8 | Basic knowledge of playing Harmonium with Alankars or Bhajan | Demonstration | Playing of Harmonium |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 4 | Theory of Indian Music - General discussion & definition of the following: Alăp-Jor-Jhala, Thumri, Dadra, Tappa, SandhiPrakashRäga, ParmelpraveshakRäga, Rägaka Samay Siddhant | Lecture Method | Group Discussion |
| September | 4 | Detailed study of Rägas (Rãga Bageshree, Jaunpuri, Miyan Malhar) | Lecture Method & Demonstration | Writing of Notations |
| October | 4 | Study of following Talas (Chautala, Rupak, Kherva) | Demonstration | Talas demonstration through hands |
| November | 4 | Essay on Rägaka Samay Siddhant | Lecture Method | Class test |
| December | 4 | Study of following Granthas: Sangeet-Parijat, Swarmel Kalanidhi, Chaturdandi Prakshika | Lecture Method | Quiz competition |
| February | 4 | Life & Contributions of the following: Vidushi Kishori Amonkar, Pt. Nikhil Banerjee, Ustad Vilayat Khan | Lecture Method | Class tests |
| March | 4 | Revision | – | – |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 4 | One Vilambit Khyal in any of the Ragas | Demonstration | Practice |
| September | 4 | Madhya laya khyal in Bageshri | Demonstration | Practice |
| October | 4 | Madhya laya khyal in Jaunpuri | Demonstration | Practice |
| November | 4 | Madhya laya khyal in Miyan Malhar | Demonstration | Practice |
| December | 4 | Dhrupad/Dhamar in any one of the Ragas in any Tala (other than Teentala) | Demonstration | Practice |
| February | 4 | Ability to recite the Thekas of Chautal, Rupak, Keherva | Demonstration | Demonstration on hands |
| March | 4 | Knowledge of playing National Anthem or Himachali Folk songs on Harmonium | Demonstration | Practice on Harmonium |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 2 | Power point presentation by the students on the Contemporary Classical Music Performance | Demonstration | PPT Presentation |
| September | 2 | Basic technique of Harmonium and Tabla Playing | Demonstration | Practice & Performance |
| October | 2 | Visit to All India Radio/Doordarshan, State festival and TV Channels | Field Visit | Writing of Review/Reports |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| November | 2 | Ability to play thekas of following Talas on Tabla - Teental, Kaherwa | Demonstration | Performance |
| December | 2 | Knowledge of operating sound system | Demonstration | Practice |
| February | 2 | Attending classical concerts/Music festivals and making the report/Review of the same | Field visit | Writing of Review/Report |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 2 | Power point presentation by the students on the Contemporary Classical Music Performance | Lecture Method | PPT Presentation |
| September | 2 | Basic technique of Harmonium and Tabla Playing | Demonstration | Practice |
| October | 2 | Visit to All India Radio/Doordarshan, State festival and TV Channels | Field visit | Writing of Review/Report |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| November | 2 | Composing Music for Patriotic songs | Demonstration | Presentation |
| December | 2 | Powerpoint presentation on the Life and Contributions of great Musicians | Demonstration | PPT Presentation |
| February | 2 | Attending Music Conferences/Listening to Radio Sangeet Sammelans, writing reviews or reports | Field visit | Writing Review/Reports |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 4 | Essays on Folk Music of HP, Modern trends in music, Time theory in Hindustani Classical Music | Lecture Method | Group Discussion |
| September | 4 | Biographies of Pt. Bhim Sen Joshi, Lata Mangeshkar | Lecture Method | Group Discussion |
| October | 4 | Study of Gram, Murchanna, Jati in Natya Shastra | Lecture Method | Class Tests |
| November | 4 | Avirbhav, Tirobhav, Gayak ke Gun Avagun, Margi Desi, Taal and Ten Prans of Tal | Lecture Method | Group Discussion |
| December | 4 | Basic Knowledge of stringed instruments used in Hindustani Classical Music. Write the Theka of Teental along with Dugun, Tigun, and Chaugun | Lecture Method | Writing Notation of Talas |
| February | 4 | Make a diagram of Taanpura/Sitar and label its sections | Demonstration | Assignment |
| March | 4 | Revision | Class test |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 4 | Vilambit Khyal in Raga Todi, Bhairavi, Darbari Kanahda | Demonstration | Raga Improvisation |
| September | 4 | Madhyalaya Khyal in Todi Raga | Demonstration | Practice |
| October | 4 | Madhyalaya Khyal in Bhairavi Raga | Demonstration | Practice |
| November | 4 | Madhyalaya Khyal in Darbari Kanahda Raga | Demonstration | Practice |
| December | 4 | Dhrupad/Dhamar in any one of the Ragas in any Tala | Demonstration | Practice of layakaries |
| February | 2 | Ability to recite Thekas and Different laykaris of Teentãla, Ektãla, Chautãla, Dadra | Demonstration | Demonstration on hands |
| February | 2 | Innovative singing/playing to enhance the musical ability of students | Demonstration | Stage Performance |
| March | 4 | Guided listening session on the practical aspects of music | Lecture Method | Stage Performance |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 4 | Definitions of Nibadha, Anibadha, Prabandha, Kaku, Sthaya, Varna, Orchestra, Chorus | Lecture Method | Class tests |
| September | 4 | Basic knowledge of percussion instruments used in classical music (Tabla & Pakkawaj) | Lecture Method | Group Discussion |
| October | 4 | Describe basic 10 thaats | Lecture Method | Class test |
| November | 4 | Write about the Gharana prampara of Hindustani Music | Lecture Method | Group Discussion |
| December | 4 | Forms of Music - Thumri, Tappa, Dadra, Chaturang | Lecture Method | Class test |
| February | 4 | Essay on Classical Music and Film Music, Music and Aesthetics | Lecture Method | Class test |
| March | 4 | Revision | Quiz competition |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 4 | One Vilambit Khyal in Raga Bhimpalasi, Des, Puriya Dhanashri | Demonstration | Raga Improvisation |
| September | 4 | Madhyalaya Khyal in Bhimpalasi Raga | Demonstration | Practice |
| October | 4 | Madhyalaya Khyal in Des Raga | Demonstration | Practice |
| November | 4 | Madhyalaya Khyal in Puriya Dhanashri | Demonstration | Practice |
| December | 4 | Dhrupad/Dhamar in any one of the Ragas | Demonstration | Practice and Improvisation |
| February | 4 | Ability to recite the following Thekas - Tilwada, Jhaptala, Dhamar, Roopak, Keherva | Demonstration | Stage Performance |
| March | 4 | Knowledge of 5 film songs each in Raags Bhairavi and Malkauns | Guided listening sessions | Performance |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 4 | Folk songs of Himachal Pradesh | Lecture Method | Group Discussion |
| September | 4 | Knowledge of Folk instruments of Himachal Pradesh | Lecture Method | Assignment |
| October | 4 | Biographies of Musicians of Himachal Pradesh | Lecture Method | Quiz competition |
| November | 4 | Introduction to Ragas Bhairav, Yaman | Lecture Method | Writing of Notation |
| December | 4 | Introduction to Talas Teentaal, Dadra | Lecture Method | Writing of Talas in Notation |
| February | 4 | Essay on Music and Culture, Impact of Music in Human life | Lecture Method | Class test |
| March | 4 | Revision | Class test |
| Month | Duration (Weeks) | Topic | Teaching Method | Student Activity |
|---|---|---|---|---|
| August | 4 | Raga Bhairav - Aaroh, Avroh and Pakad, Tala - Teentala | Demonstration | Practice |
| September | 4 | Raga Yaman - Avroh and Pakad, Tala - Dadra | Demonstration | Practice |
| October | 4 | Guided listening sessions of classical vocal, Knowledge of voice culture | Demonstration | Practice |
| November | 4 | Five Alankars | Demonstration | Practice |
| December | 4 | One Swar Malika/Drut Khayal in any of the prescribed ragas | Demonstration | Practice & Improvisation |
| February | 4 | Variety of Taan patterns | Demonstration | Stage performance |
| March | 4 | Practice/Practicals |
| Name of the Course | Objectives | Course Outcome |
|---|---|---|
| MUSA 101TH Course Title: Basic Principals of Indian Music & Biographies of Musicians, Composers & Musicologists |
This course helps students learn music terminology, identify sounds and their sources, understand musical instruments, explore Ragas, interpret the Music Symbol System, and grasp the role of rhythm in music. | By the end of this course, students will explain music terminology, identify sounds and instruments, discuss Ragas, interpret the Music Symbol System, and understand rhythm’s importance. |
| MUSA 102 PR Course Title: Stage-Performance Rāga – Alhaiya Bilaval, Kafi, Bhairav |
The course aims to help students process rhythm, understand musical notes, elaborate on Ragas, learn the Music Notation System, and comprehend the relationship between sounds. | Students will be able to sing Alankaras, apply rhythm, understand musical notes, elaborate on Ragas, use the Music Notation System, and explain the relationship between sounds. |
| MUSA 103TH Course Title: Theory of Indian Music (General) & Biographies of Musicians, Composers & Musicologists |
To understand the theory of Indian music and learn about the contributions of renowned musicians, composers, and musicologists. | Students will understand the basics of Indian music theory and appreciate the impact of key figures in its evolution. |
| MUSA 104PR Hindustani Music Paper-ll Practical Title: Viva-Voce Rāga - Yaman, Bhoopali, Bihag |
The course aims to help students illustrate compositions in Raag Yaman, Bhupali, and Bihag, process rhythm, and demonstrate basic Talas in Indian music. | At the end of the course, students will be able to perform compositions in Raag Yaman, Bhupali, and Bihag, process rhythm effectively, and demonstrate basic Talas with accuracy. |
| Year | DSC Name & Code | DSE Name & Code | SEC Name & Code | GE Name & Code |
|---|---|---|---|---|
| BA Ist Year | Theory of Indian Music MUSA101TH (DSC-1A) |
|||
| Practical (Stage-Performance) MUSA102PR (DSC-2A) |
||||
| Theory of Indian Music General and Biographies MUSA103TH (DSC-1B) |
||||
| Practical (Viva-Voice) MUSA104PR (DSC-2B) |
||||
| BA IInd Year | Ancient Granthas and Contribution of Musicologist MUSA201TH (DSC-1C) |
|||
| Practical (Stage-Performance) MUSA202PR (DSC-2C) |
Value Based & Practical Oriented Course for Hindustani Music MUSA205PR (SEC-I) |
|||
| Medieval Granthas and Contribution of Musician MUSA203TH (DSC-1D) |
||||
| Practical (Viva-Voice) MUSA204PR (DSC-2D) |
Value Based & Practical Oriented Course for Hindustani Music MUSA206PR (SEC-II) |
|||
| BA IIIrd Year | Theory of Indian Music and Study of Ancient Granthas and Ragas MUSA303TH (DSE-1A) |
Value Based & Practical Oriented Course for Hindustani Music MUSA301PR (SEC-III) |
Theory of Indian Music and Folk Music of Himachal Pradesh MUSA307TH (GE-I) |
|
| Practical Hindustani Music MUSA304PR (DSE-2A) |
Value Based & Practical Oriented Course for Hindustani Music MUSA302PR (SEC-IV) |
Title-PRACTICAL MUSA308PR (GE-II) |
||
| Theory of Indian Music and Gharana Tradition MUSA305TH (DSE-1B) |
||||
| Practical Hindustani Music MUSA306PR (DSE-2B) |
Cross-cutting issues in the field of music include the preservation of cultural diversity, the impact of technology on music creation and education, and the balance between traditional and global influences. Issues like gender equality and inclusivity promote wider participation, while globalization offers opportunities for cultural exchange. Additionally, sustainability in music focuses on preserving traditional forms while adapting to modern demands, ensuring the relevance and continuity of music across generations.