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Syllabus and Course Scheme

Academic year 2017-18

M.A. – Indian Music

Exam.-2018

UNIVERSITY OF KOTA
MBS Marg, Swami Vivekanand Nagar,
Kota - 324 005, Rajasthan, India
Website: uok.ac.in
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M.A. (Previous) Indian Music - 2018

Paper- I Principles of Music
Paper – II History of Indian Music
Paper – III & IV – Practical (Vocal and Instruments)

M.A. (F) Indian Music-2018

Paper V-Voice Culture and Philosophy of Music
Paper VI (I)- Psychology of Music
or
Paper VI (II)-Comparative Study of Music of Various Countries
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M.A. (Previous) Indian Music - 2018

Paper- I PRINCIPLES OF MUSIC
3 hours duration 4 Hours per week 100 Marks
Note : The question paper will contain three sections as under -
Section - A : One compulsory question with 10 parts, containing 2 parts from each unit. Short answers
- in 20 words each. Total Marks : 10
Section B - : 10 questions, 2 from each unit. Total 5 questions to be attempted, choosing one from each
unit. Answer - approximately 250 words each. Total Marks : 50
Section - C : 04 questions (questions may have sub-divisions covering all units); but not more than one
question from each unit. Descriptive type - approximately 500 words each. 2 questions to be
attempted. Total Marks : 40

Unit – I
Shruti, Swar, Types of Scales, Diatonic, Chromatic Equally tempered etc. Shruti Swar discourse of Bharat,
Shrangdev and Ahobal.
Unit – II
Views of Pt. Bhatkhande, Pt. Omkar Nath Thakur and Lalit Kishore Singh on Shruti Swar and Scales.
Modern Shudha scale of Hindustani and Karnatak Music.

Unit – III
General idea of the forms of Music.
General idea of Geeti and Vani
Chief characteristics of different Gharanas of Vocal and Instrumental Music.
Unit – IV
Impact of Folk music on Classical Music and Vice-versa,
Main Musical Instruments and classical composition (Musical form) in Karnatak Music. Technique and
presentation of Vrinda Vadan and Vrinda Gana. New Trends and characteristics of Modern Indian Vrinda
vadan and Vrinda Gana.
Unit – V
General idea of Rabindra Sangeet. Western Scales (Ancient and Modern). Division of a scale according to the
number of severts and cents in a scale.

Book Recommended :
1. Natya shastra : Bharat
2. Brihaddeshe : Matang
3. Sangeet Ratnakar: Sharangdeva
4. Rag Tarangini : Lochan
5. Sangeet Parijat : Ahobal
6. The Music of Hindustan: Strangways
7. The Music of India: Popley
8. Music and Musical Modes of Hindustan
9. Hindustani Music : G.H. Ranade
10. The Music of India : D.P. Mukherjee
11. Rag Tatha That Ki Etihasik Prasth Bhoomi : G.N. Goswami
12. Rag O Roop: Swami Prajyanada
13. North Indian Music : Aillian Daneilou
14. Bharat Ka Sangeet Siddhanta : Aacharya Kailash Brahaspati
15. Sangeet Shastra: K. Vasudev Shastri
16. Pranav Bharati : Pt. Omkar Nath Thakur
17. Rag O Ragni : O.C. Ganguly
18. Elements of Indian Music : E. Claments
19. Karnatak Music: Ramchandran
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20. Ragas of Karnatak Music : Ramchandran

21. South Indian Music : Sambamurthy
22. Bhartiya Sangeet Vadya : Dr. Lalmani Misra
23. Dhwani aur Sangeet : Lalit Kishore Singh

Paper – II HISTORY OF INDIAN MUSIC

3 hours duration 4 Hours per week 100 Marks
Note : The question paper will contain three sections as under -
Section - A : One compulsory question with 10 parts, containing 2 parts from each unit. Short answers
- in 20 words each. Total Marks : 10
Section B - : 10 questions, 2 from each unit. Total 5 questions to be attempted, choosing one from each
unit. Answer - approximately 250 words each. Total Marks : 50
Section - C : 04 questions (questions may have sub-divisions covering all units); but not more than one
question from each unit. Descriptive type - approximately 500 words each. 2 questions to be
attempted. Total Marks : 40

Unit- I
Evolution and development of Indian Music during ancient; medieval and modern ages with special reference to
the works of Bharat Matang narad (Sangeet makarand) Sharangdev Lochan, Ramamatya, Ahobal, Bhavbhatt,
Vyankatmukhi, Pt. Bhatkhande and Pt. Vishnu Digamber Paluskar.
Unit - II
Origin of Music. Evolution and Growth of the Various musical forms, Gram Ragas, Bhasha and vibhasa.
Unit - III
Historical evolution of Pakhawaj, Veena, Sitar, Sarod, Tabla and Flute. General idea of the factors that
differentiate Karnatak Music and Hindustani Music.
Unit -IV
Special Study of the Trinity. Evolution of Indian and Western Notation system.
Unit- V
Efforts for development of the art of music by various Institutions and Artists in the post – independent era in
the field of teaching performance and writing.

Books Recommended
1. The Hindu View of Art: Mulk Raj Anand
2. A Short History of Music : Dr. Curt Sucher
3. The Primitive Art : L. Adams
4. The Beginning of Art : Emest Groos
5. History of Musical Instruments : Curt Suches
6. History of Musical Instruments : Suresh .. Raj
7. Historical Survey of the Musical of Upper India : Pt. V.N. Bhatkhande
8. A Comparative Study of Some of the Music System of 15th, 16th and 18th centuries : Pt. Bhatkhande
9. Rise of Music in the Ancient World, East & West : Curt Suches
10. History of Indian Music : Swami Prajanand
11. Ain – E – Akbari : Abul Fazal (Translnted by Girelwin)
12. Ancient Art and Ritual : C. Harrison
13. Composers of Karnatak Music : Prof. Sambmurthy
14. Music in Ancient Literature: Dr. G. Raghvan
15. Natya shastra : Bharat
16. Brihaddeshe : Matang
17. Sangeet Ratnakar: Sharangdeva
18. Rag Tarangini : Lochan
19. Sangeet Parijat : Ahobal
20. The Music of India: Popley
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21. Music and Musical Modes of the Hindus : Sir Willaim Jones
22. Hindustani Music : G.H. Ranadey
23. Music of Hindustan : Fox Strengways
24. Indian Music of the South : R. Sriniwasan
25. Rag Vibodh : Somnath
26. Swar Mel Kala Nidhi : Ramamatya
27. Bhartiya Sangeet Vadya : Dr. Lalmani Mishra
28. Swar aur Ragon Ke Vikas me Vadyon Ka Yogdan : Dr.Indrani Chakarvarty.
29. Musical Herritage: M.R. Gautham

Paper – III & IV – Practical (Vocal and Instruments)

Note: Candidate can offer only one Instrument that is : Sitar

Paper – III – Practical : Division of Marks 6 Hours

Lasting for ½ hrs per candidate at the maximum
(a) Raga of Examiner’s Choice (Slow khyal/gat) 30 Marks
(b) Ragas of Examiner’s Choice atleast two fast Khyals/gats 30 Marks
(c) Alaps in two Ragas 25 Marks
(d) Singing of Dhrupad etc.
OR Four Gats Composed in tals other than trital 25 Marks
(e) Tunning of Tanpura or Instrument one offer. 15 Marks
Total 125 Marks

Paper IV – Practical : Division of Marks 04 Hours

Lasting for 1 1/2 hours per candidate of the Maximum.
(a) Notation 15 Marks
(b) Comparative and Critical study of ragas (Viva- Voce) 20 Marks
(c) Stage performance 40 Marks
Total 75 Marks

Note: Question paper will be set at the spot by the Board of Examiners in consultation with internal examiners

Paper III and IV (Practical)

Compulsory Group : Yaman, Alhaiya Bilaval, Bageshwari, Jaijaiwanti, Darbari Kanhada, Brindavani Sarang.

Optional Group:
(i) Shyam – Kalyan, Puria – Kalyan, Jait – Klalyan Hansdhwani
(ii) Yamani – Bilawal, Devgiri Bilawal, Kukubh-Bilawal Sarparda – Bilawal
(iii) Jhinjoti, Rageshri, Narayani, Khambavati, Malgunji.
(iv) Jogia, Vibhas (Bhairav - Ang) Gunakri (Bhairav - Ang) Basant – Mukhari.
(v) Lalit, Puriya, Bhatiyar, Pancham.
(vi) Nayaki – Kanhada, Sugharai – Kanhada, Abhogai – Kanhada, Shahana – Kanhada
(vii) Shudha – Sarang, Madhymad Sarang and Lanka Dahan Sarang.
(viii) Kedar, Maluha – Kedar, Hemant, Saraswati.

Note:
1. Candidate are required to prepare all the Ragas from the compulsory group very throughly with
extensive elaboration
2. Any three from the optional eight groups may be selected and atleast two Ragas from each may
be prepared.
3. To prepare 3 fast –Khyals / Razakhani gat in three different ragas.
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4. In all, fourteen (14) Ragas are to be prepared with eleven vilambit Khyals or Masitkhani should
learn any two composition out of the following : Dhrupad / Dhamar / Tarana with full gayaki
from the above ragas or Thumri Tappa – in any Raga
5. For instrumental music any two dhuns based on any Raga.
6. Special attention should be given towards artistic presentation while preparing all the fourteen
Ragas.
7. Variety of tals may be kept in view for the composition or Gats and Khyals Candidate offering
Instrumental. Music should prepare atleast two gats in tals other than Trital

M.A. Previous Period Per Week

Theory Paper 8 Hours
Practical III 6 Hours
Practical IV 4 Hours

M.A. (F) Indian Music-2018

Paper V-Voice Culture and Philosophy of Music
3 hours duration 4 Hours per week 100 Marks
Note : The question paper will contain three sections as under -
Section - A : One compulsory question with 10 parts, containing 2 parts from each unit. Short answers
- in 20 words each. Total Marks : 10
Section B - : 10 questions, 2 from each unit. Total 5 questions to be attempted, choosing one from each
unit. Answer - approximately 250 words each. Total Marks : 50
Section - C : 04 questions (questions may have sub-divisions covering all units); but not more than one
question from each unit. Descriptive type - approximately 500 words each. 2 questions to be
attempted. Total Marks : 40

Unit- I
Anatomy and Physiology of throat and ear. Human voice and its technique, Elementary theory of sound-Its
Production and propagation
Unit - II
Art and Concept of beauty. Place of music in fine arts. Application of general principles and ideas of aesthetics
in music.
Unit- III
Music as the embodiment of the spirit of Indian Art and culture.
Art appreciation and music Listening.
Unit - IV
Music and Religion. Emotional experience in life through Music. Function of Music. Pictorial aspect of music.
Unit - V
Role of music in Indian philosophy.
Concept of music in western world. Raga and Rasa. Aesthetic experience through the art of music.

Books Recommended
1. Short studies in nature : Herbert Anticlastic.
2 What is music : Leo Tolstoy
3 Music a science and/or art : John Recfield
4 Elution and Reality : Christopher Grudwell
5 Philosophy of music : Willam Pole
6 Art and the man : Irwin Edman
7 Sound : Catch and Satterly
8 Hindustani Music : G.H. Ranade
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9 Cilvilisation, Science and Religion : A Rithole

10 Science an music : James Jeans’
11 Philosophy in a new key : Susane Langer
12 Forms in music : I Machpherson
13 What is Art : Tagore
14 Effect of music : Max-School and Estner Gat Wood
15 Sources of music : Erick Bloom
16 Fundamental of Indian Art : S.N. Das Gupta
17 Visualised music : Percy Brown
18 Some conception of music : David Monn
19 The Culture Aspect of Indian and Dancing : C.P. Srinivasa Iyengar
20 The Physics of music : Dr. Vasudeva Sharan
21 Kala Aru Sanskriti : Dr. Vasudeva Sharan
22 Indian Concept of the Beautiful : K.S. Ramaswami Shastri
23 Comparative Aesthetics : K.C. pande
24 A History of Aesthetics : Golbert and Kuhu
25 Philosophies of Beauty : E.F. Carrit
26 modern Book of Aesthetics : Mialvi Ruder
27 Text Book of Sound : Broton

Paper VI (I)- Psychology of Music

3 hours duration 4 Hours week 100 Marks
Note : The question paper will contain three sections as under -
Section - A : One compulsory question with 10 parts, containing 2 parts from each unit. Short answers
- in 20 words each. Total Marks : 10
Section B - : 10 questions, 2 from each unit. Total 5 questions to be attempted, choosing one from each
unit. Answer - approximately 250 words each. Total Marks : 50
Section - C : 04 questions (questions may have sub-divisions covering all units); but not more than one
question from each unit. Descriptive type - approximately 500 words each. 2 questions to be
attempted. Total Marks : 40

Unit - I
Relation of Psychology with music.
Definiation and Scope of psychology
Unit - II
Applications of music in Educational Psychology, Socio-Psychology. Abnornal
Psychology and Industrial Psychology.
Unit- III
Emotional Integration through music.
Mind and music.
Taste in music. Sensation hearing in music.
Unit - IV
Attention-Role of Interest in Attention (Music)
Feeling, Emotion and Appreciation of music.
Imagination and creative activity of music.

Unit- V
Learning (music)
Importance of heredity and environment in music.
Musical aptitude tests.
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Books Recommended
1. Contemporary School of Psychology : Roberts S. Wood Worth.
2. An Outline of psychology : Willam Dongall.
3. Music Therapy: Edited by Edward Podolsky D.M. Department of psychiatry Kings Country Hospital
Booklyn. New York
4. The Psycho-dynamics of everyday behaviour K. L.Brown and Kari, A Menninger.
5. Psychology of Musician: Parcy C. Buck.
6. Psychology of Music: Carl E. Seashore
7. The Psychology of Society: Maris Gangsberg.
8. Fundamentals of Industrial Psychology: Altert Walton.
9. psychology of Industry: Norman R.F. Mayer.
10. Therapeutic of industry: Norman R.F. Mayer.
11. Psycho- Acoustics : B.C. Deva
12. Effect of Music : Max-Shoen and Easther Gatewood.
13. Sources of Music : Eric Bloom
14. Philosophy of Music : Pole.
15. Therapeutic Quality of Music : B. Beliamy Gardner.

OR
Paper VI (II)-Comparative Study of Music of Various Countries
3 hours duration 4 Hours per week 100 Marks
Note : The question paper will contain three sections as under -
Section - A : One compulsory question with 10 parts, containing 2 parts from each unit. Short answers
- in 20 words each. Total Marks : 10
Section B - : 10 questions, 2 from each unit. Total 5 questions to be attempted, choosing one from each
unit. Answer - approximately 250 words each. Total Marks : 50
Section - C : 04 questions (questions may have sub-divisions covering all units); but not more than one
question from each unit. Descriptive type - approximately 500 words each. 2 questions to be
attempted. Total Marks : 40

Unit- I
Comparative study of musical scale of Europe, China, Japan and Jawa.
Unit - II
Forms of the music of Europe, Japan, Arabia, Persia, America and India.
Unit- III
Three dimentions of European Music Tone and Harmony.
Unit- IV
System of notations of Ancient Greece and modern Europe.
Unit - V
Evolution of Orchestral music from the Greek period to the modern times.
European Instruments.

Books Recommended :
1. The Rise of music in ancient World : West-court Seches.
2. American Indian and their : Frances Denmore
3. Teach Yourself of compose Music : King Plamer.
4. School Music Teacher : Jhon Evans and W.G. Naught
5. International Encyclopaedia of Music and Musicians : Oscar Thomson.
6. A History of Arabian Music : H.G. Framed
7. Evolution of the Art of Music : Dr. C. Hurbert Party.
8. Forms in music : J. Machoperson
9. Sources of Music : Eric Bloom
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10. Music of Hindus : Nathan

11. The Hindu Theory of Music : L. Issac Rice
12. Indian Inheritance (Vol.II) : Arts, History and Culture, Bhartiya Bhawan.
13. Music and Musical Modes of Hindus : Sir Willaim Jones.
14. Music of the Nations : Swami Priyananpa

Total Marks 100

Paper VII – Essay on Any Musical Subject/ Stage Performance/Dissertation. 6 Hours per week

Paper VIII Practical : (Lasting for 1½ hrs. per candidate) 8 Hours per week
Scheme : Allotment of marks :
(a) Question of Khayals of Gats (slow) candidate will be required to sing/play two slow Khayal/Gats of
Examiner’s choice-there shall be no “choice Raga” of the candidates in VIII Practical. 40 Marks
(b) Question of Khayal/Gats (Fast) Two 35 Marks
(c) Alaps in two Ragas 20 Marks
(d) Dhrupad/Dhamar or other composition
OR
Four Gats composed in Tals other than Trital 30 Marks
Total 125 Marks
N.B. : The Practical paper will be set at the spot by the Board of Examiner in consultation with the internal
Examiners.

Paper IX Practical : (Lasting for 1½ hrs. per candidate)

Scheme : Allotment of Marks 4 Hours per week

(a) Extempore composition from the given songs on new pattern 30 Marks
(b) Viva General awareness of the subject 15 Marks
(c) Comparative and Critical study of Ragas 30 Marks
Total Marks 75
N.B. : The Practical paper will be set at the spot by the Board of Examiner in consultation with the internal
Examiners.

Syllabus for paper VIII and IX (Practical)

Compulsory Group : Marva, Bhairav, Mian-Ki-Malhar, Bihag, Malkons and Todi
Optional Group :
a. Ahir-Bhairav, Bairagi-Bhairav, Nut Bhairav, Anand Bhairav Sourashtra Bhairav, Shivmat-
Bhairav.
b. Gauri, Lalita-Gauri, Jaitashri, Triveni, Purvi
c. Jog, Jogkons, Chandrakauns, Kaunsi-Kahada
d. Sur Malhar, Ramdasi-Malhar, Jayant-Malhar, Nat-Malhar, Megh-Malhar.
e. Hanskinkini, Patdeep, Madhuvanti, Kirvani, Bhrwa, Sindura.
f. Gujari Todi, Bilaskhani-Todi, Bhupal Todi, Saragavarali, Multani.
g. Nand, Bihagada, Nat-Bihag, Maru-Bihag, Savani (Bihag Ang)
h. Deshi, Khat, Devgandhar, Gandhari, Komal-Rishabh Asavari.

Note :
1. Candidates are required to prepare all the Ragas from the compulsory group very thoroughly with
extensive elaborations.
2. Any four from the remaining eight groups may be selected and atleast two Ragas from each group may
be prepared.
3. Candidates are to prepared any three fast Khayals/Razakhani Gats from the remaining Ragas.
4. In all seventeen Ragas are to be prepared with 12 Vilambit Khayals or Masitkhani Gate and Fast Khayals
or Razakhani Gats and three Fast Khayals/ Gats.
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5. Candidates should learn any two composition from the following : Dhrupad, Dhamar, Tarana with full
Gayaki from the above Ragas or Thumri, Tarana with full Gayaki from the above Ragas or, Thumri,
Tapa-in any Raga.
6. For Instrumental Music two Dhuns and two compositions in any two Ragas in Tals other than Trital.
7. Special attention should be given toward artistic presentation while preparing seventeen Ragas.
8. Variety to Tals may be kept in view for Khayals and Gats.

Paper III, IV, VII and IX Practical

Books Recommended :
Karmic Pustak Malika : V.N. Bhatkhande
Rag Suman Mala : Umdekar
Abhinav Manjari : S.N. Ratnajankar
Aprakashit Rag : Patki
Raga Vigyana : 7 Parts by Patwardhan
Sangeeranjali : Lt. Onkar Nath Thakur

Periods per week

Theory Paper 8 Hours
Practical VII 6 Hours
Practical VIII 8 Hours
Practical IX 4 Hours
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