Madhyam2

Madhyama Poorna Syllabus Total Points: 250, Minimum needed for passing: 88, 

Practical – Oral exam – 40 minutes : 150 points (minimum needed for passing : 53) 

Theory – Written exam – 3 hours : 100 points (minimum needed for passing : 35) 

Only taanpuraa and tablaa will be used for oral exams. Harmonium is not allowed. 

Theory: 

1. Detailed information of raagaas from syllabus and study similarities and differences between raagaas with examples. Recognize raagaas from cluster of swar and improvise further. 

2. Detailed (comprehensive) study of all taal starting from first exam. Learn to write all taal in Paluskar and Bhatkhande lipi (notation type or script). 

3. Ability to write all taal from syllabus in dugun and chougun in both notation systems. 

4. Ability to write notation for all bandish and vilambit khyaal (compositions) in both swarlipi (Paluskar and Bhatkhande). 

5. Detailed study of following technical words:Va Naad, Shruti, Swarasthaan, Saptak, Ashtak, Poorvaanga – Uttaraanga, Varna, Alankaar, Vaadi – Saunvaadi, Ardhvadarshak swar, Samaprakrutik raag, Prabandha, Vastu, Roopak, Graha, Ansha, Nyaas. 

6. Introduction to (basic knowledge): modern and ancient characteristics of raag, Jaatigaayan, Sanyaas, Vinyaas, Apanyaas, Alpatva – Bahutva, Aavirbhaav – Tirobhaav, Gaayakee – Naayakee. 

7. Biographies of following musicians and scholars: 

•  Gopaalnaayak, 

• Ameer Khusro, 

• Maansinha Tomar, 

• Jayadev, 

• Tyaagraaj, 

• Taansen, 

• Purandardaas 

8. Division of 22 shruti into seven swar from ancient basic saptak according to ‘Bharat muni’ (sage Bharat). 

9. Full knowledge of merits (virtues and faults) of singers (vocalists) as described in a book ‘ Sangeet Ratnaakar’. 

10. Ability to write essays of following topics: 

• Classical music and folk music 

• Collaboration of science in evolution of music 

• Literature and music 

• Importance of music in everyday life 

Practical: a. Knowledge of swar :- 1. Taanpuraa: Learn to tune real acoustic Taanpuraa. Practice to sing taan properly. Acquire ability to improvise a raag appropriately. Also learn to perform accurate form of a raag. Improvise raag with aalaap and bol-aalaap. General knowledge of tuning tablaa and play basic thekaa for some taal. b. Knowledge of raag: 2. for following six raag, learn to sing vilambit khyaal (in two different taal), and drut khyaal. Develop ability to catch the mukhdaa for each raag (catch sam for the beginning phrase) and improvise each raag for fifteen minutes. 1. Bheempalaasee, 2. Vrundaavanee Saarang, 3. Kedaar, 4. Jaunpuri, 5. Malkauns, 6. Bhairav For general knowledge, six raag are listed below. Learn to perform one bandish in medium tempo in each of the following raag with aalaap taan. 1. Shankaraa, 2. Jaijaivantee, 3. Gaudsaarang, 4. Puriyaa Dhanaashree, 5. Kaamod, 6. Chhaayaanat 3. In the above raag, prepare one dhrupad and one dhamaar with dugun, tigun and chougun. 4. From any two raag in syllabus, perform two taraana. 5. Sing the prarthanaa (prayer) of ABGMVM – ‘Jaya jagadisha hare’. 6. Ability to perform one bhajan, one gajal, one patriotic song and one folk song. c. Knowledge of taal: Recite dugun of Roopak, Deepchandi and Choutaal. With number, recite 2 in 3 and 3 in 2, or demonstrate how you would adapt any one taal into other taal. Show dugun, tigun, chougun of taal from previous exams with hand while reciting bols. 

1. Detailed description of all the ragas in the syllabus, and a studied comparison of their similarities and differences. Identifying ragas from swara patterns and expanding the swara phrases. 

2. Detailed study of all talas from the first year up to the present, and practice of them in the style of Pt. Krishnaji Krishnambhar and Pt. Bhatkhande notation system. 

3. Ability to perform all the talas of the syllabus in both double (Dugun) and quadruple (Chaugun) speeds. 

4. Ability to render all the bandishes learned in the syllabus in both double (Dugun) and quadruple (Chaugun) speeds with proper swara notation. 

5. Detailed study of the following basic/introductory musical terms. 

Naad (sound), Shruti (microtone), Swarasthaan (note positions), Saptak (octave), Ashtak (8-note scale), Purvang/Urvang Varn (ascending/descending notes), Alankar (ornamentation), Vadi-Samvadi (principal and secondary notes), Adhvanadashak Swara (tenfold sound variations), Sampoorna Raga (complete raga), Prabandh (composition), Vastu (theme), Roopak (musical meter), Grah (starting note), Ansha (note fraction), Nyas (resting note). 

6. Introduction to modern and ancient Ram Lakshana, Jankrit Gayana, Sanyas, Krinnyas, Apnyas, concepts of Alptva-Bahutva (lesser-greater emphasis), Akarshan Bhavan (expressive appeal), and the nature of Gayaki – Nayaki (vocal style – leading characteristics). 

Biographies of musicians: Gopalanayak, Amir Khusro, Man Singh Tomar, Jayadeva, Tyagaraja, Tansen, Purandara Dasa. 

Division of 22 Shrutis in the ancient basic octave (Mool Saptak) according to Bharata into the seven notes (Swaras).

Detailed information on the characteristic features of singers as described in ‘Sangeet Ratnakar’. 

Ability to comment on the following topics:

1. Classical music and folk music

2. Contribution of music to cultural development

3. Aesthetics and music

4. Importance of music in life

Practical / Performance Skills:

A) Swara Knowledge (Notes):

1. Ability to tune the tanpura to one’s own pitch.

2. Preparation of taans (fast melodic phrases).

3. Ability to develop a raga systematically.

4. Present the pure form of ragas accurately.

5. Progression with Alap and Bol-Alap.

6. Basic knowledge of matching the tabla to the melody / basic knowledge of playing the theka (tabla pattern).

B) Raga Knowledge:

2. In the following six ragas, perform vilambit khayal (slow composition) in two different talas and drut khayal (fast composition) / masitani and rajani gati.

• Ability to grasp the essence (mood) of the raga and develop each raga up to 15 minutes is essential.

• The six ragas for general knowledge are:

1. Bhimpalasi

2. Vrindavani Sarang

3. Kedar

4. Jaunpuri

5. Malkauns

6. Bhairav

• Each raga should be performed with one bandish or rajani gati along with alap, taan, and melodic variations (tod).

• Additional six ragas for general performance knowledge:

1. Shankara

2. Jay Jayanti

3. Gaud Sarang

4. Pooriya Dhanashree

5. Kamod

6. Chhayanat

  3. In the above-mentioned ragas, the student should be able to perform: One Dhrupad One Dhamar In Dugun, Trital, Chaugun speeds according to their instrument’s capability

• Prepare compositions in Teevra (fast) and Ada Taal as per instrument specialization.

4. From the syllabus ragas, perform Taranas / fast compositions in two selected ragas.

5. Ability to sing or play the Mandal prayer “Jaya Jagdish Hare”.

6. Ability to perform or present: One Bhajan, One Ghazal, One patriotic song, One folk song or tune

C) Tala Knowledge:

• Ability to recite Rupak, Deepchandi, and Teental in double speed (Dugun).

• Using matra counting, ability to perform “2 into 3” or “3 into 2” variations, or the ability to transform any tala into another tala.

Marks / Instructions:

Note:

• 40 minutes have been allotted for this examination.

• Tanpura must be used for the base pitch (Sa).

• Electronic instruments are not allowed.

• Each column will contain different ragas, so that the entire syllabus can be tested.
  
  

Practical / Performance Marks:

• From three prescribed ragas, perform a bandish with alap and taans in any one raga (duration: 7 minutes) – 14 marks.

• In another raga of this year, perform a bandish with two alaps or taans – 8 marks.

• In another raga of this year and in one raga from the previous year, perform only the bandish with raga-based alap – 4 + 4 marks.

Madhyama Level Performance Marks:

• In one raga of this year, perform the bandish with full development (duration: 5 minutes) – 10 marks.

• In another raga of this year, perform the bandish with two alaps and 5 taans – 8 marks.

• In a previous year raga, perform the bandish with three alaps – 7 marks.

Total Marks: 25 marks

Dhrupad / Dhamar:

• Dhrupad or Dhamar (if instrumental, then in the same tempo, tala-bound with alankar and theka) – 6 marks.

• Dugun of Sthayi or Antara or Alankar – 9 marks.

Total Marks: 15 marks

Other Performances:

• In the ragas of this year, perform Tarana and Drut Ektaal bandish / composition, choose one type – 10 marks

Semi-Classical Song Types:

• One type of song or melody included under semi-classical music – 10 marks
  
  

Tala and Rhythm Knowledge:

• Recite two thekas of this year with claps and waves – 4 marks.

• Perform one theka in Trital (three-speed / Trital variation) – 3 marks.

• Perform one theka in Dugun (double speed) – 3 marks.

• Identify one vilambit theka and one madhya-laya theka – 4 marks.

• Using matra counting, perform “2 into 3” and “3 into 2” variations – 6 marks.

Total Marks: 20 marks

Raga Development:

• Alap of two ragas from this year and three ragas from the previous year – 20 marks
  
  

Raga Identification:

• Identify two ragas from this year and three ragas from the previous year – 10 marks
  
  

Swar Vistar / Note Practice:

• Practice note sequences in whole, half, and quarter matras,

• Perform talabaddh sargam songs on harmonium and vocally – 10 marks
  
  

Total Marks:

• Oral: 150 marks

• Written: 100 marks

• Grand Total: 250 marks