UGC NET Syllabus for Music

UGC NET Syllabus for Music [Hindustani, Karnatak, Rabindra Sangeet [Vocal - Instrumental and Musicology] and Percussion], Code No: 16

Music: Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses"). The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to personal interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics. Music may be played and heard live, may be part of a dramatic work or film, or may be recorded.

Question Pattern: There will be two question papers - UGC NET Examination in Music, Paper II and Paper III. Paper II will have 100 marks in total whereas Paper III will have 150 marks in total. Paper II will cover fifty (50) objective type questions, whereas the Paper III will have seventy five (75) objective type questions, each question carrying two (2) marks. All questions are compulsory in both the papers. The objective type questions will include multiple choices, matching type, true / false and assertion-reasoning type.

Candidates are required to answer all the 25 questions in Paper II, Part – I, which are compulsory. They should select any one of the groups from Part – II, Part – III, Part – IV and Part – V and answer all the 25 questions, in that part in Paper II.www.netugc.com

The Paper III has two parts. Part-I consists of 50 questions common to all, which is compulsory and carries 2 marks each. Part – II has Four sections viz Hindustani, Karnatak, Rabindra Sangeet and Percussion Instruments with 25 questions each of 2 marks each. Candidates should select any one of the Part II section / Part III / Part IV / Part V as per his / her discipline.

Paper II & Paper III (Part A) Syllabus

[Core Group]

1. Technical – Terminology

Nada, Shruti, Swara, Grama – Moorchana, Jati, Raga, Tala, Tan, Gamak, Gandharva – Gaan, Marga – Deshi, Giti, Gaan, Varna, Alankar, Melody, Harmony, Musical Scales, Musical intervals, Consonance – Dissonance, Harmonics.

Western and South Indian terminology and their explanation, Drone, Alpatva – Bahutva, Abirbhav – Tirobhav, Uthan, Peshkar, Kay da, Rela, Rang, Laggi, Ladi, Farshbandi, Tala, Laya, Matra, Avartan, Vibhag, Sashabda Kriya, Nishabda Kriya, Theka, Saral Gat, Adi Gat, Chakradar Gat.

Farmaishi Gat and other variety of Gats and Kayadas, Upanga, Bhashanga, Gita, Kriti, Kirtana, Jatiswara, Pada, Swarjati, Ragmalika, Tillana, Nyasa, Amsa, Prasa, Yati, Anuprasa, Alapana, Neraval, Sangati and other terms, Gitinatya, Nritya – Natya, Baitalik, Varsha – Mangal, Basantotsav, Gita – Bitana, Swara – Bitana, Akarmatrik notation, Masitkhani and Rajakhani Gat.

2. Applied Theory

Detailed and critical study of Ragas, classification of Ragas, i.e., Grama Raga vargikaran, Mela Raga Vargikaran, Raga – Ragini Vargikaran, Thata Raga Vargikaran, and Raganga Vargikaran, time – theory of Ragas, Application of melody and harmony in Indian Music, Placement of Shuddha and Vikrit Swaras on Shruties in ancient, medieval and modem period.

Detailed knowledge of prevalent talas of Hindustani music, knowledge of tala Dashpranas and Marga and Deshi talas of ancient period, the original principles of making Tihai, Chakradar Gat, Chakradar Paran, comparative study of Hindustani and Karnatak tala system with special reference to ten pranas of tala, detailed study of different layakaris viz, Dugun, Tigun, Chaugun, Ada, Kuada, Viyada and method to apply them in compositions.

Tagore’s treatment of Hindustani ragas and raginis, elements of Hindustani classical music, Karnatak music, Western Music, Music from other provinces, folk music and Kirtan of Bengal and their influence on Tagore’s treatment of ragas.

3. Compositional Forms and their Evolution

Prabandha, Dhrupad, Khyal, Dhamar, Thumri, Tappa, Tarana, Chaturang, Trivat, Vrindagana, Vrinda Vadan, Javeli, Kriti, Tillana, Alap, Varnam (Pad Varnam and Tana Varnam), Padam, Ragam, Tanam, Pallavi, Gita, Varna, Swarajati, Kalpita, Sangita, Ragamalika, Narvallu, Swara Kalpana (Manodharma Sangeet), Tevaram, Divyaprabandham, Tiruppugazh.

Main Forms of Rabindra Sangeet.

Akarmatrik Notation System. Knowledge of Devanagari Script.

History of Music of Bengal.

4. Gharanas and Gayaki

Origin and Development of Gharanas in Hindustani Music and their contribution in preserving and promoting traditional Hindustani Classical Music. Merits and demerits of Gharana System.

Origin and Development of Gharanas in Instrumental music and Percussion and their contribution in promoting traditional Indian Classical Music, merits and demerits of Gharana system.

Study of the traditions and specialities of different gharanas in vocal, instrumental and percussion group. Desirability and possibility of gharanas in contemporary music.

Guru Shishya parampara and different styles of singing and playing in Karnatak Music.

An overall survey of Rabindra Nath Tagore’s musical creativity, tonal and rythmic varieties of Tagore’s musical compositions including his own experimental variations. Periods and phases of Tagore’s musical compositions. (Chronological order may be maintained).

The Cultural atmosphere of Tagore’s family (Pathuriaghata and Jorasanko, Calcutta) Thematic variations of Tagore’s Music : (Puja, Swadesh, Prem, Prakriti, Vichitra, Anusthanik).

5. Contribution of Scholars to Indian Music and their textual tradition

Narad, Bharat, Dattil, Matanga, Sharangadeva, Nanyadeva and others. Lochan, Ramamatya, Pundarik Vitthal, Somnath, Damodar Mishra, Ahobal, Hridaya Narain Deva, Vynkatmakhi, Sriniwas, Pt. Bhatkhande, Pt. V. D. Paluskar, Pt. Omkarnath Thakur, K. C. D. Brahaspati, Dr. Premlata Sharma and others.

Study of ancient, medieval and modern treatises in Percussion instruments like Bharat Natyashastra, Sangeet Samaysar, Radha Govind Sangit Sar, Madrul Mosiqui, Bhartiya Vadyon Ka Itihas, Sangeet Shastra, Bhartiya Sangeet Mei Taal aur Roop, Abhinav Tala Manjari, Bhartiya Sangeet Vadya, and other treatises.

Contribution of various Scholars to percussion instruments like Kudau Singh, Bhagwan Das, Raja Chatrapati Singh, Anokhe Lai, Ahmadjan thirakwa, Shamta Prasad, Kishan Maharaj and others in ancient, medieval and modern period.

Tagore’s Musical dramas (gitinatyas) and dance – dramas (nrityanatyas); e.g., Valmiki Pratibha, Kalmrigaya, Mayar Khela, Chitrangada, Chandalika, Shyama and other dramas full of various songs, i.e., dramas like Prayaschitta, Visarjan, Saradotsava, Raja, Phalguni, Taser Desh, Vasanta etc. Tagore’s musical creativity in Gitabitan, Part I, II, III, Swarabitan (notation books) Part 1 – 63, Sangeet – Chinta (Vishva – Bharti).

Contribution of prominent Karnatak Scholars, composers and performers and their medieval and modem period like, work such as.Ramamatya, Vyankatmakhi, Tyagraja, Muttu-Swami Dikshitara, Shyama Sastri, Gopal Krishna Bharati, Prof. Sambhamoorti, Papanasam Shivan, Vasantha Kumari, Subbulakshmi, Ramari, T. N. Krishnari and others.

6. Historical Perspective of Music

A study of the historical development of Hindustani music (Vocal, Instrumental, Percussion), Karnatak Music and Rabindra Sangeet in ancient, medieval and modern period.

Contribution of Western Scholars to Indian Music.

7. Aesthetics

Its origin, Expression and Appreciation : Principle of aesthetics and its relation to Indian Music.

Rasa theory and its application to Indian Music.

Relationship of Musical aesthetics and Rasa to Hindustani Music (Vocal, Instrumental and Percussion), Karnatak Music and Rabindra Sangeet.

Interrelationship of Fine Arts with special reference to Rag – Ragini Paintings, Dhyan of Ragas and others.

Bibliography of Rabindra Nath Tagore.

8. Instruments / Dance

Origin, evolution, structure of various instruments and their well – known exponents of Hindustani (Vocal, Instruments and Percussion), Karnatac Music and Rabindra Sangeet. Importance of Tanpura and its Harmonics.www.netugc.com

Classification of Instruments of Hindustani, Karnatac Music in ancient, medieval and modem period. Popular instruments used in Rabindra Sangeet.

Elementary knowledge of Indian dances like Kathak, Bharatnatyam, Kuchipudi, Oddissi, Kathakali etc.

9. Folk Music

Influence of folk music on Indian Classical Music. Stylisation of folk melodies into ragas.

Popular folk tunes and folk dances of Hindustani, Karnatak and Rabindra Sangeet, such as Baul, Bhatiyali, Lavani, Garba, Kajri, Chaity, Maand, Bhangra, Gidda, Jhoomar, Swang, Pandawani, Amar – Praner Manush Acchhe Prane, Amar Sonar Bangla, Kirtan, Sari, Rai Beshe, Jhumur, Karakattam, Kavadi Attam, Villuppattu, Maiyandi Melam and other prominent folk forms.

Analysis of the elements of Hindustani folk music, Karnatac folk music or South Indian folk music and Rabindra folk Sangeet or folk music of Bengal and the elements regarding their interrelationship.

General Study of the Folk Music of various regions of India like Uttar Pradesh, Rajasthan, Haryana, Punjab, Maharashtra, Bengal and South India.

10. Music Teaching and Research Technologies

Guru Shishya Parampara, Sangeet – Sampradaya Pradarsini and the institutional system of music teaching with reference to Hindustani, Karnatak Music and Rabindra Sangeet.

Utility of teaching aids like electronic equipments in music education with reference to Hindustani, Karnatak music and Rabindra Sangeet.

The methodologies of music research, preparing synopsis, data collection, field work, writing project reports, finding bibliography, reference material etc. with reference to Hindustani, Karnatak music and Rabindra Sangeet.

Study of interrelation between textual and oral tradition.

Paper III (Part B) Syllabus

(Elective / Optional)

Elective – I

Aesthetics, Rasa

Elective – II

Gharanas, Baj, Sampradaya, Composers and Musicians.

Elective – III

Interdisciplinary studies in Music such as Music and Philosophy, Music and Religion Music and Culture, Music and Social Sciences, Music and Science.

Elective – IV

New Trends of Indian Music in Post – Independence Era.

Elective – V

Research in Music and its new avenues, Music Education.

Elective – VI

Folk Music, Music Festivals, Temple Music.

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