UGC NET Music Exam Syllabus

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1. Technical -Terminology

Nada, Shruti, Swara, Grama0-Moorchana, jati, Raga, Tala, Tan, Gamak, Gandharva-Gaan, marga-Deshi, Giti, varna, Alankar, Melody, Harmony, Musical Scales, Muc=sical intervals, Consonance-Dissonance, harmonics, Westerna nd south Indian terminology and their explanation, Drone, Alpatva-Bahutva, Abirbhav-Triobhav, Uthan, Pushkar, TKayda, rela, rang, alggi, Ladi, Freshbandi, tala, Laya, Matra, Avartan, Vibhag, Sashabda Kriya, Nishabda Kriya, theka, Saral Gat, Adi Gat, Chakardar Gat, Farmaishi Gat and other c=varaities of agts, and Kayadas, upangs, bhashnag, Gita, Kriti, Kirtana, jatishwara, Pada, Swarjati, ragmalika, Tillana, Nyasa, Amsa, Prasa, Yati, Anupsara, Alapna, Nerval, Sangati and thir terms, Gitinatya, Nritya-Natya, Baitalik, Varsha-Mangalm, Basantotsav, Gita-Bitana, Swara-Bitana, Akarmatrik Notation, Masitkhani and Rajakhani Gat

2. Applied Theory

details 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 Shudddha and Vikrit Swaras on Shruties in Ancient medieval and modern period

Detailed knowledge of prevalebnttalas of Hindustani music, knowledge of tala Dashpranas and Marga and deshi taas of Ancient period, the original principles of making Tihai, chakradar Gat, Chakradar Paran, Comparative study of Hindustani and Karnataka tala syatem wih special refernce to ten pranas of talas, detailed study of different layakaris viz, Tigun, chaugun, Ada, Kuada, Viyada ad method to apply them in composition

Tagore’s treatment of Hindustani rags and raginis, element of Hindustani classical music , Karnataka music, Western music from other provinces , Folk music and kirtan of Bengal and their influence on Tagore’s treatment of Ragas
UGC NET Music Exam Syllabus
this paper will contain question with multiple choices and fill in the blanks types. It includes topics which are general in nature and the core syllabi covered by most of the universities in their post graduation courses. These question are intended to test the range of the candidate knowledge of key definition , concepts , movements and other relevant facts the Paper-II will be divided in two parts. Part-A will have 25 multiple question common for Hindustani, Karnataka, Rabnindra Sangeet (Vocal instrumental and Museology) and Percussion while Part-B of Paper-II will have separate section for each specialized area as mentions above having 25 multiple question of 2 marks each in each section. Candidate will be required to attempt 25 multiple question for Part-A invariable and 25 multiple questions form their specialized area such as form Hindustani, Karnataka Rabnindra Sangeeeet (Vocal instrumental and Museology) and Percussion. Thus total marks of Paper-II will cover 100 marls of 50 multiple question ( two marks o for each question the Paper-III being of more descriptive nature Endeavour’s to sasses the candidate’s proficiency and grasp of all issues related to creative process of hi/her area. The questions will involve descriptive answers form the candidate and will test hid caliber of in depth understanding of their subject related to all the topics referred to under Paper-II and also test the candidates expression, power, creativity and imagination the Paper will be divided into two parts Part-A and Part-B will consist of 10 unit having twp questions each form the core syllabus of Paper-II .The candidate will be requires to attempt 10 question in all by selecting one question from each unit. Each question will carry 16 marks and the candidate will have o answer the question n 300 words Thus Part-A of Paper-III will carry a total of 160 marks part-B of Paper-III will have one question of 40 marks wit its subparts A, B,C,D ( 10 marks allowed to each subpart).Candidate are required to attempt this one question (11th in number) with its subpart form their specialized area only i. e Hindiutani/Karnataka/Ravindra Sangeet/Percussion all the topics to paper-II will be incorporated in Part -A an of Paper-III while Part-B of Paper-III covers the topics related to the broader division as given below which are the same for each area but the candidate are required to attempt the 11th question with its subparts for His/her specialized area Paper-II and Paper-III (A) [Core Group] 1. Technical -Terminology Nada, Shruti, Swara, Grama0-Moorchana, jati, Raga, Tala, Tan, Gamak, Gandharva-Gaan, marga-Deshi, Giti, varna, Alankar, Melody, Harmony, Musical Scales, Muc=sical intervals, Consonance-Dissonance, harmonics, Westerna nd south Indian terminology and their explanation, Drone, Alpatva-Bahutva, Abirbhav-Triobhav, Uthan, Pushkar, TKayda, rela, rang, alggi, Ladi, Freshbandi, tala, Laya, Matra, Avartan, Vibhag, Sashabda Kriya, Nishabda Kriya, theka, Saral Gat, Adi Gat, Chakardar Gat, Farmaishi Gat and other c=varaities of agts, and Kayadas, upangs, bhashnag, Gita, Kriti, Kirtana, jatishwara, Pada, Swarjati, ragmalika, Tillana, Nyasa, Amsa, Prasa, Yati, Anupsara, Alapna, Nerval, Sangati and thir terms, Gitinatya, Nritya-Natya, Baitalik, Varsha-Mangalm, Basantotsav, Gita-Bitana, Swara-Bitana, Akarmatrik Notation, Masitkhani and Rajakhani Gat 2. Applied Theory details 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 Shudddha and Vikrit Swaras on Shruties in Ancient medieval and modern period Detailed knowledge of prevalebnttalas of Hindustani music, knowledge of tala Dashpranas and Marga and deshi taas of Ancient period, the original principles of making Tihai, chakradar Gat, Chakradar Paran, Comparative study of Hindustani and Karnataka tala syatem wih special refernce to ten pranas of talas, detailed study of different layakaris viz, Tigun, chaugun, Ada, Kuada, Viyada ad method to apply them in composition Tagore’s treatment of Hindustani rags and raginis, element of Hindustani classical music , Karnataka music, Western music from other provinces , Folk music and kirtan of Bengal and their influence on Tagore’s treatment of Ragas 3. Composition forms and their evolution Prabandha, Dhrupad Khyalm Dhamar, thumrim, Tappa, Tarana, Chaturang, Trivat, Vrindagana, Vrinda, vadan, javeli, Kriti, Tillana, Alap, varnam (Pad varnam and Tana Varnam), Padam, ragam, Tanam, Pallavi, Gita, Varna, Swarjaynti, Kalpita, Sangita, Ragamalika, Narvallu, Swara kalplana, (Manodharma Sangeet), tevaram, Divyaprabandham, Tiruppugazh Main forms of arindra Sangeet Akarmatrik notation system, knowledge of Devnagari 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 Gharanas system Origin and development of Gharanas in Instrumental Music and Percussion and their contribution in promoting Indian classical music. Merits and demerits of Gharanas system Study of traditions and specialties of different Gharanas in vocal instrumental and percussion group. Desirability and possibility of Gharanas in contemporary music Guru shiahya parampara and different styles of singing and playing in Karnataka music An Overall survey of Rabindra nath Tagore’s musical creativity, tonal and rhythmic varieties of Tagore’s musical compositions including his own experimental varaitions.Periods and phase of Tagore’s musical composition (Chronological order may be maintained) the Cultural atmosphere of Tagore’s family (Pathuriaghata and Jorasanko, Calcutta), Thematic variation of Tagore’s music Puja, Swadesh, Prem, Prakrirti, Vichitra, Anushthanik) 5. Contribution of Scholars to Indian Music and their textual tradition Narad, Bharat, Dattil, Matanga, Sharangadeva, Nanyadeva and others. Lochan, Ramamatya, Pudarik, Vitthal, Somnath, Damodar, Mishra, Ahobal, Hridya Narain, deva, Vynkatmakhi, Srinivas, Pt. Bhatkhande, Pt. V.D.Paluskar, Pt. Omkarnath Thakur, K.C.D.Brahaspati, Dr. Premlata Sharma and others Study of ancient medieval and modern treaties in Percussion instrument like, Bharat, Natyashatra, Sangeet Samaysar, Radha Govind Sangit Sar, Madrul Mosiiqui, Bhartiya Vadyon ka itihas, Sangeet Saastra, Bhartiya sangeetm mein taal aur roop, Abhinav Tala, MAnjri, Bhartiya sangeet Vadya and other traties, Contribution of varuiuos Scholars to Percussion instrument like Kudau Singh, Bhagvandas, raja Chatrapati Singh, Anoke Lala, Ahmadjan Thirakwa, Shamta Prasad, Kishan Maharaj and others ancient medieval and modern period Tagore’s musical dramas and dance dramas e.g Valmiki, Pratibha, Kalmrigaya, Mayar Khela, Chitrangada, Chandalika, Shayama, and others dramas full of various songs i.e damas like Prayaschitta, visarjan, Saradotsava, raja, Phalguni, Tasr desh, Vasanta etc. Tagore;s musical creativity in Gitabitan, Part . I,II,III Swwarabitan Part-I-63 Sangeet-CChinta ( Vishva-Bharti) contribution of prominenet Karnataka Scholars, Composers ad performners and their meieval and modern period like, worjk such as Ramayana, Vyankatmakhi, Tyagraja, Muttu-Swami, Dikshitara, shayama Shastri, Gopal Krishna, Prof. Sambhamoorti, Papanasam Shivan, Vasantha Kumari, Subbulakshmi, Ramari, T.N.Krishan and others 6. Historical perspective of Music A study off the Historical development of Hindustani music (Vocal, Instrumental Percussion), , Karnataka Musical and Rabnindra Sangeet in ancient , medieval and modern period Contribution of Western Scholars to Indian Music 7. Aesthetics Its origin , expression and appreciation: Principles pf 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), Karnataka Music and Rabnindra Sangeet Interrelationship of fine arts with special reference to Rag-Ragini Paintings, Dhyan Ragas and others Bibliography of Rabindra Nath Tagore 8. Instruments/Dance origin, evolution structure of various instruments and their well known exponents Hindustani (Vocal, instruments and Percussion), Karnataka music and Rabnindra Sangeet .Importance of Tanpura and its harmonics Classification of instruments of Hindustani , Karnataka Music in ancient, medieval and modern period, Popular instrument used in Rabnindra Sangeet Elementary knowledge of Indian dance like Kathak, Bhartanatyam, Kuchipudi, Oddisi, Kathakali etc 9. Folk Music Influence of folk music on Indian classic music, Stylization of folk melodies into ragas Popular folk tunes and folk dances of Hindustani, Karnataka and Rabnindra Sangeet, such as Basul, Bhatiyali, Lavani, Garba, Kajri, Chaity, Maand, Bhangra, Gidda, Jhoomar, Swang, Pandawani, Amar-Praner, Amnush acche Prane, Amar Sonar Bangla, Kirtanm Sarim rai Beshem Jhumarm, KArakattam, Kavadi attam, Ailluppatam, Maiyandi, Melam and other prominent folk forms Analysis of the element of Hindustani folk music, Karnataka folk music or South Indian folk music, and Rabnindra 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 Guro Shishya Parampara, Sangeet Sampradya, Pradrashini and the instrumental systems of music teaching with reference to Hindustani Karnataka music and Rabnindra Sangeet Utility of teaching aids like electronic equipments in music education with reference to Hindustani, Karnataka music and Rabnindra Sangeet The methodological of music research, Preparing synopsis, data collection, fields work writings reports, findings bibliography, reference material etc, With reference to Hindustani, Karnataka music and Rabnindra Sangeet Study of interrelation between textual and oral tradition Paper-III(B) [Elective/Optional] Elective-I Aesthetics, Rasa Elective-II Gsharansa baj, Sampradyaa, Composers and Musicians Elective-III Interdisciplinary studies in Music such as Music and Philosophy, Music ad Religion Music and culture, Music and Social Science , Music and Science Elective-IV new trends of Indian Music in post independence Era Elective-V Research in Music and its new avenue, Music education Elective-VI Folk music, Music festivals temple Music.......

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