masters in performing arts guru nanak dev university amritsar

19 Pages·2013·0.12 MB·Indonesian

FACULTY OF VISUAL ARTS & PERFORMING ARTS

SYLLABUS

FOR

MASTERS IN PERFORMING ARTS
(SEMESTER: III – IV)

Examination: 2012-13

GURU NANAK DEV UNIVERSITY
AMRITSAR

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Masters in Performing Arts (Semester System) 

SCHEME
Semester – III:

Paper Course Title Marks
Paper I Applied Theory of Music (Vocal) 50
Paper II Applied Theory of Music (Instrumental) 50 
Paper III Applied Theory of Indian Classical Dance (Kathak) 50
Paper IV Applied Theory of Indian Theatre 50 
Practical V Stage Performance - Music (Vocal) 50 
Practical VI Stage Performance - Music (Instrumental) 50 
Practical VII Stage Performance of Indian Classical Dance 50 
(Kathak)
Practical VIII Stage Performance (Indian Theatre) 50 
Total Marks: 400

Semester – IV:

Paper Course Title Marks
Paper I Applied Theory of Music (Vocal) 50
Paper II Applied Theory of Music (Instrumental) 50
Paper III Applied Theory of Indian Classical Dance (Kathak) 50
Paper IV Applied Theory of Indian Theatre 50
Practical V Stage Performance - Music Vocal 50
Practical VI Stage Performance - Music Instrumental 50
Practical VII Stage Performance of Indian Classical Dance 50
(Kathak)
Practical VIII Stage Performance (Indian Theatre) 50
Total Marks: 400
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Masters in Performing Arts (Semester – III)
Paper- I: Applied Theory of Music (Vocal)
Time: 3 Hrs Max. Marks: 50
Note: 1. The Paper setter will set 8 questions.
2. The students will be required to attempt five questions.
3. All questions carry equal Marks.
4. While sending the syllabus to paper setter in theory the syllabus prescribed for
practical paper should also be sent.

1. Write short notes on the following in the context of musicology:- Aptitude, Interest,
Learning, Memory, Heredity, Environment, Imitation.
2. Detailed study of Geeti Gaan.
3. Importance of Kaku in Indian Classical Vocal Music.
4. Methods and techniques of Saam-Gaan.
5. Role of Sangeetik Kathas in popularizing Indian Classical music.
6. Applied theory Raga Lakshans of Indian Classical music.
7. Detailed knowledge of Kirtan Chownkis of Gurmat Sangeet.
8. Detailed knowledge of Staff Notation & its relevance in Indian Music.
9. Detailed knowledge of following Musical Granthas:
a) Natya Shastra by Bharat Muni
b) Sangeet Ratnakar by Pt Sharangdev
Books Recommended:
1) Bhartia Kanth Sangeet Avam Vadya Sangeet, Dr. Arun Mishra, Kanishka Publishers,New
Delhi.2002.
2) Sangeet Visharad, Basant, Sangeet Karyala Hathras.2004.
3) Nibandh Sangeet, Laxmi Naryan, Garg Sangeet Karyala Hathras. 1989.
4) Bhartia Sangeet Ka Adhiyatmik Sawroop, Dr. Rajiv Verma & Neelam Parikh. Amar Granth
Parkashan.2004.
5) Sangeetaayan, Seema Johry, Radha Publications, New Delhi.
6) Bhartiya Sangeet Mein Kaku ki Avdharna,
7) Sangeet Ratnakar: Sharangdev, Sangeet Karyalaya Hathrash, 1964.
8) Naitya Shastra : Bharat Chokhamba Sanskrit Sansthan Varanasi, 1985. 
9) Gurmat Sangeet Ank, Sangeet Karyalaya Hathras 1997
10) Gurmat Sangeet Prabandh Ate Parsar, Dr. Gurnam Singh
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Masters in Performing Arts (Semester – III)
Paper- II: Applied Theory of Music (Instrumental)
Time: 3 Hrs Max. Marks: 50
Note: 1. The Paper setter will set 8 questions.
2. The students will be required to attempt five questions.
3. All questions carry equal Marks.
4. While sending the syllabus to paper setter for theory the syllabus prescribed for
practical paper should also be sent.

1. Write short note on following: Sangatkari, Fusion Music, Pop Music, Rabindra Sangeet,
Sound arrangement, Krintan.
2. The concept of Saarna – Chatushtai.
3. Detailed knowledge of different Vadan Shallies of Sitar.
4. Classification of Musical Instruments.
5. Detailed knowledge of instruments used in Gurmat Sangeet.
6. Origin & development of Avnadhh Vadhya.
7. Origin & development of following Instruments:
a. Violin
b. Sarangi
8. Detailed Knowledge of different Gharanas of Tabla.
9. Detailed knowledge of following Granthas:
a) Sangeet Chintamani by Acharaya Brahaspati.
b) Bhartiya Sangeet Vadhya by Pt Lal mani Mishra
Books Recommended:
1) Bhartia Kanth Sangeet Avam Vadya Sangeet, Dr. Arun Mishra Kanishka Publishers,New
Delhi.2002
2) Bhartiya Sangeet ke Anmol Mani, Dr. Gurpreet kaur, Kanishka Publications New Delhi
3) Sangeet Visharad, Basant, Sangeet Karyala Hathras.2004
4) On Indian Music, Pt. Debu Chowdery Roshan Press,2005
5) Bhartia Taalon Ka Shastriya Vivechan, Arun Kumar Sen. Madhaya Pardesh
Academy,Bhopal.2002
6) Indian Concept of Rhythm, A.K. Sen, Knishka Publishers,New Delhi.1994
7) Gurmat Sangeet Ank, Sangeet Karyalaya Hathras 1997.
8) Gurmat Sangeet Prabandh Ate Parsar, Dr. Gurnam Singh
9) Sangeet Chintamani by Acharaya Brahaspati.
10) Bhartiya Sangeet Vadhya by Pt Lal mani Mishra
11) Tantra Naad, Dr. lal Mani Mishra,Sahitua Ratnalaya, Kanpur,1979.
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Masters in Performing Arts (Semester – III)

Paper III: Applied theory of Indian Classical Dance (Kathak)

Time: 3 Hrs Max. Marks: 50
Note: 1. The Paper setter will set 8 questions.
2. The students will be required to attempt five questions.
3. All questions carry equal Marks.
4. While sending the syllabus to paper setter for theory, the syllabus prescribed for
practical paper should also be sent.

1) Study of Abhinaya and its BHEDHAS.
2) Origin and development of Ghungroos with its use, function and importance in Kathak.
3) Biographical studies & Contribution of the following exponents/Gurus of Kathak :-
4) Guru Shambhu Maharaj Ji
5) Guru Bindadin Maharaj Ji
6) Relation of dance with Drama/Theatre
7) Folk Dances of Haryana with their style, costumes and music.
8) Bharamari, Sthanak and Utpalayan Bhedas according to Abhinaya Darpan.
9) Contribution of Indian classical dance toward world culture.
10) Impact of Indian mythology on Indian Dance.
11) Relation between Raas leela and Raas Nritya.

BOOKS RECOMMENDED
1) Kathak, Sunil Kothari
2) Bharatiya Sanskriti mein kathak Parampara, Mandavi Singh
3) Bharatiya Nritya Kala, Keshav Chander Verma.
4) Dances of Asia, Kiets Sakakibera
5) Kathak Nritya Shiksha- Part- I & Part- II, Puru Dadhich
6) Abhinaya Darpan, Dr. Aarohi Walia
7) Kathak Gyaneshwari, T. R. Azad
8) Bhartiya Lok Nritye Mein Haryana aur Rajasthan, Neera Sharma
9) Kathak Kalpdrum, Dr. Chetna Jyotshi
10) Indian Art, K. Bharatha Iyer
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Masters in Performing Arts (Semester – III)

Paper- IV: Applied Theory of Indian Theatre

Time: 3 Hrs Max. Marks: 50

Note: 1. The Paper setter will set 8 questions.
2. The students will be required to attempt five questions.
3. All questions carry equal Marks.
4. While sending the syllabus to paper setter for theory, the syllabus prescribed for practical paper
should also be sent.

1. Introduction to the art of Theatre.
2. Elements of Theatre.
3. Structure of a dramatic text.
4. Origin and development of Punjabi Drama (1914-1960)
5. Detailed Analytical study of the Following Plays.
a) 'Ashad Ka Ek Din' by Mohan Rakesh.
b) 'Nagmandala' by Girish Karnad.
6. Aristotle's concept of three unities and the theory of catharsis.
7. Biographical Study & contribution of the following Theatre Personalities
a) Mohan Rakesh
b) Gursharan Singh
8. Detailed Study of granth ‘NATYA SHASTRA’ by Bharata.
9. Write down Short Notes of the following terms:-
a) Concept of Bhava
b) Theory of Rasa
c) Classification of Nayak and Nayika
d) Concept of ' Abhinaya' according to Natyashastra
10. Brief study of following:
a) Nature of Actor Training.
b) Internal and External Aids to an Actor
c) Actor's Personality Analysis.
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Masters in Performing Arts (Semester – III)
Recommended Books:
1. N.C. Jain : Indian Theatre , Vikash Publishing House, New Delhi,1992.
2. Balwant Gargi : Rangmanch, Navyug Publisher Delhi.
3. Nemichandra Jain, 'Mohan Rakesh Ke Sampuran Natak', Rajpal and Sons. Kashmiri Gate, Delhi
1999.
4. Mohan Rakesh,'Ashaad Ka Ek Din',Rajpal and Sons.kashmiri Gate Dehli,2004.
5. Three Plays: Nagamandala, Hayavadan, Tughlaq, Girish Karnad. Oxford University
Press,usa(1996).
6. O.G. Brocket : History of Theatre ,Allyn and Bacon Inc,London 1991.
7. O.G. Brocket : The Essential Theatre , Holt Rinehart & Winston Inc. New York.
8. Bhart Muni : Natya-Shastra (Punjabi Translation By Dr. G.N. Rajguru), Publication Bureau,
Punjabi University, Patiala,1985
9. Surendera Nath Dixit (Dr.) : Bharat Aur Bhartia Natyakala, Motilal Banarasi Das, Delhi 1989.
10. Constantin Stanislavski : An Actor Prepares(Translated By Elizabeth Reynolds
Hapgood),Methuea Drama,London,2004.
11. Constantin Stanislavski : Building A Character,(Translated By Elizabeth Reynolds
Hapgood),Methuea Drama,London,2004.
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Masters in Performing Arts (Semester – III)

Paper- V: Stage Performance – Music (Vocal)

Time: 40 Mins Max. Marks: 50

1. One Vilambit and Drut khyal with proper singing style in raga of your choice.
2. One Dhrupad with different layakaries up to Athgun.
3. A folk song of Punjab.
Note: Student has to select four ragas followed by two Vilambit & four Drut Gats.
Detailed Ragas
1. Shuddh Sarang
2. Bilaskhani Todi
3. Multani
4. Jogkauns
5. Nayaki Kanada
6. Puriya Dhanashree
Non Detailed Ragas
1. Madhuvanti
2. Jog
3. Shahana
4. Purvi

Books Recommended:
1. Hindustani Sangeet Kramik Pustak Malika I- VI Bhaag
2. Naveen Khayal Rachnawali – Dr. Shanker Lal Mishra
3. Abhinav Geet Manjari Part I & II – Dr. S.N. Rattanjankar (Lkw)
4. Raag Parichay (I – IV) – Sh. Harish Chander Srivastava
5. Gurmat Sangeet Prabhandh – Dr. Gurnam Singh
6. Abhinav geetanjali Part I to V - Pt. Ram Ashray Jha
7. Raga Rahasya – Acharya Brihaspati.
8. Rag Parichay : Harish Chander Shrivastava
9. Gurmat Sangeet Darpan : Prof. Kartar Singh,Published by SGPC
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Masters in Performing Arts (Semester – III)

Paper- VI: Stage Performance – Music Instrumental

Time: 40 Mins Max. Marks: 50

1. One Vilambit and Drut gat with proper Vadan shally in raga of your choice.
2. One gat in Chautal with different layakaries up to Athgun.
3. Dhun based on Cinematic Music.
4. Brief introduction of Non-Detailed Ragas.
Note: Student has to select four ragas followed by two Vilambit & four Drut Gats.
Detailed Ragas
I. Gunkali
II. Puriya Kalyan
III. Kirwani
IV. Nat Bhairav
V. Chandrakauns
VI. Hameer
Non Detailed Ragas
I. Jogiya
II. Malkauns
III. Kamod
IV. Puriya

Books Recommended:
1. Hindustani Sangeet Kramik Pustak Malika I- VI Bhaag
2. Naveen Khayal Rachnawali – Dr. Shanker Lal Mishra
3. Abhinav Geet Manjari Part I & II – Dr. S.N. Rattanjankar (Lkw)
4. Raag Parichay (I – IV) – Sh. Harish Chander Srivastava
5. Gurmat Sangeet Prabhandh – Dr. Gurnam Singh
6. Abhinav geetanjali Part I to V - Pt. Ram Ashray Jha
7. Raga Rahasya – Acharya Brihaspati.
8. Rag Parichay : Harish Chander Shrivastava
9. Gurmat Sangeet Darpan : Prof. Kartar Singh,Published by SGPC
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Masters in Performing Arts (Semester – III)

Paper- VII: Stage Performance Indian Classical Dance (Kathak)

Time: 40 Minutes Max. Marks: 50

Candidates are required to give stage performance of 40 minutes in any taal of the course with
Demonstration of TATKAR, PALTAS, THAAT, AMAD, TUKRA, TORA, PARAN,
CHAKKARDAR PARAN, FARMAISHI PARAN, TISRAJATI PARAN, GAT NIKAS, GAT
BHAVA, TARANA.

1. Teen Taal : One Uthan, One Thaat, One Tehai, One Amad, One Tora, One
Tukra, One Chakkaradar Tora, One Simple Paran, One Chakkardar Paran, One
Pharmaishi Paran, One Kavit, One Tiserjati Paran and four kinds of Paltas with Tihai.
2. Jhap Taal: One Uthan, One Amad, One Thaat, One Tora, One Paran, One Chakkaradar
Paran, One Kavit and One Tipalli.
3. A Shloka or Vandana incorporating abhinaya with the understanding of characters.
4. Ability to play Nagma of above mentioned talas on Harmonium.
5. Ability to recite on hand following talas in dugun, tigun, chaugun and aad layakaris:
a) Teen taal
b) Jhap Taal
c) Sool Taal