DEPARTMENT OF MUSIC & DANCE
KURUKSHETRA UNIVERSITY KURUKSHETRA
MPA – IV (KATHAK)
W.E.F. 2013-2014
Scheme of Examination of M.P.A. (KATHAK) – IV year
Written Paper:
Paper- I : HISTORY OF TECHNICAL ASPECTS & COMPOSITION OF INDIAN CLASSICAL DANCE(KATHAK)
Time: 3 hours
M.M.100
(90 Theory + 10 I.A.)
Paper- II : PRINCIPLES & TECHNIQUES OF PERFORMANCE
Time: 3 hours
M.M.100
(90 Theory + 10 I.A.)
PRACTICAL PAPER :
Paper- III : STAGE PERFORMANCE.
Time: 35-40 Minutes
(Per Student)
M.M.100
(90 Prac. + 10 I.A.)
Paper- IV : VIVA.
Time: 35-40 Minutes
(Per Student)
M.M.100
(90 Prac. + 10 I.A.)
Paper- V : PROJECT WORK.
Time: 35-40 Minutes
(Per Student)
M.M.100
(90 Prac. + 10 I.A.)
Paper- I : HISTORY OF TECHNICAL ASPECTS & COMPOSITION OF INDIAN CLASSICAL DANCE(KATHAK)
Time: 3 hours
Max. Marks.100
(90 Theory + 10 I.A.)
Note: There shall be Ten Questions, Two questions from each Unit. The candidates shall be required to attempt FIVE questions in all, selecting ONE question from each unit. All questions Carry equal marks.
HISTORY, THEORETICAL ASPECTS & COMPOSITION OF INDIAN CLASSICAL DANCE(KATHAK)
SECTION -A– (KATHAK)
a) Role of lord Shiva (Nataraja ) in Dance
b) Aesthetics: Principles of Aesthetics & its relation with dance
c) Study of Sattriya dance & Chaau dance.
SECTION – B
a) Notation of the all material of Shikhar Taal (17 matra), Basant taal (9matra) and Teen taal which has given in the syllabus of practical.
b) Notataion of layakari such as Aad, kuwad and Biaad in Teentaal.
SECTION –C
a) Translation of shlokas related with dance as given in Natyashastra .
b) Study of Devta Hasta,Jati Hasta,Navagraha Hasta. According to Abhinaya Darpan.
SECTION - D
a) Study of main folk dances of India: Garba, Dandia, Ghumar, Bhangra, Gidhha etc.
b) Various styles of Tribal dances of India.
SECTION –E
a) Choreography of episodes from Mythology stories: Krishnaleela, Draupadi vastraharan, Mohini bhasmasur etc. on the basis of points like – story,characters,background music, stage setting, number of sequences, costume-make up.
b) Study of Indian Cinema dancing and choreography .
Paper- II : PRINCIPLES & TECHNIQUES OF PERFORMANCE.
Time: 3 hours
M.M.100
(90 Theory + 10 I.A.)
Note: There shall be Ten Questions, Two questions from each Unit. The candidates shall be required to attempt FIVE questions in all, selecting ONE question from each unit. All questions Carry equal marks.
“PRINCIPLES & TECHNIQUES OF PERFORMANCE “
SECTION – A
(ELEMENTS of PERFORMANCE)
1) Sense of preparation in presenting the programme.
2) Place of Performance.
3) Division of time in presenting the programme.
SECTION-B
1) Selection of the items according to occasions.
2) Make up
3) Costume and Jewellery.
SECTION - C
1)Preparation for a successful performance in suitable or adverse conditions.
1) Place 2) Occasions 3) Time 4) Audience 5) Natural conditions (Effect of
Rain, fog, cold, etc.
SECTION – D
1) Relationship between performance and accompanying artistes.
2) Selection and role of accompanying artistes.
Paper- III : STAGE PERFORMANCE.
Time: 35-40 Minutes
(Per Student)
M.M.100
(90 Prac.+ 10 I.A.)
Stage Performance of any one Taal of the following with Costumes,
Make-Up etc. ( including Taal paksha & Bhav-Abhinaya Paksha)
1) Shikhar Taal (17 matra)
2) Basant Taal (9 matra ). 50
3) In Abhinaya paksha ( Thumari/Gazal /Kajri / Hori /Bhajan. / Bhakti pad
Etc. 40
Paper- IV : VIVA.
Time: 35 - 40 Minutes
( Per Student)
M.M.100
(90 Prac. + 10 I.A.)
Practical demonstration and padhant of following technical elements in the given
Taals.
a) SHIKHAR TAAL (17 matra ). 15
1) Tatkar : ekgun , dugun, chaugun
2) That
3) Aamad
4) Paran Aamad
5) Paran (Tishra Jati)
6) Chakkardar paran
7) Anaghaat Tukda
8) Chakkardar toda
9) Special bandish of Jaipur gharana
10) Kavitta.
b) BASANT TAAL (9 matra). 15
1) That
2.) Aamad
3) Parmelu
4) Kavitta
5) Special bandish of Lucknow Gharana
6) Tihai.
C) Teen Taal (16 matra). 10
1) Footwork ----- ladi or chalan
2) Special advance Gatnikas ----(-Rukhsar, Nav ki gat etc.)
3.) Kramlaya up to athgun.
4) One example of yati ---( Sama , Mridanga.)
5) Tatkar of Boljati ----(tishra,chatusra,khanda, mishra, sankirna etc.)
6) One Tarana in any Taal
D) Abhinaya on any one of the following:- 30
1) Gazal, Chaiti, Kajri, Hori
2) Gatbhav on any one Nayika of Astanayika
E) Practical demonstration of any two folk dance items. 10
1) Bhangara
2) Gidhha
3) Lavani
4) Ghoomar
5) Garba
F) Practical demonstration of any two Hindi cinemas (dance) based on
this category. 10
1) Semi Classical dance
2) Folk based dance
PAPER-V
Project work:
Time: 35-40 Minutes (Per student) M.M.100
(90 Prac. + 10 I.A.)
1. Composition of Dance Kathak will be presented / Submitted by the
Candidate in Video CD. 25
2. Practical Knowledge of recording Studio and Softwares. 25
i. Sound forges.
ii. Nuendo.
iii. Protools.
iv. Logic.
3. 5 mini choreographies of Kathak will be presented by the Candidates in Video CD. 20
4. Written Project on any one famous Kathak Guru of Any Gharana 20
(Life sketch & Contributions).
DEPARTMENT OF MUSIC AND DANCE
KURUKSHERTRA UNIVERSITY KURUKSHETRA
MPA- V (Vocal)
W.E.F. 2013-2014
Scheme of Examination for MPA Music –V year.
Vocal
Written paper: -
Paper: I Voice Modulation
Time: 3 hours
M.M.-100
(90 Theory + 10 I.A.)
Paper: II Techniques of Composition of Music
Time: 3 hours
M.M.-100
(90 Theory + 10 I.A.)
Practical:-
Paper-III Process of Musical Production
M.M.-100
Time: 35-45 min.
(Per Student)
(90 Prac. + 10 I.A.)
Paper –IV Stage-Performance
M.M.-100
Time: 35-45 min.
(Per Student)
(90 Prac. + 10 I.A.)
Paper –V Project work-Audio/Video Musical Production
M.M.-100
Time: 35-45 min.
(Per Student)
(90 Prac. + 10 I.A.)
MPA- V Music (Vocal)
Time: 3 hours
M.M.-100
(90 Theory + 10 I.A.)
Paper-I (Voice Modulation )
Unit-I Introduction to sound
· Definition Meaning and Development of Sound
· Types of Voice
· Elements of Musical Voice
· Origin of Sound in human body
· Process of Voice-Production.
· Air element as a energy source
Unit-II - Traditional Voice culture
· Meaning and Definition of Voice culture
· Origin and development of Voice culture according to Natayashashtara and other Musical Treatise.
· Voice culture in modern time
· Different elements of Voice-culture: Practice for good health, Proper diets, Techniques of Riyaz
Unit-III -Voice Modulation
· Voice modulation for Classical, Semi-Classical and light Music
· Voice modulation for Playback singing
· Folk styles of different states:- Baul, Bhatiyali, Lawani, Pawada.
· Folk Music of Haryana - Style of Singing, Dancing and Instruments
· Folk Music of Punjabi-Style of Singing, Dancing and Instruments
Unit-IV
· A critical and comparative study of the following Ragas:-
Maru-Bihag – Nat Bihag, Chandrakauns – Madhukauns
Bilaskhani Todi – Miyan ki Todi , Miyan ki Malhar- Megh Malhar
Kaunsi Kanada/ Abhogi Kanada- Nayaki Kanada
Unit-V
· A study of the following Talas and ability to write them in Ekgun, Dugun , Tigun & Chaugun Layakaries , Dhamar , Sool Taal , Chautal , Ada-chautal, Tilwara , Tivra Taal.
Paper-II (Techniques of Composition of Music) Time: 3 hours
M.M.-100
(90 Theory + 10 I.A.)
Unit-I - Introduction to composition
· Meaning and Definition of composition
· Origin development of composition in ancient, medieval and Modern period.
· Types of composition – Khayal, Tarana, Chaturang, Trivat, Masitkhani and Rajakhani Gat.
Unit-II – Elements of composition
· Role of Laya and Taal in composition
· Role of Swar and Raga in composition
· Role of recording devices
· Practice for good composition
Unit-III- Techniques and characteristics of composition for various singing styles
· Classical Music
· Folk Music
· Light Music
· Film Music
Unit-IV – Theoretical study of the following basic Ragas.
· Bhupali, Darbari, Shudh- Kalyan, Multani, Malkauns, Bhimplasi, Puriya-Dhanashri
· Study of Western Music: Elementary knowledge of Staff Notation , Harmony , Melody
Paper-III (Process of Musical Production)
M.M.-100
Time: 35-45 min.
(Per Student)
(90 Prac. + 10 I.A.)
Unit –I - Introduction
· Introduction to Studio
· Management of Studio
· Construction of Studio
· Pre -Production Preparation
· Production
· Post –Production Preparation
· Seating plan of Artists
Unit-II- Usage of Recording -Device
· Microphone and its types
· Consol and Mixer
· Recording device
· Amplifier and Speaker
Unit-III -Recording Techniques
· Basics of Audio recording
· Process of Audio Recording
· Analog and Digital recording
· Process of Audio Editing
Unit-IV
· Sound Aesthetics
· Synchronization
· Track
· Mastering
Unit-V
· Viva-Voce and Comparative study of the Ragas mentioned in Unit-IV of Paper –I and Unit –IV of Paper –II
· Practical Demonstrations of the talas mentioned in Unit-V of Paper-I on hand and Tabla.
· One detailed Raga to be prepared from Unit-IV of Paper-II.
Paper- IV (Stage-Performance)
M.M.-100
Time: 35-45 min.
(Per Student)
(90 Prac. + 10 I.A.)
Unit-I
· A Student is required to prepare any one Raga from the Ragas of intensive Study in the theory paper-I in Unit- IV
Unit-II
· To set a given piece of poetry as a drut-Khayal in a raga and tala suggested by the Examiner and to write the notation of the given composition .
Unit-III
· Present any one musical form from the following : Thumari , Dadra, Tappa, Sadra.
Unit-IV
· Prepare any one Musical form from the following: Geet, Ghazal, Bhajan,Qawalli with Harmonium played by the candidate him/herself.
Unit-V
· Tunning of the Instruments
Paper-V (Project work-Audio/Video Musical Production)
M.M.-100
Time: 35-45 min.
(Per Student)
(90 Prac. + 10 I.A.)
Areas of Specializatioin:-
· Classical and Semi Classical Music
· Folk and Light Music
· Western Music-Playing with Instruments
· Musical Production
SCHEME OF EXAMINATION
ONE YEAR POST-GRADUATE INTER-DISCIPLINARY DIPLOMA IN WOMEN'S STUDIES
PAPERNO. / TITLE OF THE PAPER / MAX.
MARKS / THEORY / FIELD WORK / TIME
I /
CONCEPTUALISING WOMEN'S STUDIES
/ 100 / 100 / - / 3 HOURSII /
FEMINIST THEORIES
AND MOVEMENTS
/ 100 / 90 / 10 / 3 HOURSIII / WOMEN AND SOCIETY / 100 / 90 / 10 / 3 HOURS
IV / POLICIES AND PROGRAMMES FOR WOMEN DEVELOPMENT / 100 / 90 / 10 / 3 HOURS
V / WOMEN AND LAW / 100 / 100 / - / 3 HOURS
VI / WOMEN HEALTH AND ENVIRONMENT / 100 / 100 / - / 3 HOURS
SYLLABUS AND COURSE CONTENT
ONE YEAR POST-GRADUATE INTER-DISCIPLINARY
DIPLOMA IN WOMEN'S STUDIES
PAPER - I
CONCEPTUALISING WOMEN'S STUDIES
Max. Marks : 100
Time: 3 hours.
Note: Two questions from each unit will be set i.e. 10 questions in all. The students are required to attempt five questions, selecting one question from each unit. All questions will carry equal marks.
UNIT – I
Concept and Definition, Need and Importance of Women's Studies, Nature and Scope of Women's Studies, Women's Studies as an academic discipline, Women’s Studies as an Interdisciplinary Subject; Women's Studies – Origin and Growth in India and Abroad
UNIT – II
Basic Concepts : Sex, Gender, Patriarchy, Feminity, Masculinity, Equality and Discrimination, Feminism, Sexual Division of Labour, Gender Relations
UNIT– III
Empowerment, Concept and Meaning, Different Aspects of Empowerment, Importance of Empowerment, Process and Expression of Empowerment
UNIT – IV
Gender Issues – An Introduction, Education of Women, Women and Work, Women and Health, Women and Media, Women and Violence, Women and Law
UNIT –V
Feminist Research Methodology, Scope and Significance of Research of Women’s Studies, Research Design – Problem Formulation, Conceptualization of Problem, Formulation of Hypothesis, Tools and Techniques of Research, Sampling: Principles and Types of Sampling, Merits and Demerits of Sampling, The Data: Types and Sources, Primary Data and Secondary Data, Qualitative and Quantitative Research
References:
Maithreyi Krishnaraj Contributions to Women’s Studies, SNDT Bombay, 1991
Maria Mies Indian Women and Patriarchy, Concept Publishing Company, New Delhi 1980
Neera Desai and Vibhuti Patel Indian Women Change & Challenge in the International decade 1975-85, Popular Prakashan Pvt. Ltd., Bombay, 1985
Agarwal, Bina Patriarchy and the Modernizing State: An Introduction in Agarwal Bina (ed), Structures of Patriarchy, Kali for Women, New Delhi, 1988
Mies, Maria Indian Women and Patriarchy, Concept Publishing Company, New Delhi, 1980
Ruth, Sheila Issues in Feminism: An Introduction to Women’s Studies, Mayfield Publishing Company, California, 1990
Maithreyi Krishnaraj Women’s Studies in India, Popular Prakashan, Bombay, 1986
Cahanana, Karuna (Ed.) Socialisation Education and Women: Explorations in Gender Identity, Orient Longman Ltd., New Delhi
Baker, Mary Anne Women Today: A Multidisciplinary Approach to Women’s Studies, Brooks/Cole Publishing Company, Monterey, California, 1980
Helen Roberts Doing Feminist Research, Routledge, New York, 1981
Kothari, C.R. Research Methodology, Methods and Techniques.
Wiley Eastern Ltd., New Delhi, 1985
Bhasin, Kamala What is Patriarchy? Kali for Women, New Delhi, 1993
Blalock M.Hubert Conceptualization and Measurement in the Social Sciences, Sage Publication, New Delhi, 1982
Desai Neera and Vibhuti Patel Critical Review of Researches in Women’s Studies, Research Centre for Women’s Studies, S.N.D.T. University, Bombay, 1989
Ramazanoglu, Caroline, Holland, Feminist Methodology, Sage Publications, London,
Janet 2002
Kerlinger, F.N. Foundation of Behavioural Research, Half Ronehartand Winston, New York, 1973
Yadav, Sushma Gender Issues in India
Mishra, Anil Dutt
Raha, Manish Kumar Matriliny to Patriliny (A Study of the Rabha Society)
Kumar, Surya, A.Ed. Women’s Studies (An Engineering Academic Discipline)
PAPER – II
FEMINIST THEORIES AND MOVEMENTS
Max. Marks : 100
Time: 3 hours.
Note:
(a) Nine questions shall be set in all. Two questions from each unit I-IV and one compulsory question.
(b) The compulsory question shall consist of four parts which shall be set one each from Unit I-IV.
(c) The Candidate shall be required to attempt five questions in all selecting one question each from Unit I-IV and question number 9 in Unit V shall be compulsory.