Implementation of Choice Based Credit System
Department of TABLA
Faculty of Performing Arts
The M. S. University of Baroda
(Appendix – A)
A general framework for Master’s Program shall as follows.
Level / Semester – Wise credits / Total Credits1 / 2 / 3 / 4
Master’s program / 24 / - / - / 96
The credit framework for the Core course shall be as follows.
Course / Credit / HoursTheory+
Practical / % Marks
Core Compulsory Theory I Principles of Tabla I / 03 / 03 + 00 / 30%+70%
Core Compulsory Theory II Technical Terms of Percussion Instruments I / 03 / 03 + 00 / 30%+70%
Core Compulsory III History of Music and Percussion Instruments I / 03 / 03 + 00 / 30%+70%
Core Cmpulsory IV Study of Ancient Taal System I / 02 / 02 + 00 / 30%+70%
Core Compulsory Practical I Traditional Compositions of Tabla/Pakhwaj I / 05 / 02 + 05 / 30%+70%
Core Compulsory Practical II Practical Solo and Accompaniment of Tabla I / 05 / 02 + 05 / 30%+70%
Core Compulsory Practical III Stage Performance I / 03 / 01 + 03 / 30%+70%
Core and Foundation Subject Total Credits / 24 / 16 + 13 / 30%+70%
Department of Tabla
Faculty of Performing Arts
The Maharaja Sayajirao University of Baroda / Academic Year 2015-16
Master of Performing Arts(M.P.A) : Tabla Post Graduate Programme
Year / 1 / Core Compulsory-1 : Principles of Tabla / Credit / 3
Semester / 1 / Hours / 45
OBJECTIVES / To introduce word of Taal
To improve knowledge of student in taal system
Introduction of taal and its Comparison
Unit-1 / Introduction of Taal system
Origin of word Taal
Definition of taal / 12 hours
Unit-2 / Importance of Taal
Development of taal
Importance of taal in Music
Importance of Matras(beats) in Taal system / 11 hours
Unit-3 / Detailed comparative study of same matras taals
1) Sawari and Gajazampa 3)Zoomra and Ada-Chautaal
2) Laxmi and Matt 4)Vishnu and Shikhar / 11 hours
Unit-4 / Essay on Taal
Importance of Taal in Music Therapy
Comparative study of Prachin and Arvachin Taal
Importance of music in National Unity / 11 hours
Assessment:
1.Continuous Assessment :30%
· One class test(Theory)
· One written Assessment(Minor)
2.Written Examination :70%
REFERENCES
1) Pt.Lalmani Mishra-Bhartiya Vadhya Sangeet
2) Pt.Bharatmuni-Bharat Natya Shashtra and All edited volumes of Bharat Natya Shashtra
3) Dr.Arunkumar Sen-Bhartiya Taalo ka Shashtriya vivechan
4) Dr.Yogmaya Shukla-Tabla ka Udgam, vikas aur vadan shailiya
5) Shri Umesh Joshi-Bhartiya Sangeet ka Itihas
Department of Tabla
Faculty of Performing Arts
The Maharaja Sayajirao University of Baroda / Academic Year 2015-16
Master of Performing Arts (M.P.A) : Tabla Post Graduate Programme
Year / 1 / Core Compulsory-2 : Technical Terms of Percussion Instruments / Credit / 3
Semester / 1 / Hours / 45
OBJECTIVES / To introduce ancient percussion instruments
To Introduce Technical terms of Tabla
To Introduce orchestration of percussion Instruments
Unit-1 / Detail study of Ancient Percussion Instruments.
Origin of Percussion Instruments
Utilisation of percussion instruments in ancient music. (any five)
Comparative study of ancient percussion instruments. / 11 hours
Unit-2 / Definition in detail
Avagraha,Adhagun,Aadilaya,Kuaadi,Biaadi,Kakpad,Chilla,Jod,Upaj,Ladant,Lahera,Varna
Origin, Development and Utilisation of Peshkar in solo Tabla playing / 11 hours
Unit-3 / Orchestration of Percussion Instruments
Introduction of orchestration
Utilisation of various instruments in orchestration music
Nature and theme of orchestration / 11 hours
Unit-4 / Detail study of Notation and Padhant of Taals
Notation of all taals which are included in your syllabus in Single,Dugun,Tigun and Chaugun and bol compositions.
Meaning Of Padhant
Utilisation and importance of Padhant in tabla playing in detail / 12 hours
Assessment:
1.Continuous Assessment :30%
· One class test(Theory)
· One written Assessment(Mionor)
2.Written Examination :70%
REFERENCES
1) Pt.Girishchandra Shrivastav, Taal-Kosh,
2) Pt.Girishchandra Shrivastav,Lay-Taal vichar manthan
3) Sangeet Karyalay Haath Ras Publication,Vishwa Sangeet Ank and Vadya Vadan Ank
4) Dr.Arun kumar Sen,Bhartiya taalo ka Shashtriya Vivechan
5) Dr.Sharadchandra Shridhar Paranjape, Bhartiya Sangeet Ka itihas
Department of Tabla
Faculty of Performing Arts
The Maharaja Sayajirao University of Baroda / Academic Year 2015-16
Master of Performing Arts (M.P.A) : Tabla Post Graduate Programme
Year / 1 / Core Compulsory-3 : History of Music and Percussion Instruments / Credit / 3
Semester / 1 / Hours / 45
OBJECTIVES / To introduce history of Music
To introduce history of Tabla and Khyal Gayki
New Research in Indian Music
Unit-1 / Introduction of 13th Century
Development of Music
Knowledge of Volumes wrote in above century
New experiments of above century / 11 hours
Unit-2 / Introduction of 14th Century
Development of Music
Knowledge of Volumes wrote in above century
New experiments of above century / 11 hours
Unit-3 / Advance Study of History of Tabla
Origin of Word Tabla
Fables of History of Tabla
Knowledge of different research work done in Modern period
Development of Tabla
Modern aspects of Tabla / 12 hours
Unit-4 / History of Khyal Gayan
Origin and Development of Khyal Gayki
Importance of Tabla playing in Khyal Gayki
Accompaniment with that particular singing style / 11 hours
Assessment:
1.Continuous Assessment :30%
· One class test(Theory)
· One written Assessment(Mionor)
2.Written Examination :70%
REFERENCES
1) Prof.Gaurang Bhavsar,Tabla no Itihas ane Parampara
2) Dr.Yogmaya Shukla,Tabla ka Udgam Vikas and Vadanshailiya
3) Sangeet Karyalay Haath Ras Publication,Tabla Ank and Vadya Vadan Ank
4) Dr.Arun kumar Sen,Bhartiya taalo ka Shashtriya Vivechan
5) Dr.Sharadchandra Shridhar Paranjape, Bhartiya Sangeet Ka itihas
6) Shri Umesh Joshi, Bhartiya Sangeet Ka itihas
7) Vasant,Sangeet Visharad
Department of Tabla
Faculty of Performing Arts
The Maharaja Sayajirao University of Baroda / Academic Year 2015-16
Master of Performing Arts (M.P.A) : Tabla Post Graduate Programme
Year / 1 / Core Compulsory-4 : Study of Ancient Taal System / Credit / 2
Semester / 1 / Hours / 30
OBJECTIVES / To introduce ancient Taal system of Indian Music
To introduce detail study of Natya Shashtra and Sangeet Ratnakar Taal System
To introduce ten Pranas of Taal
Unit-1 / Study of Ancient Taal System
Taal systems in reference to different ancient volume / 07 hours
Unit-2 / Detail Study of Taals with reference to “Bhatra Natya Shashtra”
Study of Taal system as given in Bharatra’s “Natya Shashtra”
Use of Taals in Music as per Bharat Natya Shashtra in Bharatmuni period / 08 hours
Unit-3 / Detail Study of Taals with reference to “Sangeet Ratnakar”
Study of Taal system as given in Pt. Sarangdev’s “Ratnakar”
Use of Taals in Music as per Sangeet Ratnakar in Sarangdev period / 08 hours
Unit-4 / Study of Ten Pranas of Taals
Introduction of Ten Pranas in different volumes.
Knowledge of all pranas of Taal system.
Use of Ten pranas of taals in Morden taal system. / 07 hours
Assessment:
1.Continuous Assessment :30%
· One class test(Theory)
· One written Assessment(Minor)
2.Written Examination :70%
REFERENCES
1) Pt.Lalmani Mishra-Bhartiya Vadhya Sangeet
2) Pt.Bharatmuni-Bharat Natya Shashtra and All edited volumes of Bharat Natya Shashtra
3) Pt. Sarang Dev-Sangeet Ratnakar and all edited volumes
4) Dr.Arunkumar Sen-Bhartiya Taalo ka Shashtriya vivechan
5) Dr.Gaurang Bhavsar, Tabla no Itihas ane Parampara
6) Shri Umesh Joshi-Bhartiya Sangeet ka Itihas
Department of Tabla
Faculty of Performing Arts
The Maharaja Sayajirao University of Baroda / Academic Year 2015-16
Master of Performing Arts (M.P.A) : Tabla Post Graduate Programme
Year / 1 / Core Compulsory-1 : Traditional Compositions of Tabla/Pakhawaj / Credit / 5 (P3+Th2)
Semester / 1 / Hours / 75
OBJECTIVES / To introduce Theoretical aspects of thekas and bandishes.
Provide knowledge of Traditional and Contemporary Compositions of Tabla/Pakhawaj
Provide knowledge of Padhant, Nikas and concepts of Riyaz.
Unit-1 / Theoretical aspects of Solo Presaentation
Theoretical aspects of theka.
Theoretical aspects in solo playing.
Theoretical aspects of Padhant.
Theoretical aspects of different bandishes.
Theoretical aspects of playing style of different Gharana’s of tabla.
Theoretical Techniques of Riyaz. / 15 hours
Unit-2 / Advance Solo in Aadachautaal with Traditional and contemporary compositions
Vilambeet laya bandishes:
a) Different Gharana’s Peshkar. b) Four kayadas of Various Gharanas of Tabia c) Chala, Chalan and Rau
Madhya and Drut laya bandishes:
a)Two rele b) Traditional and Contemporary Bandishes
(Mukhda, Types of Gat,Gat-Tukda,Tukda,Simple,Farmaishi and Kamali Chakradar,Uthan,Paran etc.) / 25 hours
Unit-3 / Advance Compositions of Sooltaal
Three Simple and Chakradar Uthan
Three Simple and ChakradarParan
Three Simple and Chakradar Tukda
Various types of Tihai / 20 hours
Unit-4 / Padhant
Single,Double,Tigun and Chaugun and Aadilaya of Gajazampa and
Various bandishes and Taals of same paper / 15 hours
Assessment:
1.Continuous Assessment :30%
· One class test(Theory)
· One written Assessment(Mionor)
2.Written Examination :70%
REFERENCES
1) Pt.Girishchandra Shrivastav , Taal-Kosh
2) Pt.Sudhir Mainkare,Tabla Vadan me Nihit Saundrya
3) Pt.Arvind Mulgaonkar,Ijazat
4) Dr.Aban Mistry, Tabla ki Bandishe
5) Pt.Purshottam das,Mrudang Vadan(Naath Dwara Parampara)
Department of Tabla
Faculty of Performing Arts
The Maharaja Sayajirao University of Baroda / Academic Year 2015-16
Master of Performing Arts (M.P.A) : Tabla Post Graduate Programme
Year / 1 / Core Compulsory-2 : Solo and Accompaniment of Tabla / Credit / 5 (P3+Th2)
Semester / 1 / Hours / 75
OBJECTIVES / To introduce Theoretical aspects of Accompaniment.
Provide knowledge of Traditional and Contemporary Compositions for Tabla Solo
Provide knowledge of Padhant , Nikas,Upaj and concepts of Riyaz.
Unit-1 / Advance Solo in Pancham Sawari with Traditional and contemporary compositions
Vilambeet laya bandishes:
a) Different Gharana’s Peshkar. b) Four kayadas of Various Gharanas of Tabia c) Chala, Chalan and Rau
Madhya and Drut laya bandishes:
a)Two rele b) Traditional and Contemporary Bandishes
(Mukhda, Types of Gat,Gat-Tukda,Tukda,Simple,Farmaishi and Kamali Chakradar,Uthan,Paran etc.) / 25 hours
Unit-2 / Theoretical aspects of Traditional Bandishes
Theoretical aspects of theka.
Theoretical aspects in solo playing.
Theoretical aspects of Padhant.
Theoretical aspects of different bandishes.
Theoretical aspects of playing style of different Gharana’s of tabla.
Theoretical Techniques of Riyaz. / 15 hours
Unit-3 / Padhant
Single,Double,Tigun,Chaugun and Aadilaya of Matta and
Various bandishes and Taals of same paper / 15 hours
Unit-4 / Accompaniment with Semi- Classical Music
System of Accompaniment
Techniques of Accompaniment
Theoretical aspects of Accompaniment
Importance of Upaj in Accompaniment
Knowledge of Accompaniment of Various Tabla player’s style through audio-video visual / 20 hours
Assessment:
1.Continuous Assessment :30%
· One class test(Theory)
· One written Assessment(Mionor)
2.Written Examination :70%
REFERENCES
1) Pt.Lalmani Mishra, Bhartiya Vadhya Sangeet
2) Pt.Chotelal Mishra,Tabla Granth
3) Pt.Arvind Mulgaonkar,Ijazat
4) Dr.Aban Mistry, Tabla ki Bandishe
5) Dr.Gaurang Bhavsar,Bandishe Teentaal
Department of Tabla
Faculty of Performing Arts
The Maharaja Sayajirao University of Baroda / Academic Year 2015-16
Master of Performing Arts (M.P.A) : Tabla Post Graduate Programme
Year / 1 / Core Compulsory-3 : Stage Performance / Credit / 3
Semester / 1 / Hours / 45
OBJECTIVES / To introduce Theoretical aspects of stage performance.
Advance knowledge of sequence of bandishes in Tabla solo.
Advance knowledge of Nagma/Lahera and Listening lectures
Unit-1 / Introduction of stage performance in reference to theoretical aspects:
Stage manners.
Theoretical aspects in Tabla solo and Accompaniment.
Advance Knowledge of Padhant.
System of Tabla solo of different Gharana’s.
Techniques of producing different bandishes. / 08 hours
Unit-2 / Solo Performance:
Students choice of any taals from syllabus
Knowledge of sequence of solo, Nikas of Bandishes
System of Riyaz for Stage Performance / 15 hours
Unit-3 / Solo Performance:
Examiners choice of any taals from syllabus.
Knowledge of sequence of solo, Nikas of Bandishes
System of Riyaz for Stage Performance / 15 hours
Unit-4 / Basic knowledge of Nagama/Lahera and how to play with Nagma/Lahera
Various Raag base Nagma/Lahera of Aadachautaal and Ektaal
Knowledge of Vilambeet laya and Madhya laya Nagma/Lahera
Concept of solo playing with Nagma/Lahera / 07 hours
Assessment:
1.Continuous Assessment :30%
· One class test(Theory)
· One written Assessment(Minor)
2.Written Examination :70%
REFERENCES
1) Pt.Girishchandra Shrivastav (2001) Taal-Kosh,
2) Sangeet Karyalay Haathras Publication,Vadhya Vadan Ank
3) Dr.Aaban Mistry,Tabla ki Bandishe
4) Prof.Sudhirkumar Saxena,The Art of Tabla Rhythm
5) Pt.Sudhir Mainkare,Tabla Vadan me Nihit Saundrya
Periodical progress of a semester
Weightage of evaluation
I Internal Evaluation 30% and
II Semester end examination 70%.
Component / Units covered inA course / Weightage / Weightage
Unit wise / Period of Continuous and Comprehensive assessment
I / 1 & 2 / 15% / 7.5% / To be consolidated by 8th week
II / 3 & 4 / 15% / 7.5% / To be consolidated by 15th / 16th week
III / Entire Course / 70% / 17.5% / To be consolidated by 18th to 20th week
Final Grades to be announced by 24th week
Evaluation Method:
Evaluation through Comprehensive Continuous Assessment (CCA): The semester assessment through CCA is spread through the duration of the course and is to be done by the teacher teaching the course. The assessment is to be done by various means including:
1. Written Tests
2. MCQ based quiz
3. Presentations/Seminars
4. Project work/Field work
5. Group discussions/Group activities.
The end of Semester examination shall have an assessment based upon following perspective with respect to all the courses:
1. Evaluation with respect to Knowledge
2. Evaluation with respect to Understanding
3. Evaluation with respect to Skill
4. Evaluation with respect to Applications
5. Higher order Thinking Skills.
With respect to all above components, there will be following four types of questions from each unit of the course:
1. MCQ
2. Short Answer Questions
3. Long Answer Questions
4. Very Long Answer Questions
The questions may largely be from the question bank for the each course.
Grading
Grade Points / Description / % of marks / Division / Grade10 / Outstanding / 90% to 99% / First / O
9 / Excellent / 80% to 89% / First / A
8 / Very good / 70% to 79% / First / B
7 / Good / 60% to 69% / First / C
6 / Fair / 50% to 59% / Second / D
5 / Average / 40% to 49% / Pass / E
4 / Dropped / Below 40% / F
The % of marks taken into considerations includes marks of component I, II, III of each semester.
SGPA
Semester Grade Point Average (SGPA) indicates the performance of a student in a given semester. SGPA is based on the total credit points earned by the student in all the courses and the total number of credit assigned to the course in a semester.