New Course applied from 2076.
Music ( Classical Tabala/ Vocal/Instrument/Dance )
1st year
S.N. | Paper | Code | Subject | Nature | Full marks | Pass marks | Teaching
Hours |
1. | 1 | English | Theory | 100 | 35 | 150 | |
2. | I | Mus311 | Classical Vocal / Instrument | Practical | 100 | 40 | 150 |
3. | II | Mus312 | Classical Tabala | Practical | 100 | 40 | 150 |
4. | III | Mus313 | Nepali Traditional and Folk Music | Practical | 50 | 20 | 75 |
5. | IV | Mus314 | Nepali Traditional and Folk Music | Theory | 50 | 17 | 75 |
5. | V | Mus315 | Classical Dance/Instrument/Vocal | Practical | 100 | 40 | 150 |
6. | VI | Mus316 | Fundamental Theory of Music | Theory | 100 | 35 | 150 |
Total | 600 |
Note: For the entire subjects the concerning teacher will arrange lecture hour according to his/her teaching convenience. The students under 80% attendance are not allowed to attend practical examinations. The marks of Practical Paper will be divided as 70% to External Examiner , 30% ( 10 marks for attendance, 5 marks for Discipline and 15 marks for assignments- Practical Test/ Viva/ Submission ) to Concerned Class Teacher.
Classical Vocal/Instrumental
Practical
Mus311 Paper: I
Full Marks: 100
Pass Marks: 40
Lect. Hrs: 150
1. Practice of 20 different Alankars in Dadra, Kaharawa and Trital. 30 |
2. Capacity of identifying following ragas by listening to their notes: 10
Yaman, Bhupali and Alhaiya Bilawal. |
3. Study of any two following ragas as choice with the ability to render Alapas and Taans covering Madhya and Drut Khyalas / Masitkhani and Razakhani Gats: 80
a. Bhupali b. Yaman c. Alhaiya Bilawal |
4. Sargam Geet or Lakshana Geet / Gats in remaining Raga. 10 |
6. Study of one light music/song :.
Bhajan/Patriotic song, or any contemporary song. 5 |
7. Practice of solo performance for at least 15 minutes. 15 |
Classical Tabala Practical
Mus312 Paper: II
Full Marks: 100
Pass Marks: 40
Lect. Hrs: 150
1. Practice of Das Varna with proper sound production. 30 | |||||||||||
2. Knowledge of several rhythmic composition as- 60
Teental- 2 kayada with 8 palta, 4 Tukda, 3 Chakkardar, 4 Tihai and 4 Mukhada. (All should be started with UTHAN). |
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3. Rhythmic fraction (LAYAKARI) Teental should be clapped and spoken in Single and double. 10 | |||||||||||
4. Playing Theka and variations each of the following rhythmic cycles (tala). 10
Tintala, Jhaptala, Rupak, Ek, Dhumali, Sultala. |
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5. Knowledge of musical notes: – tuning of musical Instruments (Tabla) before performing. 5 | |||||||||||
6. All the composition of syllabus should be clapped and spoken. 10
7. Recognition of sound spoken by the examiner and ability to play them. 5 8. Tihai – Knowledge to make different Tihai in Tintala. 5 9. Practice of solo playing for 15 minutes . 15
Nepali Traditional and Folk Music Practical Mus313 Paper: III Full Marks: 50 Pass Marks: 20 Lect. Hrs: 75
|
Nepali Traditional and Folk Music
Theory
Mus314 Paper: IV
Full Marks: 50
Pass Marks: 17
Lecture Hours : 75
1. Folk Music – Introduction and Features. 2 | |
2. Ancient Nepalese Architecture, Sculpture and Paintings with special reference to Folk Music. 5 | |
3. Definition of various terminology:- 10
Boli, Charan, Vaka, Thego, Tuppa ra Feda, Rahani, Laya Jhikne ra Choppne, Gaine, Badi, Madale, Maruni, Pursunge. |
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4. Brief description of different Folk songs/ tunes : 50
a. Mangal Geet (Dasavatar) b. Malshree c. Jhyaure ( Thado/Terso) d. Chudka (Kauda/Roila) e. Maithili f. Fagu g. Sebru h. Tamang selo i. Bethi j. Vailo |
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5. Classification and brief description of different folk instruments : 5
Madal, Murchunga, Damaha, Dhime, Byusya, Chusya, Ghanta, Tungana, Shanka, Damaru, Damfu, Murali, tinchu, Gyaling, Baye, Sarangi, Dhime. |
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6. Brief introduction of folk talas used in different songs/tunes : 3
a. Jhyaure b. Khyali |
Optional Classical Dance
Practical
Mus315 Paper: V
Full Marks: 100
Pass Marks: 40
Lect. Hrs: 150
- Katthak Dance including followings in Trital. 80
1. | Tatkar, Hasta Sanchalan/Movements Stuti/ Sloka That/ Salami Toda Sadharan Tukda/Toda Chakradar tukda/toda Sadharan Paran Charadhar Paran | |||
2. | Parmeelu/Preemeelu Chakar ko Toda/tukda Tihai. | |||
3. | 2. Traditional and Folk Dance : 20
|
- Basic knowledge and practice of Charya Nritya. 50
a. Basic Pada-chalan and Hasta Sanchalan. |
b. Sodasha Lashye Nritya with Taal and Raga. |
c. Manjushree Nritya with Taal and Raga. |
d. Padhant of songs. |
*Students should perform at least 20 minutes of Katthak , folk and charya dance
collectively.
Optional Vocal/Instrument
Mus 315 Paper: V
Full Marks: 100
Pass Marks: 40
Lect. Hrs: 150
1. Practice of 20 different Alankars in Dadra, Kaharawa and Tritala. 20 |
2. Knowledge and practice of 10 Alankar based on Bilawal and Kalyan Thaat. 10 |
3. Study of following ragas as choice with the ability to render Alapas and Taans covering Madhya and Drut Khyalas / Masitkhani and Rajakhani Gats: 60
a. Brindawani Sarang b. Yaman c. Durga |
4. Sargam Geet or Lakshana Geet / Gats in remaining Ragas. 30
5. Study of one light music/song e.g. Bhajan, Patriotic song or any contemporary song. 10 |
6. Solo performance at least for 15 minutes in one Raga. 20 |
Fundamental Theory of Music
Theory
Mus316 Paper: VI
Full Marks: 100
Pass Marks: 40
Lect. Hrs: 150
- Introduction, definition and conception of music. 5
- Brief history and origin of music. 5
- Types and classification of music. 5
- Developing trend of Classical Music. 5
- Introduction of eastern musical notes, 10 Thata. 10
- Raga and its components and principles. 5
- Classical Dance and its types.
- Introduction of Charya Geet/Nritya and developing trends. 10
- Knowledge of Tala: 5
Tritala, Jhaptala, Dadra, Kaharawa, Rupak, Jhyaure, Khyali, Cho, Jati.
- Classification of Notation System : 15
- Bhatkhande Notation System
- Bishnu Digambar Notation System
- Western Notation System
- Biography of Musical Personalities : 10
a Baddhya Siromani Late Ganesh Lal Shrestha, c Late Pt. Dev Chandra Regmi,
d Late Atul Prasad Gautam, e Late Bashanta Jung Rayamajhi
- Knowledge and definition of given terminologies: 50
Music, Sound, Vibration, Shruti, Swara (Shudha/Vikrit), Chal and Achal Swara, Alankar, Naad, Saptak, Mela or Thaat, Raga, Vadi, Samvadi, Anubadi, Vivadi, Barjya, Jaati, Pakad, Meend, Kana Swara, Gat, Toda, Krintan, Gamak , Khatka, Tala, Theka, Laya, Matra, Bibhag, Sam, Khali, Thaha, Bol, Mukhada, Mohara, Awartan, Uthan, Tukda, Kayada, Prastar, Palta, Stuti/ Sloka, Salami Toda, Preemeelu, Hastamudras, Bol Bata, Chakkardar, Tukda, Gat, Jhala, Tatkar and Tihai.
- Concept of Laya and Layakari. 10
- Qualities and defeats of musician. 5
- Essays on : a. Human and Music b. Music as science or art c. Nepali Music.
*Old course will be amended in next session.
Old course before 2076.
2nd year
SECOND YEAR | |||||
S.N | CODE | PAPER | SUBJECT | FULL MARKS | PASS MARKS |
9. | Mus.C2 | 2 | Compulsory English | 100 | 35 |
10. | Mus.317 | VII | Classical Music Practical – I | 100 | 40 |
11. | Mus.318 | VIII | Classical Music Practical – II | 50 | 20 |
12. | Mus.319 | IX | Applied Theory | 50 | 17 |
13. | Mus.320 | X | Folk Music Practical | 50 | 20 |
14. | Mus.321 | XI | Folk Music Theory | 50 | 17 |
15. | Mus.322 | XII | Optional Tabla /Vocal Practical | 100 | 40 |
16. | Mus.323 | XIII | General Theory | 100 | 35 |
Total | 600 |
Mus.C2 Bachelor’s 2nd year’s compulsory English will be as per the curriculum developed by Music Subject Committee, TU for the Bachelors level in the faculty in Humanities and social Science.
Note: For the entire music subjects the concerning teacher will arrange lecture hour according to his/her teaching convenience.
Classical Music Practical – I
Vocal/Instrumental
Paper: VII
Full Marks: 100
Pass Marks: 40
Mus.317 Lect. Hrs: 150
Knowledge of Ragas and Taals learnt in the Practical Course of 1st Year is compulsory. | |
Practice of at least ten Alankars in prescribed Taals of first and second year. | |
Ability to Identify 12 Notes (Suddha and Vikrit). | |
Knowledge of identifying following ragas by listening to their Notes:
Patdeep, Bihag, Kedar, Bageshree, Bhimpalasi, Jounpuri and Purvi |
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Intensive study of any two following ragas as chosen by teacher in class with the ability to improvise Alapa, simple bolalap and Taan covering Vilambit and Drut Khyalas / Masitkhani and Razakhani Gats.
1. Patdeep 2. Bihag 3. Kedar 4. Bageshree 5. Bhimpalasi 6. Jounpuri 7. Purvi Five Madhya Laya Khayals in any of the above remaining ragas with improvisations. |
|
Knowledge to perform of following Taals with Layakaries 1/2 and 1/4 Layas on hand.
Jhaptal, Rupak and Tivra Taal. |
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Basic knowledge of playing and tuning Tanpura/Sitar. |
Classical Music Practical – II
Vocal/Instrumental
Paper: VIII
Full Marks: 50
Pass Marks: 20
Mus.318 Lect. Hrs: 75
I. | Practice of Alankars in different Taals prescribed in practical paper of 1st and 2nd year. |
II. | Identification of listened Notes and Singing above alankars in tune. |
III. | Knowledge of improvising/playing simple Nom -Tom Alaap in different Layakaris. |
IV. | Study of one Tarana, one Dhrupad and one Dhamar/ Masitkhani and Razakhani Gats, in any following ragas with the ability to improvise Alaps, Tans and Layakaris for Dhrupad and Dhamar is 1/2 and 1/4 Layas.
1. Khamaj 2. Desh 3. Deshkar 4. Malkauns |
V. | Ability to sing/play one light song/music such as :
Bhajan, Patriotic song, Ghazal and any contemporary song in two different taals prescribed in practical course of 1st and 2nd year. |
VI. | Knowledge to perform following Taals with Layakaries 1/2 and 1/4 Layas on hand.
Dhamar, Chautaal and Sool Taal |
VII. | Elementary knowledge of Playing and Tuning Tanpura. |
Applied Theory
Paper: IX
Full Marks: 50
Pass Marks: 17
Mus.319 Lect. Hrs: 75
I. | Definition and explanation of the following Musical terms :
Varieties of Taan/Toda and its definition, Grah, Ansha, Nyas, Meend, Kana Swara, Gat, Sparsh, Mizrab, Saptak, Mela or Thaat, Sthyai, Antara, Abhogi, Sanchari, Jati and Pakad. |
II. | Theoretical knowledge of the prescribed Ragas and their comparative study :
1. Patdeep 2. Bihag 3. Kedar 4. Desh 5. Bageshree 6. Bhimpalasi 7. Jounpuri 8. Khamaj 9. Deskar 10. Malkauns 11. Purvi |
III. | Reading and writing notation (Khayal, Dhrupad and Tarana with Alap Tans) of the prescribed ragas and taals. |
IV. | Study of the following Talas with Notation and Layakaris of 1/2 and 1/4 Layas:
Dhamar, Jhaptal, Rupak, Tivra, Sool and Choutaal. |
V. | Detailed introduction of the fallowing instruments:
Tanpura, Tabla and Sitar. |
VI. | Writing an essay on any general topic related to Music. |
Folk Music
Practical
Paper: X
Full Marks: 50
Pass Marks: 20
Mus.320 Lect. Hrs: 75
I. | Knowledge of Folk Songs learnt in the Practical Course of 1st Year. |
II. | The candidate is expected to perform following folk songs/tunes.
1. Jhangad 2. Birahini 3. Samhala 4. Teej 5. Sangini 6. Salaijo 7. Bhojpuri 8. Sorathi (Chhotital) 9. Khyali (Paschimeli) 10. Silu 11. Byanchuli 12. Yanimaya |
III. | The candidate is expected to perform any one Charya songs/tunes.
1. Manjushree 2. Bajrayogini |
IV. | Ability to recognize songs/ tunes/Taals types given by the examiner. |
V. | Ability to describe the Songs and Taals learnt in the practical course. |
VI. | Ability to clap in Sorathi (Lami and Chhoti taal) and some variation of Jhyaure and Khyali. |
Folk music
Theory
Paper: XI
Full Marks: 50
Pass Marks: 17
Mus.321 Lect. Hrs: 75
I. | Historical, Traditional, Folk Music of Nepal ( Ancient to Modern Period ) |
II. | Classification of Folk Music:
Ecological, Social, Economical, Religious, and Morality. |
III. | Type of Folk Song:
Lok- Lahari, Lokgeet and Lok Gatha |
IV. | Detailed description of different Folk songs/ tunes :
Jhangad, Birahini, Samhala, Teej, Sangini, Salaijo, Bhojpuri, Sorathi (Chhotital), Khyali (Paschimeli), Silu, Byanchuli, Yanimaya, Mannjushree or Bajrayogini |
V. | Ability to read and write eastern (Bhatkhandde) notation of the songs prescribed in this practical paper. |
VI. | Classification and detailed description of different folk instruments :
Bansuri, Sahanai, Baye, Khaijadi, Damaha, Nagara, Jhyali, Mujura, Tinchhu, Ghanti, Arbaja, Pachhima, Dapakhin. |
VII. | Introduction of folk talas used in different songs/tunes :
A. Jhyaure B. Khyali C. Sorathi ( Lami and Chhoti taal ) D. Newari Taal in Madal |
VIII. | Biographies of Nepalese Folk Musicologists and Musicians:
A) Setu Ram Shrestha B) Mitra Sen Thapa Magar C) Master Ratna Das Prakash D) Dharma Raj Thapa E) Su. Bi. Shah F) Jhalak Man Gandharva |
Tabla
Practical
Paper: XII
Full Marks: 100
Pass Marks: 40
Mus.322 Lect. Hrs: 150
I. | Solo performance in any of the following rhythmic cycles (taals):
(i) Teentaal (ii) Rupak taal (iii) Jhaptaal (iv) Ektaal Solo performance must include the following elements: Uthan, 2 kyada with 5 paltas, 5 mukhda, 5 tukda, 5 tihai Other remaining taals must have the following elements: 1 kayda with some variations (paltas), 3 mukhda, 3 tukda, 3 tihai. |
II. | Musical meter (Layakari): All the taals studied till now (Dadra, khemta, Rupak, Tebra, Kaharwa, Jhaptaal, Ektaal, Dipchandi, Teentaal, Addha taal should be spoken in single, double with appropriate clapping (taali/khali). |
Any 3 taals must be spoken in triple and quadruple with appropriate clapping (taali/khali). | |
III. | Any 3 mukhda, 3 tihai, 3 tukda must be spoken with appropriate clapping. |
IV. | Variations of the following taals:
(i) khemta (ii) dipchandi (iii) Addha taal |
V. | Ability to play kaharwa and teentaal in fast tempo. |
General Theory
Paper: XIII
Full Marks: 100
Pass Marks: 35
Mus.323 Lect. Hrs: 150
Study of the following terms:
A. Music, its Definition and origin. B. Theory of Ragas and its Principles. C. Thaats and its Principles. |
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Definitions and explanations of Musical terms such as:
Shadaj-Madhyam Samvad, Shadja-Pancham Samvad, Bol-alap, Bol-tan, Avartan, Alpatwa-Bahutwa, Swar sangati, Rag Samaya, Avirbhav-Tirobhav, Sparsh (Kan) Swor. |
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Comparative study of the fallowing Notation Systems (Eastern and Western) with the ability to read and write.
A. Bhat Khande Paddati B. Staff Notation System. C. Bishnu Digambar Paddati. |
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Brief study of following Musical terms:
A) Tappa B) Thumari C) Dadra D) Kajari E) Chaity F) Chaturang. |
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Introduction and classification of Thatas:
A) 32 Thatas of Pt. Bhatkhande B) 72 Thatas of Pt. Vyankatamukhi. |
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Definition of Adhwodarsak Swara, Poorvanga, Uttaranga, Sandhiprakash, Permalepraveshak, Ashraya, Janak, Janya, Sankeerna and Suddha Ragas, | |
Study of Various movements in Music in Nepal :
A. History of Nepali Music in the period of Shah Dynasty. B. Introduction of Popular Gharanas. C. Classical Music in contemporary Nepal. D. Influence of Western Music in Nepali Music Industries. |
|
Biographies and contributions of the following musicians:
Sangeet Siromani Yagya Raj Sharma, Ustad Nanda Lal Shrestha Mr. T.L. Rana, Amir Khusro, Swami Haridas and MiyanTansen. |
BFA FOUR YEARS BACHELOR COURSE
CLASSICAL MUSIC
TABLA
SECOND YEAR | |||||
S.N | CODE | PAPER | SUBJECT | FULL MARKS | PASS MARKS |
17. | Tab.317 | XIV | Classical Tabla Practical | 100 | 40 |
18. | Tab.318 | XV | Voc/Inst. Accompaniment | 50 | 20 |
19. | Tab.319 | XVI | Applied Theory | 50 | 17 |
20. | Tab.320 | XVII | Folk Rhythmic Instrument Practical | 50 | 20 |
21. | Voc/Inst.321 | XVIII | Folk Rhythmic Instrument Theory | 50 | 17 |
22. | Tab.322 | XIX | Vocal/Instrument Practical | 100 | 40 |
23. | Tab.323 | XX | General Theory | 100 | 35 |
Total | 600 |
Tab.C2 Bachelor’s 2nd year’s compulsory English will be as per the curriculum developed by Tabic Subject Committee, TU for the Bachelors level in the faculty in Humanities and social Science.
Note: For the entire music subjects the concerning teacher will arrange lecture hour according to his/her teaching convenience.
Classical Tabla Practical
Paper: VII
Full Marks: 100
Pass Marks: 40
Tab.317 Lect. Hrs: 150
I. | Solo performance for 20 minutes in any of the following Taal:
(i) Teentaal (ii) Ektaal (iii) Jhaptaal (iv) RupakTaal Solo Performance must include the following elements: Uthan, 3 kayda with 15 palta, 1 gat, 1 rela, 4 mukhda, 12 tukda, 4 paran, 8 tihai Other remaining Taals must have the following elements: Uthan, 2 kayda with 10 palta, 4 mukhda, 8 tukda, 2 paran, 4 tihai. |
II. | Musical Meter (Layakari): All the taals studied till now (Dadra, khemta, Rupak, tebra, kaharwa, basantataal, Rudrataal, jhaptaal, sultaal, ektaal, chautal, Aadachautal, Dhamar, Dipchandi, Teental, AddhaTaal) should be spoken in Single, double, triple and quadruple with appropriate clapping (Taali&khali) of the respective Taals in one cycle. |
III. | All the compositions (Uthan, kayda with palta, rela, gat, mukhda, tukda, paran, tihai) of the syllabus should be spoken with appropriate clapping (Taali& Khali). |
IV. | Variations of the following Taals-
(i) Dadra (ii) khemta (iii) Rupak (iv) kaharwa (v) Jhaptaal (vi) Dipchandi (vii) AddhaTaal |
V. | Knowledge of making different Tukda and Tihai in following taals:
(i) Teentaal (ii) Ektaal (iii) Jhaptaal (iv) RupakTaal |
VI. | Knowledge of tuning instrument. |
Vocal/Instrument Accompaniment
Paper: VIII
Full Marks: 50
Pass Marks: 20
Mus.318 Lect. Hrs: 75
Ability to accompany:
– Vocal in vilambit laya and Madhya layaTeentaal. – Instrument in Vilambit and Madhya layaTeentaal. |
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Ability to play solo while accompanying vocal/ instrument. | |
Basic theoretical knowledge about accompaniment and differences in style of accompanying Vocals, instruments and Bhajans/light songs. | |
Ability to identify the rhythm cycles (taals) by listening to the composition/ bandish as sung or played by the Examiner/ External. | |
Ability to accompany bhajans or light songs in any of the following taals:
(i) Dadra (ii) kaharwa |
|
Ability to play kaharwa, Ektaal, Teentaal in fast tempo. |
Applied Theory
Paper: IX
Full Marks: 50
Pass Marks: 17
Tab.319 Lect. Hrs: 75
I. | Introduction to following Taals:
Khemta, Tebra,Basantataal, Rudrataal, Ektaal, Chautaal, Aada-chautaal, Dhamar, AddhaTaal (also including all the taals from 1st year). |
II. | Ability to write single, double, triple and quadruple of all the taals from the syllabus (1st year & 2nd year) in Bhatkhande and BishnuDigamber notation system. |
III. | Ability to write kayada, tukda, paran, mukhda and tihai in different taals from the syllabus. |
IV. | Introduction to Gat and its types (Dupali, tipali, chaupali). |
V. | Mathematical explanation on formation of tihai. |
VI. | Ability to write following taals in staff notation.
Khemta, Ektaal, Dhamar, Dipchandi, AddhaTaal. |
Folk Rhythmic Instrument
Practical
Paper: X
Full Marks: 50
Pass Marks: 20
Tab.320 Lect. Hrs: 75
I. | Basic knowledge to play the following instruments:
(i)Dhime (ii) Paschima (III) Dapakhin (iv) Madal (v) Dhaa |
II. | Ability to accompany in following folk tunes
(i) MangalDhun (ii) Malshree (iii) Byanchuli (iv) Shorathi |
III. | Knowledge of following taal:
(i)Prataal (ii) Jatitaal (iii) Chontaal (iv) Palimataal. |
IV. | Knowledge of playing Tinchu and Bhusya along with Dha and Dhime. |
V. | Ability to speak different compositions of different instruments with appropriate timing. |
VI. | Solo performance for 10 minutes in any one instrument under the syllabus. |
Folk Rhythmic Instrument
Theory
Paper: XI
Full Marks: 50
Pass Marks: 17
Lect. Hrs: 75
Tab.321
I. | General introduction to following folk rhythmic instruments with well labeled diagram:
(i) Madal (ii) Dhime (iii) Dhaa (iv) Paschima (v) khin (vi) Bhusya (vii) Tinchu |
II. | Knowledge about Avanaddha and Ghan Badhya. |
III. | Religious and traditional knowledge about all the folk rhythmic instruments studied till now. |
IV. | Study on system of playing different folk rhythmic instruments in Patan, Bhaktapur, Kirtpur and other places. |
V. | Basic knowledge about traditional Dances like Bajrayogini, Manjushree, Kumari, PanchaBuddha, BhairavKali and LakheNaach and different rhythmic instruments with respective rhythms used in those dances. |
VI. | Basic knowledge on following instruments:
Sarangi, Murali, Basuri, Murchunga, Tungna, Ektaare, Sahanai, Sankha. |
VII. | Detail knowledge on staff notation and ability to compare staff notation with bhatkhande notation system. |
VIII. | Life history:
(i) Late S. B. Shah (ii) Late Krishna BhaiMaharjan (iii) Shree Nhucche ManDangol (iv) Shree Satya Mohan Joshi |
Vocal/Instrument
Practical
Note: Students of Major subject Tabla/Instrument/Dance should Prepare 100 Marks of practical paper in either vocal or Instrument. Paper: XII
Full Marks: 100
Pass Marks: 40
Voc/Inst.322 Lect. Hrs: 150
Brief knowledge about different Alankars. | |
Solo performance in any one of the following ragas:
(i) Raga Deshkar (ii) Raga vimpalasi (iii) Raga AlhaiyaBilawal (iv) Raga Ashawari (v) Raga khamaj Solo performance must include: For vocal- Aalap, Badakhyaal, chotakhyaal with different taans and tihai and ending with short tarana. For Sitar- Aalap, Mashitkhani gat (vilambit), Rajakhani gat (Madhya laya) with different taans and tihai and ending with jhala. |
|
For remaining any two ragas:
For vocal, chotakhyaal with different Alap, taans and tihai. For Sitar, rajakhani gat with different Alap, taans and tihai. |
|
For remaining two ragas:
For vocal/sitar: 2 bandish for each raga with only sthai and antara starting from different beats (5th beat, 7th beat, 9th beat, 12th beat). |
|
Listening Test: Ability to identify the ragas by listening toits notes (including all ragas from 1st year and 2nd year). | |
Students of Vocal must have basic theoretical knowledge about instruments and students of instruments must have basic theoretical knowledge about Vocal. |
General Theory
Paper: XIII
Full Marks: 100
Pass Marks: 35
Tab.323 Lect. Hrs: 150
I. | Definitions and descriptions on topics:
Sound (Dhwani), Types of Sound (Dhwani), kampan, andolan, naad, Thah (Single), Dugun (Double), Tigun (Triple), Chaugun (Quadruple), rela, gat, paran, uthan, tihai and its types, chakradar and its types, accompaniment (sangat), solo performance. |
II. | Comparison (Similarity and differences) between similar beats of Taals. |
III. | General knowledge about Tuning of instrument. |
IV. | Detail knowledge on Gharana and its types. |
V. | Essay on various topics like:
-Importance of Tabla in music. -Importance of music in our life. -Music and Science. -Music and Politics. |
VI. | Detail knowledge on Staff notation. |
VII. | Life history:
Late Ganesh Raj Banta Late Tej Bahadur Shrestha Late Narayan Prasad Sharma Late Badhya Siromani Ganesh Lal Shrestha Pandit Homnath Upadhyaya Late Pandit Ram Sahaya Late Anokhe Lal Mishra Ustad Zakir Hussain |
BFA FOUR YEARS BACHELOR COURSE
CLASSICAL DANCE
SECOND YEAR | |||||
S.N | CODE | PAPER | SUBJECT | FULL MARKS | PASS MARKS |
9. | Dan.C2 | 2 | Compulsory English | 100 | 35 |
10. | Dan.317 | VII | Classical Dance Practical (Kathak or Bharatnatyam) | 100 | 40 |
11. | Dan.318 | VIII | Applied Theory | 50 | 17 |
12. | Dan.319 | IX | Charya Dance Practical | 100 | 40 |
13. | Dan.320 | X | Folk Dance Practical | 50 | 20 |
14. | Tab/Voc/Inst.321 | XI | General Theory | 100 | 35 |
15. | ………….Dan.322 | XII | Vocal/Instrument/Tabla | 100 | 40 |
Total | 600 |
Dan.C2 Bachelor’s 2nd year’s compulsory English will be as per the curriculum developed by Tabic Subject Committee, TU for the Bachelors level in the faculty in Humanities and social Science.
Note: For the entire Dance subjects the concerning teacher will arrange lecture hour according to his/her teaching convenience.
Kathak Dance
Practical
Paper: VII
Full Marks: 100
Pass Marks: 40
Lect. Hrs: 150
Dan.317
Eak Taal | |
I. | Practice of Tatkar and Hastasanchalan/ Movements in Thaha, Dwigun, and Chaugun Laya. |
II. | Practice of Namaskar Toda – 1, Amad – 1, Sadharan Toda – 2, Chakradar tukda/toda – 2, Sadharan Paran – 2, Chakradar Paran – 1, Kavita Toda – 1 |
Teen Taal | |
I. | Practic of Namaskar Toda – 1, Paranjudi Amad – 1, Chakradar Parimelu – 1, Gat Nikas in 3 verities , Kavita Toda in Tandav Style – 1 |
II. | Practice of Tatkar and Hastasanchalan/ Movements in Thaha, Dwigun, Chaugun and Athgun Laya. |
III. | Practice of different Six Paltas and Two Tihai. |
Bharatnatyam
Practical
Paper: VII
Full Marks: 100
Pass Marks: 40
Lect. Hrs: 150
Dan.317
I. | Practice of basic Pad Sanchalan:
a) Sampad b) Mandal Pad c) Kuddita Metta Pad d) Ayat Mandal Pad e) Nritya Pad |
II. | Practice of Jatisworam. |
III. | Practice of Alaripu Nritya. |
IV. | Practice of Pushpanjali Nritya. |
V. | Practical Exercise of Nava – Rasas. |
VI. | Practice of Samyukta Hastamudras. |
VII. | Practice of Drishti Bheda, Siro Bheda and Griva Bheda. |
VIII. | Ability to recite all the practical objects in Taals. |
Applied Theory
Paper: VIII
Full Marks: 50
Dan.318 Pass Marks: 17
Lect. Hrs: 75
Charya Dance | ||
I. | Knowledge of Charya Dance from previous first year’s courses. | |
II. | Study of some Aasans used in Charya Nritya :
A) Trivangasan B) Lalitasan C) Bajrasan D) Aalingasan E) Nrityasan F) Tapasan G) Tandavasan H) Lasyaasan |
|
III. | Introduction and Notation/Tala Lipi of Jati Taal. | |
Kathak Dance | ||
I. | Introduction and Notations/Tala Lipi of Eak Taal in Thaha, Dugun and Chaugun laya | |
II. | Short Notes on the following terms:
Sum, Taali, Khali, Matra, Bibhag, Arvatan and Laya ( Vilambit, Madhya and Drut) |
|
Bharatnatyam Dance | ||
I. | Introduction and Notations/Tala Lipi of Karnatak Taal Paddati in Thaha, Dugun and Chaugun laya. | |
II. | Study of basic Pad Sanchalan :
a) Sampad b) Mandal Pad c) Kuditmit Pad d) Aayat Mandal Pad e) Nritya Pad |
|
III. | Study of Sapta Taal and Five Jaaties. | |
IV. | General Knowledge of following Terms :
a) Atami b) Korse c) Teermanam d) Nattuvangam e) Pushpanjali |
|
V. | Ability to read and write Notations of all Practical Exercise. | |
Folk Dance | ||
I. | Detailed study of following folk dances and their Costumes and ornaments:
Chandi, Tyamkuli, Dhime and Jhangad |
|
II. | Detailed study of Jhyaure Taal, Khyali Taal and Choo Taal | |
Charya Dance
Practical
Paper: IX
Full Marks: 100
Pass Marks: 40
Lect. Hrs: 150
Dan.319
I. | Practice of some Aasans used in Charya Nritya :
B) Trivangasan B) Lalitasan C) Bajrasan D) Aalingasan E) Nrityasan F) Tapasan G) Tandavasan H) Lasyaasan |
II. | Study of the following Traditional Nepalese Classical Dances and their Songs and Taals.
A) Kumari Nritya B) Rakta Ganesh C) Arya Tara D) Natyashwor E) Pragyaparamita |
III. | Ability to recite Jati Taal in Thaha and Dwigun Laya. |
Folk Dance
Practical
Paper: X
Full Marks: 50
Pass Marks: 20
Lect. Hrs: 75
Dan.320
I. | Knowledge of Folk Dances learnt in the Practical Course of 1st Year. |
II. | Study of the following Folk Dances of Nepal :
A. Chandi B. Tyamkuli C. Dhime D. Jhangad E. Magare Jhyaure |
III. | Study of the Songs and Taals used in above Mentioned Dances. |
IV. | Practice of one Modern Dance with Body and foot movements. |
V. | Ability to recite Jhyaure, Khyali, and Choo Taal in Thaha and Dwigun Laya. |
General Theory
Paper: XII
Full Marks: 100
Pass Marks: 35
Dan.321 Lect. Hrs: 150
Charya Dance | |
I. | Detailed study of Charya Nrittya. |
II. | Study of Following Charya Dances :
A) Kumari B) Rakta Ganesh C) Aryatara D) Natyashwor E) Pragyaparmita |
III. | Study of Costumes and ornaments of the following Charya Dances :
Kumari B) Rakta Ganesh C) Aryatara D) Natyashwor E) Pragyaparmita |
IV. | Life sketches and contribution of Late Sapta Muni Bajracharya. |
Kathak Dance/Bharatnatyam Dance | |
I. | Study of Gharanas related to Kathak Dance:
a) Lakhanau Gharana b) Jayapur Gharana c) Vanaras Gharana |
II. | Introduction and Notations/Tala Lipi of following terms:
Namaskar Toda, Amad, Gat – Nikas, and Kavita Toda. |
III. | Life sketches and contribution of Birju Maharaj and Rukmini Devi Arundale. |
IV. | General Knowledge of Nava – Rasas. |
V. | Theoretical knowledge of Hasta Mudras. |
VI. | Detailed study of Abhinaya, Nritta, Nritya, Natya and Griva-vedha |
Folk Dance | |
I. | Study of Different Nepalese folk Dances according to the Geographical and environmental Background. |
II. | Detailed study of following folk dances and their costumes and ornaments:
Chandi, Tyamkuli, Dhime and Jhangad |
III. | Introduction of Modern Dance in Nepal. |
IV. | Role of Mr. Bhairav Bahadur Thapa in revival of folk Dance. |
Vocal/Instrument
Practical
Note: Students of Major subject Tabla/Instrument/Dance should Prepare 100 Marks of practical paper in either vocal or instrument.
Paper: XI
Full Marks: 100
Pass Marks: 40
Voc/Inst.322 Lect. Hrs: 150
Brief knowledge about different Alankars. | |
Solo performance in any one of the following ragas:
(i) Raga Deshkar (ii) Raga vimpalasi (iii) Raga AlhaiyaBilawal (iv) Raga Ashawari (v) Raga khamaj Solo performance must include: For vocal- Aalap, Badakhyaal, chotakhyaal with different taans and tihai and ending with short tarana. For Sitar- Aalap, Mashitkhani gat (vilambit), Rajakhani gat (Madhya laya) with different taans and tihai and ending with jhala. |
|
For remaining any two ragas:
For vocal:chotakhyaal with differentAlap,taans and tihai. For Sitar:rajakhani gat with different Alap,taans and tihai. |
|
For remaining two ragas:
For vocal/sitar: 2 bandish for each raga with only sthai and antara starting from different beats (5th beat, 7th beat, 9th beat, 12th beat). |
|
Listening Test: Ability to identify the ragas by listening toits notes (including all ragas from 1st year and 2nd year). | |
Students of Vocal must have basic theoretical knowledge about instruments and students of instruments must have basic theoretical knowledge about Vocal. |
Tabla
Practical
Note: Students of Major subject Tabla/Instrument/Dance should Prepare 100 Marks of practical paper in either vocal or instrument.
Paper: XI
Full Marks: 100
Pass Marks: 40
Mus.322 Lect. Hrs: 150
I. | Solo performance in any of the following rhythmic cycles (taals):
(i) Teentaal (ii) Rupak taal (iii) Jhaptaal (iv) Ektaal Solo performance must include the following elements: Uthan, 2 kyada with 5 paltas, 5 mukhda, 5 tukda, 5 tihai Other remaining taals must have the following elements: 1 kayda with some variations (paltas), 3 mukhda, 3 tukda, 3 tihai. |
II. | Musical meter (Layakari): All the taals studied till now (Dadra, khemta, Rupak, Tebra, Kaharwa, Jhaptaal, Ektaal, Dipchandi, Teentaal, Addha taal should be spoken in single, double with appropriate clapping (taali/khali). |
Any 3 taals must be spoken in triple and quadruple with appropriate clapping (taali/khali). | |
III. | Any 3 mukhda, 3 tihai, 3 tukda must be spoken with appropriate clapping. |
IV. | Variations of the following taals:
(i) khemta (ii) dipchandi (iii) Addha taal |
V. | Ability to play kaharwa and teentaal in fast tempo. |
3rd year
VOCAL/INSTRUMENTAL
THIRD YEAR | |||||
S.N | CODE | PAPER | SUBJECT | FULL MARKS | PASS MARKS |
17. | Mus.324 | XIV | Classical Music Practical – I | 100 | 40 |
18. | Mus.325 | XV | Classical Music Practical –II (Non Details) | 50 | 20 |
19. | Mus.326 | XVI | Applied Theory | 50 | 17 |
20. | Mus.327 | XVII | Optional Tabla / Vocal /Instrument, Practical | 100 | 40 |
21. | Mus.328 | XVIII | Folk Music Practical | 50 | 20 |
22. | Mus.329 | XIX | Folk Music Theory | 50 | 17 |
23. | Mus.330 | XX | General Theory | 100 | 35 |
Total | 500 |
Classical Music Practical – I
Vocal/Instrumental
Paper: XIV
Full Marks: 100
Pass Marks: 40
Mus.324 Lect. Hrs: 150
Revision and knowledge of those ragas and talas that learnt in the previous years. | |
Practice of Koot Alankars in prescribed talas of first, second and third years. | |
Ability to identify 12 Notes (7 suddha and 5 vikrit swors). | |
Ability of identifying following ragas by listening them
Basanta, Bhairavi, Darbari Kanada, Jaijaywanti, Marwa, Miyanki Malhar, Miyanki Todi, Madhyamad Sarang, Pilu, Pahadi, Suddha Kalyan and Tilang |
|
Comprehensive study of any four from following ragas with the ability to improvise alap, bol alap, taan, bol taan and jhala in bada and chhota khyal or masitkhani and rajakhani gat as well as madhya laya, chhota khayal or rajakhani gat with some improvisation in remaining other four ragas.
1. Basanta 2. Darbari Kanada 3. Jaijaywanti 4. Marwa 5. Miyanki Malhar 6. Miyanki Todi 7. Madhyamad Sarang 8. Suddha Kalyan |
|
Thumari or semi classical compositions in any three from following ragas.
a. Bhairavi b. Pilu c. Pahadi d. Tilang |
|
Revision of various talas learned in previous years including knowledge of Aadachautal, Dipchandi, Tilwada and Pancham Sawari talas in dugun, tigun and chaugun layakaris with the ability to perform and show them in hand. | |
Knowledge of tuning, playing and maintaining Harmonium/Tanpura/Sitar. |
Classical Music Practical – II
Vocal/Instrumental
Paper: XV
Full Marks: 50
Pass Marks: 20
Mus.325 Lect. Hrs: 75
I. | Revision and practice of alankaras in different talas prescribed in practical paper of 1st, 2nd and 3rd years and ability to sing/play them in right tune. |
II. | Ability to identify Notes by listening them. |
III. | Knowledge of improvising/playing nom tom/ jodalap in different layakaris. |
IV. | Study of tarana or tirwat or chaturanga, dhrupad and dhamar in different appropriate layakaris for vocal students and rajakhani gat with alap, toda and jhala for instrumental students in any three from following ragas
1. Bahar 2. Hamir 3. Kamod 4. Shankara 5. Shivaranjani |
V. | a. Advance knowledge of playing and tuning student’s own instruments. |
Applied Theory
Paper: XVI
Full Marks: 50
Pass Marks: 17
Mus.326 Lect. Hrs: 75
I. | Detail study of shruti (microtones) and their comparison with microtones of Western music. |
II. | Theoretical knowledge of the following ragas:
Basanta, Bahar, Bhairavi, Darbari Kanada, Hamir, Jaijaywanti, Kamod, Pahadi, Pilu, Marwa, Miyanki Malhar, Miyanki Todi, Madhyamad Sarang, Suddha Kalyan, Shankara, Shivaranjani and Tilang
|
III. | Brief knowledge of Western scales and notation with ability of reading and writing ragas as per the Staff Notation System. |
IV. | Comparative study of following ragas:
1. Suddha kalyan and Bhupali 2. Deshkar and Bhupali 3. Hamir and Kamod 4. Miyanki Malhar and Darbari Kanhada 5. Miyanki Malhar and Bahar 6. Jaijaywanti and Khamaj |
V. | Study of the following talas in dugun, tigun and chaugun layakaris with ability to write notation.
Addha Punjabi, Jat, Brahma, Aadachautal, Dipchandi, Tilwada and Pancham Sawari. |
VI. | Four major classification of instruments (tat, sushir, avanadhha and ghanabadhya)
|
VII. | Report writing related to the activities of classical music in Nepal. |
Tabla (Optional)
Paper: XVII
Full Marks: 100
Pass Mark: 40
Lect. Hrs: 150
Tab.327
I. | – Solo performance in any one of the following taals by including peshkar, 2 kyadas with 5 paltas, 1 rela with 5 paltas, 5 mukhdas, 5 tukdas and 5 tihais
– Other remaining taals by including 1 Kayda with 3 Paltas, 3 Mukhdas, 3 Tukdas and 3 tihais. (i) Teentaal (ii) Rupaktaal (iii) Jhaptaal (iv) Ektaal |
II. | Musical meter (Layakari): All the taals studied so far should be spoken in single and double laya with appropriate clapping (taali/khali) in one cycle. |
Teentaal, ektaal and rupaktaal must be spoken in triple and quadruple with appropriate clapping (taali/khali). | |
III. | All composition must be spoken with appropriate clapping. |
IV. | Variations of the following taals:
(i) khemtaTaal (ii) dipchandiTaal (iii) AddhaTaal (IV) RupakTaal (V) Teentaal |
V. | Knowledge of tuning Tabla. |
Folk Music
Practical
Paper: XVIII
Full Marks: 50
Pass Marks: 20
Mus.328 Lect. Hrs: 75
I. | Knowledge of folk songs learnt in previous years. |
II. | Knowledge and ability to perform following folk songs/tunes.
1. Sorathi lami taal 2. Sorathi chhoti taal 3. Maithili 4. Tharu (gaunachanchar) 5. Gaine 6. Chyabrung |
III. | Knowledge and ability to perform following charya and traditional songs/tunes.
1. Pancha Buddha 2. Kumari 3. Charitra 4. Deuda 5. Ghatu (Kathmandu Valley) 6. Palam |
IV. | Ability to recognize songs/tunes/taals indicated by examiner. |
V. | Ability to describe the songs in the practical course. |
Folk music
Theory
Paper: XIX
Full Marks: 50
Pass Marks: 17
Mus.329 Lect. Hrs: 75
I. | Formation or elements of folk music:
Laya and Bhaka, Bhasa, Saili, Kathya and Bhava |
II. | Economic, social, cultural, historical and ecological Importance of folk music. |
III. | Thoughts of various national and international scholars on folk music. |
IV. | Brief description of following folk songs including
Chyabrung, Palam, Sorathi (lami and chhoti taal), Tharu, Maithali, Gaine Geet, Deuda, Charitra, Ghatu ( Kathmandu valley), Pancha Buddha and Kumari |
V. | Brief introduction of some musical instruments uses in Nepali folk music:
Dhyangro, Dabdab, Taa, Gopal Dandi, Ponga, Painta, Dhaa, Koncha Khin, Piwancha, Mwali, Kangling (feri), Singa, Nyeku, |
VI. | Biographies of Nepalese folk musicologist and musicians:
a. Nhuchhe Man Dongol b. Tulasi Diwas c. Ali Miyan d. Laxman Lohani e. Koili Devi Mathema f. Hiradevi Waiba g. Gyanu Rana |
VII. | Importance of Natyeshwor in Kathmandu Valley. |
General Theory
Paper: XX
Full Marks: 100
Pass Marks: 35
Mus.330 Lect. Hrs: 150
a. Definitions and explanations of Musical terms in detail from previous years.
b. Brief description of Grama, Moorchhana, Chatuh-sarana as stated by Bharat and Sharangadev, Merits – demerits of Baggeyakar. |
|
Analysis on evolution of Raga System:
a. Jati Gayan b. Raga-Ragini System c. Raganga d. Das Bidha Raga Bargikaran |
|
Comments on musical texts Bharat’s NatyaSatra and Saranga Dev’s Sangeet Ratnakar. | |
a. Rasa and music
b. Aesthetic aspects of music c. Essential Component s of Stage performance |
|
Forty principles of Hindustani Music System. | |
Contribution of Shah/Rana Dynasty in the development of classical music in Nepal. | |
Importance of gharanas and brief description of major gharanas of Nepal and India;
a. Regmi Gharana b. Mishra Gharana c. Tandukar Gharana d. Ustad Ganesh Lal Gharana e. Gwaliyar Gharana f. Kirana Gharana |
|
Biographies and contributions of the following musicians;
a. Pandit Krishna Chandra Regmi, Pandit Shambhu Prasad Mishra, Sangeet Praveen Nararaj Dhakal, Pandit Bhavanath Sharma, Pandit Ravi Shankar, Pandit Bhimsen Joshi . b. Short biographies of some famous western composers (Mozart, Beethoven and Bach) |
BFA FOUR YEARS BACHELOR COURSE
CLASSICAL MUSIC
TABLA
THIRD YEAR | |||||
S.N | CODE | PAPER | SUBJECT | FULL MARKS | PASS MARKS |
17. | Tab.324 | XIV | Classical Tabla Practical | 100 | 40 |
18. | Tab.325 | XV | Voc/Inst.Accompaniment | 50 | 20 |
19. | Tab.326 | XVI | Applied Theory | 50 | 17 |
20. | Tab.voc/inst.327 | XVII | Optional Vocal/Instrument Practical | 100 | 40 |
21. | Tab.328 | XVIII | Folk Rhythmic Instrument Practical | 50 | 20 |
22. | Tab.329 | XIX | Folk Rhythmic Instrument Theory | 50 | 17 |
23. | Tab.330 | XX | General Theory | 100 | 35 |
Total | 500 |
Note: For the entire music subjects the concerning teacher will arrange lecture hour according to his/her teaching convenience.
Classical Tabla Practical
Paper: XIV
Full Marks: 100
Pass Marks: 40
Tab.324 Lect. Hrs: 150
Solo performance for 20 minutes in any two of the following taals;
I)Teentaal II) Ektaal III) Jhaptaal IV) Rupak Solo Performance must be included the following elements; Peshkar, 4 kaydas with 15 paltas, 2 gats, 2 Relas, 15 Tukdas and Chakradar tihai (shadharan, farmayshi and kamali) Other remaining taals must have the following elements; uthan, 3-3 kaydas with 10 paltas, 10 tukdas and 5 tihais |
|
II. | Musical Meter (Layakari): All the taals studied till now (Dadra, Khemta, Rupak, Tebra, Kaharwa, Basanta Taal, Rudra Taal, Jhaptaal, Sultaal, Ektaal, Chautal, Aadachautal, Dhamar, Teental, Tilwada, Jhumra) should be spoken in Single, 3/2 (Aad Laya), double, triple and quadruple with appropriate clapping (Taali & khali) of the respective Taals in one cycle. |
III. | All the compositions of the syllabus should be spoken with appropriate clapping
(Taali & Khali). |
IV. | Variations of the following Taals-
(i) Addha Taal (ii) Dipchandi (iii) Rupak (iv) Khemta (v) Jhaptaal Ability to play simple Laggi in Dadra and kaharwa taal. |
V. | Mathematical Knowledge of playing one specific compositions in following different taals:
(i) Ektaal (ii) Jhaptaal (iii) RupakTaal |
VI. | Tuning of instrument during to playing time. |
Vocal/Instrument Accompaniment
Paper: XV
Full Marks: 50
Pass Marks: 20
Mus.325 Lect. Hrs: 75
I. | -Ability to accompany ;
-Vocal in vilambit ektaal, tilwada and madhyalaya rupak and drut laya teentaal, ektaal – Instruments in vilambit teentaal, madhyalaya rupak and drutlaya in teentaal and ektaal |
II. | Ability to play solo while accompanying vocal/instrument with question answer pattern. |
III. | Ability to accompany light music song/tune. |
IV. | Ability to identify the rhythm cycles (taals) and starting place of the compositions/ bandish by listening to them as sung or play by the examiner. |
V. | Ability to play slow tempo in following taals:
(i) Jhumra (ii) Tilwada |
VI. | Ability to play kaharwa, Khemta, deepchandi and teentaal in fast tempo. |
Applied Theory
Paper: XVI
Full Marks: 50
Pass Marks: 17
Tab.326 Lect. Hrs: 75
I. | – Introduction to the following terms:
Dhrupad, dhamar, thumari, tappa, tarana, triwat, chaturang, bhajan, masitkhani and rajakhani gat, alap, jodalap, taan and jhala. – Introduction to following taals; Jhumra, Tilwada |
II. | Ability to write single, aadh laya (3/2), double, triple and quadruple of all the taals from the syllabus (1st, 2nd and 3rdyear) in Bhatkhande and Bishnu Digamber notation system. |
III. | Ability to write kayada, tukda, paran, mukhda, tihai in different taals from the syllabus. |
IV. | Different types of chakradartihai with their mathematical expalanations. |
V. | Ability to write jhumra, tilwada, rupak, sultaal and rudrataal in staff notation. |
VI. | Introduction to jhumra and tilwada taals. |
Vocal/Instrument (Optional)
Practical
Note: Students of major subject Tabla/Instrument/Dance should prepare 100 marks of practical paper in either vocal or instrument. Paper: XVII
Full Marks: 100
Pass Marks: 40
Tab. voc/inst.327 Lect. Hrs: 150
Brief knowledge of alankars in teentaal and one other taal. | |
Solo performance in any one of the following ragas:
(i) Raga Bhairabi (ii) Raga Jounpuri (iii) Raga Patadeep (iv) Raga Tilak kamod (v) Raga Durga Solo performance must include: For vocal- aalap, bada khyaal, chota khyaal with different taans and tihai and ending with short tarana. For Sitar- aalap, mashitkhani gat (vilambit), rajakhani gat (madhya laya) with different taans and tihai and ending with jhala. |
|
For remaining any two ragas:
For vocal: chota khyaal with different alap, taans and tihai. For Sitar: rajakhani gat with different alap, taans and tihai. |
|
For remaining two ragas:
For vocal/sitar: 2 bandish for each raga with only sthai and antara starting from different beats (5th beat, 7th beat, 9th beat, 12th beat). |
|
Listening Test: Ability to identify the ragas by listening to its notes;
(Including all ragas from 1st, 2nd and 3rdyear). |
|
Students of Vocal must have basic theoretical knowledge about instruments and students of instruments must have basic theoretical knowledge about Vocal. | |
Ability to tune Tanpura / Sitar. |
Folk Rhythmic Instrument
Practical
Paper: XVIII
Full Marks: 50
Pass Marks: 20
Tab.328 Lect. Hrs: 75
I. | Dyo lhaegu with other composition.
(I)Dhime (II) Paschima (III) Naykhin (IV) Dhaa |
II. | Basic knowledge of playing following instruments.
(I) Khaijadi (II) Damaha (III) Tyamko (IV) Dholaki (V) Chhusya (IV) Mujura |
III. | Ability to speak different compositions of different instruments with appropriate timing. |
IV. | Solo performance in any one instrument under the syllabus from unit 1. |
Folk Rhythmic Instrument
Theory
Paper: XIX
Full Marks: 50
Pass Marks: 17
Lect. Hrs: 75
Tab.329
I. | Introduction of traditional music group Bhajan khala:
(i) Introduction of Bhajan khala (ii) Dhime Bhajan khala (iii) Dhaa Bhajan khala (iv) Panchai baja samuha (v) Naumati baja samuha (vi) Dafa khala |
II. | Brief introduction of folk instruments:
Damaha,Tyamko, Dholaki, Khaijadi, Chhusya, Mujura, Arbaja, Sahanai, Karnal, Narasing, Dhyangro, Tainai (Kenpuin), Damokhin, Naykhin. |
III. | Natyeshwar culture in Kathmandu Valley:
(i) Concept and introduction of Natyeshwar. (ii) Importance of Natyeshwar. |
IV. | Life history of:
(i) Shova Tiwari(Lohani) (ii) Tulsi Divas (iii) Jhalak Man Gandharva. (iv) Prem Dev Giri. |
V. | Essay:
(i) Folk instruments and culture. (ii) Kulu the drum maker. |
VI. | Brief history of folk music. |
General Theory
Paper: XX
Full Marks: 100
Pass Marks: 35
Tab.330 Lect. Hrs: 150
I. | Definitions and descriptions on topics:
gat-kayada, rela-kayada, laggi, ladi, baat |
II. | 10 Elements of taals (tfnsf bz k|f0f ) |
III. | Similarities and differentiations on different taals of same rhythm cycle studied till now. |
IV. | Compositions that represents specific gharanas. |
V. | Essay on various topics like:
-Music and Literature -How has classical music changed from generation to generation -Effects of western music in classical music. -Future of Tabla |
VI. | Life history:
(i) Sangeet Siromani Yagya Raj Sharma (ii) Kamala Shrestha (iii) Pandit Chote Lal Mishra (iv) Pandit Ganesh Bahadur Bhandari (v) Pandit Satya Narayan Chaudhari (vi) Pandit Ram Prasad Roy (vii) Pandit Ram Hari Gurung |
VII. | Classification of Instruments. |
VIII. | Brief knowledge on ten thaats. |
BFA FOUR YEARS BACHELOR COURSE
CLASSICAL DANCE
THIRD YEAR | |||||
S.N | CODE | PAPER | SUBJECT | FULL MARKS | PASS MARKS |
16. | Dan.323 | XIII | Classical Dance Practical (Kathak or Bharatnatyam) | 100 | 40 |
17. | Dan.324 | XIV | Applied Theory | 50 | 17 |
18. | Dan.325 | XV | Charya Dance Practical | 100 | 40 |
19. | Dan.326 | XVI | Folk Dance Practical | 50 | 20 |
20. | Dan.voc/inst.327 | XVII | Optional Tabla / Vocal /Instrument, Practical | 100 | 40 |
21. | Dan.328 | XVIII | General Theory | 100 | 35 |
Total | 500 |
Note: For the entire Dance subjects the concerning teacher will arrange lecture hour according to his/her teaching convenience.
Kathak Dance
Practical
Paper: XIII
Full Marks: 100
Pass Marks: 40
Lect. Hrs: 150
Dan.323
Ability to perform in Teen Taal | Quantity | |
i | Tatkar in Saman , Dugun , Tigun and Chaugun Laya | |
ii | That with Kasak Masak | 3 |
iii | Salami toda | 1 |
iv | Paran judi Amad in chatusrajati | 1 |
v | Natwari Tukda | 2 |
vi | Chakradar Parimelu | 1 |
vii | Paran in Tisra Jati | 1 |
viii | Chakardar Paran | 1 |
ix | Gat Nikas | 2 |
x | Gat Bhava (Holi Gat) | 1 |
xi | Kavita Toda | 1 |
xii | Tarana | 1 |
xiii | Tihai | 4 |
xiv | Ability to perform Samyukta Hasta Mudra |
Ability to perform in Jhap Taal | Quantity | |
i | Tatkar in Saman , Dugun and Chaugun Laya | |
ii | Salami | 1 |
iii | Paran Judi Amad | 1 |
iv | Sadharan Tukda | 2 |
v | Chakaradar Tukda | 1 |
vi | Sadharan Paran | 1 |
vii | Chakaradar Paran | 1 |
viii | Tihai | 3 |
Ability to perform in Dhamar Taal | Quantity | |
i | Tatkar in Saman , Dugun and Chaugun Laya | |
ii | Salami | 1 |
iii | Amad | 1 |
iv | Sadharan Tukda | 2 |
v | Chakaradar Tukda | 1 |
vi | Sadharan Paran | 2 |
vii | Chakaradar Paran | 1 |
viii | Tihai | 3 |
i | Ability to speak (Padhanta) all the bols uses in Kathak Nritya | |
ii | Revision of all previous courses |
Bharatnatyam
Practical
Paper: XIII
Full Marks: 100
Pass Marks: 40
Dan.323 Lect. Hrs: 150
I. | Sabdam |
II. | Keertanam (Aananda Nartana Ganapati) |
III. | Natesh Kauvthoum |
IV. | Ability to perform Sapta Taal in Natuwangam |
V. | Exercise of Tatta Mitta Adavu in three kalas |
VI. | Taal Knowledge of seven Taal in five Jati with clapping |
VII. | Revision of previous course |
Applied Theory
Paper: XIV
Full Marks: 50
Pass Marks: 17
Lect. Hrs: 75
Dan.324
Kathak, Bharat Natyam, Charya and Folk Dances | |
I. | Brief description of following dances; their costumes and ornaments:
– Pancha Buddha, Bhairav Kali, Annapurna, Apsara nach, Basundhara – Shebru Nach, Khyali Nach, Holi Nach ( Newari), Kaura Nach, Dhimal Nach |
II. | Brief introduction of the new item/compositions learnt: i. sabdam ii. keertanam
iii. natesh kauvthoum. |
III. | Short Notes of the following terms:
1. Tigun 2. Chatusra jati 3. Amad Chatursa jati 4. Chakardar Parimelu 5. Natwari Tukda 6. Jati 7. Tishra Jati 8. Gat Nikas 9. Gat Bhava ( Holi Gat) 11. Tarana 12. Kasak Masak 13. Paran jodi amad |
IV. | – Notation of Thah, Dugun, Chaugun of Jhap Taal and Dhamar Taal and tigun of Teen Taal
– Introduction of Chau Taal, Palima Taal, Astra Taal and Matha Taal |
V. | Uses of Samyukta Hastamudra |
VI. | Ability to read & write notations of all practical exercises. |
Charya Dance
Practical
Paper: XV
Full Marks: 100
Pass Marks: 40
Lect. Hrs: 150
Dan.325
I. | Ability to perform Pancha Buddha Nritya |
II. | Ability to perform Bhirava Kali Nritya |
III. | Ability to perform Annapurna Nritya |
IV. | Understanding of Kartik Pyankha (Nach) with having ability to perform Apsara Nritya |
V. | Ability to perform Basundhara Nritya |
VI. | Ability to sing songs of all dances with showing tali and khali |
VII. | Ability to recite Chau Taal, Astra Taal, Matha Taal, and Jati Taal |
Folk Dance
Practical
Paper: XVI
Full Marks: 50
Pass Marks: 20
Lect. Hrs: 75
Dan.326
I. | Ability to perform following Folk Dances of Nepal :
A. Shebru Nach B. Khyali Nach C. Holi Nach ( Newari) D. Kaura Nach E. Dhimal Nach F. Jhijhiya Nach |
II. | Ability to recite various taals in hand in above mentioned Dances |
III. | Revision of Khyali and Jhyaure Taal |
Vocal/Instrument (Optional)
Note: Students of major subject Tabla/Instrument/Dance should prepare 100 marks of practical paper in either vocal or instrument. Paper: XVII
Full Marks: 100
Pass Marks: 40
Dan.voc/inst. 327 Lect. Hrs: 150
Brief knowledge of alankars in teentaal and one other taal. | |
Solo performance in any one of the following ragas:
(i) Raga Bhairabi (ii) Raga Jounpuri (iii) Raga Patadeep (iv) Raga Tilak kamod (v) Raga Durga Solo performance must include; For vocal- aalap, bada khyaal, chota khyaal with different taans and tihai and ending with short tarana. For Sitar- aalap, mashitkhani gat (vilambit), rajakhani gat (madhya laya) with different taans and tihai and ending with jhala. |
|
For remaining any two ragas;
For vocal: chota khyaal with different alap, taans and tihai. For Sitar: rajakhani gat with different alap, taans and tihai. |
|
For remaining two ragas;
For vocal/sitar: 2 bandish for each raga with only sthai and antara starting from different beats (5th beat, 7th beat, 9th beat, 12th beat). |
|
Listening Test:
Ability to identify the ragas by listening to its notes (Including all ragas from 1st, 2nd and 3rdyear). |
|
Students of Vocal must have basic theoretical knowledge about instruments and students of instruments must have basic theoretical knowledge about Vocal. | |
Ability to tune Tanpura / Sitar. |
Tabla (optional)
Paper: XVII
Full Marks: 100
Pass Mark: 40
Lect. Hrs: 150
Dan.voc/inst.327
I. | – Solo performance in any one of the following taals by including peshkar, 2 kyadas with 5 paltas, 1relawith5 paltas, 5 mukhdas, 5tukdas and fivetihais
– Other remaining taals by including 1Kayda with 3 Paltas, 3 Mukhdas, 3 Tukdas and 3 tihais. (i) Teentaal (ii) Rupaktaal (iii) Jhaptaal (iv) Ektaal |
II. | Musical meter (Layakari): All the taals studied so far should be spoken in single and double layawith appropriate clapping (taali/khali) in one cycle. |
Teentaal, ektaal and rupaktaals must be spoken in triple and quadruple with appropriate clapping (taali/khali). | |
III. | All composition must be spoken with appropriate clapping. |
IV. | Variations of the following taals:
(i) khemtaTaal (ii) dipchandiTaal (iii) AddhaTaal (IV) RupakTaal (V) Teentaal |
V. | Knowledge of tuning Tabla. |
General Theory
Paper: XVIII
Full Marks: 100
Pass Marks: 35
Lect. Hrs: 150 Dan. 328
I. | Short description of Mahayan and Hinayan in Baudha dharma |
II. | Hasta Mudra in Nepalese Classical Dance |
III. | Brief life sketch of ;
A. Kanchha Buddha Bajracharya B. Ratna Kaji Bajracharya C. Su.Bi.Shah D. Mrigendra Man Singh Pradhan E. Chaturbhuj Aashavadi F. Bala Saraswati G. Bindadin Maharaj H. Sitara Devi |
IV. | Introduction of Rangamanch and brief study of technical aspect of dance |
V. | Short commentaries on Bharat Natya Shastra and Abhinayadarpan. |
VI. | The relation between Dance and other art form. |
VII. | Knowledge of Nayak and Nayika Bhed, Giti Natak |
VIII. | Introduction of Odissi Nritya and Manipuri Nritya. |
IX. | Essay writing in different subjects of dance. |
X. | Introduction of following technical terminology;
– Urmai, Urap, Sulap, Tirap, Stuti, Ghumariya and Havbhava (Kathak nritya) – Lokadharmi, Natyadharmi, Vritti (Bharatnatyam nritya) – Taal ko Dasa Prana – Introduction of Patra Lakshan (characterization) |
XI. | Importance of Natyeswar and introduction of Tandav and Lasya Nritya. |
XII. | Development of Nepali Folk Dance |
XIII. | Brief introduction of musical instruments madal, dholak, damphu, khaijadi, Pashchima, Tinchhu, Damaru, Mridangam |
XIV. | Role of Devadasi in Bharatanatyam |
XV. | Brief study of following folk dances;Shebru Nach, Khyali Nach, Holi Nach ( Newari), Kaura Nach, Dhimal Nach ,
Jhijhiya Nach |