B.Mus.: Tabla

Banaras Hindu University
In Varanasi

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Important information

  • Bachelor
  • Varanasi
  • Duration:
    3 Years
Description

Important information
Venues

Where and when

Starts Location
On request
Varanasi
Banaras Hindu University, Varanasi, UP, 221005, Uttar Pradesh, India
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Course programme

First Year

Practical & Viva
1. Practice and knowledge of previous year courses is essential.
2. Complete Tabla Solo in Tala – Jhaptal and Roopak with following compositions: Uthan, Peshkar (with four Paltas), Kayada (with four Paltas), Baant (with four Paltas), Gat Kayada (with four Paltas), Gat, Paran, Tukda, Mukhda, Tihai.
3. Practice and knowledge of following compositions in Teental – (one in each) – Gat, Fard, Rou, Tipalli, Choupalli, Ekhatti Paran,Peskara,Nouhakka.
4. Practice and knowledge of basic compositions of Delhi and Banaras Gharana.
5. Practice and knowledge of different kinds of compositions in Tishra Jati.
6. Practice and knowledge of following Talas with Dugun, Tigun and Chaugun – Sultal, Dhamar.
7. Practice and knowledge of accompaniment in Vilambit Ektal.
8. Practice and knowledge of accompaniment in Vilambit Jat Tal for Thumri.
9. Practice and knowledge of accompaniment for Dhrupad in Choutal.
10. Practice and knowledge of Laggi and Ladi in Tala Kaherawa.
11. Practice and knowledge of accompaniment for Kathak with following Compositions (one in each): Simple Toda, simple Amad, simple Thats
12. Recitation (padhant) in all kinds of above matter with Tali and Khali

Theory
Paper-I
1. Definition of application of the following with examples in notation system : Fard, Rou, Tipalli, Chaupalli, Gat, Ekhatti Paran, Laggi, Ladi, Laya, Layakari, Damdar Tihai, Bedamdar Tihai, Peshkar and Stuti Paran
2. Study and writing notation of following Talas in Derhgun and Paungun in Layakari: a) Jhaptal b) Roopak c) Dadra d) Kaharwa e) Teental f) Ektal
3. Study and writing in notation of following Talas with Dugun, Tigun, Chaugun Layakari : a) Tilwada b) Dhamar c) Sultal d) Khemta d) Farodast
4. Writing notation of Banaras and Delhi’s compostions
5. Improvisation of Tihai, Tukda in Talas of present and previous years’, course
6. Writing notation of Laggi and Ladi in Tal Kaharwa
7. Writing notation of composition of Dance in present year’s practical course
8. Detailed study of Kayada, Peshkar with different examples

Paper II
Unit I
Brief History of Tabla
II Method of Tuning Tabla
Unit II:
1. Playing methods of special Boles on Tabla
2. Principles of Tabla Solo
Unit III :
1. Study of North Indian Tala System (Bhatkhande and Paluskar)
2. Principles of composing Tihai
Unit IV :
1. The principles of Tabla accompaniment
2. The history of percussion Instruments
Unit V :
1. Brief Knowledge of “Ten Prans of Tal”
2. Life sketch and contribution to music of the following artists:
a) Pt. Ram Sahay, b) Ustad Nathhu Khan, c) Ustad Haji Vilayat Khan, d) Ustad. Habibuddin Khan, e) Ustad Wazid Hussain Khalifa, f) Ustad Kadir Baksh, g) Pt. Kudau Singh

Second Year

Practice and knowledge of previous years courses is essential
2. Complete Tabla Solo in Tala – Ektal and Ada Chartal with following compositions : Uthan, Peshkar (with four Paltas), Kayada(with four Paltas), Rela (with four Paltas), Gat, Paran, Tukda, Mukhda, Bant (with four Paltas), Gat Kayada (with four Paltas), Tihai (one in each)
3. Practice and knowledge of following compositions in Teental – (One in each) – Stuti Paran, different kinds of Gat, Farmaishee, Kamali.
4. Practice and knowledge of different kinds of compositions in Mishra Jati
5. Practice and knowledge of basic compositions of Ajrada and Lucknow Gharana
6. Practice and knowledge of following Talas with Dugun , Tigun and Chaugun – Pancham Sawari, Deepchandi, Jhumara, Laxmi, Gajajhampa
7. Practice and knowledge of accompaniment in Vilambit Tilwada for Khyal Gayaki.
8. Practice and knowledge of accompaniment in Vilambit Addha Tal for Thumri.
9. Practice and knowledge of accompaniment for Dhrupad in Tala Teevra.
10. Practice and knowledge of Laggi and Ladi in Tala Dadra
11. Practice and knowledge of accompaniment for Dance with following Compositions : Stuti Paran, Chakkardar Toda, Amad, Thats
12. Recitation (Padhant) in all kinds of above matter with Tali and Khali

Theory
Paper - I
1. Definition of the application of the following with examples:
a) Stuti Paran, b) Different Types of Gats, c) Farmayasi, d)Kamali, e) Vagen, f) Daba, g) Gass, h) Gat (Five Prakas), i) Yati (Five Prakas), j) Graha (Five Prakas)
2. Study and write in notation the following Talas in Layakari : 5/4; 7/4
a) Teental b) Roopak c) Jhaptal d) Ektal e) Chartal f) Sultal g) Dadra h) Kaharwa
3. Study and writing in notation the following Talas with Dugun, Tigun, Chaugun Layakaries: a) Pancham Sawari b) Deepchandi c) Jhumra d) Laxmi e) Gajajhampa
4. Writing notation of Ajarada and Lucknow compositions
5. Improvisation of Tihai, Mukhra and Tukda in present and previous years’ course
6. Writing in notation of Laggi and Ladi in Tala Dadra
7. Writing in notation with following Dance compositions : a) Stuti Paran, b) Chakkardar Toda c) Amad
8. Detailed study of Rela, Bant with different examples
( 40 )
B. Mus IInd Year (Tabla)
Syllabus for Theory
Paper-II
Unit I
1. Merits and Demerits of Tabla Players
2. Study of Karnatak Tala System
Unit II
3. Principles of composing Chakradar
4. Classification of Musical Instruments
Unit III
5. Principles of Tala Rachana
6. The Study of the following Percussion Instruments: a) Pakhawaj, b) Dholak, c) Naal
Unit IV
7. Brief History and tradition of different Gharanas
Unit V
8. Life sketch and contribution in the field of music of the following artists:
a) Pt. Bhairav Prasad, b) Ustad Abid Hussain Khan, c) Ustad. Gami Khan, d) Ustad Masid Khan, e) Pt. Biru Mishra , f) Ustad. Munir Khan, g) Pt. Nana Panse

Third Year

Practical & Viva
1. Practice and knowledge of previous years courses is essential
2. Complete Tabla Solo in Tala – Pancham Sawari with following compositions (one in each): Uthan, Peshkar (with four Paltas), Kayada (with four Paltas), Rela (with four Paltas), Bant (with four Paltas), Gat, Gat Kayada(with four Paltas), Paran, Tukda, Mukhda, Tihai
3. Practice and knowledge of following compositions in Teental – (One in each)–Angushthana, Chalan, Gat Paran, different types of Paran
4. Practice and knowledge of basic compositions of Farukhabad and Punjab Gharana
5. Practice and knowledge of different kinds of compositions in Khanda Jati
6. Practice and knowledge of following Talas with Dugun , Tigun and Chaugun – Rudra, Matta and Shesh
7. Practice and knowledge of accompaniment in vilambit Jhumara
8. Practice and knowledge of accompaniment in Vilambit Deepchandi for Thumri
9. Practice and knowledge of accompaniment for Dhrupad in Sultal and Dhamar
10. Practice and knowledge of Laggi and Ladi in Tala Dadra
11. Practice and knowledge of accompaniment for Dance with following Compositions (one in each): Parmelu, Tatkar, Gatnikas
12. Recitation (padhant) in all kinds of above matter with Tali and Khali
( 41 )
B. Mus IIIrd Year (Tabla)
Syllabus for Theory
Paper - I
1. Definition of the application of the following with examples:
a) Angushtan, b) Chalan, c) Gat Paran, d) Different Types of Paran, e) Lom-Vilom, f) Upaj, g) Padhanta h) Prastaar Vidhi
2. Study and write in notation the following Tals in Layakari : 9/4
a) Teental, b) Jhaptal, c) Roopak , d) Ektal, e) Addha, f) Chartal, g) Dhamar, h) Sultal i) Teevra, j) Dadra, k) Khemta, l) Ada Chartal
3. Study and writing in notation the following Talas with Dugun, Tigun, Chaugun Layakaries:
a) Rudra, b) Matta, c) Tappa, d) Shesh Tal
3. Writing in notation of the compositions of Farrukhabad and Punjab Gharanas
4. Improvisation of Tihai, Mukhra and Tukda in Talas of present and previous years’ course
5. Writing in notation of Laggi and Ladi in Tala Deepchandi
6. Writing in notation of compositions of Dance in present year’s course (one in each):
a) Stuti Paran, b) Chakkardar Toda, c) Amad
9. Detailed study of Gat Kayadas, Uthan, Theka ke Chalan with different examples
B. Mus IIIrd Year (Tabla)
Syllabus for Theory
Paper - II
Unit I
1. The similarities and differences between the playing style and techniques of Pakhawaj and Tabla
2. Comparative study of Khula and Bandh Baj
Unit II
3. Comparative study of Hindustani Tala System and Karnatak Tala System
4. Distinguish between Baj and Gharana
Unit III
5. Status of Tabla in India percussion Instruments
6. Importance of Laya and Tala in Indian Classical Music
Unit IV
7. Methods of Accompaniment of Tabla in semi Classical music
8. Western Staff Notation System
9. Principles of composing Farmayashi and Kamali Chakkardar
Unit V
10. Concept of Upaj
11. Life sketch and contribution in the field of music of the following artists:
a) Pt. Anokhe Lal Mishra, b) Pt. Kanthe Maharaj, c) Ustad. Ahmad Jan Thirakwa, d) Ustad. Amir Hussain Khan, e) Ustad. Zahangir Khan, f) Pt. Parvat Singh


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