M.MUS.: Tabla

Part I

Practical & Viva

1. Practice and Knowledge of previous years’ courses are essential.
2. Complete Tabla Solo in 9 and 11 beats with following compositions( One in each): Uthan,Peshkar (with four Paltas and Tihai), Paran, Gat, Kayada with four Paltas and Tihai), Tukuda,Mukhda,Tihais, Rela ( with four Paltas)
3. Practice and Knowledge of following compositions in Teental( One in each): Lahori Gat, Panjabi (Tidhari), Gat, Faramaishi Gat
4. Advanced compositions of Delhi, Lucknow and Banaras Gharana
5. Practice and Knowledge of following Talas with Dugun and Chougun – Kumbha, Vishnu, Ganesh.
6. Ability to present a decorative Bharava in following Talas which is used for accompaniment in Khayal Gayaki – Ektal, Teental.
7. Ability to present a decorative Bharava in following Talas used for accompaniment in Thumari – Jat Tal, Addha.
8. Solo Performance with different types of Laggi and Ladi in following Talas-Keharwa, Dadra.
9. Practice and Knowledge of accompaniment for Dance with advanced compositions.
10. Practice and Knowledge of accompaniment in following Semi Classical Styles like: Kajri, Dadra.
11. Recitation (Padant) in all kind of above matter with Tali and Khali.
12. Practice and Knowledge of presenting different types of Layakaries with Tali and Khali – Poungun, Dedhgun, Tigun
M.Mus. Previous (Tabla)

For Stage Performance
1. Solo performance with advanced and additional matters in any chosen Tala( about 30 mins)
2. Solo performance in a Tala having 9 or 11 beats for about 10 Mins
3. Solo demonstration (Performance) of different kinds of Laggi and Ladi in any one of the following Tala- Dadra, Keharawa, Deepchandi.

M.Mus Previous Year (Tabla)
Syllabus for Theory Paper – I
1. Writing notation of all type of Composition of present year and previous years’ practical course.
2. Ability of composing Tukuda, Tihai and Paran in the following:
a) Teental, b) Roopak Tala, c) Jhaptal.
3. Ability of composing the Chakkardar in following Talas:
a) Teental, b) Rupak Tal, c) Jhaptal, d) Ada Chartal, e) Pancham sawari.
4. Ability of composing the Nauhakka Tihai in following Talas:
a) Teental, b) Rupak Tal, c) Jhaptal, d) Ada Chartal, e) Pancham sawari.
5. Writing notation of Aadi, Kuadi and Biadi laya in the following Talas:
a) Teental, b) Rupak Tala, c) Jhaptal
6. Ability of composing new Tal, according to ‘Tala Rachana ke Siddhant’.
7. Writing notation of present and previous years course Tala in Dugun, Tigun and Chougun.
8. Writing notation of following composition in Teental: a) Lahori Gat b) Punjabi Gat c) Farmaysi Gat
9. Life sketch and contribution to music of the following eminent artist:
a) Pt. Bhairav Sahai, b) Ustad Allah Rakha Khan, c) Ustad Inam Ali Khan d) Shri.Purushottam Das Pakhawaji, e) Pt. Khaprumama Parvatkar.
M.Mus Previous Year (Tabla)

Syllabus for Theory Paper – II

Unit –I :
1. Basic principles of Aesthetics.
2. Study of aesthetical element with special reference to Tabla:
i) Nikas
ii) Mathematical Aspects
iii) Sam
iv) Padhant
v) Speed
vi) Khali, Bhari
Unit –II :
3. Emotional expression through Music
4. Analysis of artistic presentation of Tabla
Unit–III :
5. Definition of Rasa and its varieties according to Bharata and Abhinava Gupta
6. Ancient principles regarding relationship of music with Rasas ( Swar – Rasa, Laya – rasa and Chhand – rasa)
7. Formation of Rasa in Tabla Playing
Unit–IV :
8. The beauty of Vistar (Expandable Compositions)
9. Creativity in Tabla Playing.
10. Brief study of the following: a) Kaku, b) Kutap, c) Matra Prastar.
Unit–V:
11. Brief study of Margi & Deshi Tal
12. Definition of Chhanda, its various forms/kinds and its utility in Tabla Vadan
13. Study of Musical sound.
Paper -3 : Essay Writing -
Essays will be related to general and critical topics related to music. Essays may be written in Hind/English.
M.Mus Final Year (Tabla)

Syllabus for Practical & Viva

1. Practice and Knowledge of previous years’ courses are essential.
2. Complete Tabla – solo in Tal having 13 and 17 beats with following composition (one in each): Uthan, Peshkar (With four Paltas and Tihai), Paran, Gat, Kayada (With four paltas), Tukada, Mukhada, Tihais, Rela (With four paltas).
3. Practice and Knowledge of following compositions in Teental – (one in each)- Udan ki Fard, Charbag Gat, Darjewali Gat.
4. Advanced Compositions of Ajarada, Farrukhabad & Punjab.
5. Practice and Knowledge of following Talas with Dugun and Chougun – Mayur, Shikhar, Basant, Astamangal, Badi Sawari, Choti Sawari.
6. Ability to present a decorative Bharava in following Talas which is used for accompaniment in Khayal Gayaki – Tilwada, Jhumara
7. Ability to present a decorative Bharava in following Talas used for accompaniment in Thumari – Deepchandi, Punjabi
8. Solo Performance with different types of Laggi and Ladi in following Talas-Kaharwa, Dadra.
9. Practice and Knowledge of accompaniment for Dance with advanced compositions.
10. Practice and Knowledge of accompaniment in following Semi Classical Styles like: Tappa, Bhajan and Ghazal.
11. Recitation (Padant) in all kind of above matter with Tali and Khali.
12. Practice and Knowledge of presenting different types of layakaries with Tali and Khali – Savagun, Paounedogun.

M.Mus Final Year (Tabla)

For Stage Performance
1. Solo performance with advanced and additional matter in any chosen Tala ( about 30 mins)
2. Solo performance in Tala having 13 or 17 beats for about 10 Mins
3. Solo demonstration (Performance) of different kinds of Laggi and Ladi in any one of the following Tala- Dadra, Keharawa, Deepchandi.

M.Mus Final Year (Tabla)

Syllabus for Theory Paper – I
1. Writing notation of all type of Composition of present year and previous years’ practical course.
2. Ability of composing Tukuda, Tihai and Paran in the following:
a) Ada Chartal, b) Ektal, c) Pancham sawari
3. Writing Notation of Aadi, Kuadi and Biadi Laya in following Talas:
a) Ada Chartal, b) Ektal, c) Pancham sawari.
4. Ability of composing Farmaishi and Kamali Chhakradar in following Talas:
a) Teental, b) Rupak Tal, c) Jhaptal, d) Ada Chartal, e) Ektal f) Pancham sawari.
5. Ability of composing Tihai from any matra of Teental
6. Writing notation of present and previous years course Tala in Dugun, Tigun and Chougun.
7. Brief Life History and contribution to music of the following eminent artist:
a) Ustad Karamatulla Khan, b) Ustad Shekh Daud, c) Pt. Baldev Sahai, d) Pt. Molvi Ram e) Pt. Samta Prasad
M.Mus Final Year (Tabla)

Syllabus for Theory Paper – II

Unit–I
1. Detailed study of “Tal ke Das Pran”
2. Classification of Indian Percussion Instruments.
3. Comparative study of Tabla Solo in different Gharanas.
Unit–II
4. Comparative study of Traditional and Modern aspects in Tabla accompaniment
5. Brief history of Indian Percussion Instruments (Ancient – Modern) - Mridang, Pakhawaj, Durdur, Patah,Damaru, Dundubhi, Bheri, Jhallari, Mardal, Padaw, Trivalli, Dholak, Nal, Tasha,Hudukka, Nagada, Daph.
6. Importance of Indian Rhymical Instruments in Indian Music.
Unit–III
7. Comparative study of different views of the Origin of Tabla
8. Necessity of equal beats of Tals
9. Brief history of the following Western Percussion Instruments: a) Kettle Drum b) Tanner Drum c) Bass Drum d) Snaire Drum
Unit–IV :
10. Brief introduction of popular Ghana Vadya – Ghanta, Ghadiyal, Kartal, Jhanjh , Manjira, Ghunghuru, Chimta.
11. Concept of Tal Vadya Kachahari
Unit–V :
12. Concept of “Guru Shishya Parampara” in Indian Classical Music.
13. Detailed study of the following :
a) Nagma (Lahara), b) Upaj, c) Padhant in Tabla Solo
Paper -3 : Essay Writing
Essays will be related to general and critical topics related to music. Essays may be written in Hind/English.