B. Mus: Kathak

Part I

Practical
I. Study of following talas in detail: 1. Trital 2. Jhaptal
a) Tatkar and Paltas, b) Amad – 5, c) Toda Tukada-5, d) Gat Nikas–5, e) Tihai–5, f) That, g) Kavitta – 2, h) Abhinaya on bhajan, i) Farmaishi
II. Padhanta of all the above items
III. Talas for non detailed study:
a) Ashtamangala, b) Rupaka, c) Dadra (Theka and Tatkar)
IV. Subsidiary Tabla / Vocal Music/ Bharat Natyam

B. Mus Part I

Theory
Paper I
I. Brief study of Origin, history and development:
a) Bharatnatyam, b) Kathak, c) Gharanas: i) Lucknow, ii) Jaipur, iii) Pandanallur, iv) Tanjore
II. Compositional pattern and brief study of the following:
a) Compositional pattern of Tarana, Bhajan, Thumari and Ghazal, b) Brief study of main accompanying instruments:
Tabla, Harmonium, Sarangi and Pakhawaj.
III. Contribution of important personalities and their life sketches:
a) Madam Menaka, b) Mohan Rao Kalyanpurkar, c) Vikram Singh, d) Kartik Kalyan.
IV. Write in notation:
a) Trital, Jhaptal, b) All the tals learnt in practical course.
V. Short notes: Tatkar, Tukada, Palta, Gat, Gat – Nikas, Paran, Tihai, Theka, Layakari, Hela, Lag – dant, Bhramari, Kasak – masak, Kataksha

B. Mus Part I
Common for Kathak and BharatNatyam

Theory
Paper II
I. Study of Natyashastra:
a) Origin of Natya (Chapter I), b) Prekshagriha (Chapter II), c) Poorva Ranga (Chapter III), II. History of Indian Dance:
a) Stone age, b) Indus Valley Civilization, c) Vedic period, III. Dances of Shiva, Vishnu, Krishna:
a) Stories of different Tandavas, b) Concept of Nataraj, c) Vishnu as Mohini, d) Krishna the dancer with special reference to Kaliya mardan, e) Concept of Natavar
IV. Shlokas from Abhinaya Darpan
a) Asamyuta hastas and their usages from Patak to Alapadma, b) Natya Krama
V.
a) Arrangement of stage for a dance performance and improvisation of stage properties for dance dramas, b) Short notes: i) Sangeet, ii) Nritta, iii) Nritya, iv) Natya, v) Anga, vi) Pratyanga, vii) Upanga
B. Mus Part II
Kathak Practical
I. Study of following talas in detail: 1. Trital, 2. Dhamar
a) Tatkar and Paltas, b) Amad – 3, c) Chakkardar Tukada – 3, d) Chakkardar Paran – 3, e) Kavitta – 2, f) Tihai – 6, g) Gat Bhava – 3, h) Padhant of all above items (Holi, Makhan chori, Chira Haran)
II. Taals for non detailed study:
a) Ekatala, b) Matta tala, c) Rudra tala (Theka and Tatkar)
III. Bhajan and Stuti
IV. Subsidiary Tabla / Vocal Music/ Bharat Natyam.
V. All the above items learnt in previous course.

B. Mus Part II

Theory
Paper I
I. Bhakti movement and its impact on Kathak – with special reference to Surdasa, Tulsidas & Mirabai.
II. a) Contribution in the revival of Kathak:
i) Kalka Prasad, Bindadin Maharaj, ii) Achchan Maharaj, iii) Lachchu Maharaj, iv) Sitara Devi, v) Madam Menaka
b) Compositional pattern: Dhrupad, Khayal, Gazal
III. Contents of: a) Abhinaya Darpan, b) Natyashastra

IV. Brief knowledge of Tala North Indian and South Indian
a) Teen tal, Jhaptal, Roopak, Ektal, b) Adi, Jhampa, Chapu, Rupakam, V. Short notes: Kavitta, That, Rangamanch tukda, Parmelu, Mudra, Chanda
B. Mus Part II

Common for Kathak and BharatNatyam

Theory
Paper II
I. Study of Nava Rasa:
a) Rasas according to VI chapter of Natya Shastra, b) Bhava, Vibhava, Anubhava and Sanchari Bhava
II. Following shlokas from Abhinaya Darpan
a) Usages of Asamyuta hastas from Chatura to Trishul, b) Usages of Samyuta hastas from Anjali to Bherunda
III. Reference to dance in literature:
a) Ramayana, b) Mahabharat, c) Dasham Skandha of Shrimat Bhagvat Purana
IV. a) Folk dances of North and Eastern India: Bhangara, Giddha, Bihu, Santhal, Dhamal (Hariyana), Ghoomar (Rajasthan), Ras, Karma, b) According to Abhinaya Darpan: Patra Lakshana, Kinkini Lakshana, Good and bad qualities of Patra
V. a) Contribution of the following in the field of Nritya Natika: Rabindra Nath Tagore, Rukmini Devi Arundale, Madam Menaka, Uday Shankar, b)Classical dance of India: Mohiniattam and Kuchipudi

B. Mus Part III

Practical
I. Study of following talas in detail: 1. Trital, 2. Chautal
a) Tatkar and Paltas, b) Ganesh Paran –1, c) Amad – 2, d) Paran – 3, e) Chakkardar Paran – 3, f) Parmelu – 2, g) Gat Bhava – 2 (Ched-chad, Panghat Lila), h) That – 2, i) Layakari
II. Padhant of all above items
III. Talas for non detailed study:
a) Sooltal, b) Kaharwa, c) Deepchandi (Theka and Tatkar)
IV. Thumari
V. Subsidiary Tabla / Vocal Music/ Bharat Natyam.

B. Mus Part III

Theory Paper I

I. Transformation and continuity of traditions:
a) Kathak in Darbar (Lucknow, Jaipur, Raigarh), b) After independence Institutions, patronage, performing techniques, Concert platform in the 20th century AD, c) Aspects of Kathak : Classical & Applied.
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II. a) Write in notationa: all the items learnt in practical course, b) Compositional patterns: Prabandha & Dhrupad.
III. Life sketches of:
a) Sunder Prasad, b) Birju Maharaj, c) Gopi Krishna
IV. Traditional Folklore Theatre:
a) Yakshagana, b) Bhavai, c) Tamasha, d) Nautanki
V. a) Tala Dasha Pranas in detail, b) Short notes: Hava – Bhava, Farmaishi Tukda, Lasya, Mudra.
B. Mus Part III
Common for Kathak and BharatNatyam

Theory
Paper II
I. Brief study of Abhinaya:
a) Angika b) Vachika c) Aharya d) Satvika
II. Study of Ballet : Origin, history and development
a) Italian Ballet, b) Ballet of France, c) Russian Ballet,
III. Detailed study of: a) Nayak Bheda b) Nayika Bheda
IV. a) Study of Folk dances of western and southern India:
Garba (Dandiya, Manjeera, Garbi), Teraha Tali, Ghoomar, Kalbeliya Nritya, Kummi, Kolattam.
b) Study of Shiro, Drishti, Greeva Bheda and their usages from Abhinaya Darpan
V. a) Classical dances of India:
i) Oddissi, ii) Kathakali, iii) Manipuri
b) Short notes: i) Pushpanjali, ii) Rangadhidevata Stuti