Implementation of Choice Based Credit System
Department of Music (Vocal & Instrumental)
Faculty of Performing Arts
The M. S. University of Baroda
(Appendix – A)
A general framework for Bachelor’s Program shall as follows.
Semester – Wise credits Total Credits
1 2 3 4 5 6
Bachelor’s program
24
Level
The credit framework for the Core course, Elective course and the foundation course
for a semester shall be as follows.
Course
Core Compulsory Theory I Principles of Music I
Core Compulsory Theory II Study of Ragas II
Core Compulsory Practical I Intensive Practical study of
Ragas I
Core Compulsory Practical II Practical Tradition and
composition of Ragas II
Elective Open General History of Music II
(Vocal/Sitar/Violin)/Tabla/Dance/Drama)
Foundation Compulsory English I (SEM I, III, V)
Foundation Elective Cultural Heritage of India /Applied
Physics / Psychology/Indian Aesthetics/Western Aesthetics I
(SEM II, IV, VI)
Credit Lecture % Marks
Practical
03
03
06
03 + 00
03 + 00
03 + 06
30%+70%
30%+70%
30%+70%
06
03 + 06
30%+70%
04
04 + 00
30%+70%
02
02 + 00
30%+70%
30%+70%
02
02 + 00
Department of Music (Vocal & Instrumental)
Academic
Faculty of Performing Arts
Year 2012-13
The Maharaja Sayajirao University of Baroda
Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme
Year
1
Core Compulsory-1 : Principle of Music II
Credit 3
Vocal / Sitar / Violin
Semester 2
Hours 45
To study Rag samay
OBJECTIVES
To study Melkartas & Thata System
To study Tal System
Unit-1
Raga Samaya
Poorvang, Uttarang, Poorvangvadi,Uttarangvadi, Sandhiprakash Raga,
Seasonal Raga.Varna Sthayi, Arohi, Avarohi, Sanchari, Alankars, Paltas,
Kana Swara, Sparsh Swara Meend Vilom, Avilom, Ghaseet, Soot, Khatka,
Murki, Krintan, Zamzama, Andolan, Gamak.
12 hours
Unit-2
72 Melakartas (Thata) of Pt. Vyankatmakhi.
11 hours
Unit-3
32 Thatas of Hindustani Music. Corresponding names of the 12 notes &
10 Thatas in Hindustani and Karanatic systems.
11 hours
Unit-4
Tala, Matra, Khand, Sama, Khali, Bhari, Bol, Theka. Laya, Vilambit, Madhya,
Drut, Thaya, Dugun,Chaugun.
11 hours
Assessment:
1.Continuous Assessment
 One class test(Theory)
 One written Assessment(Minor)
2.Written Examination
REFERENCES
1) Pt.Girishchandra Shrivastav Raga Parichaya
2) Pt. Bhatkhande Sangit Shashtra
:30%
:70%
Department of Music (Vocal & Instrumental)
Academic
Faculty of Performing Arts
Year 2012-13
The Maharaja Sayajirao University of Baroda
Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme
Year
1
Credit 3
Core Compulsory-2: Study of Ragas II
Semester 2
Hours 45
Vocal / Sitar / Violin
To enhance knowledge of Ragas under practical study .
OBJECTIVES
To introduce comparative study of Ragas.
To Knowledge of teaching method ( Guru shishya parampara and modern method)
Unit-1
Writing notation of Cheezas (Gat for inst. Music) and Talas as Prescribed.
Detailed theoretical study of the Ragas prescribed for the practical.
Detailed knowledge of the Talas under practical study with Dugun and
Chaugun. Study of Talas Dadra, Keharwa, Trital, Ektal, Jhaptal, Chautal,
Roopak.
Comparative study of teaching method (Guru shishya parampara and
modern method):
Introduction of Guru shishya Parampara teaching method.
Introduction of modern style of teaching method.
Comparative study of both teaching method.
Unit-2
Comparative study of the Rags, Sam-Akrutic and Sam-Prakrutic Ragas
studied.
Comparative study :
Basic Introduction of both instruments. Compare of Technical aspects of
instruments. Comparative study of Compositions of instruments.
Unit-3
Swaravistar, Alap, Tana and its different varieties, in the Ragas of the
practical study
Notation of alap and Bolalap Composition:
Introduction of Raga with reference to Alap.
Unit-4
Writing notation of Cheezas (Gats for inst. Music) and Talas as prescribed
Detail study of “Riyaz”: Technical terms of Riyaz. Ancient method of riyaz
system. Modern riyaz system with electronic equipments. Principles of
Riyaz. Comparative study of both style of Riyaz system. Pattern of Riyaz in
each Gharana.
Assessment:
1.Continuous Assessment
:30%
 One class test(Theory)
 One written Assessment(Mionor)
2.Written Examination
:70%
REFERENCES
1) Pt.Girishchandra Shrivastav Raga Parichaya
2) Pt. Bhatkhande Sangit Shashtra
11 hours
11 hours
11 hours
12 hours
Department of Music (Vocal & Instrumental)
Academic
Faculty of Performing Arts
Year 2012-13
The Maharaja Sayajirao University of Baroda
Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme
Year
1
Core Elective-1 : Intensive Practical Study of Vocal II / Sitar II /
Credit 6
Violin II
Semester 2
Hours 150
(Practical-3 credit & Theory-3 credit=3credit)
To introduce Theoretical aspects of Ragas and bandishes.
OBJECTIVES
Provide knowledge of introductory solo playing & singing.
Provide knowledge of Padhant and basic concepts of Riyaz.
Unit-1
Unit-2
Unit-3
Unit-4
1)
2)
3)
Detailed & intensive study of the following Rags
Bihag.
with Alap, Swara – vistar Sargam, Tana, One Bada Khyal or Maseetkhani
Gat, One Chhota Khyal or Razakhani Gat.
Practical knowledge in reference to theoretical aspects:
Theoretical aspects of the Raga. Theoretical aspects in solo playing.
Theoretical aspects of different bandishes.
Theoretical aspects of playing style of different Gharana.
Theoritical Techniques of Riyaz.
(Note: All theoretical aspects of this practical paper included in first unit)
Detailed & intensive study of the following Rags with Alap, Swara – vistar
Sargam, Tana, One Bada Khyal or Maseetkhani Gat, One Chhota Khyal or
Razakhani Gat.
Malkauns.
Elementary knowledge of solo performance in Roopak;
Vilambeet laya bandishes: with paltas ended with Tihai.
Madhya laya bandishes: paltas ended with tihai. Drut laya bandishes:
Detailed and intensive study of the following ragas with Tana, One more
Bada Khyal or Massethhani Gat, one more chhota Khyal or Razakhani Gat.
Bihag.
Detailed and intensive study of the following ragas with Tana, One more
Bada Khyal or Massethhani Gat, one more chhota Khyal or Razakhani Gat.
Malkauns.
Assessment:
1.Continuous Assessment
:30%
 One class test(Theory)
 One written Assessment(Mionor)
2.Written Examination
:70%
REFERENCES
Pt.Girishchandra Shrivastav Raga Parichaya
Pt. Bhatkhande Sangit Shashtra
Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan
30 hours
40 hours
40 hours
40 hours
Department of Music (Vocal & Instrumental)
Academic
Faculty of Performing Arts
Year 2012-13
The Maharaja Sayajirao University of Baroda
Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme
Year
1
Core Elective-2 : Practical Tradition and Composition of Ragas
Credit 6
Vocal II / Sitar II / Violin II
Semester 2
Hours 150
(Practical-3 credit & Theory-3 credit=3credit)
To introduce Theoretical aspects of tradition and bandishes.
OBJECTIVES
Provide knowledge of introductory solo playing.
Provide knowledge of Padhant , Nikas and basic concepts of Riyaz.
Unit-1
One Bada Khyal or Maseetkhani Gat and one Chhota khyal or Razakhani
Gat with Alap and Tana in –
i) Alhaiya Bilawal
ii) Bhimpalasi
Practical knowledge in reference to theoretical aspects:
Theoretical aspects of Raga. Theoretical aspects in solo playing & singing.
Theoretical aspects of Padhant. Theoretical aspects of different bandishes.
Theoretical aspects of playing style of different Gharana. Theoritical
Techniques of Riyaz.
(Note: All theoretical aspects of this practical paper included in first unit)
Unit-2
Unit II One more Chhota Khyal or Razakhani Gat, with Alap and Tana in
i) Alhaiya Bilawal
ii) Bhimpalasi
Elementary knowledge of solo performance
Vilambeet laya bandishes: with paltas ended with Tihai.
Madhya laya bandishes: with paltas ended with tihai. Drut laya bandishes:
Unit-3
One Chhota Khyal or Razakhani Gat
i) Bageshri
ii) Jaunpuri
iii) Bindravani Sarang
Introduction of bandishes of above Ragas.
Unit-4
One Laxangeet and one Sargam geet in Bhairav.
Two additional Razakhani gats, set to the Talas other than Trital, for
students of Inst. Music in any one prescribed Raga.
Nikas of all bandishes in appropriate fingers and proper style as per
Gharana system.
Assessment:
1.Continuous Assessment
:30%
 One class test(Theory)
 One written Assessment(Mionor)
2.Written Examination
:70%
REFERENCES
1) Pt.Girishchandra Shrivastav Raga Parichaya
2) Pt. Bhatkhande Sangit Shashtra
3) Ustad Bhikankhan, Ahmedrazakhan Sitar Darpan
30 hours
40 hours
40 hours
40 hours
Department of Music (Vocal & Instrumental)
Academic
Faculty of Performing Arts
Year 2012-13
The Maharaja Sayajirao University of Baroda
Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme
Year
1
Elective Open : Appreciation of Vocal II / Sitar II / Violin II
Credit 4
Semester 2
Hours 60
To introduce basic concepts of Gharana.
OBJECTIVES
To help students to understand Laya in different form of music.
Provide auto-biography of Musician & Musicologists.
Unit-1
Unit-2
Unit-3
Unit-4
Study of following Talas:
1. Dadra
2. Keharava
3. Trital 4. Zaptal
5. Ektal
6. Chautal
7. Roopak
Forms of composition in the modern age:
Dhrupad,Dhamar (Hori), Khyal, Tarana, Trivat, Chaturang, Sadara,
Swaramalika, Thumri, Tappa, Dadra.
Voice Culture – Study of :
Alankars atleast ten alankaras in all Ragas of varying nature Sight singing
or playing of written notations, and writing notations on listening.
Musicologists of modern age – Pt. Bhatkhande, Pt. Paluskar, Acharya,
Brahaspati, Pt. Omkarnath Thakur, Pt. Vinayakrao, Patwardhan,
Pt. S. N. Ratanjankar,
VOCAL: One Dhrupad in Ragas Bhairavi or One Chatarang in Kafi
INSTRUMENTAL: One Thumri in Khanmaj or One Thumari or Dhun in Kafi.
Musicians of modern age – Pt. Ravishankar, Ustad Vilayatkhan,
Ustad Ali Akbar Khan, Prof. V. G. Jog, Pt. Gajananrao Joshi,
Ustad Ahmed Jan Thirakhwa, Ustad Amir Hussain Khan,
Pt. Gyanprakash Ghosh
Light Songs (Vocal & Instrumental) Six light Songs to include Bhajan,
Bhaktigeet, Garaba etc. (Gujarati, Hindi or Marathi).
Forms of composition during the ancient period
REFERENCES
1) Pt.Girishchandra Shrivastav Raga Parichaya
2) Pt. Bhatkhande Sangit Shashtra
15 hours
15 hours
15 hours
15 hours
Periodical progress of a semester
Weightage of evaluation
I
Internal Evaluation 30% and
II
Semester end examination 70%.
Component
Units covered in
Weightage
A course
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 / Grade
10
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.
Course
Credit
Marks
obtained
by
student in
%
Grade
letter
Grade
point
Credit
assigned
X Grade
Point =
Credit
Point
Core Compulsory I Principles of Music I
3
52
D
6
3 x 6 = 18
Core Compulsory II Studies of Ragas II
3
45
E
5
3 x 5 = 15
Core Compulsory Practical I Intensive
Practical study of Ragas I
6
55
D
6
6 x 6 = 36
Core Compulsory Practical II Practical
Tradition and composition of Ragas II
6
56
D
6
6 x 6 = 36
Elective Open General History of Music II
(Vocal/Sitar/Violin)/Tabla/Dance/Drama
4
50
D
6
4 x 6 = 24
Foundation Compulsory English I
2
53
D
6
2 x 6 = 12
2
60
C
7
2 x 7 = 14
(SEM I, III, V)
Foundation Elective
Cultural Heritage of India / Applied Physics /
Psychology / Indian Aesthetics / Western
Aesthetics-I (SEM II, IV, VI)
24
SGPA = Total credit points earned in a semester / Total credits for that semester.
Thus SGPA for the above semester = 141 / 24 = 5.87.
141
CGPA
CGPA Cumulative Grade Point Average is obtained by dividing the total number of credit points
earned in all the semester by the total number of credits in all the semester.
For Example
I
Semester Total Credit Point 141
II
’’
’’
’’
’’
130
III
’’
’’
’’
’’
122
IV
’’
’’
’’
’’
136
V
’’
’’
’’
’’
128
VI
’’
’’
’’
’’
130
Total
787
Total credits for semester I + II + III + IV + V + VI = 144
CGPA =787/ 144 = 5.46.
The Class / Division shall be awarded on the basis of CGPA as under:
1. First Division with Distinction
CGPA
9.00
to
10.00
2. First Division
CGPA
8.00
to
08.99
3. Higher Second Division
CGPA
7.00
to
07.99
4. Second Division
CGPA
6.00
to
06.99
5. Pass Division
CGPA
5.00
to
05.99
Thus in the above case the division is Pass Division.