HINDUSTANI MUSIC (VOCAL/INSTRUMENTAL)
Hindustani Music (Vocal or Instrumental) Syllabus
(These syllabus may change from time to time. Please check with the relevant Public Service Commission websites for any changes in the syllabus)
General Theory
(i) Nada, Swara, Shruti, Raga, Mela ( Thata), Alankar, Tana, Gamak, Sthaya, Kaku, Margi-Deshi, RagalapRupkalap, Vadi, Samvadi, Anuvadi, Vivadi, Tala, Laya, Avirbhav, Tirobhav, Parmelpraveshak Raga, Sandhiprakash Raga, Vaggeyakara, Kalawant.
(ii) Vibration, Pitch, Intensity, Timbre, Just intonation, Equal tempered scale, forced Vibration, Free Vibration.
(iii) Notation of compositions in prescribed ragas.
(iv) Theoretical knowledge of prescribed ragas.
Theory of Indian Music
(i) Rudiments of staff Notation, Harmony, Melody, Polyphony.
(ii) Life and contribution of the following:
(a) Pt. V. N. Bhatkhande –His works and Notation System
(b) Pt. V.D Paluskar - His works and Notation System.
(iii) Maseetkhani and Vilambit Gat, Razakhani & Drut Gat, Krintan, Zamzama, Ghaseet, Jor Alap, Gitkiri, Meend, Sut, Kan
(iv) Notation of compositions in prescribed ragas.
(v) Theoretical knowledge of prescribed ragas.
Historical Study of the Musical Terms
i) Grama, Moorcchana, Jati Gayan, Gandharava, Gana, Nibaddha – Anibaddha gana, Prabandha, Alap, Alapti, Tala-Dasapranas.
ii) Life and contribution of Karnatak Musicians Trinity-Tyhagaraja, Muthuswamy Dikshitar, Shyama Sastri
iii) Life and contribution of Western Musicians - Bach, Beethoven, Mozart.
iv) Musical forms of Karnatak Music : Kriti, Pallavi, Tillana, Varnam, Padam, Javali. Comparison of Hindustani musical forms with their Karnatak counterparts.
(v) Notation of compositions in prescribed ragas.
(vi) Theoretical knowledge of prescribed ragas.
Life & Contribution of Musicians and Musicologists
1) Contribution of the following: Bharat, Matang, Abhinavgupt, Sharang Dev.
2) Life Sketch and Contributions of the following:
1. Jaidev 2. Amir Khusro 3. Raja Mansingh Tomar 4. Tansen 5. Sadarang-Adarang 6. S.N. Ratanjankar 7. Vilayat Hussain Khan 8. Allaudin Khan 9. Mushtaq Ali Khan 10. Ravi Shankar 11. Vilayat Khan
3) Notation of compositions in prescribed ragas.
4) Theoretical knowledge of prescribed ragas.
History of Indian Music
i) Vedic Music: Sama and stobhaksharas, the notes of Vedic music, Gramgeya gana, Aranyageya gana, Poorvarchicka, Uttararchicka, Udatta, Anudatta, Swarita, Vedic and Loukik scales, Panchvidha & Saptavidha sama, Vedic instruments
ii) Musical references in Ramayana, Mahabharata and Puranas (Harivansh & Vayu Puranas)
(iii) Works of the following: Ahobal, Ramamatya, Somnath, Lochan, Bhavbhatt, Vyankatmakhi.
(iv) Notation of compositions in prescribed ragas.
(v) Theoretical knowledge of prescribed ragas.
Applied Theory
i) Gharanas – Prominent Gharanas of Dhrupad (Dagar, Betia, Darbhanga) and Khayal (Gwalior, Agra, Delhi, Jaipur, Kirana) and their significant features regarding techniques.
ii) Gharanas of Instrumental music and their leading styles (Senia, Maihar, Gauripur)
iii) Detailed and Comparative study of the Ragas prescribed in Ist, IInd and IIIrd year.
iv) Study of Hindustani musical forms - : Dhrupad, Dhamar, Sadra, Khayal, Thumri, Tappa, Tarana, Chaturang, Trivat.
(v) Notation of compositions in prescribed ragas.
(vi) Theoretical knowledge of prescribed ragas.
General Theory
(i) Nada, Swara, Shruti, Raga, Mela ( Thata), Alankar, Tana, Gamak, Sthaya, Kaku, Margi-Deshi, RagalapRupkalap, Vadi, Samvadi, Anuvadi, Vivadi, Tala, Laya, Avirbhav, Tirobhav, Parmelpraveshak Raga, Sandhiprakash Raga, Vaggeyakara, Kalawant.
(ii) Vibration, Pitch, Intensity, Timbre, Just intonation, Equal tempered scale, forced Vibration, Free Vibration.
(iii) Notation of compositions in prescribed ragas.
(iv) Theoretical knowledge of prescribed ragas.
Theory of Indian Music
(i) Rudiments of staff Notation, Harmony, Melody, Polyphony.
(ii) Life and contribution of the following:
(a) Pt. V. N. Bhatkhande –His works and Notation System
(b) Pt. V.D Paluskar - His works and Notation System.
(iii) Maseetkhani and Vilambit Gat, Razakhani & Drut Gat, Krintan, Zamzama, Ghaseet, Jor Alap, Gitkiri, Meend, Sut, Kan
(iv) Notation of compositions in prescribed ragas.
(v) Theoretical knowledge of prescribed ragas.
Historical Study of the Musical Terms
i) Grama, Moorcchana, Jati Gayan, Gandharava, Gana, Nibaddha – Anibaddha gana, Prabandha, Alap, Alapti, Tala-Dasapranas.
ii) Life and contribution of Karnatak Musicians Trinity-Tyhagaraja, Muthuswamy Dikshitar, Shyama Sastri
iii) Life and contribution of Western Musicians - Bach, Beethoven, Mozart.
iv) Musical forms of Karnatak Music : Kriti, Pallavi, Tillana, Varnam, Padam, Javali. Comparison of Hindustani musical forms with their Karnatak counterparts.
(v) Notation of compositions in prescribed ragas.
(vi) Theoretical knowledge of prescribed ragas.
Life & Contribution of Musicians and Musicologists
1) Contribution of the following: Bharat, Matang, Abhinavgupt, Sharang Dev.
2) Life Sketch and Contributions of the following:
1. Jaidev 2. Amir Khusro 3. Raja Mansingh Tomar 4. Tansen 5. Sadarang-Adarang 6. S.N. Ratanjankar 7. Vilayat Hussain Khan 8. Allaudin Khan 9. Mushtaq Ali Khan 10. Ravi Shankar 11. Vilayat Khan
3) Notation of compositions in prescribed ragas.
4) Theoretical knowledge of prescribed ragas.
History of Indian Music
i) Vedic Music: Sama and stobhaksharas, the notes of Vedic music, Gramgeya gana, Aranyageya gana, Poorvarchicka, Uttararchicka, Udatta, Anudatta, Swarita, Vedic and Loukik scales, Panchvidha & Saptavidha sama, Vedic instruments
ii) Musical references in Ramayana, Mahabharata and Puranas (Harivansh & Vayu Puranas)
(iii) Works of the following: Ahobal, Ramamatya, Somnath, Lochan, Bhavbhatt, Vyankatmakhi.
(iv) Notation of compositions in prescribed ragas.
(v) Theoretical knowledge of prescribed ragas.
Applied Theory
i) Gharanas – Prominent Gharanas of Dhrupad (Dagar, Betia, Darbhanga) and Khayal (Gwalior, Agra, Delhi, Jaipur, Kirana) and their significant features regarding techniques.
ii) Gharanas of Instrumental music and their leading styles (Senia, Maihar, Gauripur)
iii) Detailed and Comparative study of the Ragas prescribed in Ist, IInd and IIIrd year.
iv) Study of Hindustani musical forms - : Dhrupad, Dhamar, Sadra, Khayal, Thumri, Tappa, Tarana, Chaturang, Trivat.
(v) Notation of compositions in prescribed ragas.
(vi) Theoretical knowledge of prescribed ragas.
HINDUSTANI MUSIC (VOCAL/INSTRUMENTAL) MCQs
1. Which Shastra’s help is required to set a chhand into a ‘tala’ ?
(1) Pingal Shastra
(2) Kaku
(3) Dingal Shastra
(4) Swarit
Ans: 1
2. In a ‘tala’, where number of ‘matras’ are not placed equally in all the vibhagas but arranged in two different ways, is known as
(1) Sampadi
(2) Vishampadi
(3) Mishrapadi
(4) Ubhaypadi
Ans: 2
3. How many players or singers are required to render the musical composition ‘Quintet’ ?
(1) 4
(2) 5
(3) 10
(4) 15
Ans: 2
4. Match the following according to the similarity of notes and choose the correct code :
List – I List – II
a. Mohnam I. Malkauns
b. Hindolam II. Jogia
c. Shudha Saveri III. Bhupali
d. Saveri IV. Durga
Codes :
a b c d
(1) III I IV II
(2) II IV III I
(3) IV II I III
(4) I III II IV
Ans: 1
5. Which scholar elucidated the unequal interval of shruties through ‘Shruti Darpan’ ?
(1) Vyankatmakhi
(2) Ramamatya
(3) Acharya Brihaspati
(4) Bharat
Ans: 3
6. Match the following scholars according to their ideology related to ‘Rasa’ and choose the correct code :
List – I List – II
a. Bhatt Lollat I. Anumiti vad
b. Bhatt Shankuk II. Abhivyakti vad
c. Abhinavgupta III. Bhuktivad
d. Bhatt Nayak IV. Utpattivad
Codes :
a b c d
(1) III I IV II
(2) IV I II III
(3) II IV III I
(4) I III II IV
Ans: 2
7. Ledger lines are used
(1) to write notes, in addition to the clef
(2) to write key signature
(3) to write bar lines
(4) to write essential key signature
Ans: 1
8. Bharat has mentioned how many ‘Vyabhichari Bhavas’ ?
(1) 4
(2) 33
(3) 6
(4) 36
Ans: 2
9. According to Bharat, ‘Shanka’ and ‘Glaani’ are included under which ‘Bhava’ ?
(1) Sanchari
(2) Sthai
(3) Vibhav
(4) Anubhav
Ans: 1
10. Match the following according to ‘Shruti-Swara’ placement of Bhatkhande and Choose the correct code :
List – I List – II
a. Manda I. Komal Ni
b. Ratika II. Komal Ga
c. Rakta III. Komal Re
d. Ramya IV. Komal Dha
Codes :
a b c d
(1) III II IV I
(2) II IV I III
(3) III II I IV
(4) II III IV I
Ans: 1
(1) Pingal Shastra
(2) Kaku
(3) Dingal Shastra
(4) Swarit
Ans: 1
2. In a ‘tala’, where number of ‘matras’ are not placed equally in all the vibhagas but arranged in two different ways, is known as
(1) Sampadi
(2) Vishampadi
(3) Mishrapadi
(4) Ubhaypadi
Ans: 2
3. How many players or singers are required to render the musical composition ‘Quintet’ ?
(1) 4
(2) 5
(3) 10
(4) 15
Ans: 2
4. Match the following according to the similarity of notes and choose the correct code :
List – I List – II
a. Mohnam I. Malkauns
b. Hindolam II. Jogia
c. Shudha Saveri III. Bhupali
d. Saveri IV. Durga
Codes :
a b c d
(1) III I IV II
(2) II IV III I
(3) IV II I III
(4) I III II IV
Ans: 1
5. Which scholar elucidated the unequal interval of shruties through ‘Shruti Darpan’ ?
(1) Vyankatmakhi
(2) Ramamatya
(3) Acharya Brihaspati
(4) Bharat
Ans: 3
6. Match the following scholars according to their ideology related to ‘Rasa’ and choose the correct code :
List – I List – II
a. Bhatt Lollat I. Anumiti vad
b. Bhatt Shankuk II. Abhivyakti vad
c. Abhinavgupta III. Bhuktivad
d. Bhatt Nayak IV. Utpattivad
Codes :
a b c d
(1) III I IV II
(2) IV I II III
(3) II IV III I
(4) I III II IV
Ans: 2
7. Ledger lines are used
(1) to write notes, in addition to the clef
(2) to write key signature
(3) to write bar lines
(4) to write essential key signature
Ans: 1
8. Bharat has mentioned how many ‘Vyabhichari Bhavas’ ?
(1) 4
(2) 33
(3) 6
(4) 36
Ans: 2
9. According to Bharat, ‘Shanka’ and ‘Glaani’ are included under which ‘Bhava’ ?
(1) Sanchari
(2) Sthai
(3) Vibhav
(4) Anubhav
Ans: 1
10. Match the following according to ‘Shruti-Swara’ placement of Bhatkhande and Choose the correct code :
List – I List – II
a. Manda I. Komal Ni
b. Ratika II. Komal Ga
c. Rakta III. Komal Re
d. Ramya IV. Komal Dha
Codes :
a b c d
(1) III II IV I
(2) II IV I III
(3) III II I IV
(4) II III IV I
Ans: 1
SUBSCRIPTION- HINDUSTANI MUSIC MCQs
- Hindustani Music (Vocal or Instrumental) - 10 MCQs
- Hindustani Music (Vocal or Instrumental) -Page 1 - 100 MCQs
- Hindustani Music (Vocal or Instrumental) -Page 2 - 100 MCQs
- Hindustani Music (Vocal or Instrumental) -Page 3 - 100 MCQs
- Hindustani Music (Vocal or Instrumental) -Page 4 - 100 MCQs
- Hindustani Music (Vocal or Instrumental) -Page 5 - 100 MCQs
- Hindustani Music (Vocal or Instrumental) -Page 6 - 100 MCQs
- Hindustani Music (Vocal or Instrumental) -Page 7 - 100 MCQs