Junior Diploma Part – 2

Theory
Explanation of the following:

• Sthai, Antara, Sanchari, Abhog, Vadi, Samvadi, Taal, Matra and Thaat.
• Knowledge of the notation system of Pt. Visnu Digambar Paluskar and Pt. Vishnu Narayan Bhatkhande
• Knowledge of the prescribed ragas.

Practical

• Five simple Alankars in each of the prescribed raga.
• Knowledge of Aaroh and Avaroh in Ekgun, Dugun and Chaugun layakari in the prescribed raags.
• Two swar Mallika, One Lakshan Geet and Two Drut( Fast) Khyal.
• Raaga Prescribed:
  • Kafi, Khamaj and Bhairav.
• Taals prescribed:
  • Dadra, Teen and Jhap

Note: Course prescribed for the previous years included.

Senior Diploma Part – 1

Theory
Knowledge of the following concepts:

• Sangeet, Sangeet Paddhati, Nada, Shruti, Swara, Saptak, Thaat, Taal, Laya, Jati, Sam, Tali, Khali, Avartan, Matra, Alankar, Description of Raags.
• Notation System of Pt. Visnu Digambar Paluskar and Pt. Vishnu Narayan Bhatkhande, perceptive knowledge of ragas through written swaras.

Practical

• Practice of elementary alankars, Shudhha and Komal Swaras
• Knowledge of Shuddha and Vikrit Swaras.
• Knowledge of taal and laya, practice of demonstrating taals by hand.
• One Drut(fast) khyal with two Alaaps, three tans in each of the following ragas.
  • Bihag, Bhupali, Khamah, Asawari, Bhairav, Bilawal, Yaman Kalyan.
• Geet in Keharva and Dadra.
• National Anthem of India.
• Ability of recognising ragas and taal through special notes and boles.
• One lakshan geet and one sagram geet in any prescribed raag.
• Taal Prescribed:
  • Dadra, Keharva and Teen.

Note: coures prescribed for the previous years included.

Senior Diploma Part – 2

Theory

• Knowledge of the following concepts:
• Nada ( Ahat-Anahat), Shruti, Swara, Vakra-Swara,  Sparsh Swara, Classification of Raga, Varna(Sthai, Antara, Aabhogi, Sanchari), Aroha, Avaroha, Vadi, Samvadi, Anuvadi, Vivadi, Poorva and Uttar Raag, Grah, Ansh, Nyas, Gamak, Taan, Meend, Soot, Ghaseet, Jamak Thaat, Janya Raag and Ashraya Raag.
• Knowledge of different style of singing
  • Khyal and its kinds, Tarana, Dhrupad, Sargamgeet, Lakshangeet
• Knowledge of the following concepts:
  • Taal, Laya, Its kinds (Dwigun, Tigun, Chaugun) and Taal Priscribed in course to be written in Pt. Vishnu Narayan Bhatkhande Notation System.
• Recognizing raga and tala given through some notes and boles
• Life sketch of Amir Khusro and Tansen.

Practical

• Knowledge of the following Ragas with Madhya Laya Khyal., Five Alaap and Taan.
  • Desh, Bageshri, Patdeep, Bhimpalasi, Hameer, Kafi, Vrindavani Sarang, Bhairavi
• Knowledge of Ten Thaat Notes, Alankars in any five.
• Practice of singing difficult notes of swara.
• Ability of recognising ragas and taal through special notes and boles.
• Taal Prescribed: Jhap, Ek, Chau, Teevra ( with dwigun, chaugun laya by hand)

Note: coures prescribed for the previous years included.

Senior Diploma Part – 3

Theory

• Knowledge of history of tanpura, its different parts and strings.
• Method of evolving 72 thaats of shuddha and vikrit swaras as wxpounded by Pt. Vyankat Mukhi. Mothod of producing 484 raags out of thaat.
• Purva and Uttar raags. Taan and its kinds, Sandhi-Prakash raags, defect and qualities of a singer.
• Discription and comparison of raags prescribed.
• Notation of songs.
• Ability to write essays:

Music as an elective subject, Classical and light music, Radio and Music, the importace of Sangeet in human life, the importance of taals and laya in music.

• Swami Haridas, Pt. Visnu Digambar Paluskar and Pt. Vishnu Narayan Bhatkhande.

Practical

• To prepare any five raags with vilambit (Slow) Khyal, Madhya laya khayal with aalap, taan and proper gayaki.
• Raags Prescribed: Madhya laya khyals with aalap and taan.

Kedar, Kamod, Jai-Jaivanti, Malkauns, Deshkar, Kalingara, Marva, Poorvi

• Practice of independent gayaki in the form of aalap and taan. Simple demonstration of kinds of taans.
• Two dhrupad, one dhamar and one taran in any od the prescribed raags.
• One vilambit khyal in Jhumra and Ek taal.
• Two vilambit and drut khyal with impressive gayaki in any two raags of the following:

Bhimpalasi, Kedar and Malkauns.

• Knowledge of taanpura tuning.
• Knowledge of different notes, combination of shuddha and vikrit swaras, Identification of raags (raag pehachan).
• Taals prescribed:

Sool Taal, Dhamar, Jhumara, Rupak with Dugun, Tigun and Chaugun layakari-s
Note: coures prescribed for the previous years included.

Junior Diploma Part – 1

Theory
Definition of the following musical terms:

• Sangitam- Definition of music in general and greatness of music.
• Alankar-Swaravali (at least seven). Swara-full tone, half tone and sharp tone.
• Sthai – definition and classification.
• Sthai – The main three sthanas – Octaves-Middle, Lower, and Upper
• Swara – nomenclature:
• Arohan and Avarohana – Ascending and descending order of notes
• What is swara?
• What is swarsthanam?
• Names of swaras
• Swarasthanas – Technical Terms.
• Knowledge of prescribed taals under study two taals- Tishra, Eka, Chaturasa, Rupaka in the first and second kalas.
• Tredition of music in India, Nadam-Ahata, Anahatha nadam in its descriptive form, sruti-Adhara, Sruti-definition.

Practical

• Abhyasa Ganan-sarali, jantaivarisai, Dhattu Varisai, melasthayi varsai, gitams, Akara, Sadhagam, Trijkala, Sadhagam for Sarali, Alankaras, Swarajathis.
• Knowledge and understanding of swarasthan.
• To sing  ten (10) Alankar – Swaravali in the prescribed raags.
• To recogise (5) five swaras in the middle octave by listening.
• Prescribed raags:
• Sankara Bharanam , Mayamalavagoula
• Two gitams to be mastered from the following:
• Venneyel –Mohanam-adi
• Gananada-Malarari-Rupakam
• Kamalajadala-Kalyani-Triputa
• Janakasutha-Saveri-Rupakam
• Mandara dharare dharare-Kambhoji – Adi

Note: coures prescribed for the previous years included.

Junior Diploma Part – 2

Theory

• Janya Raags and their classifications Varjay, Vakra, Upanga and Bhashanga
• Janaka ragas in their detailed forms.
• Janta and Datu varisais, Hechustayi varisars.
• Laws of vibration.
• Taals – 35 taals, Chapu Taals

Practical

• Teaching of alankars in different raags and trikalam.
• Varnams:
• Mohanam, Vasantha, Sankaraharan, Kalyani, Abhogi, Hamsadhvani
• To sing at least  geetams from the following:
• Analekara – Shudhha Saveri – Triputa
• Kamala Sulochana – Ananda Bhairavi – Adi
• Vara Veena – Mohanam – Rupakam
• Re Re Sri Rama – Arabhi – Triputa

Note: Course prescribed for the past years included.

Senior Diploma Part – 1

Theory

• Definitions of the following:

Music, Nada, Shruti, Laya, Swarasthanam, Arohanam, Avarohanam, Sthai, Purvangam, Uttarangam, Swara, Notation-Dirga, Harsva, Karvai, Swara and Taala, Symbol, Swaravali, Hanta Varisai, Alankaram, Datu Varisai, Hechustayi Varisai, Datu, Matu, Taala, Kalam.

• Janaka and Janya Raags:

Oudava, Shadava, Sampurna raags, Names of the melakarta ragas of the first six chakras.

• Lakshan (Description of the raags under study with their salient features).
• Learning of 16 swaras and their technical terms, Instruments their varieties, classifications, development etc. Instrumental/vocal difference, raagalakshanam – Mohanam, Kalyanam, Kalyani, Goula, Sankarabharanam, Sriranjani, Kambhoji.
• Scheme of 72 melas applications of katapa yadi Sankhya.
• Form in Carnatic Music: Geetam, Swarjathi, Kriti, Kirtana, Tillana, Padam Javali ect.
• Taalam: Avarta, Aksharakala, Laghu, Drutam, Kalam Taal. Knowledge of the taals prescribed under practical study.
• Essay:
• Music as one of the fine arts.
• The place of music in life.

Practical

• Prescribed raags – Four(4)

Mohanam, Mayamalavagoula, Shuddha Saveri, Kayani, Sriranjani, Goula, Kambhoji.

• Swaravalis in the three main sthais in:

Shankarabharanam, Kalyani, Mohanam

• Alankaras in Tisra, Eka, Chaturara, Rupakam, Adi, Triputa and Matya taalam in the prescribed raags and to be rendered in the first and second kalas.
• Ability to recognize raags through particular groups of swaras.
• Sight singing: Todi, Shahana, Saveri, Natakurunji.
• At least two geetam to be mastered from the following:

• Singing of Varanams in two speeds that were learnt in the previous year.
• Varnas in Mohanam, Sankarabharanam and Abhogi (Adi taalam first kala only)
• Kritis: Marukela (Jauantashri), Kanikaramou (Ananda Bhairavi)

Note: Course prescribed for the previous years included.

Junior Diploma Part – 1

Theory
Definition of the following:

• Sangeet, Vadi, Samvadi, Arohi and Avarohi.
• Knowledge of reciting the words of prescribed songs as in poems.
• Names of any two famous lyrics writers and composers.
• General knowledge of the raags prescribed.

Practical

• Practice of three Alankars in ekgun and dugun laya in the prescribed raags.
• A swar mallika in teen taal from the following raags:
• Bilawal / Alahiya Bilawal
• Practice of singing in the following types:
• Bhajan – Two
• At least one song each in dadra and kaharva.
• Pracice of reading the taals prescribed in the course by proper indication of tali and khali.

Junior Diploma Part – 2

Theory
Definition of the following:

• Thaat, Sam, Tali, Khali, Sthai, Antara, Sanchari, Vibhag.
• Knowledge of shuddha and vikrit swara.
• Knowledge about saptak (mandra, madhya and taar.
• Brief studies of the following:
• A revolutionary poet.
• A musician saint.
• General knowledge of the raags prescribed.

Practical

• Practice of four simple alankars in ekgun and dugun laya in the prescribed raags.
• A swar mallika each in teen taal or any taal from the following raags:
• Yaman and Bhairav.
• Practice of singing in the following types:
• Bhajan – two
• Regional folk song – one
• Indian National Anthem
• At least one song each in teen taal, dadra and kaharva.
• Pracice of reading the taals prescribed in the course by proper indication of tali and khali.

Note: coures prescribed for the previous years included.

Senior Diploma Part – 1

Theory
Definition and explanations of the following:

• Raag, Sangeet, Andolam, Dhwani, Naad, Shruti, Swara, Saptak, arohi, Alankar, Vadi, Samvadi, Laya, Matra, Taal, Sam, Tali and Khali.
• Genral knowledge about the raags prescribed for the course.
• Brief study of the following:
• Geet, Bhajan, Regional folk songs, National Anthem and Patriotic songs.
• Variations of Geet, Swarmalika, Khyal and National songs.
• Knowledge of taals and ability to write them in notation in ekgun and dugun layakaries:
• Dadra, Keharva and Teen Taal.
• Recognizing the raags from given notation.
• Bioraphies of Rabindranath Tagore and Pt. Vishnu Narayan Bhatkhande.

Practical

• Knowledge of seven shuddha and five vikrit swara.
• Practice of five simple alankars.
• Drut(fast) khyal each in Bilawal/Alahiya Bilawal and Yaman.
• Practice of singing in following types:
• Patriotic Song – One
• Bhajan – One
• Regional Folk Song – One
• Raag based Geet – One
• Practice of singing at least one song in the following taals:
• Dadra,  Keharva and Teen Taal
• Pracice of reading the taals prescribed in the course by proper indication of tali and khali.

Note: coures prescribed for the previous years included.

Senior Diploma Part – 2

Theory
Definition and explanation of the following:

• Thaat, Varna, Anuvadi, Vivadi, Raags and its jaatis, Sthai, Antara, Sanchari, Abhog, Avartan and Theka.
• Complete knowledge of the raags prescribed.
• Brief study of the following:
• Baul, Bhatiali, Hori, Kajri and Keertan.
• Description of tabla: Dagga and tabla
• Knowledge of the notation system of Pt, Vishnu Narayan Bhatkhande.
• Knowledge of writing all taals in course in notations. Ekgun and dugun.
• Ability to recognize raags, indicated by the given notations.
• Biographies of Kazi Nazrul Islam, Kabir and Pt. Vishnu Digambar Paluskar.

Practical

• Five complex alankars in Bhairav and Kafi.
• Drut(fast) khyal each in Bhairav, Kafi and Khamaj.
• Practice of singing in following types:
• Patriotic Song – One
• Bhajan – One
• Regional Folk Song – One
• Raag based Geet – One
• Pracice of Teevra taal and Jhap Taal with proper indication of tali and khali to be shown by hand.

Note: coures prescribed for the previous years included.

Junior Diploma Part – 1

Theory

• Origin of Indian Dance in Mythology in brief.
• Names of Jaati of the Taalas in Bharat Natyam
• Knowledge of the South Indian Taalas Composed in three and four matras
• Knowledge of the first five Single Hand Gesture (Asamyukta Hasta)

Practical

• Preliminary Physical Movements
• Few Dance-Compositions in Tisram and Adi Taala
• Adavu- From No. (1) to No. (14) in Ekgun and Dwigun Laya

Junior Diploma Part – 2

Theory

1. Knowledge of the “Jaati” of the Taalas in Bharatnatyam
2. Knowledge of the following:
3. Taalas composed of five Matras
4. Taalas composed of  seven Matras
5. Knowledge of the first Ten Single Hand Gesture (Asamyukta Hasta)

Practical

1. Adavu from No. 15 to 23
2. Dance composition in the following Taalas:
3. Taalas of five Matras.
4. Taalas composed of seven Matras.
5. Knowledge of the four Griva Sanchalan (Neck Movements).

Note: Course prescribed for the previous years included.

Senior Diploma Part – 1

Theory

• Origin and evolution of Bharat Natyam.
• Knowledge of South Indian Taalams According to their Jaati in Ekgun and dugun.
• Knowledge of Chatusra Jaati Rupak, Tisra Jaati Eka Taalam and Tisra Jaati Triputa.
• Knowledge of all the single Hand Gesture (Asamyukta Hasta) with hShloka.
• General introduction to the main classical dance forms of India.
• Ability to write all the bolls and taals learnt according to South Indian notation system.
• Write short notes on the following terms: adavu, Nattuangam, Korai, Teermanam and Vrittis.

Practical

• Physical exercise of the following parts of the body:
• Adavu from No. 24 to No. 50
• Practical knowledge of single hand gesture (Asamyukta Hasta) according to Abhinaya Darpan.
• Practical Demonstration of Head movements (Shiro Sanchalan).
• Knowledge of Modern Dances:
• Taala composed of seven matras
• Taala composed of ten matras.
• Ability to recite all the bolls and taalas learnt according to South Indian notation system.

Note: Course prescribed for all the past years included.

Senior Diploma Part – 2

Theory

• Contributions and biographical sketches of the following:
  • Bala Saraswati
  • Rukmani Devi Arundale
  • The Tanjore Quartette: Chinnaiah, Ponnaiah, Shivananda, Vadivelu
• Knowledge of the Music and Musical Instruments used in Bharat Natyam.
• Devdasi cult in Bharat Natyam.
• History of the evolution of Bharat Natyam.
• Bolls of Adavu and Alarippu.
• Ability to write all the Bolls and Taalas learnt according to South Indian notation system.
• Short notes on the following definitive terms: Nritya, Natya, Sangita, Anga, Pratyanga and Upanga.

Practical

• Adavu from No. (51) to No. (76)
• Alarippu (a) Tisra Jaati Eka Taalam, Or (b) Tisra Jaati Rupak
• Pracical Knowledge of the combined Hand Gestures (Samyukta Hasta) with Shloka.
• Practice of Jaatiswaram: Adi Taala and Rupak Taala.
• Ability To Recite all the Taalas and Bolls learnt according to the south Indian Taala System Alonwith the Sketches

Note: Courses prescribed for the previous years are included.

Senior Diploma Part – 3

Theory

• Comparative Study of Bharat Natyam and Kathak Schools of Dance (Gharana).
• Knowledge of Nritya, Nritta and Natya.
• Complete knowledge of the Soth Indian Taala system.
• Life History and contributions of the following:
  • Minakshi Sundaram Pillai
  • Jaati Tayamma
  • Venkata Lakshamma
• Definition of the following: Nataraja. Lasya, Tandava, Laghu, Drutam, Anudrutam, Adavu.
• Ability to write all the Taalas and Bolls learnt according to the South Indian notation system.
• Study of the following folk dances of India: Kalattam, Ghoomar, GArba, Bihu, Bhangra and Kummi.

Practical

• 1. One Jaatiswaram in any South India Raaga with any Taala.
• 2. One Shabdam: In Raagamallika and Misra Chapu Taala.
• 3. Any Folk Dance in South Indian Style.
• 4. Complete Knolwledge of the Sapta Taala and Panchajatti.
• 5. Ability to recite all the Taalas and Bolls learnt according to the South Indian notation System.

Note: Courses prescribed for the previous years are included.

Junior Diploma Part – 1

Theory
Knowledge of the following:

• Tali, Khali and Avartan
• Knowledge of Single and Dwigun Laya
• Knowledge of Tatkar

Practical

• Physical exercises of the following parts of the body:
• Head Movement
• Shoulder Movements
• To walk in Rhythm and to clap with music.
• Taalas prescribed: Teentaal and Keharva
• Two varieties of Tatkars in Teentaal
• Two easy Tukras in Teentaal
• One thematic dance in keharva
• Padhant of Tukra and Tora

Junior Diploma Part – 2

Theory
Knowledge of the following:

• Sam, Tali, Khali, Laya (Ekgun, Dugun and Chaugun) Salami, Tatkar.
• Definition of Lasya and Tandava.

Practical

• Physical exercises of the following body parts:
• Neck  Movement
• Two varieties of Tatkars in Teentaal
• Five easy Tukras in Teentaal
• One Amad in Teen Taal.
• One thematic dance in any of prescribed taals of the course.
• Taals prescribed: Teen Taal, Dadra
• Padhant of Tukra and Tora

Note: Course prescribed for the previous years included.

Senior Diploma Part – 1

Theory

• Knowledge of Teen Taal with following concepts:

Laya, Taal, Matra, Tali, Khali, Avartan, Sam

• Definiton of the following:

Tatkar, Gatm Palta, Amad, Paran, Nritta, Nritya, Natya, Lasya, Tandava.

• Knowledge of following: Thaat, Dugun, Chaugun and Tihai.
• To write all the Tukaras of the course in single and dugun layakaries.
• Knowledge of writing Tatkar in ekgun, dugun and chaugun layakaries.

Practical

• Physical exercise of the following parts of the body:
• Head Movements, Shoulder Movements, Eye Brow Movements.
• To walk in rhythm and to clap with music.
• Teen Taal:
• Two varieties of Tatkars combined with hand movements in ekgun, digun and chaugun layakaries.
• Ten easy tukras.
• Four simple gats without chaal.
• One thematic dance in Teen Taal or Kaharva.
• Padhant or recitation of all the Tukaras learnt while making Tali with the hands.

Note: coures prescribed for the previous years included.

Senior Diploma Part – 2

Theory

• The importance of Ghungroos and their necessity in dance.
• Knowledge of the following:
  • Six Angas
  • Six Pratyangas and their Upangas
  • Eight eye glances
  • Four neck movements
  • Six eyebrow movements
• Qualities of Ghungroos and their uses.
• Life sketches: Nirain Prasad, Shambhu Maharaj, Achchhan Maharaj.
• Definition of the following: Kavit, Chakardar, Paran, Gat, Salami, Asamyukta, Hasta (Single Hand Gesture).
• Writing in Notation all the Tukras, Parans in the prescribed Taalas.

Practical

• Further physical exercises of the following parts of the body such as Hips, Head, Knees and Wrists.
• Practice of Thaat, Kasak and Masak.
• Ability to perform all the Toras of the pervious course in Vilambit Laya.
• Teentaal
  • Twelve advanced Toras.
  • Two Parans
  • Two Chakardar Parans
  • Tow Amad
  • One Salami
  • Two Kavit
  • One Paran Tisrajaati
• Jhaptaal
  • Simple Tatkars in single and Dwigun Layakaries.
  • Six simple Toras
  • Tow Parans
• Three modern dances in Teentaal, Keharva and Dadra.
• Five Gat Bhavas with special attention to facial expressions.
• Practical demonstration of four kinds of neck movements and eight kinds of head movements.
• Practical knowledge of the Single Hand Gesture ( Asamyukta Hasta).
• Practice in Padhant.
• Practice knowledge: Teentaal, Jhaptaal, Keharva and Dadra.

Note: Course prescribed for the previous years included.

Senior Diploma Part – 3

Theory

• Definition and explanation of the following: Kasak, Masak, Kataksha, Thaat, Guru, Laghoo, Drut, Anudrut.
• Essays on the following: Kathak and Manipuri.
• The differences between the Kathak and Natwari dances.
• The history of the Indian dancing in brief.
• Definition of Raasa and Bhava.
• The dress and costume of the Kathak dance.
• Explanation of the meaning of Abhinaya.

Practical

• Physical exercises of the following parts of the body:
  • Trunk Movements.
  • Eyebrow Movements
  • Thigh Movements
• Teentaal
  • Four variations of advanced Tatkars and their Paltas.
  • Two Traditional Amad
  • Two Salami
  • Two Chakardar Parans
  • Three Kavits
  • Four Gats of Gat Bhav and Nikas.
• Jhaptaal
  • Four variations of advanced Tatkars and their Paltas.
  • Two Amad
  • One Salami
  • Two Chakardar Tukras
  • Two Chakardar Parans
• Ektaal
  • Two variations of Tatkaras and their Paltas.
  • Four simple Tukras
  • One Amad
  • One Salami
  • Two Parans
  • One Chakardar Paran
• Dhamar
  • Two variations of Tatkars and their Paltas.
  • Two simple Tukras
  • One Amad
  • One Salami
  • Two Parans
  • One Chakardar Paran
• Advanced Gats of Nikas, Ghungat, Matki, etc.
• Thaat with Kasak, Masak, etc.
• Padhant in all the above Taalas and of the previous ones.
• To differentiate between Lucknow and Jaipur Gharanas by demonstrating Toras, Parans, Gats, etc. of the both the Garanas.
• Practical Knowledge of the following Taalas with their thaat, Dwigun, Trigun and Chaugun Layakaries:- Teentaal, Jhaptaal, Dhamar and Ektaal.

Note: Course prescribed for the previous years included.

Junior Diploma Part – 1

Theory

• Art and its basic elements and principles
• Free-Hand drawing
• Colours- Its basic concepts. Types of colours such as Primary and Secondary Colours
• Perception of colour in Nature
• Knowledge of different geometrical shapes

Practical

• Drawing simple forms such as:

• Different geometrical shapes- Huts, Boats, Apples, Mangoes, Kites etc.
• Different Floral and Natural objects such as leaves, flowers, animals, birds etc.

• Still Life:

• Drawing of two to three objects placed before you, using the rules of still life.

• Designs:

• Any five geometrical and floral designs using leaves, flowers, squares, triangles, circles.

• Craft work:-

• Making Fishes, Trees, Boats etc with paper and colours
• Vegetable Painting

Medium for colouring- Crayons or water colours
Note: Minimum five sheets on every topic are to be made by students.

Junior Diploma Part – 2

Theory

• Importance of art in everyday life.
• Elements and Principles of art
• Colours- Types of colours – Tertiary Colours, Warm Colours. Cool Colours, Monochromiatic Colours.
• Perception of colours in nature.
• Name any four artists who contributed a lot in the field of painting.
• Definitions-Landscape, Lines, Balance, Form and Art.
• Difference between-Oil, Water and Crayons Colours.

Practical

• Still Life:

• Make a composition of any two or three objects.
• Medium – Pencil shading or pastels.
• Out Door Sketching:
• Drawing from nature- Trees, Flowers, Animals and Birds etc.
• Making landscaps using these natural objects.

• Designs:

• Any ten designs using: Fruits, Vegetables, Floral Forms, Geometrical forms.

• Craft work:-

• Simple gift wrapping techniques
• Mask Making
• Simple forms with clay like apple, Kites, mango, grapes.

Note:
File to be prepared by students and minimum five sheets on every topic are to be made by students.
Course prescribed for the previous year included.

Theory

• Brief History of Indian Art.
  • Pre-Historic Period, Indus Valley Civilization, Mauryan Period, Sunga Period, Kushan Period and Gandhar Period.
  • Patna or Company school of art.
  • Short notes on – Mosaic, Aesthetics, Composition, Mudra, Mural, Beauty.
• Perspective and its types
  • Eye Level – its use in painting.
  • Horizon – its use in painting.
  • Explain the terms such as – vanishing points, fore-ground, middle ground and back ground.
  • Short notes – Force, Free – hand and Rhythm.
• Scope of Art in present India.
• All types of basic colours (detailed study).

Practical

• Practice of line drawing and free hand drawing.
• Use of perspective in drawing – In landscapes, Still life.
• Drawing from objects, nature to study, mass volume and proportion.
  • Creating solidity by line and light & dark.
• Ornamental & Geometrical designs – on ¼ sheet using two- three colours.
  • Medium – Poster colour
• Letter writing – size 5”x3” cm in English only
  • Medium – pen ink/poster colours half sheet

• Note:

• Minimum 5 sheets of every topic is to be made by the students.

• Craft work:-

• Making different models on buildings, Gardens with thermacoal, cardboard, paper and other waste materials.
• Handling of clay-making basic shapes, flowers etc.
• Pottery designing.

Note:
File to be prepared by each student. Work exhibition by students in compulsory.
Courses prescribed for the previous years are included.

Theory

• History of Art:
  • Gupta Period.
  • Ajanta, Bagh, Sittanvassal, Badami, Ellora-Elephanta Cave Paintings.
  • Jain School of Paining.
  • Rajasthani Paintings
• Art of China
• Greek Art-classical and Hellenistic period.
• Roman Art.
• Aesthetics
  • Shadangas of Indian Art
  • Theories of creativity and Rassa
  • Aesthetic Judgement
  • Short notes on- Intution, Beauty, Religion, Morality, Sculpture, Miniature

Practical

• Design:

• Geometrical or Floral (Ornamental) Using ratio and proportion.
  Simple all-over designs for curtains and corner designs for table cloth.
  Medium – Poster colours, Colours should not be more than three to four.
  Size ¼ imperial sheet for designs.
• 2. Study of colours: The colour wheel.
  Nature of colours i.e. Value, Hue, Intensity.
  Tints, Tones and Shades of every colour.

• Note:

• Minimum 5 sheets of every topic is to be made by the students.

• Craft work: (Paper Mache)

• Moulds(any shape)
• Preparation and use of pulp for cast.
• Colouring and decorating simple natural forms.

Note:
Files to be prepared. Work exhibition is compulsory.
Courses prescribed for the previous years are included.

Theory

• History of Art:
  • Mughal period, Pahari school of art (Guler, Kangra, Basholi, Chamba, Kullu, Garhwal)
  • Western Indian manuscripts (Palm leaf)
• Indian Sculptures
  • Origin of Indian sculptures
  • Sculptures from Mohan Jodaro and Harrappa
  • Mauryan period sculptures
• History of Western Art
  • Early Christian and Byzantine art
  • Renaissance in Italy
• Aesthetics
  • Comparison between Indian styles of figures and westerns styles of figures drawing.
  • Difference between Modern Art and Abstract Art.
  • Define Terms – Realistic Art, Folk Art, Antique Study, Life study and Graphics.

Practical

• Antique study: Any two to three pieces of sculpture.
  Medium Pencil or charcoal shading.
• Life study: Sketching of a model sitting before you.
  Full life size
  Medium – Pencil shading
  Size- ½ imperial Size.
• Landscape: Sketching from nature
  Medium- Pastel and water colours
  Size ½ imperial Sheet.
• Designs: Overall design for saree and curtain cover, design form table cloth, Pillows.
  Size – ¼ imperial sheet
  Medium – Postal Colours.

• Note:

• Minimum 5 sheets of every topic is to be made by the students.

• Craft work:

• Wood Carving
• Nature of wood. Types of wood
• Use of various tools and equipments
• Blocking technique, roughing technique

Note:
Files to be prepared. Work exhibition is compulsory.
Courses prescribed for the previous years are included.

Theory
Definition and explanations of the following:

• Two systems of Indian music, Taan, Saptak (Mandra, Madhya and Taar), Kan or Sparsha swara, Vakra Swara, Janya Raag, Janak, Thaat, Poorvanga raag, Uttarang raag and Ashraya raag.
• Brief description of the following:
  • Margi sangeet, Shasteiya Sangeet, Deshi Sangeet, Dhrupad, Dhamar, Geet and Ghazal
• Description of Taanpura and Ektaara.
• Varieties of compositions in Baul, Kitan, Regional songs and Bhajans.
• Charactersitics and effects of Sugam Sangeet
• Full knowledge of Raagas prescribed.
• Ability to write the prescribed Taals in Ekgun, Dwigun, Chaugun Layakaries.
• Recoginzing the raga from given notes.
• Biograhies of RabindraNath Tagore, Surdas, Mirabai, Shri Chaitanya Maha Prabhu and Ram Prasad.

Practical

• Drut (Fast) Khyal in the following raags.
  Bhairavi, Asawari, Peelu and Desh.
• Practice of singing in the following types:
  Meera Bhajan – 1, Bhajan – 1, Geet based on raag – 1, Regional folk song – 1 Surdas – 1, Kabir – 1.
• Knnowledge of the following taals:
  Chautaal, Dhamar and Khemta.
• Ability to read te Thekas of the prescribed Taals with proper hand indications.
• Nibadha songs in the respective taals are not necessary.
• Candidates must be able to sing in the accompaniment of Taanpura.

Note: coures prescribed for the previous years included.

Theory

• Definitions of the following:
  • Music, Nada, Shruti, Laya, Swarasthanam, arohanam, Avarohanam, Sthai, Purvangam, Uttarangam, Swara notation – Dirga, Harsva, Karvai, Swara and Taala symbol, Swaravali, Janta Varisai, Alankaram, Datu Varisai, Hechustayi, Varisai, Satu, Matu, Taala, Kalam.
• Janaka and Janya Raagas:
  • Oudava, Shadava, Sampurana ragam, Names of the melakara ragas of the first six chakras.
• Lakshan (Description of the ragas under study with their salient features).
• Learning of 16 swaras and their technical team, Instruments, their varieties, classifications, development etc. Instrumental/Vocal difference, Raagalakshanam – Mohanam, Kalyanam, Kalyani, Goula, Sanjarabarnam, Sriranjani, Kambhoji.
• Scheme of 72 Melas applications of katapa yadi sankhya.
• Form in Carnatic Music
  • Geetam, Swarjathi, Kriti, Kirtana, Tillana, Padam Javali etc.
• Taalam:
  • Avarta, Aksharakala, Laghu, Drutam, Kalam taala.
  • Knowledge of the taalas prescribed under practical study.
• Essay:
  • Music as one of the fine arts.
  • The place of Music in life.

Practical

• Prescribed ragas- four(4)
  • Mohanam (Bhupalo), Mayamalavaguala (Bhairav), Shudha Saverim Kalyani (Kalyan). Sriranjani, Gaula, Kambhoji.
• 2. Swaravalis in the three main sthais:
  • Shankarabharnam
  • Kalyani
  • Mohanam
• Alankaras in Tisra Eka, Chatursra Rupakam, Adi, Triputa and Matya Taalas in The Prescribed ragas and to be rendered in the first and second kalas.
• Ability to recognize ragas through particular groups of swaras.
• Sight singing: Todi Shahana, Saveri, Natakurunji.
• At least two geetams to be mastered from the following

  Item	Raaga	Taalas
  Vasaravanane	Hari Kambodi	Adi Taala
  Vamaditarapparvadiye	Shudha Saveri	Tisra Eka
  Oumeye Padiyidam	Bhairavi	Triputa
  Kamalajadala	Kalyani	Triputa
  Varavina	Mohanam	Rupakam

• Singing of Varanams in two speeds that were learnt in the previous year.
• Varnas in Mohanam, Sankarbharanam and Abhogi (Adi Taalam first Kala only).
• Kirtis: Marukela (Jayantashri), Kamikaramou (Anand Bhairavi)

Note: coures prescribed for the previous years included.

Theory

• Definition of Sthai: Signs and Symbols in music notation Sapta Taalas, their names and angas.
• Janaka and Janya ragas: Oudava, Sadava, Sampurana Ragas, Archana and Avarohana of ragas learnt.
  The Musical Trinity i.e. The three leading compsers of Carnatic Music.
• Tradition of Music in India.
• Shruti-adhara Shruti, Their definitions.
• Names of Swaras – 12 Swarasthan – Technical terms.
• Forms of music in Carnatic Music:
  • Geetam, Swarjathi, Kriti, Kirtana, Tillana, Padam Javali etc.
• Introduction of the scheme of 72 melas: application of Katapa Yadi Sankhya.
• The scheme of 35 taalas, definition of taala signs
  Taala – dasapranas
• Life history of: Swathi Tirunal, Purandardasa, Narayana, Theertha Trinity Thyagaraja, Muthuswamy Deekshithar, Shyama Shastri.
• Gamakas and some of its mostly used forms.
• Notation methods & Origin of Scales and ragas.
• Absolute forms, 175 taalas and 108 taalas.

Practical

• Prescribed ragas to be covered:
  • Kalyani, Shankarabharnam, Hansadhwani, Gaula, Sriranjani, Karaharapriya, Ritigaula, Todi, Sahana, Saveri.
• Swaragyanam exercises.
• Ability to recognize ragas through particular groups of swaras.
• Alankaras in Tisra-eka, Chatuswara, Rupakam, Adi, Triputa in the prescribed ragas and to be rendered in the first and second kalas.
• Thro following to be mastered in Akaram in 2 kalams:
  • Janta Varisais b. Sapta Taala Alankarams
• Ada Taala varnas- Todi Kanada.
• Varanas in the prescribed ragas to be rendered in Jhampa and other taalas.
• One Swara Jaati of Shyama Shastri.
• Kritis in the following ragas:
  • Severi, Gaula, Shriranjani, Kalyani, Hamsdwani.
• Teachings of Kritis: Ragas to be covered Sankarabharnam, Karahare Priya, Riti Goula.
• Swaragnanam exercises & miscellaneous compositions
• Ability to recognize ragas & taalas through special swaras.
• Swaravalis in the three main sthayis in: Shankarabharnam, Harikambodi and Kalyani ragas.
• Jaatiswaram in bilahari ragam.
• Two geetams to be mastered from the following:

  Item	Raaga	Taalas
  Kamalajadala	Kalyani	Triputa
  Vamaditarapparvadiye	Shudha Saveri	Tisra Eka
  Varavina	Mohanam	Rupakam
  Yenneyel	Mohanam	Adi

Note: coures prescribed for the previous years included.

Theory

• General explanation of the following musical terms:
  • Naad, Shruti, Swara, Vadi, Samvadi, vivadi, anuvadi, sthaya, Alankara, Kaku, Varja, Vakra, Upanga, Bhashanga, Raaga classification (Including Oudava and Shadava)
• Lakshanas of Musical forms:
  • Geetam, Jathiswaram, Swarajati, Varnam, Kriti, Kirtana.
• Raaga Lakshana in general: Raaga classification in detail.
• Technical terms met with under practical study.
• The scheme of 72 Melakartas, an introduction.
• The Taala system: The scheme of 35 Taalas.
  • Champa taala and its varieties; Shadangas and shodasangas the taals dasaparanas.
  • Definition of: Matra, Gati, Kriya, anga, graham, Laya and other taalas.
• Description of main musical instruments:
  • Tanpura, Veena, Violin, Mridangam, Flute
• Life and contribution of The Carnatic Music Trinity.
• Biographies of Purandasa and Thyagaraja.
• 22 shruties and voice culture points to be remembered by a cocalist.
• Classification of the Sapta Taalas and five jaatis. Their names and constituent angas: Jaati bheda.
• Musical forms and their classification.
• Ragalakshanas of Kalyani and Bhairavi
• Essay:
  • Music as an elective subject
  • Classical and light music
  • Radio and Music
  • The Importance of Music in Human Life
  • The Importance of Taala and Laya in Music.

Note: coures prescribed for the previous years included.

• All Swara exercise: Alankars in Dhurava, Jampa and Ata Taalas, Janta varisais, Datu Carisais, Sapta taala alankaras.
• Varnas in the first and second Kalas in the following ragas:
  • Kalyani, Hamsadvani, Todi, Vasanta and Madhyamavati.
• The following Kritis:
  • Vinayaga, Sadasivakumara, Thulasi Dala, Judamurara, Nadupeiye in the following raagars: Hamsadhwani, Shudha Saveri, Mayamalavgoula, Arabi and Madyamavati.
• A few hymns of the Tirruppugaz, Thevaram and Divyanamakirthanam.
• Simple ragas alapna in the following ragas:
  • Mohanam, Mayamalavgaula, Hamsdhawani, Hindolam.
• Raagas to be covered: Sankarabharnam, Kalyani, Kamboji, Todi. Bhairavi,Kharaharapriya, Mukhari, Severi, Anand Bhairavi, Kedaragaula, Dhanyasi, Bilahari, Mohanam, Purvi,Pantuvarali, Shanmukhapriya, Simehendramadhyamam, Kirvani.
• Pancarathana kiriti-Natai, singing of Ata taala varnams in two speeds.
• Non detail varnams atleast two must be rendered:

  Ragam	Varnam	Composer
  Raaga Mallika	Valachi	Pattanam S. Iyer
  Nattakuranji	Chala Mela	Rangaswami Natturvanar
  Kambhoji	Taruni	Riddle Ponnuswami
  Vasantha	Ninnu Kori	Thachoor Singarachar
  Sree	Sami Ninne	Kurur Devudu Iyer

Note: coures prescribed for the previous years included.