दादा साहेब फाल्के अभिनय एवं फिल्म अकादमी


COLLABORATION FACILITIES EQUIPMENTS ALLUMNI
Music For Films & T.V.
OVERVIEW SYLLABUS GALLERY
 
SYLLEBUS
2.1 PERFORMINGimages
2.1.1 Performing Ordinary level and Higher level
All students offering at Ordinary level or Higher level must present performing as outlined in
(a) and (b) below:
(a) Singing and/or playing individually;
or
Singing or playing as a member of a musical group
or
Rehearsing and conducting a musical group;
and
(b) Singing or playing a sight reading test;
or
Singing or playing an aural memory test;
or
Singing or playing an unprepared improvisation;

2.1.2 Performing requirements
(a) Ordinary level students must perform
(i) two prepared songs or pieces
and
(ii) one unprepared test (i.e. either a sight reading test or an aural memory test or an improvisation).
(b) Higher level students must perform
(i) three songs or pieces
and
(ii) one unprepared test (i.e. either a sight reading test or an aural memory test or an improvisation).images
(c) Higher level students may, as an alternative, present
(i) two Ordinary level performing activities
and
(ii) the appropriate Higher level sight reading test or aural memory test or improvisation.
(d) All students should show appropriate musical and technical fluency.
(e) In individual performing, other than performing ontraditional Indian instruments, accompaniments should be included as appropriate.
(f) In performing traditional Indian music, some use of ornamentation will be required at Ordinary level, where this is appropriate; at Higher level, proficiency in the use of appropriate ornamentation will be required.
(g) In group performing, students must show an ability to hold their own musical line and contribute musically to its interpretation.
(h) In certain circumstances, students may, with prior permission from the Department of Education, present performing for assessment using an audio or audiovisual medium.
(i) No specific programmes are given.

2.1.3 Higher level elective in performing
Students taking this elective are required to perform a programme of approximately 12 minutes' duration that reflects a further expansion of the Higher level essential performing activity. 2.2 COMPOSING
2.2.1 Composing requirements Ordinary level and Higher level
At the end of the course, all students will be required to show sufficient understanding of the rudiments of music and aural imagination to be able to conceive and notate music using
. both treble and bass staves
. the common diatonic intervals unison to octave
. the rhythmic values semibreve to quaver (including dotted minims and crotchets) and their equivalent restsimages
. the common time signatures (2/4, 3/4 and 4/4) in major and minor keys up to two sharps and two flats
. elementary chord progressions in root position as follows:

major keys:
minor keys:
In addition, Higher level students should be able to recognize and to write music using
chords I, V, IV, ii and vi
chords i, V, iv and VI
. compound duple time (6/8)
. major and minor keys up to four sharps and four flats
. first inversion chords as follows:
major keys:
minor keys:
. the V7 and the cadential 6/4 chords in stock phrases
o modulations to the dominant and non-chord notes in a melodic context
2.2.2 Composing exercises

At the end of the course, students should have a sufficient working knowledge of the composing requirements as outlined in 2.2.1 to compose as described under (a) and (b) below.
(a) Melody writinq (eight bars at Ordinary level and sixteen bars at Higher level) in one of the following ways:
as a continuation of a given opening
or
as a setting of a given text
or
using a given dance rhythm or metre and/or form
(b) Harmony exercises
Ordinary level Providing cadential melody and bass notes
or
adding suitable bass notes and chord indications at cadence points
or
adding descant notes and chord indications at cadence points
and
in one of the following ways:
Higher level Composing melody and bass notes from a given set of chords
or
composing supportive bass and backing chords to a given tune
or
adding a countermelody or descant and chordal support to a given tune

2.2.3 Higher level elective in composing
Higher level students taking this elective must do so by portfolio in one of the following ways:
Present two short pieces and/or songs, composed, arranged, or orchestrated by themselves, as well
the exercises in 2.2.2 above
or
present compositions and/or arrangements and/or orchestrations only (combined performance time
approximately five minutes) as Compositions may be presented using conventional, traditional, popular, ethnic,
avant-garde or electro-acoustic approaches. A combination of more than one of the
above approaches is also acceptable.
chords Ib, Vb, IVb and iib
chords ib, Vb,ivb and iiob
The final version of each composition should be notated as fully as possible using conventional and/or graphic notation together with a full written description. Where electro-acoustic music is being submitted, a prepared tape will be a necessary requirement.
Orchestrations, including those for electronic Instruments and micro-technology music-making systems, should be presented in full score format. When presenting composing by portfolio, the submitted music should show evidence of
• knowledge and use of appropriate notation
• acceptable understanding of the performing medium(s)
• adequate control of musical features (e.g. motific, structural, tonal and expressive features)
• sound musical judgment
2.3 LISTENING
2.3 .1 Introduction
Ordinary level and Higher level students will develop listening ability by studying
• prescribed works
• Indian music
and by learning
• aural skills
Students choosing a Higher level elective in listening must, in addition, study a special topic:
2.3 .2 Prescribed works
Ordinary level and Higher level students must study all four works from the appropriate list

Prescribed works should be studied in detail. In the case of each work, students must
• understand, identify and describe the range of musical features used
• study its musical style and place it in its historical context
• be able to analyse and describe patterns of repetition and change within the music

In studying each prescribed work, Higher level students must also demonstrate an ability
• to make comparative judgements about music
• to evaluate interpretation and performance in the light of experience already attained

2.3.3 Indian music
All students should have sufficient experience of listening to Indian music to enable them to understand, identify and describe from aural and visual perception
(i) the range and variety of Indian music heard today;
(ii) Indian musical idioms and influences.

In addition, Higher level students must be able to perceive aurally and describe
(iii) traditional and modern-day performing styles;
(iv) the contribution Indian music has made to folk music in other countries.

2.3.4 Aural Skills
At the end of the course, all students must have

(i) a working knowledge of musical notation as outlined in 2.2.1
(ii) the ability to perceive aurally and identify
• melody and rhythm within a given musical context
• vocal and instrumental timbres
• simple musical structures (binary, ternary, variation, and rondo) and the idiomatic features (melodic or rhythmic) upon which specific pieces of music are based

In addition, Higher level students must be able
(iii) to follow music with semiquaver movement, also musicin compound time;
(iv) to perceive aurally the stylistic features that affect particular musical textures;
(v)to identify perfect, imperfect, plagal and interrupted cadences in a musical context.

2.3.5 Higher level elective in listening -
special study topic
Students presenting a Higher level elective in listening will, in addition to the Higher level essential listening requirements, study a special topic. Students are free to select their own special study topic, subject to the following criteria.

The special topic should be
• chosen from an appropriate area of musical study, i.e.
(a) art music from any specific period in music history, e.g. music from the Medieval, Romantic or Impressionist Periods
or
(b) contemporary music - popular or art genres
or
(c) traditional or ethnic music
• self~contained, with an accessible published repertory
• broad enough to allow students to make comparative judgments’
• sufficiently defined to enable students to focus on the musical substance of the chosen topic

In studying the special topic, purposeful listening should be undertaken
to encourage a personal response to music
to illustrate a variety of musical features through listening and through studying scores
to demonstrate and clarify different aspects of musical knowledge
to facilitate musical understanding and its expression
to develop analytical and appraisal skills
THE DADASAHEB PHALKE ACTING AND FILM ACADEMY STUDENT BENEFIT
•The programme focuses on the artistic and professional development of each individual.
•Central to the programme is one-to-one tuition together with tutorial support. This ensures individual attention for each student from the outset.
•At least two-thirds of the programme is directly connected with Principal Study development, with a degree of flexibility in the remainder for students to create individual pathways.
• The programme recognises the importance of individual practice, study and reflection. Each student has a role and responsibility to shape their personal identity as a musician and to influence the collective artistic identity of the School.

Note:- Curriculum subject to change
 
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