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Vocals For Films & TV
OVERVIEW SYLLABUS GALLERY
 
 
OVERVIEW

Singing is the act of producing musical sounds with the voice, and augments regular speech by the use of both tonality and rhythm. Oneimages who sings is called a singer or vocalist. Singers perform music (such as Arias, Recitatives or Songs) that can be sung either with or without accompaniment by musical instruments. Singing is often done in a group of other musicians, such as in a choir of singers with different voice ranges, or in an ensemble with instrumentalists, such as a rock group or baroque ensemble. As in many respects human song is a form of sustained speech, nearly anyone able to speak can also sing. Singing can be formal or informal, arranged or improvised. It may be done for pleasure, comfort, ritual, education, or profit. Excellence in singing may require time, dedication, instruction, and regular practice. If practice is done on a regular basis then the sounds are said to be more clear and strong. Professional singers usually build their careers around one specific musical genre, such as classical or rock. They typically take voice training provided by voice teachers or vocal coaches throughout their careers.


THEORY

1. Study of Ragas and Taals prescribed for practical & theoretical aspects of the course of 1st year and their comparative study.
(a)Ragas :
(i) Yaman     
(ii) Bageshwari        
(iii) Brindavani Sarang
(iv) Kamod
(v) Chayanat
(vi) Deshkar
(vii) Bharivi   
images
(b) Taals :
(i) Trital          
(ii) Ektal                     
(iii) Chautal              
(iv) Jhaptal   
(v) Dadra
(vi) Kaherva
(vii)Dhamar

Chief characteristics of the above mentioned Ragas with alap, Taan, Avirbhav, irabhav, Nyas Swaras.

2. (a) Reading and writing of Notation of songs (Bandish from the ragas of course of 1st year with alap and tans etc.

    (b) Writing of above taals in notations with Dugunand Chaugun layakaries.

3. (a) Definition of technical terms Saptak, Purvanga, Uttranga, Varna, Alankar, Vadi, Samvadi, Anuvadi, Vivadi Gamak and Meenda knowledge of the concept of Raga, Thata, Sandhi-Prakash Raga, Parmel praveshak Raga, Nad, Gram, Moorchchana.

(b) Definition of Swara & Shruti. Relationship between Swara, Shruti, Name of 22 shruties.

4. Classification of Indian Instruments, knowledge of Tanpura and its parts with diagram.

5. Life sketch of music scholars and musicians their contribution to Indian Music viz :
(a) Amir Khusro       
(b) Swami Haridas  
(c) Tansen    
(d) Pt. Bhimsen Joshi
(e) Gangu Bai Hungal

PRACTICAL
Study of the following ragas :

(a) Detailed Ragas :
(i) Yaman     
(ii) Bageshwari        
(iii) Brindavani Sarang

(b) Non-Detailed Ragas
(i) Kamod      
(ii) Chayanat                        
(iii) Deshkar              images
(iv) Bhairivi

Three Vilambit Khayalas in the above mentioned detailed ragas.
Madhyalaya Khayalas with Alap. Tana in all the above ragas.
One Lakshan Geet, One Sargam geet in any one of theabove Ragas.

2. Study of following taals :
(a) Trital         
(b) Ektal        
(c) Chautal   
(d) Jhaptal    
(e) Dadra      
(f) Kaharva
(g) Dhamar

PRACTICAL
1. Intensive study of any two ragas as choice Ragas covering Vilambit and Drut Khayalas out of the Ragas prescribed in the practical
Paper-I.
2. Demonstration of one Dhrupad and one Dhamar with Dugun and Chaugun laya out of the ragas prescribed in the practical paper-I.
3. Knowledge of Tarana, Bhajan, folksong or patriotic song.
4. Ability to demonstrate (orally by giving tali and khali on hand) taals prescribed in the practical paper-I with their Dugun and Chaugun.

THEORY
Instrumental Music (String : Sitar, Guitar etc.)

1. Study of theoretical details of ragas and taals prescribed for practical and theoretical course of first year and their comparative study.

a. Ragas
i. Yaman       
ii. Brindavani Sarang         
iii. Bageshri              
iv. Deshkar
v Kamod       
vi. Chayanut                                    
vii. Bhairavi              

b. Taals
i. Trital           
ii. Ektal                                  
iii. Choutal                
iv. Jhaptal
v. Dhamar    
vi. Dadra                               
vii. Kaherwa              images
vii. Kaherva

PRACTICAL
1. Intensive study of any one ragas as choice raga convering Alap, Maseetkhani, Gata, Toras, Razakhani, Gata with Toras and Jhhala our of the ragas prescribed in the practical paper -1.
2. Study of One Madhya laya gata in other tala thantrital in the ragas prescribed in practical paper-1.
3. Ability to demonstrate (orally by giving taali and khali on hand) taals prescribed in practical paper 1 with Dugun and Chaugun.

THEORY
Instrumental Music (String : Sitar and Guitar etc.)
1. Study of ragas and taals prescribed for theoretical and practical course of second year and their comparative study in detail.

a. Ragas
i. Shuddh Kalyan                 ii. Malkouns              iii. Miya Malahar                  
iv. Gaur Malhar                     v Bhairav                   vi. Khamaj

b. Taals
i. Dhamar                              ii. Rupak                    iii. Teevra
iv. Jhaptal                              v. Ektal                       vi. Chautal
vii. Jhoomra

2.A. Reading and writing of Notation of Gats prescribed in the practical course of Second Year.

B. Writing of Taals in notation with dugun, tigun and Chaugum Layakaries.

3.A. Comparative study of Pandit Bhatkhande and Pandit Vishnu Digambar Paluskar notation system.
B. Difference between Hindustani and Karnataki Swar and Taal.
4. Short History of Music of Ancient, Medival and Modern period.
5. Study of Classification of Ragas.
6. Definition of the following :- Nyas, Rag Lakshan, Alap, Jod, Alpatava,Bahutava, Kampan, Lag-dat, Maseetkhani and Razakhani gat,
Toda, Jhala.

PRACTICAL
1. Intensive study of any one ragas as choice raga convering Alap, Maseetkhani and Razakhani, Gata with Toras and Jhaala in ragas prescribed in the practical paper -1.
2. Study of One Madhya laya gata in other taals than tritaal inthe ragas prescribed in practical paper-1.
3. Ability to demonstrate (orally by giving taali and khali on hand) taals prescribed in practical paper 1 with their Dugun, tigun and Chaugun.
2.A. Reading and writing of Notation of Gats prescribed in the practical course
of third Year.
B. Writing of Taals in notation with dugun, tigun, Chaugum asnd Adilaya (2 by 3 layakaries) prescribed in the first and second year course.
3.A. Detailed Study of Musical forms - Dhrupad, Dhamar, Khyaal, Tappa, Thumri, Bhajan, Ghazal, Holi
B. Elementary knowledge of accompanying instruments (Vadya) Tabla and Tanpura.
4. Difference between Western Harmony and Melody.
5. Detailed Study of Western Staff Rotation. 6. Method of placing the Shuddha and Vikrit Swaras on Veena by Pr. Sri Nivas.

THEORY
1.A. Nibaddha-Anibaddha-Gana, Alapti (Ragalap and Rupakalap) their definitions and varieties. Alap Ka Swa Sthan Niyam
B. Musical Intervels
2.A Detailed study of different schools (gharanas) of Instrumental Music and images
their comparative study.
B. History and development of your own musical instruments offered.
3. Short Study of Sangeet Granth - Natya Shastra & Sangeet Ratnakar Chaturdandi and Swar Mel Kala Nidhi.
4. Biographies and contributions of following music scholars :
a) Pt. V. N. Bhatkhande                 
b) Pt. Vishnu Digamber Paluskar                        
c) Pt. Onkarnath Thakur                
d) Pt. Ravi Shanker
e) Ustad Alauddin Khan 5. Essay on any general musical topic.

PRACTICAL
Instrumental Music (String : Sitar & Guitar etc.)
1. Candidate have to learn three Maseetkhani & Razakhani gats in details, with alap, Tora and jhhala.
i. Pooriya                  
ii. Darbari Kanada               
iii. Multani

2. Candidate should learn Razakhani gats in the following four ragas with toras.
iv. Jai Jaiwanti         
v Adana                    
vi. Todi                      
vii. Sohida
viii. Kafi

3. Study of the following taals
i. Adachautal                       
ii. Deepchandi                     
iii. Sawari
iv. Punjabi                            
v. Tilwada                             
vi. Sooltal

THEORY
Instrumental Music (Percussion Instruments – Tabla / Pakhawaj)
1. Definition of Music and classification of different musical instruments.
2. Introduction of Tabla with its origin and its relation with other percussion instruments.
3. Varnas and techniques of production of bols on tabla.
4. Definition of some terms as Bol, Theka, Sum, Khali, Bhari. Peshkaar, Kayeda etc.
5. Definition of Laya and its expansion as Barabar, Dugun, Tigun, Chaugun etc.
6. Life sketch and contribution of some great musicians as Kanthe Maharaj, Ahmed Jaan Thirakwa, Samtha Prasaad Mishra & Ustad Zakhir Hussain.
7.Essay on topics related to Music.

PRACTICAL
Instrumental Music (Percussion Instruments – Tabla / Pakhawaj)
1.Taals in details
a.Teen taal
b.Rupak taal
c.Jhap taal

Advanced course with varieties of Theka, Peshkaar, Kaida, Rela, Tukra,
Mukhra, Paran etc.
2.Taals in non-details
a.Ek-taal – Theka, Dugun, Chaugun, Tihai and Mukhra
b.Taal of Pakhawaj – Chaar taal, Teevra, Dugun, Chaugun and Parans Practical Paper – 2

1.Knowledge of Taals like Keherwa, Tilwara, Dadra and Deep-Chandi which are used in accompaniment.
2.Oral rendering of goals, of Taals of the syllabus.
3.Thaa, Dugun and Chaugun of any two taals given in details.
4.Ability to accompany taals like Keherwa and Dadra with vocal and instrumental music

THEORY
Instrumental Music (Percussion Instruments – Tabla / Pakhawaj)
1.Origin of Tabla – different views of Music scholars.
2.Introduction of any three percussion instruments like Pakhawaj, Dhouluk and Dhool.
3.Laya and layakaries – Ad, Kuad and Biad.
4.Ability of write all the taals in different layakaries given in the syllabus.
5.Definition of different terms – Tukda, Mukhda, Mohra, Rela, Faran, Tipalli, Chaupalli etc.
6.Essay on any topic related to Music
7.Life sketch and contribution of some maestros of music like – Ustad Habbib ud
Din Khan, Pt. Anokhe laal Misra and Ustad Alla Rakha Khan.

PRACTICAL
Instrumental Music (Percussion Instruments – Tabla / Pakhawaj)
1.Knowledge of Taals of 1st year and following Taals in detail
a. Ek Taal
b.Ada Chaar Taal
Advanced course with Peshkaar, Kayada, Rela, Tukra, Paran, Tipalli etc.
2.Recitation of practical matter and Tigun of any one taal.

PRACTICAL
Instrumental Music (Percussion Instruments – Tabla / Pakhawaj)
1. Ability to play one odd number taal in detail – Vasant Taal ( 9 Matra’s) with Uthaan, Peshkaar, Kayada, Rela, Tukra, different types of Tihai’s and Parans etc.
2.Ability to play
a.Pashto
b.Dhumali
c.Khemta

3.Taal of Pakhawaj – Tihai and Parans in Sool Taal.
4.Ability to play taals of the syllabus on hand.
5.Ability to accompany taals like Dumali, Deep Chandi and Kemta with Vocal and instrumental music.

THEORY
Instrumental Music (Percussion Instruments – Tabla / Pakhawaj)
1.Development of table and its importance in Indian Music.
2.Definition of Taal and introduction of North Indian Taal system.
3.Art of tabla accompaniment with different music forms.
4.Introduction of Bhaatkhande and Vishnudigambar notation system with special reference to Taal.
5.Ability to write different layakaries of theka given in syllabus.
6.Life sketch of
a.Pt. Kishan Maharaj         
b.Pt.Vishnu Digambar                   
c.Ustad Munne Khan

Theory
1.Ten prana’s of taal.
2.Karnatka music taal system.
3.Western music taal system (time, signature etc)
4.Tips to be a good tabla player and accompanist.
5.Essay
a.Music and society            
b.Contribution of science in music
c.Music and employment etc.

6.Life sketch
a.Ustad Karamat Ulla Khan          
b.Pt. Ravi Shankar             
c.Pt. Vishnu Narayan Bhatkhande


PRACTICAL

Instrumental Music (Percussion Instruments – Tabla / Pakhawaj)
1.Taals in detail
a.Rudra – 11 matra’s          
b.Pancham Sawari – 15 matra’s
c.Jhap Taal – 10 matra’s

Advanced course with Utaan, Peshkaar, Kayeda, Rela, Tihai’s, Tukra, Mukhra, Tipalli, Chaupalli, Gatt and Paran ect.
2.Presentation of kayeda of different Jati.
3.Oral rendering of some bols during solo playing.

Practical
1.Ability to play Teen taal with advanced course.
2.Ability to play Shikar Taal – 17 matra (tihai, tukra and paran only)
3.Taals of Pakhawaj
a.Gajjhampa – 15 matra                
b.Dhamaal – 14 matra
Advanced course with layakaries and different types of paran

4. Knowledge to play

a) Pashto                      
b) Dhumali               
c) Dadra                    
d) Keherwa
e) Deep Chandi      
f) Adhha                   
g) Tilwara                  
h) Jhumra

5. Ability to accompany in taals like – dadra, keherwa, deep chandi etc with vocal
and instrumental music.

 
 
 
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