At IHU, you will build on the proficiency you have and also have the opportunity to perform in temple and university settings.
This is a special program for those who have trained in traditional Indian music for many years under the tutelage of a guru or at a music school. The program provides an opportunity to obtain credits for this training after evaluation of previous training. Those who already have done Sangeet Visharad would be required to take only three additional courses at IHU in order to be eligible for a diploma from IHU. The three core courses are designed to provide practical experience in either a temple or university setting.
Pre-matric. Knowledge of Shuddha Swaras, Vadi, Samvadi, Audav-Shadav and one Chhota Khayal
Knowledge of Shudha and Vikrit Swaras, Alankar, NadSaptak, Mela, Raga, Jati, Alap, Tan and Pakar. Matric Music Knowledge of Alankars, of more than four swaras including Vikrit Swara. Additional Ragas: Alhaiya Bilawal, Kedar, Bihag, Bhairav, Malkauns, Bageshri, Khamaj Tala: Ektal Vilambit, Chautal, Dhamar, Rupak, Dugun of all Tals. Knowledge of systems of Hindustani and Carnatic music; specialities of Nad, Varna, Swaralipi of Vishnu Digambar and Bhatkhandepaddhati. Definitions: Khayal, Dhrupad, Dhamar, Tappa, Thumri, Bhajan, Ghazal, Shruti, Janak and Janya Raga, GrahAnsha, Nyas, Meend, Kana Swara, Poorvang, Uttarang, Sankeerna Ragas, Gat, Tora, Sparsh, Krintan, Mizrab.
Tuning of Tanpura, Division of 22 Shrutis in seven swaras. Madhya Laya Khayals with improvisations in Jaunpuri, Malkauns, Hamir, Patdeep, Tilang, Deshkar, and Kalingda, Vilambit and Drut Khayals with improvisations in Bhupali, Yaman (Kalyan) Bageshri and Bihag. Tala: Jhumra, Sul, Tilwada, and Deepchandi; detailed knowledge of Laya; practical knowledge of Meend, Sut, Ghasit, Murki. Tanas: Saral, Kut, Mishra, Sapat, Zamzama, Gamak, Uthav, Chalan, Nad and Shruti; writing Dugun and Chaugun of Dhrupad and Dhamar; detailed knowledge of Swaralipi of Vishnu Digambar and Bhatkhandepaddhati.
Madhyam LayaKhayals with improvisations in Chhayanat, Kamod, Gaud Sarang, Jaijaoiwanti, Pooriyadhanashree, Shankara; Vilambit and Drut Khayals with improvisations in Alhaiya Bilawal, Bhairav, Bhimpalasi, Brindavani Sarang and Kedar, appropriate knowledge of Dhvani, Kampan, Andolan; comparison between Hindustani and Karnatak systems of music; Guna and Dosha in a musician. Definition of Alpatva, Bahutva, Avirbhav, Tirobhav, Prabandh, Chaturang and Trivat; Anulom Vilom, Veend, Zamzama, Chikari, Jhala, Dillibaaj, Poorabbaaj, and knowledge of Vyankatamakhis 80 melakartas.
Madhya Laya Khayals with improvisations. Vilambit and Drut Khayals with improvisations in ragas Todi, Shudhasarang, Multani, Yaman, Bihag, Puriya Dhanashri, Rageshri, Jog, Shankara knowledge of singing from written Swaralipi; knowledge of Ada Chautal, Adha, Punjabi Dhumali, Chacher and Sul. Dhrupad-Dhamar in Dugun, Tigun, Chaugun and Chhagun. Chhagun and Athgun Tana with Jod, Alap Jhala, MaseetkhaniknowGat. Styles of Alap; detailed description of varieties of Tanas; Vidari, Ragalakashan, Jati Gayan, Vinyas, Apanyas, Gayaki, Nayaki, Ladant. Writing in Swaralipi (notation); Classification of Ragas; Biographies of ancient musicians.
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