Alankar Second Year
अलंकार द्वितीय वर्ष
Examination conducted by Akhil Bharatiya Gandharva Mahavidyalaya Mandal (ABGMVM)
Note · सूचना
Ninety minutes is allotted for this examination. In addition, a separate 30-minute stage performance is held before an audience, in the manner of a music recital, in which the candidate must present a raag from this year’s syllabus. Vocal candidates may take melodic accompaniment only during the stage performance. The 300 practical marks comprise 200 for performance and 100 for the stage presentation.
Applied Theory · क्रियात्मक शास्त्र
Paper 1 — Detailed study of the raags of Alankar Second Year and their comparison with raags learned earlier. The elements of constructing new raags (mishra, jod, sankirna), the need for them, the principles governing the formation of distinct raags, and their analysis. Notating learned bandishes, and composing and notating new compositions from given bols. Composing free aalap, taan and bol-taan in this year’s raags. Nibaddha gaan and its types (from prabandh to contemporary forms), with a detailed exposition of every kind of composition for string instruments. Comparative exposition of taals having the same number of matras, and practice writing the prescribed taals in aad, kuaad, biyaad and other difficult laykaris.
Exposition of the raagang system of classification, with special study of Todi, Kanada, Nat, Asavari and Shree.
Paper 2 — The elements of musical composition: melody, rhythm, metre, poetic content, choice of language, use of instruments, and the union of word and note. Comparison of the Carnatic and Hindustani systems; the prabandh forms current in each, their analysis, and the character of their swar, raag, taal and compositions. Modern forms of musical creation — background music, playback singing, orchestral playing, choral singing, musical drama and film music. Composing a bandish, setting poetry to music, and writing and notating compositions suited to different occasions. History — music of the Sharngadeva era, the interrelation of Indian music with other systems in the medieval period, and the varying views on foreign influence upon Indian music. The ancient classification of Indian instruments, with historical knowledge of the mattakokila, chitra, vipanchi, ghosha, ekatantri, kinnari, tritantri, mridang, patah, huduka, vanshi, madhukari, kansya, taal and ghanta. The contributions of Surendra Mohan Tagore, William Jones, Captain Willard, E. Clements, Deval, Krishnanand Vyas, Rabindranath Tagore, Fox Strangways, Maula Bakhsh, Krishnanandan Banerjee, Appa Tulsi, Raja Nawab Ali, Vishnu Digambar Paluskar, Vishnu Narayan Bhatkhande, Omkarnath Thakur, K. C. D. Brihaspati and Prof. Premlata Sharma.
Practical · क्रियात्मक
Presentation · प्रस्तुति
Eight new raags are prescribed for Alankar Second Year, in which the student must be able to sing or play for thirty to forty-five minutes with vilambit and drut compositions. Full elaboration with both vilambit and drut compositions is expected in the raags for detailed study. A good collection of additional bandishes should be assembled with attention to compositional variety, giving due representation to dhrupad, dhamar, tarana, chaturang, trivat and bandishes in various taals. The thekas of all current taals should be practised in different laykaris. Special facility in writing and reading notation, and practice in improvising new compositions on the spot, are expected.
Raag Knowledge · रागज्ञान
The foundational raags taught in the Mandal’s first three or four examinations are learned then only as bandishes in elementary form. The purpose of the Alankar years is that, some years later, the student should be able to render those same raags in the distinctive ang-pradhan style of their own gharana. Complete singing of the foundational raags is therefore expected this year, through which the artist’s individuality emerges. Any five of the foundational raags are to be prepared.
Raags · राग:
Foundational raags — Bhupali, Miyan Malhar, Chhayanat, Bageshri, Purvi, Darbari Kanada, Kedar, Puriya Dhanashri. For general knowledge — Rageshri, Shree, Khambavati, Chandrakauns, Devgandhar, Nayaki Kanada, Abhogi, Megh Malhar.
- For the stage performance the student may freely choose any raag from this year’s syllabus, together with a thumri, bhajan or any composition in a lalit style.
- The dhrupad and dhamar should be drawn from the raags for detailed study and general knowledge.
- Some compositions demonstrating the various styles of singing and playing should also be collected.
Taal & Laykari · ताल तथा लयकारी
Comparative knowledge of taals having the same number of matras, and practice reciting and writing the prescribed taals in aad, kuaad, biyaad and other difficult laykaris. Ability to recite the thekas of different taals with taali and khali in the ratios 3-against-1, 3-against-2, 3-against-4 and 5-against-4.
Marking Scheme · अंकपत्रिका
| Description · विवरण | Marks · अंक |
|---|---|
| Tuning — tuning the tanpura and one’s own instrument | 25 |
| Raags for detailed study — vilambit bandish with full elaboration (10 minutes) | 15 |
| Madhya laya bandish with full elaboration (7 minutes) | 12 |
| Vilambit bandish with three aalaps | 10 |
| Madhya laya bandish with taans | 7 |
| Vilambit bandish with characteristic aalap | 6 |
| General-study raags — discussion of five raags and clarifying their form through aalap | 25 |
| Dhrupad-dhamar nom-tom aalap (for instruments, aalap-jod) 5; dhrupad-dhamar or equivalent gat bandish 2; its tigun 3; dedhgun or bolbaant 5 | 15 |
| Semi-classical forms — any two of thumri, bhajan, folk song and natya geet (for instruments, two equivalent dhuns) | 10 |
| Ability to perform in different taals — vilambit bandishes in two taals (10) and madhya laya bandishes in two taals (10) | 20 |
| Earlier raags — the aalap and taan character of five raags drawn from the first year through Visharad | 20 |
| Other song forms — any one of tarana, chaturang, trivat or an ati-drut gat, with the expected elaboration | 10 |
| Taal and laykari — reciting the thekas of different taals with taali and khali in any three of the ratios 3-against-1, 3-against-2, 3-against-4 and 5-against-4 | 15 |
| Notation — writing out a heard bandish in notation, and singing written notation in tune and rhythm | 10 |
| Stage performance — one of this year’s raags plus semi-classical or light music, presented for 20 to 30 minutes | 100 |
| Total · कुल | 300 |
Theory (Written) · शास्त्र (लिखित)
| Paper 1 (minimum 35 marks) | 100 |
| Paper 2 (minimum 35 marks) | 100 |
| Total Theory · कुल शास्त्र | 200 |
Other Exams
Prarambhik
Praveshika First Year
Praveshika Second Year
Madhyama First Year
Madhyama Second Year
Visharad First Year
Visharad Second Year
Alankar First Year
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