Model Curriculum Content

For
Performing Arts
Dance / Theatre Arts / Music

Under
National Education Policy – 2020

Prepared By
Performing Arts Curriculum Committee for
UG Degrees
 Dr. NAGESH V BETTAKOTE
Vice Chancellor,
Chairman
Visual Arts, Performing Arts Curriculum Design Committee
K. S. G. H Music and Performing Arts University,
Mysore.

Dr. K RAMAKRISHNAIAH
Chairman,
Performing Arts Curriculum Committee
Department of Performing Arts,
Bangalore University.
 National Education Policy 2020

A Report on the Curriculum Framework for

Four - Year under Graduate Program in Universities of
Karnataka State under NEP – 2020
in
Performing Arts
Dance / Theatre Arts / Music

Submitted to
Karnataka State Higher Education Council
30, Prasanna Kumar Block, Bengaluru City University Campus,
Y Ramachandra Road, Gandhinagar,
Bengaluru, Karnataka- 560009

September 2021
 National Education Policy – 2020
Performing Arts – Dance, Theatre Arts, Music
Expert Committee

Sl. Name and Organization Designation

No
Dr. K RAMAKRISHNAIAH Chairperson
1 Performing Arts Curriculum Committee,
Dept. of Performing Arts, Bangalore University.

Dr. D. M. MANJUNATH Members

2 Professor, Lalita Kala College, Manasa Gangotri,
Mysore University, Mysore.
Dr. M. H. AGADI Members
3 Professor, Lalita kala college, Karnataka University,
Dharwad.

Dr. S. N. SUSHEELA Members

4 Professor, Dept. of Performing Arts, Bangalore University,
Bengaluru – 560056

5 Dr. C. A. SHREEDHAR Members

Professor and Principal,
Lalita Kala College, Manasa Gangotri, Mysore University,
Mysore.
Dr. MALLIKARJUN. S. TARALAGATTI Members
6 Assoc. Professor of Hindustani Music, University College of
Fine Arts & Music, Dharwad.
Dr. SHEELA. H.K Members
7 Professor of Dance, Lalita kala college, Manasa Gangotri,
Mysore University, Mysore.

Dr. ASHOK HUGGANAVAR Members

8 Assoc. Professor of Hindustani Music, S.D.M. college,
Honnavara, Uttara Kannada.
9 Dr. SRIKANTH PATHAK Members
Assoc. Professor of Music, P.P.G.M. college, Gadaga.
10 Dr. GURURAJ DANDAPURA
Assist. Professor of Music, N.V. College, Kalaburgi. Members
Smt. VEENA MURTHY VIJAY
12 Syndicate Member, Members
K.S.G.H. Performing Arts – Music University, Mysore
Dr. K Prasanna Kumar
13 Principal Member Secretary Member
Special Officer, Karnataka State Higher Education Council Convener
 Special Invitees

Sl. No Name and Organization

Dr. Smt. SUMITHRA G HIREMATH
1 Assoc. Professor, P. P. G. College of Music, Gadaga.

Dr. M. G. SHETTAR
2 Assoc. Professor, P.P.G. college of Music, Gadaga.

Dr. SANTHA RAMA HEGADE

3 Principal, University College of Fine Arts & Music, Dharwad.

Dr. S. SHIVANNA
4 Asst. Professor, Dept. of Performing Arts, Bangalore University,
Bengaluru – 560056
5 Sri. GOPALA KRISHNA HEGADE
Assoc. Professor of Music, S. D. M. College, Honnavara.

Dr. KRISHNA MURTHY BHAT

6 Chairperson, Dept. of Music, M. M. College of Arts and Science, Sirsi.
Implementation of the Policy related to Curriculum Adherence
to the National Education Policy of the Universities of
Karnataka State, Performing Arts.

Preface:
India is a huge collection of many cultures and performing arts, which includes
music, dance, theatre and many other forms of fine Arts. These art forms
portray and represent national, regional and local traditions. In the recent times
efforts have been made to inculcate and teach these art forms in formal
educational setup which hitherto were being taught in the Gurukul system.
Efforts are also being made to open up these art forms to research. In India
there are certain universities and institutions that are established exclusively
to promote performing arts and have become cultural ambassadors. One of
them is Indira Kala Sangeet University. Chhattisgarh. The other one
Karnataka State Dr. Gangubai Hangal Music and Performing Arts
University, Mysuru. These universities are playing a determining role in
upholding and conserving native art forms. These universities are providing
education and training students in various indigenous art forms and
performing arts. In relation to this the new education policy 2020 is striving
to inculcate the traditional art forms which introduce the Indian culture and
tradition to the future generations. With regard to this the model syllabus of
Performing Arts and Visual Arts are framed in the following manner to be
incorporated in the National Education Policy.
 National Educational Policy – 2020
Performing Arts – Dance, Theatre Arts (Drama) and Music
Curriculum Structure for Degree Programme

CONTENTS:

Sl. No. Course Page No.

1. Classical Dance Bharatanatyam 1-19
2. Classical Dance Kathak 19- 38
3. Classical Dance Kuchipudi 39 - 55

4. B. P.A. Theatre Arts (Drama) 56-73

5. B. A. Theatre Arts (Drama) 74-79

6. Karnataka Music in Vocal and Instrumental 80-96

7. Karnataka Music in Gamaka 96-101
8. Karnataka Music in Percussion Instruments 102 - 107

9. Hindustani Music B.A. in Vocal

10. Hindustani Music B.A. in Sitar
11. Hindustani Music B.A. in Tabla 108- 129

12. Hindustani Music B.P.A. in Khayal

129- 175
13. Hindustani Music B.P.A. in Sitar
14. Hindustani Music B.P.A. in Voilin
15. Hindustani Music B.P.A. in Thumri
16. Hindustani Music B.P.A. in Tabla
 National Education Policy – 2020

Model Program Structures for the Under-

Graduate Programs in Universities and
Colleges in Karnataka

Bachelor of Performing Arts (Basic/Hons.) (For Subjects with

practical’s) with two major and one minor

Bachelor of Arts (Basic/Hons.) (For Subjects with practical’s) with

Dance (Bharatanatyam/ Kathak/Kuchipudi) as one of the major

CLASSICAL DANCE : BHARATANATYAM

Page | 1
 Eligibility Criteria for Dance (Bharatanatyam) Degree Admission

ELIGIBILITY: For B.A. / B.P.A Dance (Bhartanatyam/ Kathak / Kuchipudi)

Programmes:
A candidate who has passed two-year Pre-University Course (PUC) Examination
conducted by Pre-University Education Board, Government of Karnataka, or 10+2
Examination conducted by CBSE or equivalent examinations by any Other State or any
other recognized Board /
Diploma in Dance / 3-year Diploma Course with any subject or 2-year JOC / ITI of any
subject / shall be eligible.
or
PUC pass with Dance as one of the subject
or
PUC with Government Recognized Junior in Dance (Bharathanatyam / Kathak /
Kuchipudi )
or
Pass in aptitude test conducted by the admission committee.

Page | 2
 I & II Semester Bachelor of Performing Arts – Classical Dance
(Bharatanatyam)

Sem Discipline Core (DSC) Discipline Elective Ability Enhancement Compulsory Skill Enhancement Course Total
(Credits) (L+T+P) (DSE) Courses (AECC), Languages (SEC) Credits
(4+0+2) / Open Elective (OE) (Credits) (L+T+P) Skill Value Based
(Credits) (L+T+P) (3+3) Based (Credits)
(Credits) (L+T+P)
(L+T+P)
I Dance OE 1 L1, L2
Bharatanatyam A1 -(3)
Bharatanatyam A2 -(3) Dance(Bharatanat Kannada Yoga (2) 23
English
B1 –(6) yam) Music-
Hindi
Theatre Arts/Music Karnatak, Sanskrit
(Karnataka, Hindustani, Telugu
Hindustani)/ Optional Mrudanga, Urdu etc.
Kannada/English Theatre Arts, Folk (3+3)
Sanskrit/Telugu/ Dance (3)
History/Economics/
Education/ Psychology
II Dance OE-2 L1, L2
Bharatanatyam A3 – (3) Environmental
Bharatanatyam A4 – (3) Dance(Bharatanat Kannada Science (2) Health and 25
yam) Music- English wellness/ social
B 2 -(6)
Karnatak, Hindi and emotional
Theatre Arts/Music- Sanskrit learning (2)
(Karnataka/Hindustani) Hindustani,
Telugu
/ Optional Mrudanga, Urdu etc.
Kannada/English Theatre Arts, Folk (3+3)
Sanskrit/Telugu/ Dance (3)
History/Economics/
Education/ Psychology
Exit option with Certificate (48 Credits)

Page | 3
 Model Curriculum

Name of the Degree Program: Bachelor of Performing Arts / Bachelor of Arts /

Bachelor of Arts in Dance (Bharathanatyam)

Discipline Core: Bharatanatyam Total Credits for the Program: 48

Starting Year of implementation: 2021-21

Program Outcomes of 1st Semester:

By the end of the program the students will be able to:
 Remember the origin and development of Indian Classical Dance Forms.
 Understand the difference between the Natyadharmi, Lokadharmi,
 Analyze the different Technical Terms of Bharathanatyam
 Apply the knowledge of Adavus and shloka.
 Evaluate the different types of Hasthas and Bedhas.
 Create and implement the Theoretical of Adavus and shloka.

Weightage for assessments (in percentage)

Type of Course Formative Assessment / Summative Assessment
IA
Theory 30 70
Practical 30 70
Projects 30 70
Experiential Learning 30 70
(Play Production etc.)

Page | 4
 CURRICULUM STRUCTURE FOR THE UNDERGRADUATE
DEGREE PROGRAM
Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts in Dance
(Bharathanatyam)
Total Credits for the Program: 48
Starting Year of Implementation: 2021 - 21
Name of the Degree Program: BPA / BA / BA (Fine Arts) Certificate
Discipline/ Subject: Bharatanatyam
Program Articulation Matrix:
This matrix lists only the core courses. Core courses are essential to earn the degree in
that discipline/subject. They include courses such as theory, laboratory, project,
internships etc. Elective courses may be listed separately
Semester Title / Program outcome that the course Pre- Pedagogy Assessment
Name of addresses (not more than 3 per Requisite
the course course) Course (s)
Semester Nrittha  Remember the origin and The Student Assignme Final Exam
1 Praveshika development of Indian Passed in nts and and stage
- Shastra Classical Dance Forms. Junior seminars performanc
1  Understand the difference Bharatanaty es
between the Natyadharmi, ama
Lokadharmi, certificate
 Analyze the different Recognised
Technical Terms of by
Bharathanatyam Government
Nrittha  Apply the knowledge of Assignme Final Exam
Praveshika Adavus and shloka. nts and and stage
- Prayoga  Evaluate the different types of seminars performanc
1 Hasthas and Bedhas. es
 Create and implement the
Theoretical of Adavus and
shloka.
Semester Nrittha  Understand the different type The Student Assignme Final Exam
2 Praveshika Chaturvidha Abhinaya. Passed in nts and and stage
- Shastra 2  Analyse the difference in Junior seminars performanc
Natyashastra Chapters. Bharatanaty es
 Create and implement the ama
Bhavas and Rasas in certificate
Bharatanayam. Recognised
by
Government
Nrittha  Understand the difference in Assignme Final Exam
Praveshika 8 Indian classical Dance nts and and stage
- Prayoga forms. seminars performanc
2  Analyze the need of es
Abhinaya Darpana Shlokas.
 Create and implement of
Ramayana and Mahabharatha
Stories in Dance.
### Pedagogy for student engagement is predominantly lectures. However, other pedagogies enhancing better student
engagement to be recommended for each course. The list includes active learning/ course projects/ problem or project
based learning/ case studies/self-study like seminar, term paper or MOOC

Every course needs to include assessment for higher order thinking skills (Applying/ Analysing/ Evaluating/ Creating).
However, this column may contain alternate assessment methods that help formative assessment (i.e. assessment for
learning)

Course Pre- Requisite (S): Mention only course titles from the curriculum that are needed to be taken by the students
before registering for this course.

Page | 5
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Bharatanatyam)

Semester 1

Course Title: Nrittha Praveshika- Shastra 1

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of origin and development of Indian Classical Dance
Forms.
 To impart the knowledge of, Natyadharmi, Lokadharmi,
 To train the student in Hasthas and Bedhas.

Course Outcomes: At the end of the course the student will be able to
 Remember the origin and development of Indian Classical Dance Forms.
 Understand the difference between the Natyadharmi, Lokadharmi,
 Analyze the different Technical Terms of Bharatanatyam

Course Articulation Matrix: Mapping of Course outcomes (Cos) with Program

outcomes (Pos 1-12)
Course Outcomes (Cos) Unit 1 Unit 2 Unit 3
At the end of the course the student will be able to
1) Remember the origin and development of Indian X
Classical Dance Forms.
2) Understand the difference between Natyadharmi and X
Lokadharmi,
3) Analyse the Technical Terms of Bharatanatyam X
Mark ‘X’ in the intersection cell if a course outcome addresses a particular program outcome.

Page | 6
Bachelor of Performing Arts in Dance (BHARATANATYAM)
BPA Semester 1

Title of the course: Nrittha Praveshika- Shastra 1

Course 1 Course 2
Number of Number of lecture Number of Number of
Theory Credits hours/semester Prctical Credits lecture
hours/semester
3 39 or 42 3 39 or 42

39/42 Hr
Content of Course – 1 Theory Nrittha
Praveshika Shastra– I
Unit – 1: 13/14 Hrs
Chapter No.1: Natyothpatthi –The Origin of Dance
Chapter No. 2: Introduction to Brief study of Classical Dance
Forms of India – Bharatanatyam, Kuchipudi,
Mohini Attam, Kathakali
Chapter No. 3: Kathak, Odissi,Manipuri, Satriya
Unit – 2: 13/14 Hrs
Chapter No.4: Asamyutha and Samyutha Hasthas with Shlokas
according to Abhinayadarpana
Chapter No.5: Drishti Bedha, Greeva Bedha, Shirobedha, Brukuti
Bedha
Chapter No.6: Pada bedhas according to Abhinayadarpana
Unit – 3: 13/14 Hrs
Chapter No.7: Brief introduction to of Technical Terms or
Paribhashika Shabdas- Bharatha, Thandava,
Lasya, Angahara, Rechaka, Vritthi, Karana
Chapter No.8: Technical Terms- Natyadharmi, Lokadharmi,
Solkattu, Jaathi, Saptha Thaala,
Chapter No.9 : Nritha, Nritya, Natya, Anga, Upanga, Pratyanga

Text Books / References

Understanding of Bharathanatyam- Mrinalini Sarabai
KSSEEB Text Books for Bharathanatyam – Junior
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar
Abhinaya Darpana of Nandikeshwara
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assessment 30
Theory 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 7
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Bharatanatyam)

Semester 1

Course Title: Nrittha Praveshika - Prayoga 1

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Kriyatmaka Abhayasa in Bharathanatyam.
 To impart the knowledge of Hasthas and Bedhas.
 To train the student in Adavus and shloka.
Course Outcomes: At the end of the course the student will be able to
 Apply the knowledge of Adavus and shloka.
 Evaluate the different types of Hasthas and Bedhas.
 Create and implement the Theoretical of Adavus and shloka.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Apply the knowledge of Adavus X
and shloka.
2) Evaluate the different types of X
Hasthas and Bedhas.
3) Create and implement the X
Theoretical of Adavus and shloka.
Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 8
 BHARATHANATYAM - COURSE 2
Nrittha Praveshika - Prayoga 1
Unit – 1: 13/14 Hrs

Chapter No.1: Kriyatmaka Abhayasa – Parshni Kriya, Jaanu kriya,

Uuru Kriya, Kathi chalane, Bhuja , Kara Chalane,
Manibandha,
Chapter No.2: Bhramana Kriya( for all the Kriyas), Greeva Kriya,
Netra , Aramandala Kriya, Himmukha Mummukha
Kriya
Chapter No.3: Basic Asanas for Dancers' Flexibility
Unit – 2: 13/14 Hrs
Chapter No.4: Asamyutha /Samyutha Hastha- Drishti According to
Abhinaya Darpana with Shlokas
Chapter No.5: Drishti Bedha , Shiro Bedha, Greeva, Bhrukuti
Bedha According to Abhinaya Darpana with Shlokas
Chapter No.6: Pada Bedhas- Mandal and Utplavana Bedhas
According to Abhainaya Darpana
Unit – 3: 13/14 Hrs
Chapter No.7: Adavus- Thattu adavu – 1 to 7 , Natu 1 to 7,
Mettu,
Thattumettu (5 Jaathi), Kudittha mettu Nos, Jaaru
Adavu, in 3 speeds
Chapter No.8: Prarthana shloka of Ganesha , Shiva , Saraswathi,
Vishnu
Chapter No.9: Abhinaya for Any 2 Shlokas from Bhagavadgitha

Text Books
References
AbhinayaDarpana of Nandikeshwara
Understanding of Bharathanatyam- Mrinalini Sarabai
KSSEEB Text Books for Bharathanatyam – Junior
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 9
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Bharatanatyam)
Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Semester I

Course Title: Nrittha Praveshika- Shastra 1

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of 8 Indian classical Dance forms
 To impart the knowledge of Ramayana and Mahabharatha Stories.
 To train the student in understanding the Abhinaya Darpana Shlokas.

Course Outcomes: At the end of the course the student will be able to
 Understand the difference in 8 Indian classical Dance forms.
 Analyze the need of Abhinaya Darpana Shlokas.
 Create and implement of Ramayana and Mahabharatha Stories in Dance.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the difference in 8 X
Indian classical Dance forms.
2) Analyze the need of Abhinaya X
Darpana Shlokas.
3) Create and implement of X
Ramayana and Mahabharatha Stories
in Dance.
Mark ‘X’ in the intersection cell if a course outcome addresses a particular program
outcome.

Page | 10
Bachelor of Performing Arts in Dance (BHARATANATYAM)
BPA Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: Nrittha Praveshika- Shastra

Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

BHARATANATYAM - COURSE 1 THEORY

Unit – 1 : 13/14 Hrs
Chapter No.1: Detailed study of 8 Indian classical Dance forms
Chapter No.2: Classification of Indian Dance-
Indian Classical Dance- Folk Dance-
Ritualistic Dance –Traditional
Chapter No.3: Introduction to Folk Dances of Karnataka
Unit – 2 : 13/14 Hrs
Chapter No.4: Study of Ramayana Stories with a special reference to
Dancing them in Sancharis
Chapter No.5: Study of Mahabharatha Stories with a special reference
to Dancing them in Sancharis
Chapter No.6: Study of Stories from Puranas with special reference to
Dance
Unit – 3 : 13/14 Hrs
Chapter No.7: Sabha lakshana, Kinkini Lakshana,
Chapter No.8: Natyakrama
Chapter No.9: Abhinaya Darpana Shlokas –Pushpanjali, Natyapatra
Guna Dosha, Patra Prana,

Text Books
References
Abhinaya Darpana of Nandikeshwara
Understanding of Bharathanatyam- Mrinalini Sarabai
KSSEEB Text Books for Bharathanatyam – Junior
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 11
 Model Curriculum

Name of the Degree Program: Bachelor of Performing Arts / Bachelor of Arts /

Bachelor of Arts in Dance (Bharatanatyam)

Discipline Core: Dance (Bharathanatyam)

Total Credits for the Program: 48

Starting Year of implementation: 2021-21

Program Outcomes:
By the end of the program the students will be able to:
 Understand the different type of short stories, poems and plays.
 Evaluate the different types of writing skills, acting skills and speech work.
 Create and implement the writing skills, acting skills and speech work.
 Understand the different type of Short Telling, Poem Recitation and Play.
 Evaluate the different types of Stage-Lighting, and Costume.
 Create and implement the essential elements for paly production.

Weightage for assessments (in percentage)

Type of Course Formative Assessment / Summative Assessment
IA
Theory 30 70
Practical 30 70
Projects 30 70
Experiential Learning 30 70
(Play Production etc.)

Page | 12
 CURRICULUM STRUCTURE FOR THE UNDERGRADUATE
DEGREE PROGRAM
Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts
Total Credits for the Program: 48
Starting Year of Implementation: 2021 - 21
Name of the Degree Program: BPA / BA / BA (Fine Arts) Certificate
Discipline/ Subject: Bharatanatyam
Program Articulation Matrix:
This matrix lists only the core courses. Core courses are essential to earn the degree in
that discipline/subject. They include courses such as theory, laboratory, project,
internships etc. Elective courses may be listed separately
Semester Title / Program outcome that the course Pre-Requisite Pedagogy Assessment
Name of addresses (not more than 3 per Course (s)
the course course)
Semester Nrittha  Remember the origin and The Student Assignme Final Exam
1 Praveshik development of Indian Passed in nts and and stage
a- Shastra Classical Dance Forms. Junior seminars performanc
 Understand the difference Bharatanathy es
between the Natyadharmi, ama
Lokadharmi, certificate
 Analyze the different Recognised
Technical Terms of by
Bharathanatyam Government
Nrittha  Apply the knowledge of Assignme Final Exam
Praveshik Adavus and shloka. nts and and stage
a -  Evaluate the different types of seminars performanc
Prayoga Hasthas and Bedhas. es
1  Create and implement the
Theoretical of Adavus and
shloka.
Semester Nritya  Understand the different type The Student Assignme Final Exam
2 prakriya Chaturvidha Abhinaya. Passed in nts and and stage
 Analyse the difference in Junior seminars performanc
Natyashastra Chapters. Bharatanathy es
 Create and implement the ama
Bhavas and Rasas in certificate
Bharatanayam. Recognised
by
Government
Nrittha  Understand the difference in 8 Assignme Final Exam
Praveshik Indian classical Dance forms. nts and and stage
a- Shastra  Analyze the need of Abhinaya seminars performanc
Darpana Shlokas. es
 Create and implement of
Ramayana and Mahabharatha
Stories in Dance.
### Pedagogy for student engagement is predominantly lectures. However, other pedagogies enhancing better student
engagement to be recommended for each course. The list includes active learning/ course projects/ problem or project
based learning/ case studies/self-study like seminar, term paper or MOOC

Every course needs to include assessment for higher order thinking skills (Applying/ Analysing/ Evaluating/ Creating).
However, this column may contain alternate assessment methods that help formative assessment (i.e. assessment for
learning)

Course Pre- Requisite (S): Mention only course titles from the curriculum that are needed to be taken by the students
before registering for this course.

Page | 13
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Bharatanatyam)

Semester II

Course Title: Nritya Prakriya Shasthra 1

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Indian Classical Dance and Folk Dance.
 To impart the knowledge of Lakshanas and Natyashastra Chapters.
 To train the student in understanding Chaturvidha Abhinaya
Course Outcomes: At the end of the course the student will be able to
 Understand the different type Chaturvidha Abhinaya.
 Analyse the difference in Natyashastra Chapters.
 Create and implement the Bhavas and Rasas in Bharatanayam.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program
outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the different type X
Chaturvidha Abhinaya.
2) Analyse the difference in X
Natyashastra Chapters.
3) Create and implement the Bhavas X
and Rasas in Bharatanayam.
Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 14
Bachelor of Performing Arts in Dance (BHARATANATYAM)
BPA Semester 2
Title of the course: Nritya Prakriya Shasthra 1
Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

Content of Course – 1 Theory

Unit – 1 : 13/14 Hrs

Chapter No.1: Classification of Indian Dance- Indian Classical

Dance- Folk Dance- Ritualistic Dance –Traditional
Chapter No. 2: Introduction to the study of North Indian Folk Dance
forms
Chapter No.3: Introduction to the study of South Indian Folk Dance
forms
Unit – 2 : 13/14 Hrs
Chapter No.4: Lakshanas According to Abhinaya Darpana with
Shlokas
Pushpanjali, Sabha lakshana, Kinkini Lakshana,
Natyakrama
Chapter No.5: Lakshanas of Natyapatra Guna Dosha, Patra Prana
shlokas from Abhinayadarpana
Chapter No.6: Brief Introduction to the Chapters of Natyashastra
Unit – 3 : 13/14 Hrs
Chapter No.7: Brief Introduction to Chaturvidha Abhinaya according to
Natyashastra
Chapter No.8: Study of Bhava and Rasa
Chapter No.9: Biographies and Contribution of Great Gurus of
Bharathanatyam- Jatti Thayamma, Smt.
Rukmini Devi, Meenakshi Sundaram Pillai,
Balasaraswati Venkatalakshamma

Text Books / References

Abhinaya Darpana of Nandikeshwara
Understanding of Bharathanatyam- Mrinalini Sarabai
KSSEEB Text Books for Bharathanatyam – Junior
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 15
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Bharatanatyam)

Semester II
Course Title: Nritya Prakriya- Prayoga – 2
Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Advus Vinyasa.
 To impart the knowledge of Pada bedhas According to Natyashastra.
 To train the student in understanding the Chaturasa Alaripu

Course Outcomes: At the end of the course the student will be able to
 Understand the different type of Pada bedhas According to Natyashastra
 Evaluate the different types of Advus Vinyasa.
 Create and implement the essential elements for Chaturasa Alaripu.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the different type of X
Pada bedhas According to
Natyashastra
2) Evaluate the different types of X
Advus Vinyasa.
3) Create and implement the essential X
elements for Chaturasa Alaripu.
Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 16
 BHARATHANATYAM- COURSE 2 (Practical)
Nritya Prakriya- Prayoga – 2

Unit – 1: 13/14 Hrs

Chapter No.1: Mandi , Rangakrama, Theermana, Korvai, and
Adavu Vinyasa with Notation

Chapter No.2: Other Advus Vinyasa ina all three speeds with
Recitation of Sholkattu
Chapter No.3: Recitation and Exibition of dashavidha adavus
in Five Jathis
Unit – 3: 13/14 Hrs
Chapter No.4: Pada bedhas According to Natyashastra
Chapter No.5: Sthanaka Bedha According to Natyashastra
Chapter No.6 : Tisra Alaripu
Unit – 3: 13/14 Hrs
Chapter No.7: Chaturasa Alaripu
Chapter No.8: Aditala Jatiswaram in any Raga
Chapter No.9: Bhavabhinaya for each shloka from Krishna
Karnamritam and Tharangam Respectively

Text Books / References

Abhinaya Darpana of Nandikeshwara
Understanding of Bharathanatyam- Mrinalini Sarabai
KSSEEB Text Books for Bharathanatyam – Junior
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar
.Nritya Kale
Nritya loka

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assessment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 17
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Bharatanatyam)
Semester 2, Discipline Elective (DSE)/ Open Elective (OE)

Semester II

Course Title: Nritya Prakriya- Prayoga (Practical) 2

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Hastas and Bedhas.
 To impart the knowledge of Components of Adavus.
 To train the student in understanding the Abhinaya and shloka from Bhagavadgita

Course Outcomes: At the end of the course the student will be able to
 Understand the Abhinaya and shloka from Bhagavadgita.
 Analyze the difference between Hastas and Bedhas.
 Create and implement the Components of Adavus in Baratanatya.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the Abhinaya and X
shloka from Bhagavadgita.
2) Analyze the difference between X
Hastas and Bedhas.
3) Create and implement the X
Components of Adavus in
Baratanatya.
Mark ‘X’ in the intersection cell if a course outcome addresses a particular program
outcome.

Page | 18
Bachelor of Performing Arts in Dance (BHARATANATYAM)
BPA Semester 2, Discipline Elective (DSE)/ Open Elective (OE)
Title of the course: Nritya Prakriya- Prayoga (Practical)
Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

BHARATHANATYAM - COURSE 2 39/42

(Practicals)
Unit – 1 : 13/14 Hrs
Chapter No.1: Kriyatmaka Abhayasa – Parshni Kriya, Jaanu kriya,
Uuru Kriya, Kathi chalane, Bhuja , Kara Chalane,
Manibandha, Bhramana Kriya( for all the Kriyas),
Greeva Kriya, Netra , Aramandala Kriya,
Himmukha Mummukha Kriya
Chapter No. 2: Hastas and Bedhas- Asamyutha /Samyutha Hastha-
Drishti Bedha , Shiro Bedha, Greeva, Bhrukuti
Bedha According to Abhinaya Darpana with Shlokas
Chapter No. 3: Paadabedha Mandala, Sthana, Utplavana,
Bhramari, Chari Acording to Abhinayadrapana
Unit – 2 : 13/14 Hrs
Chapter No 4: Components of Adavus
Chapter No.5: Adavus- Thattu , Nattu Mettu, Egaruthattu,
Kuditthamettu, Thattumettu
Chapter No.6: Adavu –Mukthaya, Jaaru , Mandi , Rangakrama,
Jaathi Adavu Vinyasa
Unit – 3 : 13/14 Hrs
Chapter No.7: Abhinaya for Prarthana shlokas of Ganapathi and
Shiva (Each one)
Chapter No.8: Abhinaya for Any one shloka from Bhagavadgita
and Any one shloka from Krishnakarnamritam
Chapter No.9: Tisra Alaripu
Text Books / References
Abhinaya Darpana of Nandikeshwara
Understanding of Bharatanatyam- Mrinalini Sarabai
KSSEEB Text Books for Bharatanatyam – Junior
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar
Nritya Kale / Nritya loka
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 19
 National Education Policy – 2020

Model Program Structures for the

Under- Graduate Programs in Universities
and Colleges in Karnataka

Bachelor of Performing Arts (Basic/Hons.) (For Subjects with

practical’s) with two major and one minor

Bachelor of Arts (Basic/Hons.) (For Subjects with practical’s) with

Dance (Bharatanatyam/ Kathak /Kuchipudi) as one of the major

CLASSICA DANCE : KATHAK

Page | 20
 Eligibility Criteria for Dance (Kathak ) Degree Admission

ELIGIBILITY: For B.A. / B.P.A Dance (Bhartanatyam/ Kathak / Kuchipudi)

Programmes:
A candidate who has passed two-year Pre-University Course (PUC) Examination
conducted by Pre-University Education Board, Government of Karnataka, or 10+2
Examination conducted by CBSE or equivalent examinations by any Other State or any
other recognized Board /
Diploma in Dance / 3-year Diploma Course with any subject or 2-year JOC / ITI of any
subject / shall be eligible.
or
PUC pass with Dance as one of the subject
or
PUC with Government Recognized Junior in Dance (Bharathanatyam / Kathak /
Kuchipudi )
or
Pass in aptitude test conducted by the admission committee.

Page | 21
 I & II Semester Bachelor of Performing Arts –
Classical Dance (Kathak)

Sem Discipline Core (DSC) Discipline Elective Ability Enhancement Compulsory Skill Enhancement Course Total
(Credits) (L+T+P) (DSE) Courses (AECC), Languages (SEC) Credits
(4+0+2) / Open Elective (OE) (Credits) (L+T+P) Skill Value Based
(Credits) (L+T+P) (3+3) Based (Credits)
(Credits) (L+T+P)
(L+T+P)
I Dance OE 1 L1, L2
Kathak A1 -(3)
Kathak A2 -(3) Dance(Kathak) Kannada Yoga (2) 23
English
B1 –(6) Music- Karnatak,
Hindi
Theatre Arts/Music Hindustani, Sanskrit
(Karnataka, Mrudanga, Telugu
Hindustani)/ Optional Theatre Arts, Folk Urdu etc.
Kannada/English Dance (3) (3+3)
Sanskrit/Telugu/
History/Economics/
Education/ Psychology
II Dance OE-2 L1, L2
Kathak A3 – (3)
Kathak A4 – (3) Dance(Kathak) Kannada Environmental Health and 25
Music- Karnatak, English Science (2) wellness/ social
B2 -(6)
Hindustani, Hindi and emotional
Theatre Arts/Music- Sanskrit learning (2)
(Karnataka/Hindustani) Mrudanga,
Telugu
/ Optional Theatre Arts, Folk Urdu etc.
Kannada/English Dance (3) (3+3)
Sanskrit/Telugu/
History/Economics/
Education/ Psychology
Exit option with Certificate (48 Credits)

Page | 22
 Model Curriculum

Name of the Degree Program: Bachelor of Performing Arts / Bachelor of Arts /

Bachelor of Arts in Dance (Kathak)

Discipline Core: Dance (Kathak) Total Credits for the Program: 48

Starting Year of implementation: 2021-21

Program Outcomes of 1st Semester:

By the end of the program the students will be able to:
 Remember the origin and development of Indian Classical Dance Forms.
 Understand the difference between the Natyadharmi, Lokadharmi,
 Analyze the different Technical Terms of Bharathanatyam
 Apply the knowledge of Adavus and shloka.
 Evaluate the different types of Hasthas and Bedhas.
 Create and implement the Theoretical of Adavus and shloka.

Weightage for assessments (in percentage)

Type of Course Formative Assessment / Summative Assessment
IA
Theory 30 70
Practical 30 70
Projects 30 70
Experiential Learning 30 70
(Play Production etc.)

Page | 23
 CURRICULUM STRUCTURE FOR THE UNDERGRADUATE
DEGREE PROGRAM
Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts in Dance (Kathak)
Total Credits for the Program: 48
Starting Year of Implementation: 2021 - 21
Name of the Degree Program: BPA / BA / BA (Fine Arts) Certificate
Discipline/ Subject: in Dance (Kathak)
Program Articulation Matrix:
This matrix lists only the core courses. Core courses are essential to earn the degree in
that discipline/subject. They include courses such as theory, laboratory, project,
internships etc. Elective courses may be listed separately
Semester Title / Program outcome that the course Pre- Pedagogy Assessment
Name of addresses (not more than 3 per Requisite
the course course) Course (s)
Semester Pravesh  Remember the origin and The Student Assignmen Final Exam
1 ika development of Indian Passed in t and stage
Classical Dance Forms. Junior and performanc
Shastra Bharatanaty Seminar es
–I  Understand the difference
ama
between the Natyadharmi,
certificate
Lokadharmi,
Recognised
 Analyze the different Technical by
Terms of Bharathanatyam Government
Nrittha  Apply the knowledge of Assignmen Final Exam
Praveshi Adavus and shloka. t And
ka -  Evaluate the different types of and Scene
Prayoga Hasthas and Bedhas. Seminar Works
1  Create and implement the
Theoretical of Adavus and
shloka.
Semester Pravesh  Understand the different type The Student Assignmen Final Exam
2 ika Chaturvidha Abhinaya. Passed in t and stage
 Analyse the difference in Junior and performanc
Shastra Bharatanaty Seminar es
Natyashastra Chapters.
–2 ama
 Create and implement the
certificate
Bhavas and Rasas in
Recognised
Bharatanayam
by
Government
Nritya  Understand the difference in 8 Assignmen Final Exam
Prakriy Indian classical Dance forms. t and stage
a-  Analyze the need of Abhinaya and performanc
Prayoga Darpana Shlokas. Seminar es
–2  Create and implement of
Ramayana and Mahabharatha
Stories in Dance.

### Pedagogy for student engagement is predominantly lectures. However, other pedagogies enhancing better student
engagement to be recommended for each course. The list includes active learning/ course projects/ problem or project
based learning/ case studies/self-study like seminar, term paper or MOOC

Every course needs to include assessment for higher order thinking skills (Applying/ Analysing/ Evaluating/ Creating).
However, this column may contain alternate assessment methods that help formative assessment (i.e. assessment for
learning)

Course Pre- Requisite (S): Mention only course titles from the curriculum that are needed to be taken by the students
before registering for this course.

Page | 24
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Kathak)

Semester 1

Course Title: Nrittha Praveshika- Shastra 1

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of origin and development of Indian and Karnataka
Theatre
 To impart the knowledge of Professional Karnataka Theatre and Folk Theatre of
Karnataka.
 To train the student in folk Theatre form, Karnataka Theatre and Technical
knowledge of Stage.

Course Outcomes: At the end of the course the student will be able to
 Remember the origin and development of Indian and Karnataka Theatre.
 Understand the difference between the Professional Karnataka Theatre and Folk
Theatre of Karnataka.
 Analyze the different era of theatre.

Course Articulation Matrix: Mapping of Course outcomes (Cos) with Program

outcomes (Pos 1-12)
Course Outcomes (Cos) Unit 1 Unit 2 Unit 3
At the end of the course the student will be able to
1) Remember the origin and development of Indian X
Classical Dance Forms.
2) Understand the difference between Natyadharmi and X
Lokadharmi,
3) Analyse the Technical Terms of Bharathanatyam X
Mark ‘X’ in the intersection cell if a course outcome addresses a particular program outcome.

Page | 25
 Bachelor of Performing Arts in Dance (KATHAK)
BPA Semester 1
Title of the course: Praveshika Shastra– I
Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

39/42 Hr
Content of Course – 1 Theory Nrittha
Praveshika Shastra– I
Unit – 1: 13/14 Hrs
Chapter No.1: Natyothpatthi –The Origin of Dance
Chapter No. 2: Introduction to Brief study of Classical Dance
Forms of India – Bharathanatyam, Kuchipudi,
Mohini Attam, Kathakali
Chapter No. 3: Kathak, Odissi,Manipuri, Satriya
Unit – 2: 13/14 Hrs
Chapter No.4: Asamyutha and Samyutha Hasthas with Shlokas
according to Abhinayadarpana
Chapter No.5: Drishti Bedha, Greeva Bedha, Shirobedha, Brukuti
Bedha
Chapter No.6: Pada bedhas according to Abhinayadarpana
Unit – 3: 13/14 Hrs
Chapter No.7: Brief introduction to of Technical Terms or
Paribhashika Shabdas- Bharatha, Thandava,
Lasya, Angahara, Rechaka, Vritthi, Karana
Chapter No.8: Technical Terms- Natyadharmi, Lokadharmi,
Thhat, Amad, toda, Tukda, Tatkar, Tehai,
GathBharatha, Thandava, Lasya, Nritha, Nritya,
Natya, Anga, Upanga, Pratyanga
Chapter No.9 : Brief Introduction of Hindi, Brij and Awadhi
Bhasha relevant to Kathak Compositions
Text Books / References
AbhinayaDarpana of Nandikeshwara
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assessment 30
Theory 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 26
 Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts in
Dance (KATHAK)
Semester 1
Course Title: Nrittha Praveshika - Prayoga 1
Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Kriyatmaka Abhayasa in Bharathanatyam.
 To impart the knowledge of Hasthas and Bedhas.
 To train the student in Adavus and shloka.

Course Outcomes: At the end of the course the student will be able to
 Apply the knowledge of Adavus and shloka.
 Evaluate the different types of Hasthas and Bedhas.
 Create and implement the Theoretical of Adavus and shloka.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Apply the knowledge of Adavus X
and shloka.
2) Evaluate the different types of X
Hasthas and Bedhas.
3) Create and implement the X
Theoretical of Adavus and shloka.
Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 27
 KATHAK- COURSE 2
: Nrittha Praveshika - Prayoga 1
Unit – 1: 13/14 Hrs
Chapter No.1: Kriyatmaka Abhayasa – Parshni Kriya, Jaanu kriya,
Uuru Kriya, Kathi chalane, Bhuja , Kara
Chalane, Manibandha,
Chapter No.2: Bhramana Kriya( for all the Kriyas), Greeva Kriya,
Netra , Aramandala Kriya, Himmukha Mummukha Kriya
Chapter No.3: Practical Demonstration of Teen Tal, Simple Tatkar
with Dugan and Chougan Layakaries
Unit – 2: 13/14 Hrs
Chapter No.4: Asamyutha /Samyutha Hastha- Drishti According to
Abhinaya Darpana with Shlokas
Chapter No.5: Drishti Bedha , Shiro Bedha, Greeva, Bhrukuti Bedha
According to Abhinaya Darpana with Shlokas
Chapter No.6: Pada Bedhas- Mandal and Utplavana Bedhas According
to Abhainaya Darpana
Unit – 3: 13/14 Hrs
Chapter No.7: Thaat, Amad, Thehai, GAth, Toda, Ganesh Vandana
Chapter No.8: Prarthana shloka of Ganesha , Shiva , Saraswathi, Vishnu
Chapter No.9: Abhinaya for Any 2 Shlokas from Bhagavadgitha

Text Books
References
AbhinayaDarpana of Nandikeshwara
Natyashastra
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assessment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 28
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (KATHAK)

Semester I
Course Title: : Praveshika Shastra– I
Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of 8 Indian classical Dance forms
 To impart the knowledge of Ramayana and Mahabharatha Stories.
 To train the student in understanding the Abhinaya Darpana Shlokas.

Course Outcomes: At the end of the course the student will be able to
 Understand the difference in 8 Indian classical Dance forms.
 Analyze the need of Abhinaya Darpana Shlokas.
 Create and implement of Ramayana and Mahabharatha Stories in Dance.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the difference in 8 X
Indian classical Dance forms.
2) Analyze the need of Abhinaya X
Darpana Shlokas.
3) Create and implement of X
Ramayana and Mahabharatha Stories
in Dance.
Mark ‘X’ in the intersection cell if a course outcome addresses a particular program
outcome.

Page | 29
 Bachelor of Performing Arts in Dance (Kathak)
BPA Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: Nrittha Praveshika- Shastra 1

Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

KATHAK- COURSE 1 THEORY

Praveshika Shastra– I
Unit – 1 : 13/14 Hrs
Chapter No.1: Detailed study of 8 Indian classical Dance forms
Chapter No.2: Classification of Indian Dance-
Indian Classical Dance- Folk Dance- Ritualistic
Dance –Traditional
Chapter No.3: Introduction to the Study of Indian Folk Dances with
special reference to Folk dances of North India
Unit – 2 : 13/14 Hrs
Chapter No.4: Study of Ramayana Stories with a special reference
to Dancing them in Sancharis
Chapter No.5: Study of Mahabharatha Stories with a special
reference to Dancing them in Sancharis
Chapter No.6: Study of Stories from Puranas with special reference
to Dance
Unit – 3 : 13/14 Hrs
Chapter No.7: Contribution of Great Gurus to Kathak Ishwari
Prasad, Pandit Durgalal , Lacchu Maharaj, Shambhu
Maharaj, Sitaradevi,
Chapter No.8: Technical Terms Thhat, Amad, toda, Tukda, Tatkar,
Tehai, GathBharatha, Thandava, Lasya, Angahara,
Rechaka, Vritthi, , Natyadharmi, Lokadhar, Anga,
Upanga, Pratyanga
Chapter No.9: Brief Introduction of Hindi, Brij and Awadhi
Bhasha relevant to Kathak Compositions
Text Books/ References
AbhinayaDarpana of Nandikeshwara
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 30
 Model Curriculum

Name of the Degree Program: Bachelor of Performing Arts / Bachelor of Arts /

Bachelor of Arts in Dance (Kathak)
Discipline Core: Dance (Kathak)
Total Credits for the Program: 48

Starting Year of implementation: 2021-21

Program Outcomes:
By the end of the program the students will be able to:
 Understand the different type of short stories, poems and plays.
 Evaluate the different types of writing skills, acting skills and speech work.
 Create and implement the writing skills, acting skills and speech work.
 Understand the different type of Short Telling, Poem Recitation and Play.
 Evaluate the different types of Stage-Lighting, and Costume.
 Create and implement the essential elements for paly production.

Weightage for assessments (in percentage)

Type of Course Formative Assessment / Summative Assessment
IA
Theory 30 70
Practical 30 70
Projects 30 70
Experiential Learning 30 70
(Play Production etc.)

Page | 31
 CURRICULUM STRUCTURE FOR THE UNDERGRADUATE
DEGREE PROGRAM
Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts in Dance (Kathak)
Total Credits for the Program: 48
Starting Year of Implementation: 2021 - 21
Name of the Degree Program: BPA / BA / BA (Fine Arts) Certificate
Discipline/ Subject: Dance (Kathak)
Program Articulation Matrix:
This matrix lists only the core courses. Core courses are essential to earn the degree in
that discipline/subject. They include courses such as theory, laboratory, project,
internships etc. Elective courses may be listed separately
Semester Title / Program outcome that the course Pre-Requisite Pedagogy Assessment
Name of addresses (not more than 3 per Course (s)
the course course)
Semester Pravesh  Remember the origin and The Student Assignme Final Exam
1 ika development of Indian Passed in nt and stage
Classical Dance Forms. Junior and performanc
Shastra Bharatanatya Seminar es
–I  Understand the difference
between the Natyadharmi, ma certificate
Recognised
Lokadharmi,
by
 Analyze the different Technical Government.
Terms of Bharathanatyam
Nrittha  Apply the knowledge of Assignme Final Exam
Praveshi Adavus and shloka. nt And
ka -  Evaluate the different types of and Scene
Prayoga Hasthas and Bedhas. Seminar Works
1  Create and implement the
Theoretical of Adavus and
shloka.
Semester Pravesh  Understand the different type The Student Assignme Final Exam
2 ika Chaturvidha Abhinaya. Passed in nt and stage
 Analyse the difference in Junior and performanc
Shastra Bharatanatya Seminar es
Natyashastra Chapters.
–2 ma certificate
 Create and implement the
Recognised
Bhavas and Rasas in
by
Bharatanayam
Government
Nritya  Understand the difference in 8 Assignme Final Exam
Prakriy Indian classical Dance forms. nt and stage
a-  Analyze the need of Abhinaya and performanc
Prayoga Darpana Shlokas. Seminar es
–2  Create and implement of
Ramayana and Mahabharatha
Stories in Dance.

### Pedagogy for student engagement is predominantly lectures. However, other pedagogies enhancing better student
engagement to be recommended for each course. The list includes active learning/ course projects/ problem or project
based learning/ case studies/self-study like seminar, term paper or MOOC

Every course needs to include assessment for higher order thinking skills (Applying/ Analysing/ Evaluating/ Creating).
However, this column may contain alternate assessment methods that help formative assessment (i.e. assessment for
learning)

Course Pre- Requisite (S): Mention only course titles from the curriculum that are needed to be taken by the students
before registering for this course.

Page | 32
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Kathak)

Semester II

Course Title: Nritya Prakriya Shastra 2

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Indian Classical Dance and Folk Dance.
 To impart the knowledge of Lakshanas and Natyashastra Chapters.
 To train the student in understanding Chaturvidha Abhinaya

Course Outcomes: At the end of the course the student will be able to
 Understand the different type Chaturvidha Abhinaya.
 Analyse the difference in Natyashastra Chapters.
 Create and implement the Bhavas and Rasas in kathak
Course Articulation Matrix: Mapping of Course outcomes (COs) with Program
outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the different type X
Chaturvidha Abhinaya.
2) Analyse the difference in X
Natyashastra Chapters.
3) Create and implement the Bhavas X
and Rasas in Bharatanayam.
Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 33
 Bachelor of Performing Arts in Dance (KATHAK)
BPA Semester 2
Title of the course: Nritya Prakriya Shastra - 2
Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

Content of Course – 1 Theory

Praveshika Shastra– 2
Unit – 1 : 13/14 Hrs
Chapter No.1: Classification of Indian Dance- Indian
Classical Dance- Folk Dance- Ritualistic Dance
Traditional
Chapter No. 2: Introduction to the study of North Indian Folk
Dance forms
Chapter No.3: Study of Sahitya given by Medieval saint poets
like Surdas, Tulsidas, Meerabai, Kabir, Guru
Nanak with special reference to kathak
compositions
Unit – 2 : 13/14 Hrs
Chapter No.4: Lakshanas According to Abhinaya Darpana with
Shlokas – Pushpanjali, Sabha lakshana, Kinkini
Lakshana, Natyakrama
Chapter No.5: Lakshanas of Natyapatra Guna Dosha, Patra Prana
shlokas from Abhinayadarpana
Chapter No.6: Definition of the Following- Kavit, Vandana,
Gat Nikas, Paran, Chakradhar Paran, Thumri,
Ghazal, Tarana
Unit – 3 : 13/14 Hrs
Chapter No.7: Brief Introduction to Chaturvidha Abhinaya
according to Natyashastra
Chapter No.8: Study of Bhava and Rasa
Chapter No.9: Biographies and Contribution of Great Gurus of
Bharathanatyam- Jatti Thayamma, Smt.
Rukmini Devi, Meenakshi Sundaram Pillai,
Balasaraswati Venkatalakshamma
Text Books / References
AbhinayaDarpana of Nandikeshwara
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 34
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (KATHAK)

Semester II

Course Title: Nritya Prakriya- Prayoga – 2

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Advus Vinyasa.
 To impart the knowledge of Pada bedhas According to Natyashastra.
 To train the student in understanding the Chaturasa Alaripu

Course Outcomes: At the end of the course the student will be able to
 Understand the different type of Pada bedhas According to Natyashastra
 Evaluate the different types of Advus Vinyasa.
 Create and implement the essential elements for Chaturasa Alaripu.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the different type of X
Pada bedhas According to
Natyashastra
2) Evaluate the different types of X
Advus Vinyasa.
3) Create and implement the X
essential elements for Chaturasa
Alaripu.
Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 35
 KATHAK - COURSE 2 (Practical)
Nritya Prakriya- Prayoga – 2

Unit – 1: 13/14 Hrs

Chapter No.1 Practical Demonstration of Teen TAll, Tatkar
Chapter No.2: Saraswati Vandana
Chapter No.3: Practical Demonstration of Ekgun, Dugan, Chougan
Layakaries,
Unit – 3: 13/14 Hrs
Chapter No.4: Pada bedhas According to Natyashastra
Chapter No.5: Sthanaka Bedha According to Natyashastra
Chapter No.6 : Nritthahastas of Natyashastra
Unit – 3: 13/14 Hrs
Chapter No.7: Any one Nrittha Composition of Lucknow Gharana
Chapter No.8: Any one Nrittha Composition of Jaipur Gharana
Chapter No.9: Bhavabhinaya for Ayt two shlokas of and
Bhagavadgitha

Text Books
References
AbhinayaDarpana of Nandikeshwara
Natyashastra
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in
Marks
Internal Assessment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 36
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (KATHAK)
Semester 2, Discipline Elective (DSE)/ Open Elective (OE)

Semester II
Course Title: Kathak Nritya Prakriya- Prayoga (Practical) 2
Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Hastas and Bedhas.
 To impart the knowledge of Components of Adavus.
 To train the student in understanding the Abhinaya and shloka from Bhagavadgita

Course Outcomes: At the end of the course the student will be able to
 Understand the Abhinaya and shloka from Bhagavadgita.
 Analyze the difference between Hastas and Bedhas.
 Create and implement the Components of Adavus in kathak

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the Abhinaya and X
shloka from Bhagavadgita.
2) Analyze the difference between X
Hastas and Bedhas.
3) Create and implement the X
Components of Adavus in
Baratanatya.
Mark ‘X’ in the intersection cell if a course outcome addresses a particular program
outcome.

Page | 37
 Bachelor of Performing Arts in Dance (KATHAK)
BPA Semester 2, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: Nritya Prakriya- Prayoga (Practical) 2

Course 1 Course 2
Number of Theory Number of lecture Number of Number of lecture
Credits hours/semester Practical Credits hours/semester
3 42 3 42

KATHAK - COURSE 2 39/42

(Practical)
Unit – 1 : 13/14 Hrs
Chapter No.1: Kriyatmaka Abhayasa – Parshni Kriya, Jaanu kriya,
Uuru Kriya, Kathi chalane, Bhuja , Kara Chalane,
Manibandha, Bhramana Kriya( for all the Kriyas),
Greeva Kriya, Netra , Aramandala Kriya, Himmukha
Mummukha Kriya
Chapter No. 2: Hastas and Bedhas- Asamyutha /Samyutha Hastha-
Drishti Bedha , Shiro Bedha, Greeva, Bhrukuti Bedha
According to Abhinaya Darpana with Shlokas
Chapter No. 3: Paadabedha – Mandala, Sthana, Utplavana, Bhramari,
Chari Acording to Abhinayadrapana
Unit – 2 : 13/14 Hrs
Chapter No 4: Practical Demonstration of Teen Tal, Simple Tatkar with
Dugan and Chougan Layakaries
Chapter No.5: Practical Demonstration of Thaat, Amad, Thehai
Chapter No.6: Practical Demonstration of GAth, Toda, Ganesh
Vandana
Unit – 3 : 13/14 Hrs
Chapter No.7: Abhinaya for Prarthana shlokas of Ganapathi and Shiva
(Each one)
Chapter No.8: Abhinaya for Any one shloka from Bhagavadgita and
Any one shloka from Krishnakarnamritam
Chapter No.9: Any one Nrittha composition from any Gharana
Text Books / References
AbhinayaDarpana of Nandikeshwara
Natyashastra
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assessment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 38
 National Education Policy – 2020

Model Program Structures for the Under-

Graduate Programs in Universities and
Colleges in Karnataka

Bachelor of Performing Arts (Basic/Hons.) (For Subjects with

practical’s) with two major and one minor

Bachelor of Arts (Basic/Hons.) (For Subjects with practical’s) with

Dance (Bharatanatyam/ Kathak/Kuchipudi) as one of the major

CLASSICAL DANCE: KUCHIPUDI

Page | 37
Eligibility Criteria for Dance (Kuchipudi) Degree Admission

ELIGIBILITY: For B.A. / B.P.A Dance (Bhartanatyam/ Kathak / Kuchipudi)

Programmes:
A candidate who has passed two-year Pre-University Course (PUC) Examination
conducted by Pre-University Education Board, Government of Karnataka, or 10+2
Examination conducted by CBSE or equivalent examinations by any Other State or any
other recognized Board /
Diploma in Dance / 3-year Diploma Course with any subject or 2-year JOC / ITI of any
subject / shall be eligible.
or
PUC pass with Dance as one of the subject
or
PUC with Government Recognized Junior in Dance (Bharathanatyam / Kathak /
Kuchipudi )
or
Pass in aptitude test conducted by the admission committee.

Page | 38
 I & II Semester Bachelor of Performing Arts –
Classical Dance (Kuchipudi)

Sem Discipline Core (DSC) Discipline Elective Ability Enhancement Skill Enhancement Course Total
(Credits) (L+T+P) (DSE) Compulsory Courses (AECC), (SEC) Credits
(4+0+2) / Open Elective (OE) Languages (Credits) (L+T+P) Skill Value Based
(Credits) (L+T+P) (3+3) Based (Credits)
(Credits) (L+T+P)
(L+T+P)
I Dance OE 1 L1, L2
Kuchipudi A1 -(3)
Kuchipudi A2 -(3) Dance(Kuchipudi) Kannada Yoga (2) 23
English
B1 –(6) Music- Karnatak,
Hindi
Theatre Arts/Music Hindustani, Sanskrit
(Karnataka, Mrudanga, Theatre Telugu
Hindustani)/ Optional Arts, Folk Dance (3) Urdu etc.
Kannada/English (3+3)
Sanskrit/Telugu/
History/Economics/
Education/ Psychology
II Dance OE-2 L1, L2
Kathak A3 – (3)
Kathak A4 – (3) Dance(Kuchipudi) Kannada Environmental Health and 25
Music- Karnatak, English Science (2) wellness/ social
B2 -(6)
Hindustani, Hindi and emotional
Theatre Arts/Music- Sanskrit learning (2)
(Karnataka/Hindustani) Mrudanga, Theatre
Telugu
/ Optional Arts, Folk Dance (3) Urdu etc.
Kannada/English (3+3)
Sanskrit/Telugu/
History/Economics/
Education/ Psychology
Exit option with Certificate (48 Credits)

Page | 39
 Model Curriculum

Name of the Degree Program: Bachelor of Performing Arts / Bachelor of Arts /

Bachelor of Arts in Dance (Kuchipudi)

Discipline Core: Dance (Kuchipudi) Total Credits for the Program: 48

Starting Year of implementation: 2021-21

Program Outcomes of 1st Semester:

By the end of the program the students will be able to:
 Remember the origin and development of Indian Classical Dance
 Understand the difference between Hasths and Bedhas
 Analyze the different Technical
 Apply the knowledge of Kriyatmaka Abhayasa in Bhartanatyam
 Evaluate the different types of acting on stage Hastas and Bedhas
 Create and implement the Abhinaya in few shlokas.

Weightage for assessments (in percentage)

Type of Course Formative Assessment / Summative Assessment
IA
Theory 30 70
Practical 30 70
Projects 30 70
Experiential Learning 30 70
(Play Production etc.)

Page | 40
 CURRICULUM STRUCTURE FOR THE UNDERGRADUATE
DEGREE PROGRAM
Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts in Dance (Kuchipudi)
Total Credits for the Program: 48
Starting Year of Implementation: 2021 - 21
Name of the Degree Program: BPA / BA / BA in Dance (Kuchipudi) Certificate
Discipline/ Subject: Dance (Kuchipudi)
Program Articulation Matrix:
This matrix lists only the core courses. Core courses are essential to earn the degree in
that discipline/subject. They include courses such as theory, laboratory, project,
internships etc. Elective courses may be listed separately
Semester Title / Program outcome that the Pre- Pedagogy Assessment
Name of course addresses (not more than Requisite
the course 3 per course) Course (s)
Semester Kuchipudi  Remember the origin and Pass in Assignment Final Exam
1 Praveshika development of Indian Junior and and Stage
Shastra– I Classical Dance Bharatanaty Seminar Performanc
 Understand the difference am e
between Hasths and Bedhas Certificate
 Analyze the different recognized
Technical Terams of by
Bharatanatyam government
Kuchipudi  Apply the knowledge of Assignment Final Exam
Nrittha Kriyatmaka Abhayasa in and and Stage
Praveshika Bhartanatyam Seminar Performanc
- Prayoga  Evaluate the different types of e
1 acting on stage Hastas and
Bedhas
 Create and implement the
Abhinaya in few shlokas.
Semester Kuchipudi  Understand the different type Pass in Assignment Final Exam
2 Praveshika of Classical Dance in India Junior and and Stage
Shastra– II  Evaluate the different types Bharatanaty Seminar Performanc
of elements in Natyashastra am e
 Create and implement the Certificate
Abhinaya according to recognized
Natyashastra. by
government
Kuchipudi  Understand the different type Assignment Final Exam
Nrittha of Adavus and and Stage
Praveshika  Evaluate the different types Seminar Performanc
- Prayoga of Bedhas e
II  Create and implement the
essential elements of
Bhavabhinaya in shlokas.

### Pedagogy for student engagement is predominantly lectures. However, other pedagogies enhancing better student
engagement to be recommended for each course. The list includes active learning/ course projects/ problem or project
based learning/ case studies/self-study like seminar, term paper or MOOC

Every course needs to include assessment for higher order thinking skills (Applying/ Analysing/ Evaluating/ Creating).
However, this column may contain alternate assessment methods that help formative assessment (i.e. assessment for
learning)

Course Pre- Requisite (S): Mention only course titles from the curriculum that are needed to be taken by the students
before registering for this course.

Page | 41
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Kuchipudi)

Semester 1

Course Title: Kuchipudi Praveshika Shastra– I

Total Contact Hours: 60 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of origin and development of Indian Classical Dance
 To impart the knowledge of Hasths and Bedhas
 To train the student in Technical Terams of Bharatanatyam

Course Outcomes: At the end of the course the student will be able to
 Remember the origin and development of Indian Classical Dance
 Understand the difference between Hasths and Bedhas
 Analyze the different Technical Terams of Bharatanatyam

Course Articulation Matrix: Mapping of Course outcomes (Cos) with Program

outcomes (Pos 1-12)
Course Outcomes (Cos) Unit 1 Unit 2 Unit 3
At the end of the course the student will be able to
1) Remember the origin and development of Indian X
Classical Dance
2) Understand the difference between Hasths and Bedhas X
3) Analyse the Technical Terams of Bharatanatyam. X
Mark ‘X’ in the intersection cell if a course outcome addresses a particular program outcome.

Page | 42
 Bachelor of Performing Arts in Dance (KUCHIPUDI)
BPA Semester 1

Title of the course: Kuchipudi Nrittha Praveshika- Shastra

Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

Content of Course – 1 Theory 39/42 Hr

Kuchipudi Nrittha Praveshika Shastra– I
Unit – 1: 13/14 Hrs
Chapter No.1: Natyothpatthi –The Origin of Dance
Chapter No. 2: Introduction to Brief study of Classical Dance
Forms of India – Bharathanatyam, Kuchipudi,
Mohini Attam, Kathakali
Chapter No. 3: Kathak, Odissi,Manipuri, Satriya
Unit – 2: 13/14 Hrs
Chapter No.4: Asamyutha and Samyutha Hasthas with Shlokas
according to Abhinayadarpana
Chapter No.5: Drishti Bedha, Greeva Bedha, Shirobedha, Brukuti
Bedha
Chapter No.6: Pada bedhas according to Abhinayadarpana
Unit – 3: 13/14 Hrs
Chapter No.7: Brief introduction to of Technical Terms or
Paribhashika Shabdas- Bharatha, Thandava,
Lasya, Angahara, Rechaka, Vritthi, Karana
Chapter No.8: Technical Terms- Natyadharmi, Lokadharmi,
Solkattu, Jaathi, Saptha Thaala,
Chapter No.9 : Nritha, Nritya, Natya, Anga, Upanga, Pratyanga
Text Books / References
AbhinayaDarpana of Nandikeshwara
Nritya Tarangini – Vedantam Parvathisham
Kuchipudi – Sunil Kothari
KSSEEB Text Books for Kuchipudi– Junior
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assessment 30
Theory 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 43
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Kuchipudi)

Semester 1

Course Title: Kuchipudi Nrittha Praveshika - Prayoga 1

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Kriyatmaka Abhayasa in Bhartanatyam
 To impart the knowledge of Hastas and Bedhas
 To train the student in abhinaya in few shlokas

Course Outcomes: At the end of the course the student will be able to
 Apply the knowledge of Kriyatmaka Abhayasa in Bhartanatyam
 Evaluate the different types of acting on stage Hastas and Bedhas
 Create and implement the Abhinaya in few shlokas.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Apply the knowledge of Body X
Movement, Voice and
Speech on Stage
2) Evaluate the different types of X
acting on stage
3) Create and implement the X
Theoretical Acting on Stage
Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 44
 KUCHIPUDI - COURSE 2
Kuchipudi Nrittha Praveshika - Prayoga 1
Unit – 1: 13/14 Hrs
Chapter No.1: Kriyatmaka Abhayasa – Parshni Kriya, Jaanu
kriya, Uuru Kriya, Kathi chalane, Bhuja , Kara
Chalane, Manibandha,
Chapter No.2: Bhramana Kriya( for all the Kriyas), Greeva
Kriya, Netra , Aramandala Kriya, Himmukha
Mummukha Kriya
Chapter No.3: Kaali Saamu- Foot Excercises, GunjiluSitups,
Dandaalu- , Kuppilu- Jumpimg
Unit – 2: 13/14 Hrs
Chapter No.4: Asamyutha /Samyutha Hastha- Drishti
According to Abhinaya Darpana with Shlokas
Chapter No.5: Drishti Bedha , Shiro Bedha, Greeva, Bhrukuti
Bedha According to Abhinaya Darpana with
Shlokas
Chapter No.6: Pada Bedhas- Mandal and Utplavana Bedhas
According to Abhainaya Darpana
Unit – 3: 13/14 Hrs
Chapter No.7: Adavus: - Adavus- edaka Kriditha- Tham
digidigi thai ( 4 Variations)
Chaukam Adavu – Tha thai hi thai hitha tham
(3Variations) Pakka naatu, Venaka natu, Karthira
naatu - thai tha kitathaka (7 Variations) Ontadavu
Chapter No.8: Prarthana shloka of Ganesha , Shiva ,
Saraswathi, Vishnu
Chapter No.9: Abhinaya for Any 2 Shlokas from
Bhagavadgitha

Text Books
References
AbhinayaDarpana of Nandikeshwara
Natyashastra
Nritya Tarangini – Vedantam Parvathisham
Kuchipudi – Sunil Kothari
KSSEEB Text Books for Kuchipudi– Junior
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperso

Page | 45
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Kuchipudi)
Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Semester I

Course Title: Kuchipudi Nrittha Praveshika- Shastra

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of 8 Classical Dance forms of Indian
 To impart the knowledge of Ramayana and Mahabharatha stories
 To train the student in understanding the Stories from Puranas with reference to
Dance

Course Outcomes: At the end of the course the student will be able to
 Understand the different form of Indian Classical Dance
 Analyze the need of puranas in Dnace
 Create and implement the Dances from the stories of Puranas.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the different form of X
Street Theatre
2) Analyse the need of street X
theatre.
3) Create and implement in writing X
the script for street play.

Mark ‘X’ in the intersection cell if a course outcome addresses a particular program
outcome.

Page | 46
 Bachelor of Performing Arts in Dance (KUCHIPUDI)
BPA Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: Kuchipudi Nrittha Praveshika- Shastra

Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

KUCHIPUDI - COURSE 1 THEORY

Unit – 1 : 13/14 Hrs
Chapter No.1: Detailed study of 8 Indian classical Dance forms
Chapter No.2: Classification of Indian Dance-
Indian Classical Dance- Folk Dance- Ritualistic
Dance –Traditional
Chapter No.3: Introduction to the Study of Indian Folk Dances with
special reference to Folk dances of Andhra Pradesh
Unit – 2 : 13/14 Hrs
Chapter No.4: Study of Ramayana Stories with a special reference
to Dancing them in Sancharis
Chapter No.5:Study of Mahabharatha Stories with a special
reference to Dancing them in Sancharis
Chapter No.6: Study of Stories from Puranas with special reference
to Dance
Unit – 3 : 13/14 Hrs
Chapter No.7: Biographies and Contribution of Great Gurus of
Kuchipudi – Siddhendra Yogi, Vempati Chinna Satyam,
Vedantam Satyanarayana Sharma, Raja Radha Reddy
Chapter No.8: Abhinaya Darpana Shlokas – Pushpanjali, Natyapatra
Guna Dosha, Patra Prana, Sabha lakshana, Kinkini
Lakshana, Natyakram
Chapter No.9: Importance of Vachikabhinaya and Telugu Literature
in Kuchipudi
Text Books / References
AbhinayaDarpana of Nandikeshwara
Kuchipudi – Sunil Kothari
KSSEEB Text Books for Kuchipudi– Junior
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks

Internal Assessment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 47
 Model Curriculum

Name of the Degree Program: Bachelor of Performing Arts / Bachelor of Arts /

Bachelor of Arts in Dance (Kuchipudi)
Discipline Core: Kuchipudi
Total Credits for the Program: 48
Starting Year of implementation: 2021-21
Program Outcomes:
By the end of the program the students will be able to:
 Understand the different type of Classical Dance in India
 Evaluate the different types of elements in Natyashastra
 Create and implement the Abhinaya according to Natyashastra.
 Understand the different type of Adavus
 Evaluate the different types of Bedhas
 Create and implement the essential elements of Bhavabhinaya in shlokas.

Weightage for assessments (in percentage)

Type of Course Formative Assessment / Summative Assessment
IA
Theory 30 70
Practical 30 70
Projects 30 70
Experiential Learning 30 70
(Play Production etc.)

Page | 48
 CURRICULUM STRUCTURE FOR THE UNDERGRADUATE
DEGREE PROGRAM
Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts in Dance (Kuchipudi)
Total Credits for the Program: 48
Starting Year of Implementation: 2021 - 21
Name of the Degree Program: BPA / BA / BA in Dance (Kuchipudi) Certificate
Discipline/ Subject: Dance (Kuchipudi)
Program Articulation Matrix:
This matrix lists only the core courses. Core courses are essential to earn the degree in
that discipline/subject. They include courses such as theory, laboratory, project,
internships etc. Elective courses may be listed separately
Semester Title / Program outcome that the Pre- Pedagogy Assessment
Name of course addresses (not more than Requisite
the course 3 per course) Course (s)
Semester Kuchipudi  Remember the origin and Pass in Assignment Final Exam
1 Praveshika development of Indian Junior and and Stage
Shastra– I Classical Dance Bharatanaty Seminar Performanc
 Understand the difference am e
between Hasths and Bedhas Certificate
 Analyze the different recognized
Technical Terams of by
Bharatanatyam government
Kuchipudi  Apply the knowledge of Assignment Final Exam
Nrittha Kriyatmaka Abhayasa in and and Stage
Praveshika Bhartanatyam Seminar Performanc
- Prayoga  Evaluate the different types of e
1 acting on stage Hastas and
Bedhas
 Create and implement the
Abhinaya in few shlokas.
Semester Kuchipudi  Understand the different type Pass in Assignment Final Exam
2 Praveshika of Classical Dance in India Junior and and Stage
Shastra– II  Evaluate the different types Bharatanaty Seminar Performanc
of elements in Natyashastra am e
 Create and implement the Certificate
Abhinaya according to recognized
Natyashastra. by
government
Kuchipudi  Understand the different type Assignment Final Exam
Nrittha of Adavus and and Stage
Praveshika  Evaluate the different types Seminar Performanc
- Prayoga of Bedhas e
II  Create and implement the
essential elements of
Bhavabhinaya in shlokas.

### Pedagogy for student engagement is predominantly lectures. However, other pedagogies enhancing better student
engagement to be recommended for each course. The list includes active learning/ course projects/ problem or project
based learning/ case studies/self-study like seminar, term paper or MOOC

Every course needs to include assessment for higher order thinking skills (Applying/ Analysing/ Evaluating/ Creating).
However, this column may contain alternate assessment methods that help formative assessment (i.e. assessment for
learning)

Course Pre- Requisite (S): Mention only course titles from the curriculum that are needed to be taken by the students
before registering for this course.

Page | 49
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Kuchipudi)

Semester II

Course Title: Nritya Prakriya Shastra -2

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Indian Classical Dance
 To impart the knowledge of Natyashastra.
 To train the student in understanding the Abhinaya according to Natyashastra

Course Outcomes: At the end of the course the student will be able to
 Understand the different type of Classical Dance in India
 Evaluate the different types of elements in Natyashastra
 Create and implement the Abhinaya according to Natyashastra.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the different type of X
Classical Dance in India
2) Evaluate the different types of X
elements in Natyashastra
3) Create and implement Abhinaya X
according to Natyashastra.
Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 50
 Bachelor of Performing Arts in Dance (KUCHIPUDI)
BPA Semester 2
Title of the course: Nritya Prakriya Shastra -2
Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

Content of Course – 1 Theory

Unit – 1 : 13/14 Hrs
Chapter No.1: Classification of Indian Dance- Indian
Classical Dance- Folk Dance- Ritualistic Dance
–Traditional
Chapter No. 2: Introduction to the study of North Indian Folk
Dance forms
Chapter No.3: The study of Importance of Vachikabhinaya and
Telugu Literature in Kuchipudi
Unit – 2 : 13/14 Hrs
Chapter No.4: Lakshanas According to Abhinaya Darpana with
Shlokas – Pushpanjali, Sabha lakshana, Kinkini
Lakshana, Natyakrama
Chapter No.5: Lakshanas of Natyapatra Guna Dosha, Patra
Prana shlokas from Abhinayadarpana
Chapter No.6: Purvaranga, Brahmanjali, and Amba Paraku with
Notation
Unit – 3 : 13/14 Hrs
Chapter No.7: Brief Introduction to Chaturvidha Abhinaya
according to Natyashastra
Chapter No.8: Study of Bhava and Rasa
Chapter No.9: Biographies and Contribution of Great Gurus of
Kuchipudi – Siddhendra Yogi, Vempati
Chinna Satyam, Vedantam Satyanarayana Sharma,
Raja Radha Reddy
Text Books / References
AbhinayaDarpana of Nandikeshwara
Nritya Tarangini – Vedantam Parvathisham
Kuchipudi – Sunil Kothari
KSSEEB Text Books for Kuchipudi– Junior
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 51
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Kuchipudi)

Semester II

Course Title: Nritya Prakriya- Prayoga – 2

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Adavus in Kathak
 To impart the knowledge of Different type of Bedhas
 To train the student in understanding

Course Outcomes: At the end of the course the student will be able to
 Understand the different type of Adavus
 Evaluate the different types of Bedhas
 Create and implement the essential elements of Bhavabhinaya in shlokas.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the different type of X
Adavus
2) Evaluate the different types of X
Bedhas
3) Create and implement the X
essential elements of Bhavabhinaya
in shlokas.
Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 52
 KUCHIPUDI - COURSE 2 (Practical)
Nritya Prakriya - Prayoga – 2
Unit – 1: 13/14 Hrs
Chapter No.1 Mandi Adavu( 7 Variation), Jaaru,( 3 Variation),
didithai adavi
Chapter No.2: Mande kuppa, palugudu varasa, chuttadavu,
Chapter No.3: Khanda jaathi adavu, tisra jathi adavu, thathai hi tha
adavu, Mukthaya
Unit – 3: 13/14 Hrs
Chapter No.4: Pada bedhas According to Natyashastra
Chapter No.5: Sthanaka Bedha According to Natyashastra
Chapter No.6 : Any one Jatiswaram
Unit – 3: 13/14 Hrs
Chapter No.7: One Brahmanjali
Chapter No.8: Any one Shabdam
Chapter No.9: Bhavabhinaya for each shloka from Krishna
Karnamritam and Tharangam Respectively
Text Books / References
AbhinayaDarpana of Nandikeshwara
Nritya Tarangini – Vedantam Parvathisham
Kuchipudi – Sunil Kothari
KSSEEB Text Books for Kuchipudi– Junior
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assessment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 53
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Dance (Kuchipudi)
Semester 2, Discipline Elective (DSE)/ Open Elective (OE)

Semester II

Course Title: Kuchipudi Nritya Prakriya- Prayoga (Practical)

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Hastas and Bedhas
 To impart the knowledge of Adavus in Kathak Dance
 To train the student in understanding Abhinaya for Some Shlokas

Course Outcomes: At the end of the course the student will be able to
 Understand the Knowledge and use of Hastas and Bedhas.
 Analyze the different Adavus in Kathak Dance
 Create and implement the Abhinaya for few Shlokas

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the Knowledge and X
use of Hastas and Bedhas
2) Analyze the different Adavus in X
Kathak Dance
3) Create and implement the X
Abhinaya for few Shlokas
Mark ‘X’ in the intersection cell if a course outcome addresses a particular program
outcome.

Page | 54
 Bachelor of Performing Arts in Dance (KUCHIPUDI)
BPA Semester 2, Discipline Elective (DSE)/ Open Elective (OE)
Title of the course: Kuchipudi Nritya Prakriya- Prayoga (Practical)
Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

KUCHIPUDI - COURSE 2 39/42

(Practicals)
Unit – 1 : 13/14 Hrs
Chapter No.1: Kaali Saamu- Foot Excercises, Gunjilu- Situps,
Dandaalu- , Kuppilu- Jumpimg
Chapter No. 2: Hastas and Bedhas- Asamyutha /Samyutha
Hastha- Drishti Bedha , Shiro Bedha, Greeva,
Bhrukuti Bedha According to Abhinaya Darpana
with Shlokas
Chapter No. 3: Paadabedha –Mandala, Sthana, Utplavana,
Bhramari, Chari Acording to Abhinayadrapana
Unit – 2 : 13/14 Hrs
Chapter No 4: Adavus- edaka Kriditha- Tham digidigi thai ( 4
Variations) Chaukam Adavu – Tha thai hi thai hitha
tham (3 Variations) Pakka naatu
Chapter No.5: Adavus- Mandi Adavu( 7 Variation), Jaaru,( 3
Variation), didithai adavi, Khanda jaathi adavu,
tisra jathi adavu, thathai hi tha adavu, Mukthaya
Chapter No.6: Mande kuppa, palugudu varasa, chuttadavu,
Unit – 3 : 13/14 Hrs
Chapter No.7: Abhinaya for Prarthana shlokas of Ganapathi and
Shiva (Each one)
Chapter No.8: Abhinaya for Any one shloka from Bhagavadgita
and Any one shloka from
Krishnakarnamritam
Chapter No.9: Any one Shabdam
Text Books / References
AbhinayaDarpana of Nandikeshwara
Kuchipudi – Sunil Kothari
KSSEEB Text Books for Kuchipudi– Junior
Natyashastra -Adya Rangacha
Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in
Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 55
 National Education Policy – 2020

Model Program Structures for the

Under- Graduate Programs in Universities
and Colleges in Karnataka

Bachelor of Performing Arts (Basic/Hons.) (For Subjects with

Practical’s) with two major and one minor

Bachelor of Arts (Basic/Hons.) (For Subjects with practical’s) with

Theatre Arts (Drama) as one of the major

B.P.A THEATRE ARTS (DRAMA)

Page | 56
 Eligibility Criteria for Theatre Arts (Drama) Degree Admission

ELIGIBILITY: For B.A. / B.P.A Theatre Arts (Drama)./ Programmes:

A candidate who has passed two-year Pre-University Course (PUC) Examination
conducted by Pre-University Education Board, Government of Karnataka, or 10+2
Examination conducted by CBSE or equivalent examinations by any Other State or any
other recognized Board / Diploma in Theatre / 3-year Diploma Course with any subject
or 2-year JOC / ITI of any subject / Certificate Course in Theatre Arts / Nataka Academy
Theatre workshop Certificates / Any Theatre School workshop certificate shall be
eligible.

or

Pass in aptitude test conducted by the admission committee.

Page | 57
 I & II Semester Bachelor of Performing Arts – Theatre Arts (Drama)

Sem Discipline Core (DSC) Discipline Elective Ability Enhancement Skill Enhancement Course Total
(Credits) (L+T+P) (DSE) Compulsory Courses (AECC), (SEC) Credits
(4+0+2) / Open Elective (OE) Languages (Credits) (L+T+P) Skill Based Value Based
(Credits) (L+T+P) (3+3) (Credits) (Credits)
(L+T+P) (L+T+P)
I Theatre Arts/ Drama OE-1 L1, L2
Drama A1 -(3)
Drama A2 -(3) Theatre Arts, Folk Kannada Spoken 23
B1 –(6) Dance, Dance English English (2)
Theatre arts/Music- (Bharatanatyam Hindi
Karnatak/Hindustani/ /Kathak / Kuchipudi) Sanskrit
Optional Music – (Karnatak, Telugu
Kannada/English Hindustani, Urdu etc.
Sanskrit/Telugu/ Mrudanga) (3) (3+3)
History/Economics/
Education/ Psychology
II Theatre Arts/ Drama OE-2 L1, L2
Play
Drama A3 -(3) Theatre Arts, Folk Kannada Production By Health and 25
Drama A4 -(3) Dance, Dance English Teachers (2) wellness/ social
(Bharatanatyam Hindi and emotional
B2 -(6) /Kathak / Kuchipudi) Sanskrit learning (2)
Theatre arts/Music- Music – (Karnatak, Telugu
Karnatak/Hindustani/ Hindustani, Urdu etc.
Optional Mrudanga) (3) (3+3)
Kannada/English
Sanskrit/Telugu/
History/Economics/
Education/ Psychology
Exit option with Certificate (48 Credits)

Page | 58
 Model Curriculum

Name of the Degree Program: Bachelor of Performing Arts / Bachelor of Arts /

Bachelor of Arts (Fine Arts)

Discipline Core: Theatre Arts / Theatre Arts Total Credits for the Program: 48
Starting Year of implementation: 2021-21

Program Outcomes of 1st Semester:

By the end of the program the students will be able to:
 Remember the origin and development of Indian and Karnataka Theatre.
 Understand the difference between the Professional Karnataka Theatre and Folk
Theatre of Karnataka.
 Analyze the different era of theatre.
 Apply the knowledge of Body Movement, Voice and Speech on Stage
 Evaluate the different types of acting on stage
 Create and implement the Theoretical Acting on Stage

Weightage for assessments (in percentage)

Type of Course Formative Assessment / Summative Assessment
IA
Theory 30 70
Practical 30 70
Projects 30 70
Experiential Learning 30 70
(Play Production etc.)

Page | 59
 CURRICULUM STRUCTURE FOR THE UNDERGRADUATE
DEGREE PROGRAM
Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts (Fine Arts)
Total Credits for the Program: 48
Starting Year of Implementation: 2021 - 21
Name of the Degree Program: BPA / BA / BA (Fine Arts) Certificate
Discipline/ Subject: Theatre Arts
Program Articulation Matrix:
This matrix lists only the core courses. Core courses are essential to earn the degree in
that discipline/subject. They include courses such as theory, laboratory, project,
internships etc. Elective courses may be listed separately
Semester Title / Program outcome that the course Pre- Pedagogy Assessment
Name of addresses (not more than 3 per Requisite
the course course) Course (s)
Semester Theatre  Remember the origin and Participati Assignment Final Exam
1 Arts / development of Indian and on in at and
Drama - Karnataka Theatre. least one Seminar
Theory  Understand the difference theatre
between the Professional production
Karnataka Theatre and Folk s or
Theatre of Karnataka. Theatre
 Analyze the different era of Workshop.
theatre.
Acting for  Understand the different type of Working Assignment Final Exam
Stage – 1 short stories, poems and plays. knowledge and And
(Practical)  Evaluate the different types of of English/ Seminar Scene
writing skills, acting skills and Kannada Works
speech work.
 Create and implement the
writing skills, acting skills and
speech work.
Semester Theory-  Understand the different type of Working Assignment Final Exam
2 Kannada short stories, poems and plays. knowledge and
Drama  Evaluate the different types of of English/ Seminar
and writing skills, acting skills and Kannada
Literary speech work.
Heritage  Create and implement the
writing skills, acting skills and
speech work.
Acting for  Understand the different type of Working Assignment Final Exam
Stage – 2 Short Telling, Poem Recitation knowledge and and
(Practical) and Play. of English/ Seminar Play
 Evaluate the different types of Kannada Production
Stage-Lighting, and Costume.
 Create and implement the
essential elements for paly
production.

### Pedagogy for student engagement is predominantly lectures. However, other pedagogies enhancing better student
engagement to be recommended for each course. The list includes active learning/ course projects/ problem or project
based learning/ case studies/self-study like seminar, term paper or MOOC

Every course needs to include assessment for higher order thinking skills (Applying/ Analysing/ Evaluating/ Creating).
However, this column may contain alternate assessment methods that help formative assessment (i.e. assessment for
learning)

Course Pre- Requisite (S): Mention only course titles from the curriculum that are needed to be taken by the students
before registering for this course.

Page | 60
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts (Fine Arts)

Semester 1

Course Title: Theatre Arts / Drama

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of origin and development of Indian and Karnataka
Theatre
 To impart the knowledge of Professional Karnataka Theatre and Folk Theatre of
Karnataka.
 To train the student in folk Theatre form, Karnataka Theatre and Technical
knowledge of Stage.

Course Outcomes: At the end of the course the student will be able to
 Remember the origin and development of Indian and Karnataka Theatre.
 Understand the difference between the Professional Karnataka Theatre and Folk
Theatre of Karnataka.
 Analyze the different era of theatre.

Course Articulation Matrix: Mapping of Course outcomes (Cos) with Program

outcomes (Pos 1-12)
Course Outcomes (Cos) Unit 1 Unit 2 Unit 3
At the end of the course the student will be able to
1) Remember the origin and development of Indian and X
Karnataka Theatre
2) Understand the difference between the Professional X
Karnataka Theatre and Folk Theatre of
Karnataka.
3) Analyse the different era of theatre. X
Mark ‘X’ in the intersection cell if a course outcome addresses a particular program outcome.

Page | 61
 Bachelor of Performing Arts in THEATRE ARTS (DRAMA)
BPA Semester 1
Title of the course: Theatre Arts / Drama
Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

Content of Course – 1 Theory INDIAN THEATRE – I 42 Hr

Unit – 1: 13/14 Hrs
Chapter No.1: Inclusive style of theatre in different stages of
evolution of civilization.
Chapter No. 2: Aims and Scopes of Drama/ Theatre Arts
Chapter No. 3: Brief introduction to folk Theatre forms of Karnataka
Unit – 2: 13/14 Hrs
Chapter No.4: Regional Theatre - Karnataka Folk Theatre Forms
Yakshagana, Doddata, Sannata, Gondaligaru
Chapter No.5 : Brief Introduction to Indian Theatre –
Sanskrit Playwrights and Plays
Chapter No.6 : Karnataka Professional Theatre : Origin and
development of Professional Theatre in Karnataka
Unit – 3: 13/14 Hrs
Chapter No.7: Karnataka Professional Theatre, Famous Companies,
Famous Actors,
Chapter No.8: Golden period of Karnataka Professional Theatre and
Theatre Techniques. etc.
Chapter No.9: Karnataka Amateur Theatre Origin and development of
Amateur Theatre in Karnataka, Famous Organizations,
Famous Actors, Theatre Techniques etc.

Text Books
References
Indian Theatre: Mulkraj Ananad
Indian Theatre: Adya Rangacharya
Sanskrit Theatre: Bhat
Folk Theatre forms of Indian: Balavanth Gargi
Karnataka Theatre: H.K. Ranganath
Kannada Theatre: T. S. Syamarao
Yakshagana: K Shivarama Karantha

Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assessment 30
Theory 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 62
Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts (Fine
Arts)
Semester 1
Course Title: Theatre Arts – Acting for Stage-1
Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Body Movement, Angika Abhinaya and
 To impart the knowledge of Angika and Satvika Abhinaya
 To train the student in Method Acting for stage, Improvisation, and work on
Ground Plan of Stage

Course Outcomes: At the end of the course the student will be able to
 Apply the knowledge of Body Movement, Voice and Speech on Stage
 Evaluate the different types of acting on stage
 Create and implement the Theoretical Acting on Stage

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Apply the knowledge of Body X
Movement, Voice and
Speech on Stage
2) Evaluate the different types of X
acting on stage
3) Create and implement the X
Theoretical Acting on Stage
Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 63
 THEATRE ARTS - COURSE 2
Acting for Stage - 1
Unit – 1: 13/14 Hrs
Chapter No.1: Physical Exercise, for essential manifest exercises for flexible
movement of body organs.
Chapter No.2: Kolata, Theatre Games, and Yoga, Voice and Speech,
Developing and Effective Voice, Anatomy of The Vocal
Tract, Breath Control, Organs of Speech, Voice Production,
Knowledge of Pitch, Projection, Modulation, Articulation,
Tempo Techniques of correct speech etc.
Chapter No.3: Angika Abhinaya: Natya Darmi & Lokadarmi
Satvika Abhinaya: Bhava, Rasa
Unit – 2: 13/14 Hrs
Chapter No.4: Practising preliminary’s, Exercise for Voice, Speech and
Body, Relaxation, Posture, Gesture and Movement,
Breathing, Falling, Turing, Sitting, Rising, Kneeling,
Stooping, Lighting walking, Stage Crossing, Turns, and Foot
work using the set and properties appropriate.
Chapter No.5: Improvisation (Preliminary) Mime (Preliminary) Principles
of Design: Composition, Colour Lines and Marks etc.
Chapter No.6: Ground plan of the stage and its division (Scale Drawing),
Front and Side Elevation, Stage Designing for particular
situation, Preliminary knowledge of units of sets, Types of
curtains and furniture preparation of stage properties.
Unit – 3: 13/14 Hrs
Chapter No.7: Absorption of the organs, Facial Expression.
Chapter No.8: Actor’s Preparedness according to Konstantin Stanislavski’s
Acting Theory
Chapter No.9: Character Preparation according to Konstantin Stanislavski’s
Acting Theory

Text Books
References
Introduction to ‘The Art of Theatre’ A Comprehensive Text – Past, Present & Future: By Marsh
Cassady
Actors Prepare by Konstantin Stanislavski’s
Creating a Role by Konstantin Stanislavski’s
Building a Character by Konstantin Stanislavski’s
The Book of Monologues and Revelation: Original contemporary Dramatic and Comedic
Performing Monologues for Actors and Audiences - By Nick C Koroyanis

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assessment 30
Theory 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 64
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts (Fine Arts)
Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Semester I

Course Title: Street Theatre (Theory)

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of origin and development of Street Theatre
 To impart the knowledge of Indian and Karnataka Street Thetare
 To train the student in understanding the need of Street Theatre

Course Outcomes: At the end of the course the student will be able to
 Understand the different form of Street Theatre
 Analyze the need of street theatre.
 Create and implement in writing the script for street play.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the different form of X
Street Theatre
2) Analyse the need of street X
theatre.
3) Create and implement in writing X
the script for street play.

Mark ‘X’ in the intersection cell if a course outcome addresses a particular program
outcome.

Page | 65
 BPA. THEATRE ARTS (DRAMA)
BPA Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: Street theatre (Theory)

Course 1 Course 2
Number of Number of Number of Number of lecture
Theory Credits lecture Practical Credits hours/semester
hours/semester
3 42 3 42

THEATRE ARTS - COURSE 1 THEORY

Unit – 1 : 13/14 Hrs
Chapter No.1: Origin and Development of Street Theatre
Chapter No. 2: Indian Street Theatre
Chapter No. 3: Street Theatre and Society
Unit – 2 : 13/14 Hrs
Chapter No.4: Street Theatre Technicians
Chapter No.5: Karnataka Street Theatre
Chapter No.6: Difference between Street Theatre and Modern Theatre

Unit – 3 : 13/14 Hrs

Chapter No.7: Street Theatre Play writers
Chapter No.8: Street Theatre Directors
Chapter No.9: Street Theatre Organisations

Text Books
References
Beedi Nataka by Nagesh Bettakote
Halla Bol by Sudhanva Deshpande
Street Play by J N Mohan

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 66
 Model Curriculum

Name of the Degree Program: Bachelor of Performing Arts / Bachelor of Arts /

Bachelor of Arts (Fine Arts)
Discipline Core: Theatre Arts / Theatre Arts
Total Credits for the Program: 48

Starting Year of implementation: 2021-21

Program Outcomes:
By the end of the program the students will be able to:
 Understand the different type of short stories, poems and plays.
 Evaluate the different types of writing skills, acting skills and speech work.
 Create and implement the writing skills, acting skills and speech work.
 Understand the different type of Short Telling, Poem Recitation and Play.
 Evaluate the different types of Stage-Lighting, and Costume.
 Create and implement the essential elements for paly production.

Weightage for assessments (in percentage)

Type of Course Formative Assessment / Summative Assessment
IA
Theory 30 70
Practical 30 70
Projects 30 70
Experiential Learning 30 70
(Play Production etc.)

Page | 67
 CURRICULUM STRUCTURE FOR THE UNDERGRADUATE
DEGREE PROGRAM
Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts (Fine Arts)
Total Credits for the Program: 48
Starting Year of Implementation: 2021 - 21
Name of the Degree Program: BPA / BA / BA (Fine Arts) Certificate
Discipline/ Subject: Theatre Arts
Program Articulation Matrix:
This matrix lists only the core courses. Core courses are essential to earn the degree in
that discipline/subject. They include courses such as theory, laboratory, project,
internships etc. Elective courses may be listed separately
Semester Title / Program outcome that the course Pre- Pedagogy Assessment
Name of addresses (not more than 3 per Requisite
the course course) Course (s)
Semester Theatre  Remember the origin and Participati Assignment Final Exam
1 Arts / development of Indian and on in at and
Drama - Karnataka Theatre. least one Seminar
Theory  Understand the difference theatre
between the Professional production
Karnataka Theatre and Folk s or
Theatre of Karnataka. Theatre
 Analyze the different era of Workshop.
theatre.
Acting for  Understand the different type of Working Assignment Final Exam
Stage – 1 short stories, poems and plays. knowledge and And
(Practical)  Evaluate the different types of of English/ Seminar Scene
writing skills, acting skills and Kannada Works
speech work.
 Create and implement the
writing skills, acting skills and
speech work.
Semester Theory-  Understand the different type of Working Assignment Final Exam
2 Kannada short stories, poems and plays. knowledge and
Drama  Evaluate the different types of of English/ Seminar
and writing skills, acting skills and Kannada
Literary speech work.
Heritage  Create and implement the
writing skills, acting skills and
speech work.
Acting for  Understand the different type of Working Assignment Final Exam
Stage – 2 Short Telling, Poem Recitation knowledge and and
(Practical) and Play. of English/ Seminar Play
 Evaluate the different types of Kannada Production
Stage-Lighting, and Costume.
 Create and implement the
essential elements for paly
production.

### Pedagogy for student engagement is predominantly lectures. However, other pedagogies enhancing better student
engagement to be recommended for each course. The list includes active learning/ course projects/ problem or project
based learning/ case studies/self-study like seminar, term paper or MOOC

Every course needs to include assessment for higher order thinking skills (Applying/ Analysing/ Evaluating/ Creating).
However, this column may contain alternate assessment methods that help formative assessment (i.e. assessment for
learning)

Course Pre- Requisite (S): Mention only course titles from the curriculum that are needed to be taken by the students
before registering for this course.

Page | 68
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts (Fine Arts)

Semester II

Course Title: Theory Kannada Drama and Literary Heritage

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Modern poets and Play Writes.
 To impart the knowledge of plays like Mitravinda Govinda, Shakuntala,
Prameelar Janeeya and Aswathaman.
 To train the student in understanding the plays by famous play writers of
Karnataka.

Course Outcomes: At the end of the course the student will be able to
 Understand the different type of short stories, poems and plays.
 Evaluate the different types of writing skills, acting skills and speech work.
 Create and implement the writing skills, acting skills and speech work.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the different type of X
short Stories, Poems and
Plays.
2) Evaluate the different types of X
writing skills, acting skills
and speech work.
3) Create and implement the writing X
skills, acting skills and
speech work.
Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 69
 Bachelor of Performing Arts in THEATRE ARTS (DRAMA)
BPA Semester 2
Title of the course: Theatre Arts / Drama
Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

Content of Course – 1 Theory

Kannada Drama and Literary Heritage
Unit – 1 : 13/14 Hrs
Chapter No.1: Pampa (Bheeshma Pattabisheka)
Vachanakarara (Siddarama Prasansa in
Sunyasampadane)
Chapter No.2: Kumaravysa (Drowpadi Vastrapaharana Prasanga)
Chapter No.3: Modern Poetics : Kuvempu, Bendre, Putina,
Gopalakrishna Adiga, K. S. Narasimma Swamy,
Siddalingaiah, (Each two selected poems)
Unit – 2 : 13/14 Hrs
Chapter No.4: Mitravinda Govinda
Chapter No.5: Shakuntala
Chapter No.6: Prameelar Janeeya & Aswathaman
Unit – 3 : 13/14 Hrs
Chapter No.7: Raktha Ratri (Kandagal Hanumantha Rayaru)
Paduka Pattabhishekam (Garudasana Shivarge)
Kurukshetra (B. Puttaswamyya)
Prachandaravana (Kanagal Prabhakara Shashtri)
Chapter No.8: Samsa (Vigadavikramaraya)
Kailsam (Tollugatti)
Sriranga (Rangabharatha)
Kuvempu (Smashana Kurukshetra)
Pu. Ti Narasiṃhācār (Gokulanirgamana)
Chapter No.9: Modern Play Writers
Grisih Karnad (Taledanda)
P. Lankesh (Sankranti)
Dr. Chandrashekar Kambar (Jokumaraswamy)
H.S. Shivaprakash (Madari Madiah)
Text Books / References
The Text (Play or Play Writers Name) Mentioned above in the Syllabus are the books to
be referred.
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 70
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts (Fine Arts)

Semester II

Course Title: Theatre Arts – Acting for Stage-2

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Voice Modulation, Acting for Stage and Character
Building.
 To impart the knowledge of Stage-Lighting, Sound, Make-Up and Costume
 To train the student in understanding the needful elements for play production.

Course Outcomes: At the end of the course the student will be able to
 Understand the different type of Short Telling, Poem Recitation and Play.
 Evaluate the different types of Stage-Lighting, and Costume.
 Create and implement the essential elements for paly production.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the different type of X
short stories, poems and
Plays.
2) Evaluate the different types of X
Stage-Lighting, and
Costume.
3) Create and implement the X
essential elements for paly
Production.

Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 71
 THEATRE ARTS - COURSE 2 (Practical)
Acting for Stage – 2
Unit – 1: 13/14 Hrs
Chapter No.1: Tools of an actor -Voice & Speech, Pitch, Volume, Stress,
Pause, Emphasis, Introduction, Tempo Psychological-
Concentration, Memory Imagination, Observation
Chapter No.2: Study of important dialects of Kannada, Preparing
Small scenes Mono acting, Exercises, Recitations of 3 Poems.
Chapter No.3: Soliloquy of Major Characters from well-known Plays
in Kannada Practising shlokas with timings, Story
Telling, Play Reading (Individual & Group),
Improvisation (Individual & Group) Mime and
Movements (Individual & Group)
Unit – 2: 13/14 Hrs
Chapter No.4: Absorption of the organs, Facial Expression.
Chapter No.5: Actor’s Preparedness according to Konstantin Stanislavski’s
Acting Theory
Chapter No.6: Character Preparation according to Konstantin Stanislavski’s
Acting Theory
Unit – 3: 13/14 Hrs
Chapter No.7: Introduction to basics of stage carpentry:
Tools Materials construction of flats door flats window flats
application of painting techniques the importance of scenery in
play production of different types of sceneries.
Chapter No.8: Light & Sound:
History of stage lighting, Functions of stage lighting, General
practice of stage lighting, Controllable properties of colours
and its effects. The importance of stage, sound effects, use of
microphones, correction of sound effects.
Chapter No.9: Costume:
Making low budget costumes like crowns, jewels, belts tying
pagadies, General principle and procedure of costume
designing, costume and actors preliminary sketching for
designing preparation of masks, designing costumes for few
individuals and characters
Text Books
References
Sound and Music for the Theatre: The Art & Technique of Design by Deena Kaye
Sound Design in the Theatre Hardcover – By John L Bracewell
Stage Ideas: Set and costume design for theatre paperback – by Stephen Curtis
Theatre Design: Behind the scene with the Top Set, Lighting, and Costume Designers by
Babak Ebrahimian

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assessment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 72
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts (Fine Arts)
Semester 2, Discipline Elective (DSE)/ Open Elective (OE)

Semester II

Course Title: Play Production (Practical)

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Script Writing.
 To impart the knowledge of Technical Aspects of Play Production.
 To train the student in understanding the Process of Play Production.

Course Outcomes: At the end of the course the student will be able to
 Understand the process of Script Writing and Play Production.
 Analyze the process of play production.
 Create and implement the play production.

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Understand the process of Script X
Writing and Play Production.
2) Analyze the process of play X
production.
3) Create and implement the play X
production.
Mark ‘X’ in the intersection cell if a course outcome addresses a particular program
outcome.

Page | 73
 BPA. THEATRE ARTS (DRAMA)
BPA Semester 2, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: Play Production (Practical)

Course 1 Course 2
Number of Number of Number of Practical Number of lecture
Theory Credits lecture Credits hours/semester
hours/semester
3 42 3 42

THEATRE ARTS - COURSE 2 (Practical) 42

Unit – 1 : 13/14 Hrs
Chapter No.1: Script Reading
Chapter No. 2: Character and Play Production
Chapter No. 3: Production Script Preparation
Unit – 2 : 13/14 Hrs
Chapter No.4: Production Planning
Chapter No.5: Assistant Director, Cast and Technical
Rehearsal – Blocking and Design works
Rehearsal – Blocking and Paper works
Chapter No.6: Rehearsal and Model Designs
Unit – 3 : 13/14 Hrs
Chapter No.7: Makeup, Lights, Properties and Sets
Chapter No.8: Technical Rehearsal, Grand Rehearsal – Invite
audience, Practical Record Submissions
Chapter No.9: Final Show Execution.

Text Books
References
Theatre: Its Art and Craft by Cynthia M Gendrich
Fundamentals of Theatrical Design by Karen Brewster

Pedagogy

Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 74
 National Educational Policy – 2020

Model Program Structures for the

Under- Graduate Programs in Universities
and Colleges in Karnataka

Bachelor of Performing Arts (Basic/Hons.) (For Subjects with

practical’s) with two major and one minor

Bachelor of Arts (Basic/Hons.) (For Subjects with practical’s) with

Theatre Arts (Drama) as one of the major

B.A THATRE ARTS (DRAMA)

Page | 74
 CURRICULUM STRUCTURE FOR THE UNDERGRADUATE
DEGREE PROGRAM
Bachelor of Arts in Theatre Arts (Drama)
Total Credits for the Program: 48
Starting Year of Implementation: 2021 - 21
Name of the Degree Program: BPA / BA / BA in Theatre Arts (Drama)
Discipline/ Subject: Theatre Arts
Program Articulation Matrix:
This matrix lists only the core courses. Core courses are essential to earn the degree in
that discipline/subject. They include courses such as theory, laboratory, project,
internships etc. Elective courses may be listed separately
Semester Title / Program outcome that the course Pre- Pedagogy Assessment
Name of addresses (not more than 3 per Requisite
the course course) Course (s)

Semester Theatre  Remember the origin and Participati Assignment Final Exam
1 Arts / development of Indian and on in at
Drama - Karnataka Theatre. least one and
Theory  Understand the difference theatre Seminar
between the Professional production
Karnataka Theatre and Folk s or
Theatre of Karnataka. Theatre
 Analyze the different era of Workshop.
theatre.
Acting for  Understand the different type of Working Assignment Final Exam
Stage – 1 short stories, poems and plays. knowledge
(Practical)  Evaluate the different types of of English/ and And
writing skills, acting skills and Scene
Kannada Seminar
speech work.
Works
 Create and implement the
writing skills, acting skills and
speech work.

### Pedagogy for student engagement is predominantly lectures. However, other pedagogies enhancing better student
engagement to be recommended for each course. The list includes active learning/ course projects/ problem or project
based learning/ case studies/self-study like seminar, term paper or MOOC

Every course needs to include assessment for higher order thinking skills (Applying/ Analysing/ Evaluating/ Creating).
However, this column may contain alternate assessment methods that help formative assessment (i.e. assessment for
learning)

Course Pre- Requisite (S): Mention only course titles from the curriculum that are needed to be taken by the students
before registering for this course.

Page | 75
 Bachelor of Arts in Theatre Arts (Drama)
Semester 1
Course Title: Theatre Arts / Drama
Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of origin and development of Indian and Karnataka
Theatre
 To impart the knowledge of Professional Karnataka Theatre and Folk Theatre of
Karnataka.
 To train the student in folk Theatre form, Karnataka Theatre and Technical
knowledge of Stage.

Course Outcomes: At the end of the course the student will be able to
 Remember the origin and development of Indian and Karnataka Theatre.
 Understand the difference between the Professional Karnataka Theatre and Folk
Theatre of Karnataka.
 Analyze the different era of theatre.

Course Articulation Matrix: Mapping of Course outcomes (Cos) with Program

outcomes (Pos 1-12)
Course Outcomes (Cos) Unit 1 Unit 2 Unit 3
At the end of the course the student will be able to
1) Remember the origin and development of Indian and X
Karnataka Theatre
2) Understand the difference between the Professional X
Karnataka Theatre and Folk Theatre of
Karnataka.
3) Analyse the different era of theatre. X
Mark ‘X’ in the intersection cell if a course outcome addresses a particular program outcome.

Page | 76
 Bachelor of Arts in Theatre Arts (Drama)
BA Semester 1
Title of the course: Theatre Arts / Drama
Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

Content of Course – 1 Theory INDIAN THEATRE – I 42 Hr

Unit – 1: 13/14 Hrs
Chapter No.1: Inclusive style of theatre in different stages of
evolution of civilization.
Chapter No. 2: Aims and Scopes of Drama/ Theatre Arts
Chapter No. 3: Brief introduction to folk Theatre forms of
Karnataka
Unit – 2: 13/14 Hrs
Chapter No.4: Regional Theatre - Karnataka Folk Theatre
Forms
Yakshagana, Doddata, Sannata, Gondaligaru
Chapter No.5 : Brief Introduction to Indian Theatre –
Sanskrit Playwrights and Plays
Chapter No.6 : Karnataka Professional Theatre : Origin and
development of Professional Theatre in
Karnataka
Unit – 3: 13/14 Hrs
Chapter No.7: Karnataka Professional Theatre, Famous
Companies,
Famous Actors,
Chapter No.8: Golden period of Karnataka Professional
Theatre and
Theatre Techniques. etc.
Chapter No.9: Karnataka Amateur Theatre Origin and
development of Amateur Theatre in Karnataka, Famous
Organizations, Famous Actors, Theatre Techniques etc.
Text Books / References
Indian Theatre: Mulkraj Ananad
Indian Theatre: Adya Rangacharya
Sanskrit Theatre: Bhat
Folk Theatre forms of Indian: Balavanth Gargi
Karnataka Theatre: H.K. Ranganath
Kannada Theatre: T. S. Syamarao
Yakshagana: K Shivarama Karantha

Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assessment 30
Theory 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 77
 Bachelor of Arts in Theatre Arts (Drama)
BA Semester 1, Discipline Elective (DSE)/Open Elective (OE)
Semester 1
Course Title: OEC Theatre Arts – Acting for Stage
Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Body Movement, Angika Abhinaya and
 To impart the knowledge of Angika and Satvika Abhinaya
 To train the student in Method Acting for stage, Improvisation, and work on
Ground Plan of Stage

Course Outcomes: At the end of the course the student will be able to
 Apply the knowledge of Body Movement, Voice and Speech on Stage
 Evaluate the different types of acting on stage
 Create and implement the Theoretical Acting on Stage

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Apply the knowledge of Body X
Movement, Voice and
Speech on Stage
2) Evaluate the different types of X
acting on stage
3) Create and implement the X
Theoretical Acting on Stage
Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 78
 THEATRE ARTS /Drama
Acting for Stage

Unit – 1: 13/14 Hrs

Chapter No.1: Physical Exercise, for essential manifest exercises for flexible
movement of body organs.
Chapter No.2: Kolata, Theatre Games, and Yoga, Voice and Speech,
Developing and Effective Voice, Anatomy of The Vocal
Tract, Breath Control, Organs of Speech, Voice Production,
Knowledge of Pitch, Projection, Modulation, Articulation,
Tempo Techniques of correct speech etc.
Chapter No.3: Angika Abhinaya: Natya Darmi & Lokadarmi
Satvika Abhinaya: Bhava, Rasa
Unit – 2: 13/14 Hrs
Chapter No.4: Practising preliminary’s, Exercise for Voice, Speech and
Body, Relaxation, Posture, Gesture and Movement,
Breathing, Falling, Turing, Sitting, Rising, Kneeling,
Stooping, Lighting walking, Stage Crossing, Turns, and Foot
work using the set and properties appropriate.
Chapter No.5: Improvisation (Preliminary) Mime (Preliminary) Principles
of Design: Composition, Colour Lines and Marks etc.
Chapter No.6: Ground plan of the stage and its division (Scale Drawing),
Front and Side Elevation, Stage Designing for particular
situation, Preliminary knowledge of units of sets, Types of
curtains and furniture preparation of stage properties.
Unit – 3: 13/14 Hrs
Chapter No.7: Absorption of the organs, Facial Expression.
Chapter No.8: Actor’s Preparedness according to Konstantin Stanislavski’s
Acting Theory
Chapter No.9: Character Preparation according to Konstantin Stanislavski’s
Acting Theory

Text Books / References

Introduction to ‘The Art of Theatre’ A Comprehensive Text – Past, Present & Future: By Marsh
Cassady
Actors Prepare by Konstantin Stanislavski’s
Creating a Role by Konstantin Stanislavski’s
Building a Character by Konstantin Stanislavski’s
The Book of Monologues and Revelation: Original contemporary Dramatic and Comedic
Performing Monologues for Actors and Audiences - By Nick C Koroyanis

Pedagogy
Formative Assessment

Assessment Occasion/ type Weightage in Marks

Internal Assessment 30
Theory 70

Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 79
 National Education Policy – 2020

Model Program Structures for the Under-

Graduate Programs in Universities and
Colleges in Karnataka

Bachelor of Performing Arts (Basic/Hons.) (For Subjects with

practical’s) with two major and one minor

Bachelor of Arts (Basic/Hons.) (For Subjects with practical’s) with

Music (Karnataka Music) as one of the major

MUSIC (KARNATAKA MUSIC)

Page | 80
 Eligibility Criteria for Music Degree Admission

ELIGIBILITY: For B.A. / B.P.A Music (Karnataka Music) Programmes:

A candidate who has passed two-year Pre-University Course (PUC) Examination
conducted by Pre-University Education Board, Government of Karnataka, or 10+2
Examination conducted by CBSE or equivalent examinations by any Other State or any
other recognized Board /
Diploma in Music / 3-year Diploma Course with any subject or 2-year JOC / ITI of any
subject / shall be eligible.
or
PUC pass with Music as one of the subject
or
PUC with Government Recognized Junior in Music (Karnataka Music)
or
Pass in aptitude test conducted by the admission committee.

Page | 81
 I & II Semester Bachelor of Performing Arts –
Music (Karnataka Music, Vocal / Instrumental)

Sem Discipline Core (DSC) Discipline Elective Ability Enhancement Skill Enhancement Course Total
(Credits) (L+T+P) (DSE) Compulsory Courses (AECC), (SEC) Credits
(4+0+2) / Open Elective (OE) Languages (Credits) (L+T+P) Skill Based Value Based
(Credits) (L+T+P) (3+3) (Credits) (Credits)
(L+T+P) (L+T+P)
I Music OE-1 L1, L2
Karnataka Music, Vocal /
Instrumental A1 -(3) Theatre Arts, Folk Kannada Spoken 23
Karnataka Music, Vocal / Dance, Dance English English (2)
Instrumental A2 - -(3) (Bharatanatyam Hindi
/Kathak / Kuchipudi) Sanskrit
B- 1 –(6) Music – (Karnatak, Telugu
Theatre Arts/Music- Hindustani, Urdu etc.
Karnataka /Hindustani/ Mrudanga) (3) (3+3)
Gamaka (Kavya Vaachana)
Optional Kannada/English
Sanskrit/Telugu/
History/Economics /
Mrudanga.
II Music OE-2 L1, L2
Karnataka Music, Vocal / Envirnomental
Instrumental A1 -(3) Theatre Arts, Folk Kannada Science (2) Health and 25
Karnataka Music, Vocal / Dance, Dance English wellness/ social
Instrumental A2 - -(3) (Bharatanatyam Hindi and emotional
/Kathak / Kuchipudi) Sanskrit learning (2)
B- 1 –(6) Music – (Karnatak, Telugu
Theatre Arts/Music- Hindustani, Urdu etc.
Karnataka /Hindustani/ Mrudanga) (3) (3+3)
Gamaka (Kavya Vaachana)
Optional Kannada/English
Sanskrit/Telugu/
History/Economics /
Mrudanga.
Exit option with Certificate (48 Credits)

Page | 82
 Model Curriculum
Name of the Degree Program: Bachelor of Performing Arts / Bachelor of Arts /
BA(Fine Arts) / Bachelor of Arts in Music (Karnataka Music)
Discipline Core: Karnataka Classical Musicology
Total Credits for the Program: 48
Starting Year of implementation: 2021-21
Program Outcomes of 1st Semester:
By the end of the program the students will be able to:
 Sing or play an instrument basic music lessons
 understand basic theoretic concept of Karnataka music
 Acquire basic in introductory knowledge of prescribed Raga Lakshana
 Understand the life and contribution of some great composers.
 Apply the knowledge of Geetas and Ragaas
 Evaluate the different types of Swarajati and Varnas
 Create and implement the Theoretical aspects of signing Mayamalavagowda Raga

Weightage for assessments (in percentage)

Type of Course Formative Assessment / Summative Assessment
IA
Theory 30 70
Practical 30 70
Projects 30 70
Experiential Learning 30 70
(Play Production etc.)

Page | 83
 CURRICULUM STRUCTURE FOR THE UNDERGRADUATE
DEGREE PROGRAM
Bachelor of Performing Arts / Bachelor of Arts / BA (Fine Arts)
Bachelor of Arts in Music (Karnataka Music)
Total Credits for the Program: 48
Starting Year of Implementation: 2021 - 21
Name of the Degree Program: BPA / BA / BA (Fine Arts)
Discipline/ Subject: Karnataka Classical Musicology
Program Articulation Matrix:
This matrix lists only the core courses. Core courses are essential to earn the degree in
that discipline/subject. They include courses such as theory, laboratory, project,
internships etc. Elective courses may be listed separately
Semester Title / Program outcome that the Pre-Requisite Pedagogy Assessment
Name of course addresses (not more Course (s)
the course than 3 per course)
Semester Karnataka  Sing or play an instrument The Student Assignme Final Exam
1 Classical basic music lessons Passed in nts and and stage
Musicolog  understand basic theoretic Junior Music a seminars performanc
y- Phase 1 concept of Karnataka music certificate es
Theory  Acquire basic in Recognised by
introductory knowledge of Government
prescribed Raga Lakshana
 Understand the life and
contribution of some great
composers.
Karnataka  Apply the knowledge of Assignme Final Exam
Classical Geetas and Ragaas nts and and stage
Musicolog  Evaluate the different types seminars performanc
y- Phase 1 of Swarajati and Varnas es
Practical  Create and implement the
Theoretical aspects of
signing Mayamalavagowda
Raga
Semester Karnataka  Understand the different The Student Assignme Final Exam
2 Classical type Chaturvidha Abhinaya. Passed in nts and and stage
Musicolog  Analyse the difference in Junior Music a seminars performanc
y- Phase 1 Natyashastra Chapters. certificate es
Theory  Create and implement the Recognised by
Bhavas and Rasas in Government
Bharatanayam.
Karnataka  Apply the knowledge of Assignme Final Exam
Classical Geetas and Ragaas nts and and stage
Musicolog  Evaluate the different types seminars performanc
y- Phase 1 of Swarajati and Varnas es
Practical  Create and implement the
Theoretical aspects of
signing Mayamalavagowda
Raga
### Pedagogy for student engagement is predominantly lectures. However, other pedagogies enhancing better student
engagement to be recommended for each course. The list includes active learning/ course projects/ problem or project
based learning/ case studies/self-study like seminar, term paper or MOOC

Every course needs to include assessment for higher order thinking skills (Applying/ Analysing/ Evaluating/ Creating).
However, this column may contain alternate assessment methods that help formative assessment (i.e. assessment for
learning)

Course Pre- Requisite (S): Mention only course titles from the curriculum that are needed to be taken by the students
before registering for this course.

Page | 84
 Bachelor of Performing Arts / Bachelor of Arts / BA (Fine Arts)
Bachelor of Arts in Music (Karnataka Music)

Semester 1

Course Title: Karnataka Classical Musicology- Phase 1

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 The course aim at providing basic knowledge of Karnataka music to students.
 This course also aims at providing basic theoretical knowledge of Karnataka
music to students.
Course Outcomes: At the end of the course the student will be able to
 Sing or play an instrument basic music lessons
 understand basic theoretic concept of Karnataka music
 Acquire basic in introductory knowledge of prescribed Raga Lakshana
 Understand the life and contribution of some great composers.
Course Articulation Matrix: Mapping of Course outcomes (Cos) with Program
outcomes (Pos 1-12)
Course Outcomes (Cos) Unit 1 Unit 2 Unit 3
At the end of the course the student will be able to
1)Understand basic theoretic concept of Karnataka music X
2) Acquire basic in introductory knowledge of prescribed Raga X
Lakshana
3) Understand the life and contribution of some great composers. X
Mark ‘X’ in the intersection cell if a course outcome addresses a particular program outcome.

Page | 85
 Bachelor of Performing Arts in Music (Karnataka Music)
Semester 1, B. Music (Hons) Common to vocal and Instruments
BA (Fine Arts)
Title of the course: Karnataka Classical Musicology- Phase 1
Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

Content of Course – 1 Theory KARNATAKA 39/42 Hr

CLASSICAL MUSICOLOGY
Unit – 1: Man and Music 13/14 Hrs
Chapter No.1: Music to Nature
Chapter No. 2: Folk Music *
Chapter No. 3: Folk Music Instruments
Unit – 2: Rhythm and Tala 13/14 Hrs
Chapter No.4: Laya Definition. Laya Varieties
Chapter No.5: Tala Definition
Chapter No.6: Tala Varieties
Unit – 3: Shruti and Swara and raga 13/14 Hrs
Chapter No.7: Shruti -Definition
Chapter No.8: Swara – Definition & Nomenclature
Chapter No.9: Raga – Defination & Classification
And Raga lakshana and the raga learnt in practical class
Text Books / References
a) Karnataka Sangeeta Deepika By Prof. V Ramarathnam and Dr V. S. Sampath Kumar Acharya
b) History of South Indian Music by Prof. P Sambamoorthy
c) Sangeeta Lakshya Lakshan Sangrah by Dr. Padma Murthy
d) Karnataka Sangeetha Sudha by Prof. V Ramarathnam and Dr V S Sampath Kumaraacharya
e) History of Indian Music by O Goswami
f) Historical Development of Indian Music by Swami Pragnyananda
g) History of South Indian Music (Carnatic) By R Ranga Ramanuja Iyengar
h) Karnataka Sangeetha Vahini by Dr. R. Satyanarayana
i) Mahaviydanatha Iyer by Dr. C A Sridhar
j) Indian Music Instruments by B. C. Deva
k) Bharathan Natayashasthra by Sreeranga
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assessment 30
Theory 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 86
 Bachelor of Performing Arts in Music (Karnataka Music)
Semester 1, B. Music (Hons) Common to vocal and Instruments

BA Fine Arts.

Course Title: Karnataka classical Musicology Phase I

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 To impart the knowledge of Different type of geetas
 To impart the knowledge of Raga and Varnas
 To train the student in Swarajati and Varnas
Course Outcomes: At the end of the course the student will be able to
 Apply the knowledge of Geetas and Ragaas
 Evaluate the different types of Swarajati and Varnas
 Create and implement the Theoretical aspects of signing Mayamalavagowda Raga

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1) Apply the knowledge of Geetas an X
ragas
2) Evaluate the ypes of Swarajati and X
Varnas
3) Create and implement the X
Theoretical Theoretical aspects of
signing Mayamalavagowda Raga
Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 87
 Music- COURSE 2
Karnataka Classical Practical Music Phase I
Unit – 1: Geethas - Stage I 13/14 Hrs
Chapter No.1: Ghana Raga Geetha in the Raga Nata
Chapter No.2: Lakshana Geetha in the Raga Mohana
Chapter No.3: Janti Varase, Alankaras - 7, Pillari Geete – 1,Pillari Geete – 1
Unit – 2: Swarajath & Varnas: Sateg I 13/14 Hrs
Chapter No.4: Swarajathi in the Raga Bilahar
Chapter No.5: Swarajathi in the Raga Harikambhoji
Chapter No.6: Varna in the Raja Kalyani Set to Aditala (one speed)
Varna in the Raga Sri Mohana set to Aditala (one speed )
Unit – 3: Krities - Stage 1 and Music Composition - Stage 1 13/14 Hrs
Chapter No.7: Madhyamakala Kriti in Raga Hamsadhwani
Chapter No.8: Madhyama Kriti in the Raga Mayamalavagowda
Vilamba Kala Kriti in the Raga - Mohana
Chapter No.9: Music Composition:
Devaranama -2
Vachana -2
Nadageethe -2
Nadageetye -2

Text Books
References
a) Karnataka Sangeeta Deepika By Prof. V Ramarathnam and Dr V. S. Sampath Kumar
Acharya
b) History of South Indian Music by Prof. P Sambamoorthy
c) Sangeeta Lakshya Lakshan Sangrah by Dr. Padma Murthy
d) Karnataka Sangeetha Sudha by Prof. V Ramarathnam and Dr V S Sampath
Kumaraacharya
e) History of Indian Music by O Goswami
f) Historical Development of Indian Music by Swami Pragnyananda
g) History of South Indian Music (Carnatic) By R Ranga Ramanuja Iyengar
h) Karnataka Sangeetha Vahini by Dr. R. Satyanarayana
i) Mahaviydanatha Iyer by Dr. C A Sridhar
j) Indian Music Instruments by B. C. Deva
k) Bharathan Natayashasthra by Sreeranga

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 88
 Bachelor of Performing Arts in Music (Karnataka Music)
BPA Semester 1, Discipline Elective (DSE)/ Open Elective (OE)
BA (Fine Arts)

Title of the course: Karnataka classical Musicology Phase II

Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

Karnataka Music - COURSE 1 THEORY

Unit – 1 : 13/14 Hrs
Chapter No.1: Brief History of Indian Music
Chapter No. 2: Life History of the following Purandaradasa

Chapter No. 3: Life History of the following Basavanna

Unit – 2 : 13/14 Hrs
Chapter No.4: Brief knowledge of the following technical terms:
a) Naada b) Shruthi
Chapter No.5: Brief knowledge of the following technical terms:
a) Swara b) Taala
Chapter No.6: Brief knowledge of the following technical terms:
a) Sthayi b) Aarohana and Avarohana
Unit – 3 : 13/14 Hrs
Chapter No.7: Impact of Music on Society - Social values
Chapter No.8: Impact of Music on Society - Cultural and Spiritual values
Chapter No.9: Brief knowledge of the Ragas learnt in practical course 1.2

Text Books
References
a) Karnataka Sangeeta Deepika By Prof. V Ramarathnam and Dr V. S. Sampath Kumar Acharya
b) History of South Indian Music by Prof. P Sambamoorthy
c) Sangeeta Lakshya Lakshan Sangrah by Dr. Padma Murthy
d) Karnataka Sangeetha Sudha by Prof. V Ramarathnam and Dr V S Sampath Kumaraacharya
e) History of Indian Music by O Goswami
f) Historical Development of Indian Music by Swami Pragnyananda
g) History of South Indian Music (Carnatic) By R Ranga Ramanuja Iyengar
h) Karnataka Sangeetha Vahini by Dr. R. Satyanarayana
i) Mahaviydanatha Iyer by Dr. C A Sridhar
j) Indian Music Instruments by B. C. Deva
k) Bharathan Natayashasthra by Sreeranga
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 89
 Model Curriculum

Name of the Degree Program: Bachelor of Performing Arts / Bachelor of Arts / BA fine
Bachelor of Arts in Music (Karnataka Music)

Discipline Core: Karnataka classical Musicology Phase II

Total Credits for the Program: 48

Starting Year of implementation: 2021-21

Program Outcomes:
By the end of the program the students will be able to:
 Sing / play on the instruments introductory Karnataka music lessons.
 Understand the different type Chaturvidha Abhinaya.
 Analyse the difference in Natyashastra Chapters.
 Create and implement the Bhavas and Rasas in Bharatanayam.
 Apply the knowledge of Geetas and Ragaas
 Evaluate the different types of Swarajati and Varnas
 Create and implement the Theoretical aspects of signing Mayamalavagowda Raga

Weightage for assessments (in percentage)

Type of Course Formative Assessment / Summative Assessment
IA
Theory 30 70
Practical 30 70
Projects 30 70
Experiential Learning 30 70
(Play Production etc.)

Page | 90
 CURRICULUM STRUCTURE FOR THE UNDERGRADUATE
DEGREE PROGRAM
Bachelor of Performing Arts / Bachelor of Arts / BA (Fine Arts) /
Bachelor of Arts in Music (Karnataka Music)
Total Credits for the Program: 48
Starting Year of Implementation: 2021 - 21
Name of the Degree Program: BPA / BA /
Discipline/ Subject: Karnataka Classical Musicology
Program Articulation Matrix:
This matrix lists only the core courses. Core courses are essential to earn the degree in
that discipline/subject. They include courses such as theory, laboratory, project,
internships etc. Elective courses may be listed separately
Semester Title / Program outcome that the Pre-Requisite Pedagogy Assessment
Name of course addresses (not more Course (s)
the course than 3 per course)
Semester Karnataka  Sing or play an instrument The Student Assignme Final Exam
1 Classical basic music lessons Passed in nts and and stage
Musicolog  understand basic theoretic Junior Music a seminars performanc
y- Phase 1 concept of Karnataka music certificate es
Theory  Acquire basic in Recognised by
introductory knowledge of Government
prescribed Raga Lakshana
 Understand the life and
contribution of some great
composers.
Karnataka  Apply the knowledge of Assignme Final Exam
Classical Geetas and Ragaas nts and and stage
Musicolog  Evaluate the different types seminars performanc
y- Phase 1 of Swarajati and Varnas es
Practical  Create and implement the
Theoretical aspects of
signing Mayamalavagowda
Raga
Semester Karnataka  Understand the different The Student Assignme Final Exam
2 Classical type Chaturvidha Abhinaya. Passed in nts and and stage
Musicolog  Analyse the difference in Junior Music a seminars performanc
y- Phase 1 Natyashastra Chapters. certificate es
Theory  Create and implement the Recognised by
Bhavas and Rasas in Government
Bharatanayam.
Karnataka  Apply the knowledge of Assignme Final Exam
Classical Geetas and Ragaas nts and and stage
Musicolog  Evaluate the different types seminars performanc
y- Phase 1 of Swarajati and Varnas es
Practical  Create and implement the
Theoretical aspects of
signing Mayamalavagowda
Raga
### Pedagogy for student engagement is predominantly lectures. However, other pedagogies enhancing better student
engagement to be recommended for each course. The list includes active learning/ course projects/ problem or project
based learning/ case studies/self-study like seminar, term paper or MOOC

Every course needs to include assessment for higher order thinking skills (Applying/ Analysing/ Evaluating/ Creating).
However, this column may contain alternate assessment methods that help formative assessment (i.e. assessment for
learning)

Course Pre- Requisite (S): Mention only course titles from the curriculum that are needed to be taken by the students
before registering for this course.

Page | 91
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Music (Karnataka Music)/ (BA Fine Arts)

Semester II

Course Title: Karnataka classical Musicology Phase II

Total Contact Hours: 60 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 This course aims at providing more introductory basic knowledge of Karnataka
practical music to students.
 This course also aims at providing more introductory basic theoretical knowledge
of Karnataka music to students.

Course Outcomes: At the end of the course the student will be able to
 Sing / play on the instruments introductory Karnataka music lessons.
 Understand basic introductory theoretical concept of Karnataka music.
 Acquire basic introductory more knowledge of prescribed Raga Lakshana.
 Understand the life and contribution of some legendary great Karnataka music composers

Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1)Understand basic introductory X
theoretical concept of Karnataka music.
2)Acquire basic introductory more X
knowledge of prescribed Raga
Lakshana.
3)Understand the life and contribution of X
some legendary great Karnataka music
composers

Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 92
 Bachelor of Performing Arts in Music (Karnataka Music) /
BA (Fine Arts) BPA Semester 2
Title of the course: Karnataka classical Musicology Phase II (Common to vocal
& Instruments)
Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

Content of Course – 1 Theory

Unit – 1 : Musical Terminologies 13/14 Hrs
Chapter No.1: Sangeeth-Defination & Explanation
Nada – Nadotpatti, Anata – Anahata. Definition &
Explanation
Chapter No.2: Swara- Prakruti & Vikruti, Dwadasha & Shodasha Swaras
Definations & Explanation.
Chapter No.3: Kala- Prathama, Dwitiya & Tritiya Explanation. 13/14 Hrs
Unit – 2 : Lakshana of the Compositional Forms
Chapter No.4: Pillari Geeth – Lakshana Geethe - Sanchis Geetha
Chapter No.5: Jatiswara- Swarajathi, Tanavarna - Padavarna
Chapter No.6: Kriti - Keertane 13/14 Hrs
Unit – 3 : Raga Lakshana & Composers
Chapter No.7: Nata, Kambhoji, MayamalavaGowla, Jhnijuti,
Chapter No.8: Kadanakutuhala, Shankalabhalana, Kamavardhai,
Chakravaka & Kamachi.
Chapter No.9 : a) Life, Achievement & Contribution of Sri Muthuswami
Dixitar to Karnataka Music b) Life, Achievement & Contribution of Sri
Shyamashastri to Karnataka Music
Text Books / References
Karnataka Sangeeta Deepika By Prof. V Ramarathnam and Dr V. S. Sampath Kumar Acharya
a) History of South Indian Music by Prof. P Sambamoorthy
b) Sangeeta Lakshya Lakshan Sangrah by Dr. Padma Murthy
c) Karnataka Sangeetha Sudha by Prof. V Ramarathnam and Dr V S Sampath
Kumaraacharya
d) History of Indian Music by O Goswami
e) Historical Development of Indian Music by Swami Pragnyananda
f) History of South Indian Music (Carnatic) By R Ranga Ramanuja Iyengar
g) Karnataka Sangeetha Vahini by Dr. R. Satyanarayana
h) Mahaviydanatha Iyer by Dr. C A Sridhar
i) Indian Music Instruments by B. C. Deva
j) Bharathan Natayashasthra by Sreeranga
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 93
 Bachelor of Performing Arts / Bachelor of Arts /
Bachelor of Arts in Music (Karnataka Music), BA (Fine Arts)

Semester II

Course Title: Karnataka Classical Practical Music Phase II

Total Contact Hours: 42 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr
Model Syllabus Authors: Performing Arts Summative Assessment Marks: 70
Curriculum Committee

Course Objectives:
 This course aims at providing more introductory basic knowledge of Karnataka
practical music to students.
 This course also aims at providing more introductory basic theoretical knowledge
of Karnataka music to students.
Course Outcomes: At the end of the course the student will be able to
 Sing / play on the instruments introductory Karnataka music lessons.
 Understand basic introductory theoretical concept of Karnataka music.
 Acquire basic introductory more knowledge of prescribed Raga Lakshana.
 Understand the life and contribution of some legendary great Karnataka music
composers.
Course Articulation Matrix: Mapping of Course outcomes (COs) with Program
outcomes (POs 1-12)
Course Outcomes (Cos) / Program Unit 1 Unit 2 Unit 3
Outcomes (POs)
1)Understand basic introductory X
theoretical concept of Karnataka
music.
2)Acquire basic introductory more X
knowledge of prescribed Raga
Lakshana.
3)Understand the life and X
contribution of some legendary great
Karnataka music composers.

Course Articulation Matrix relates course outcomes of course with the corresponding
program outcomes whose attainment is attempted in this course. Mark ‘X’ in the
intersection cell if a course outcome addresses a particular program outcome.

Page | 94
 Karnataka Classical Music - Course 2 (Practical)

Unit – 1: Geethas - Stage II 13/14 Hrs

Chapter No.1: Ghana Raga Geetha in the Raga Nata
Chapter No.2: Lakshana Geetha in the Raga Mayamalava Gowla
Chapter No.3:

Unit – 2: Swarajath & Varnas: sateg II 13/14 Hrs

Chapter No.4: Swarajathi in the Raga Kambhoji

Chapter No.5: Swarajathi in the Raga Jhunjuti

Chapter No.6: Varna in the Raja Kadana Kutuhala Set to Aditala

Varna in the Raga Shaakalabhalawa set to Aditala

Unit – 3: Krities - Stage 2 and Music Composition - Stage 2 13/14 Hrs

Chapter No.7: Madhyama kala Kriti in Raga kamavardhani

Chapter No.8: Madhyama Kriti in the Raga Chakravaka

Vilamba Kala Kriti in the Raga - Kamach
Chapter No.9: Music Composition:
Devaranama -2
Vachana-2
Patriotic Song- 2

Text Books / References

a) Karnataka Sangeeta Deepika By Prof. V Ramarathnam and Dr V. S. Sampath Kumar
Acharya
b) History of South Indian Music by Prof. P Sambamoorthy
c) Sangeeta Lakshya Lakshan Sangrah by Dr. Padma Murthy
d) Karnataka Sangeetha Sudha by Prof. V Ramarathnam and Dr V S Sampath
Kumaraacharya
e) History of Indian Music by O Goswami
f) Historical Development of Indian Music by Swami Pragnyananda
g) History of South Indian Music (Carnatic) By R Ranga Ramanuja Iyengar
h) Karnataka Sangeetha Vahini by Dr. R. Satyanarayana
i) Mahaviydanatha Iyer by Dr. C A Sridhar
j) Indian Music Instruments by B. C. Deva
k) Bharathan Natayashasthra by Sreeranga

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assessment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 95
 Bachelor of Performing Arts in Music (Karnataka Music)
BA (Fine Arts ) / BPA Semester 2, Discipline Elective (DSE)/ Open
Elective (OE)
Title of the course: Karnataka Classical Music
Course 1 Course 2
Number of Number of lecture Number of Number of lecture
Theory Credits hours/semester Practical Credits hours/semester
3 42 3 42

Karnataka Music - COURSE 2 39/42

Unit – 1 : 13/14 Hrs
Chapter No.1: Brief Concept and definition of the term ‘Raga’
Chapter No. 2: Brief Concept and definition of the term 'Tala'
Unit – 2 : 13/14 Hrs
Chapter No.3: Brief introduction to Folk Music of Karnataka
Chapter No.4: Brief knowledge of Musical instruments of South India
Unit – 3 : 13/14 Hrs
Chapter No.5: Brief Lakshanas of the Ragas learnt in practical Paper 2.2
Text Books / References
a) Karnataka Sangeeta Deepika By Prof. V Ramarathnam and Dr V. S. Sampath Kumar
Acharya
b) History of South Indian Music by Prof. P Sambamoorthy
c) Sangeeta Lakshya Lakshan Sangrah by Dr. Padma Murthy
d) Karnataka Sangeetha Sudha by Prof. V Ramarathnam and Dr V S Sampath
Kumaraacharya
e) History of Indian Music by O Goswami
f) Historical Development of Indian Music by Swami Pragnyananda
g) History of South Indian Music (Carnatic) By R Ranga Ramanuja Iyengar
h) Karnataka Sangeetha Vahini by Dr. R. Satyanarayana
i) Mahaviydanatha Iyer by Dr. C A Sridhar
j) Indian Music Instruments by B. C. Deva
k) Bharathan Natayashasthra by Sreeranga
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 96
 B.A/ B.P.A/ B.A (Fine Arts) in KARNATA MUSIC
Semester 1 GAMAKA

Course Title: (DSCC) Gamaka-I Theory-I and Gamaka-I Practical-I

Total Contact Hours: L42 + P65 Course Credits: 3+3

Duration of ESA/Exam:3 hours theory

Formative Assessment Marks: 30 (15+15) subject and 20 minutes duration for each
candidate in practical subject

Model Syllabus Authors: Summative Assessment Marks: 70

 L= Lecture P=Practical

Course Objective:
 The course aim at providing basic knowledge of Karnataka music to students.
 This course also aims at providing basic theoretical knowledge of Karnataka
music to
Course Outcomes (COs):
After successfully completing of the course the student will be able to
 understand basic practical concept of Karnataka music
 sing or play an instrument basic music lesson
 understand basic theoretic concept of Karnataka music
 Acquire basic in introductory knowledge of prescribed Raga Lakshana
 Understand the life and contribution of some great composers.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with

Program Outcomes (POs 1-12)
Course Outcomes (COs) / 1 2 3 4 5 6 7 8 9 10 11 12
Program Outcomes (POs)
1. Semester (COs 1-3) (POs 1-9)

2.

Course Articulation Matrix relates course outcomes of course with the corresponding program
outcomes whose attainment is attempted in this course. Mark ‘X’ in the intersection cell if a
course outcome addresses a particular program outcome.

Page | 95
 B.A/ B.P.A/ B.A (Fine Arts) in KARNATA MUSIC
Semester 1 GAMAKA

Title of the course: Karnataka Music : Gamaka

Course 1 Course 2
Number of Number of lecture Number of Practical Number of
Theory Credits hours/semester Credits lecture
hours/semester
3 42 3 42

GAMAKA - COURSE 1 THEORY

Unit – 1: Gamaka- Explanations 14
Chapter No.1: Definition and Explanation.
Chapter No. 2: Antiquity, Origin and Development.
Chapter No. 3: History of Gamaka
Unit – 2: Raagalakshanas 14
Chapter No.4: Nata, Kalyani
Chapter No.5: Mohana, Natakuranji
Chapter No.6: Bhairavi, Shudda Saveri and Arabhi, Begade
Unit – 3: Prominent Mahakavis and Kaavya Bhagas with Prosodies an 14
Introduction
Chapter No.7: Prominent Mahakavis 1:
a) Kumaravyasa
b) Torave Narahari
Chapter No.8: Prominent Mahakavis 2:
a) Harihara
b) Raaghavanka

Chapter No.9: Kaavya Bhagas with (?):

a) Gadugina Bhalata
b) Harishchandra Kavya
c) Torave Ramayana
d) Girija kalyana

Text Books / References

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks

Total

Date Course Co-ordinator Subject Committee Chairperson

Page | 96
 GAMAKA - COURSE 2 PRACTICALS
Unit – 1: Uttarana Pourusha in Kumaravyasa Bhalata 14
Chapter No.1: 10 poems

Chapter No.2: 10 poems

Chapter No.3: 10 poems
Unit – 2: Mudrika Pradana in Torave Ramayana 14
Chapter No.4: 8 poems

Chapter No.5: 8 poems

Chapter No.6: 9 poems

Unit – 3: Tiruneelakanta in Hariharana Ragale and 14

Chandramati Pralapa in
Harishchandra Kavya
Chapter No.7: Tiruneelakanta in Hariharana Ragale – 150 lines.
Chapter No.8: Chandramati Pralapa in Harishchandra Kavya 1: 5
poems
Chapter No.9: Chandramati Pralapa in Harishchandra Kavya 2: 5
poems

Text Books References

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks

Total

Date Course Co-ordinator Subject Committee Chairperson

Page | 97
 B.A/ B.P.A/ B.A (Fine Arts) in KARNATA MUSIC
Semester 2 GAMAKA

Course Title: (DSCC) Gamaka-I Theory-I and Gamaka-I Practical-I

Total Contact Hours: L42 + P65 Course Credits: 3+3

Duration of ESA/Exam:3 hours theory

Formative Assessment Marks: 30 (15+15) subject and 20 minutes duration for each
candidate in practical subject

Model Syllabus Authors: Summative Assessment Marks: 70

 L= Lecture P=Practical

Course Pre-requisite(s):
Course Objective:
 This course aims at providing more introductory basic knowledge of Gamaka (Kavya
Vachana) to students.
 This course also aims at providing more introductory knowledge of Gamaka Theory to
students
Course Outcomes (COs):
After successfully completing of the course the student will be able to.
 Understand more introductory practical concept of Gamaka (Kavya Vachana).
 Sing more poetic portion of some Maha Kavyas.
 Understand more basic theoretical concept of Gamaka (Kavya Vachana).
 Acquire more introductory knowledge of some prescribed Raga lakshanas
 Understand the life and contribution of more legendary Gamakis.
Course Articulation Matrix: Mapping of Course Outcomes (COs) with
Program Outcomes (POs 1-12)
Course Outcomes (COs) / 1 2 3 4 5 6 7 8 9 10 11 12
Program Outcomes (POs)
2. Semester (COs 1-3) (POs 1-9)

2.

Course Articulation Matrix relates course outcomes of course with the corresponding program
outcomes whose attainment is attempted in this course. Mark ‘X’ in the intersection cell if a
course outcome addresses a particular program outcome.

Page | 98
 B.A/ B.P.A/ B.A (Fine Arts) in KARNATA MUSIC

Semester 2 GAMAKA

Title of the course: Karnataka Music: Gamaka

Course 1 Course 2
Number of Number of lecture Number of Practical Number of
Theory Credits hours/semester Credits lecture
hours/semester
3 42 3 42

GAMAKA - COURSE 2 THEORY

Unit – 1: Gamakas 14
Chapter No.1: Dashavida Gamakas of Music
Chapter No.2: Panchadasha Gamakas of Music
Chapter No.3: Gamakas in Sahitya, Kaku
Unit – 2: Bhava – Rasas, Raaga Lakshanas 14
Chapter No.4: Bhava – Rasas:
a) Pada Bhava
b) Raaga Bhava
c) Rasas
d) Bhavas - Rasas
Chapter No.5: Raaga Lakshanas 1:
a) Hamsadhwani, Sriranjani
b) Simhendra Madhyama, Desh
Chapter No.6: Raaga Lakshanas 2:
a) Hindola, Saama
b) Kaanada, Kedarahowla

Unit – 3: Prominent Mahakavis and Kavya Bhagas of Study – 14

An Introduction
Chapter No.7: Lakshmeesha – Jaimini Bharata, Chamarasa –
Prabhulinga leele
Chapter No.8: Helavanakatte Giriyamma – Chandrahasana Kathe

Chapter No.9: Muddana - Raamashwamedha

Text Books / References

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks

Total

Date Course Co-ordinator Subject Committee Chairperson

Page | 99
 GAMAKA - COURSE 2 PRACTICALS
Unit – 1: Jawala Vrittanta in Jaimini Bharata 14
Chapter No.1: 8 poems
Chapter No.2: 8 poems

Chapter No.3: 9 poems

Unit – 2: Upadeshas to Siddarama in Prabhulinga leele 14

Chapter No.4: 8 poems
Chapter No.5: 8 poems

Chapter No.6: 9 poems

Unit – 3: Chandrahasana Kathe and Ramashwamedha 14

Chapter No.7: Chandrahasana Kathe of Helavanakatte Giriyamma 1: 15
poems

Chapter No.8: Chandrahasana Kathe of Helavanakatte Giriyamma 2:

15 poems

Chapter No.9: Ramashwamedha of Muddana – 10 poems

Text Books
References
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in
Marks

Total

Date Course Co-ordinator Subject Committee Chairperson

Page | 100
 B.A/ B.P.A/ B.A(Fine Arts) in KARNATAKA MUSIC
Semester 1 PERCUSSION INSTRUMENTS

Course Title: (DSCC) Percussion Instruments-I Theory-I and Percussion Instruments -I Practical-I

Total Contact Hours: L42 + P65 Course Credits: 3+3

Duration of ESA/Exam:3 hours theory subject and 20

Formative Assessment Marks: 30 (15+15)
minutes duration for each candidate in practical subject

Model Syllabus Authors: Summative Assessment Marks: 70

 L= Lecture P=Practical

Course Pre-requisite(s):
Course Objective:
 The course aim at providing basic knowledge of Karnataka music to students.
 This course also aims at providing basic theoretical knowledge of Karnataka
music to
Course Outcomes (COs):
After successfully completing of the course the student will be able to
 understand basic practical concept of Karnataka music
 sing or play an instrument basic music lesson
 understand basic theoretic concept of Karnataka music
 Acquire basic in introductory knowledge of prescribed Raga Lakshana
 Understand the life and contribution of some great composers.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with

Program Outcomes (POs 1-12)
Course Outcomes (COs) / Program 1 2 3 4 5 6 7 8 9 10 11 12
Outcomes (POs)
1. Semester (COs 1-3) (POs 1-9)

2.

Course Articulation Matrix relates course outcomes of course with the corresponding program outcomes
whose attainment is attempted in this course. Mark ‘X’ in the intersection cell if a course outcome addresses
a particular program outcome.

Page | 101
 B.A/ B.P.A/ B.A(Fine Arts) in KARNATAKA MUSIC
Semester 1 PERCUSSION INSTRUMENTS

Title of the course: Karnataka Music: Percussion Instruments

Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 42

Content of Course – 1 Theory Percussion Theory 39/42 Hr

Unit – 1: Man to Music 14 Hrs

Chapter No.1: a) Man to Life b) Music to Nature

Chapter No. 2: Folk Music

Chapter No. 3: Folk Music Instruments
Unit – 2: Rhythm and Tala 14 Hrs
Chapter No.4: a) Laya Definition b) Laya Varieties
Chapter No.5 : Tala Definition
Chapter No.6 : Tala Varieties
Unit – 3: Percussion Instruments 14 Hrs
Chapter No.7:
a) Classifications of Music Instruments
b) Origin of percussion Instruments
c) Karnataka classical Percussion instruments and their place
d) Role of percussion Instruments in Karnataka classical Music
e) concert.

Chapter No.8: The Great percussion Artist -5 Life achievement

and contribution of Sri Narayanaswamy appa
Chapter No.9: The Great percussion Artist -5 Life achievement
and contribution of Sri. T. M. Puttaswamaiah
Text Books
References
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Theory 70

Total 100

Date Course Coordinator Subject Committee Chairperson

Page | 102
 Percussion Instruments - COURSE 2 (Practical)
Unit – 1: Balapa Thas 14 Hrs
Chapter No.1: Chanting of Tha Dhi Tom Nam” in chaturashrajathi
Tripnta Tala
Chapter No.2: Playing of Tha Dhi Tom Nam in Chaturashrajuthi Triputa
Tala on the Instrument
Chapter No.3: Chanting of Tha Dhi Tom Nam in Suladi Sapta Talas and
Playing of Tha Dhi Tom Nam in Suladi Sapta Talas on
the Instrument
Unit – 2: Urutu and MukTayas 14 Hrs
Chapter No.4: Chanting of Uruty(Fern) in Aditala

Chapter No.5: Playing Uruty (Fern) in Aditala on the Instrument

Chapter No.6:
a) Chanting of Uruty(Ferbn) in Suladi Sapta Talas
b) Playing of Urutu (Fern) in Suladi sapta Talas on the
Instruments.

Unit – 3: Nades and Korpu 14 Hrs

Chapter No.7: chanting Fine nades in Aditala and Suladi Sapta Talas.
Chapter No.8: Playing Fine nades in adi Tala and Saladi sapta Talas on the
Instrument
Chapter No.9:
a) Chanting korapu in Aditala and Suladi Sapta Talas.
b) Playing Korapu in AdiTala and Suladi Sapta Talas on the
Instrument.

Text Books
References

Pedagogy: Practical class and experiential learning

Formative Assessment
Assessment Occasion/ type Weightage in Marks
15+15

Total 30

Date Course Co-Ordinator Subject Committee Chairperson

Page | 103
 B.A/ B.P.A/ B.A(Fine Arts) in KARNATAKA MUSIC
Semester 2 PERCUSSION INSTRUMENTS

Course Title: (DSCC) Percussion Instruments- Theory- and Percussion Instruments - Practical-

Total Contact Hours: L42 + P65 Course Credits: 3+3

Duration of ESA/Exam:3 hours theory subject

Formative Assessment Marks: 30 (15+15) and 20 minutes duration for each candidate in
practical subject

Model Syllabus Authors: Summative Assessment Marks: 70

 L= Lecture P=Practical

Course Pre-requisite(s):
Course Pre-requisite(s):
Course Objective:
 The course aim at providing basic knowledge of Karnataka music to students.
 This course also aims at providing basic theoretical knowledge of Karnataka
music to
Course Outcomes (COs):
After successfully completing of the course the student will be able to
 understand basic practical concept of Karnataka music
 sing or play an instrument basic music lesson
 understand basic theoretic concept of Karnataka music
 Acquire basic in introductory knowledge of prescribed Raga Lakshana
 Understand the life and contribution of some great composers.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with

Program Outcomes (POs 1-12)
Course Outcomes (COs) / Program 1 2 3 4 5 6 7 8 9 10 11 12
Outcomes (POs)
2. Semester (COs 1-3) (POs 1-9)

2.

Course Articulation Matrix relates course outcomes of course with the corresponding program outcomes
whose attainment is attempted in this course. Mark ‘X’ in the intersection cell if a course outcome addresses
a particular program outcome.

Page | 104
 B.A/ B.P.A/ B.A(Fine Arts) in KARNATAKA MUSIC
Semester 2 PERCUSSION INSTRUMENTS

Title of the course: Karnataka Music: Percussion Instruments

Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 42

Content of Course – 1 Theory Percussion Theory 39/42 Hr

Unit – 1: Technical Terms 14 Hrs

Chapter No.1: Nade Teeka Urutu

Chapter No. 2: Korapu – Prastara, Sarvalaghu

Chapter No. 3:
a) Nade Bheda Tani Avartna, Mohra
b) Arudhi – Korve, Muktaya, Teeranana

Unit – 2: Tala dasha pranas 14 Hrs

Chapter No.4:
a) Kala , Marga
b) Kriya, Anga
Chapter No.5 :
a) Graha, Jati
b) Kale , laya, yathi and prastara
Chapter No.6 : Grahas
a) Definition of Graha
b) Sama Graha
c) Vishama Graha
d) Ateiter and Anahata Grahyas
Unit – 3: The Great Percussion Artists. 14 Hrs
Chapter No.7: Sri Palani Krishna
Chapter No.8: Sri D Sheshappa
Chapter No.9:

Text Books
References
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Theory 70

Total 100

Page | 105
 Percussion Instruments - COURSE 2 (Practical)
Unit – 1: Teeka Varasas 13/14 Hrs
Chapter No.1: Chanting Teeka Varasas in AdiTala and Pupupaka Tala Set to
Chaturaslra nade.
Chapter No.2: Playing Teeka Varasas in Aditala and Pupaketala set to
Chesturastray nade, on the Instrument
Chapter No.3:
a) Chanting Teeka Varasas in Aditala and Pupaka Tala set to
Thryasra nade
b) Playing Teeka varasaas in Aditala pupaka Tala set to Thryasra
nade.
Unit – 2: Tha Dhi Ti na tom – 5 Jathis 13/14 Hrs
Chapter No.4: Chanting Tha dhi gi na tom in 5 jathis
Chapter No.5: Playing Tha Dhi gina Tom in 5 jathis on the Instruments
Chapter No.6:
a) Chanting Tha dhigi na tom in 5 Jatis with referede to Ektala
in three speeds on the Instrument.
b) Playing Tha dhi gi na tom in 5 Jathis with reference to
Ekatala in three speeds, on the Instrument.
Unit – 3: Nade Korapus – Aditala 13/14 Hrs
Chapter No.7:
a) Chanting Nade Korapye in Aditala in madhya laya.
b) Playing Nade Korpu in Aditala in Madhya laya on the Instrument
c) Chanting Nade Korapu in Aditala in Vilamlea Laya.
d) Playing Nade Korapu in Aditala in Vilamlwaq laya on the Instrument

Chapter No.8: Nade Korapu Rupaka Tala:

a) Chanting Nade Korapu Rupaka Tala in
Madhya laya
b) Playing Nade Korapu in Rupaka Tala
Madhya laya on the Instrument
c) Chanting Nade korapu in Rupaka tala in
Vilamba laya
d) Playing Nade Korapu in Rupaka Tala in
Vilamba laya on the Instrument

Chapter No.9: Nade Korapu Rupaka Tala:

a) Chanting Nade korapu in Rupaka tala in Vilamba laya
b) Playing Nade Korapu in Rupaka Tala in Vilamba laya
on the Instrument

Text Books
References
Pedagogy: Practical class and experiential learning
Formative Assessment
Assessment Occasion/ type Weightage in Marks
15+15
Total 30

Date Course Co-Ordinator Subject Committee Chairperson

Page | 106
 National Education Policy – 2020

Model Program Structures for the

Under- Graduate Programs in Universities
and Colleges in Karnataka

Bachelor of Performing Arts (Basic/Hons.) (For Subjects with

practical’s) with two major and one minor

Bachelor of Arts (Basic/Hons.) (For Subjects with practical’s) with

Music (Hindustani Music) as one of the major

MUSIC (HINDUSTANI MUSIC)

Vocal and Instrumental

Page | 107
 Bachelor of Performing Arts in Hindustani Music
and
Bachelor of Arts in Hindustani Music

ADMISSION ELIGIBILITY

1: Invitation of Applications:
a) The University shall issue a notification for admission to various U. G Programmes for
all odd semesters soon after the announcement of PUC II year / 10+2 results.
b) Admissions shall be purely based on merit cum roster as per the norms of Government
of Karnataka issued from time to time.
c) Academic year normally commences in the month of June every year. The exact date
for commencement of academic year shall be decided by the University.
d) Affiliated colleges shall admit students for each programme not exceeding the approved
intake. Prior approval from the University is mandatory in case the admissions exceed
approved limit.
2: ELIGIBILITY: A candidate who has passed two-year Pre-University Course (PUC)
Examination conducted by Pre-University Education Board, Government of Karnataka, or
10+2 Examination conducted by C. B. S. E or equivalent examinations by any Other State
or any other recognized Board / Department shall be eligible for admission to First
Semester U. G. Programme.
For B.A. / B. P. A (Music)./ Programmes: A candidate with PUC / 10+2 of any
stream or 3-year Diploma Course with any subject or 2-year J O C / I. T. I of any subject
shall be eligible.

Page | 108
 I & II Semester Bachelor of Arts –
Music (Hindustani Music, Vocal / Instrumental)

Sem Discipline Core (DSC) Discipline Elective Ability Enhancement Skill Enhancement Course Total
(Credits) (L+T+P) (DSE) Compulsory Courses (AECC), (SEC) Credits
(4+0+2) / Open Elective (OE) Languages (Credits) (L+T+P) Skill Based Value Based
(Credits) (L+T+P) (3+3) (Credits) (Credits)
(L+T+P) (L+T+P)
I Music OE-1 L1, L2
Hindustani Music, Vocal /
Instrumental A1 -(3) Theatre Arts, Folk Kannada Active 23
Hindustani Music, Vocal / Dance, English Based (2)
Instrumental A2 - -(3) Hindi
Dance Sanskrit
B- 1 –(6) (Bharatanatyam Telugu
Theatre Arts/Music- /Kathak / Kuchipudi) Urdu etc.
Karnataka /Hindustani/ (3+3)
Gamaka (Kavya Vaachana) Music – (Karnatak,
Optional Kannada/English Hindustani,
Sanskrit/Telugu/ Mrudanga) (3)
History/Economics /
Mrudanga.
II Music OE-2 L1, L2
Hindustani Music, Vocal / Environmental
Instrumental A1 -(3) Theatre Arts, Folk Kannada Science (2) Health and 25
Hindustani Music, Vocal / Dance, Dance English wellness/ social
Instrumental A2 - -(3) (Bharatanatyam Hindi and emotional
/Kathak / Kuchipudi) Sanskrit learning (2)
B- 1 –(6) Music – (Karnatak, Telugu
Theatre Arts/Music- Hindustani, Urdu etc.
Karnataka /Hindustani/ Mrudanga) (3) (3+3)
Gamaka (Kavya Vaachana)
Optional Kannada/English
Sanskrit/Telugu/
History/Economics /
Mrudanga.
Exit option with Certificate (48 Credits)

Page | 109
 BA in MUSIC (Hindustani Music)
BA Semester 1st and 2nd
Theory and Practical

SEMESTER : 1

Course -1 : Theory
1. Hindustani Music Theory
(Theory is common for Vocal, Sitar and Tabla)
Course -2 : Practical
 Vocal Practical
 Vocal Open Elective
 Sitar Practical
 Sitar Open Elective
 Tabla Practical
 Tabla Open Elective

SEMESTER : 2

Course -1 : Theory
1. Hindustani Music Theory
(Theory is common for Vocal, Sitar and Tabla)
Course -2 : Practical
 Vocal Practical
 Vocal Open Elective
 Sitar Practical
 Sitar Open Elective
 Tabla Practical
 Tabla Open Elective

Page | 110
 Bachelor of Arts in Music (Hindustani Music)
Semester – 1 and 2 DSCC
Hindustani Music – Vocal, Sitar and Tabla

Course Title: Music

Total Contact Hours: L42 + P65 Course Credits: 3 + 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 hours theory
(15+15) subject and 20 minutes duration for each
candidate in practical subject
Model Syllabus Authors: Summative Assessment Marks: 70
Performing Arts Curriculum Committee
 L= Lecture P=Practical

Course Objectives:
1. To impart the knowledge of origin of music, basic of music and technical terms
of music
2. To impart the knowledge of notation system to enable the students to write
bandish in swaralipi/ Talalipi Paddhati
3. In practical course objective is to train the students to sing/play swaralankaras,
vilambit and drut compositions with alap and tans of prescribed ragas in syllabus.
To train the students of percussion instrument to play different compositions of
solo play.

Course Outcomes:
At the end of the course the student will be able to:
1 At the end of the course the students will be able to get the knowledge about
origin of music, basic of music and technical terms of music.
2 At the end of the course the students will be able to write Bandish in
swaralipi/talalipi-paddati.
3 At the end of the course the students will be able to sing /play swaralankaras,
vilambit and drut compositions with alap and tans of prescribed ragas in syllabus.
To train the students of percussion instrument to play different compositions of
solo play.

Page | 111
 Bachelor of Arts in Music (Hindustani Music)
(Vocal/ Sitar/ Tabla)
BA Semester 1: Theory is Common for Vocal, Sitar and Tabla
Title of the course: Hindustani Music Theory
Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 42

Content of Course – 1 Theory Hindustani Music Theory 39/42 Hr

Unit – 1: 14 Hrs
Chapter No.1: Knowledge of Technical terms:
a)Sangeeta b)Naada c)Anahat d)swara e)Shruti
f)Aandolan g)Alankara h)Aaroha i)Avaroh
Chapter No. 2: Knowledge of Technical terms:
a)Kaala b)Taala c)Laya d)Vilambit e)Drut f)Maatra
Chapter No. 3: Knowledge of Technical terms:
a)Maseetkhani Gat b) Razhakani Gat c)Meend d)Palta
Unit – 2: 14 Hrs
Chapter No.4: Origin of Music
Chapter No.5 : Knowledge of Swaralipi paddhati of Pt.Bhatkhande
Chapter No.6 : Knowledge of Talalipi paddhati of Pt.Bhatkhande
Unit – 3: 14 Hrs
Chapter No.7: Importance of Tala and Laya in Music
Chapter No.8: Sketch and lebal of Tanpura instrument
Chapter No.9: Knowledge of writing kayals, gats and Talas in swaralipi
and talalipi Paddhati
Text Books / References
1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III, IV, V, VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
8. Indian Musical Tradition, Deshpande, MM Publication
9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate, Prasarang KU
Dharwad
10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad
11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU Dharwad
Pedagogy – Lecturing and Book chapter
Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70

Total 100

Page | 112
 VOCAL - COURSE 2
Vocal Practical
Unit – 1: 13/14 Hrs
Chapter No.1: Learn to play 2 alankars(palta) in bhairav That in taal
Dadra with Thaai, dugun and chaugun laya
Chapter No.2: Learn to play 2 alankars(palta) in bhairav That in taal
Keharwa with Thaai, dugun and chaugun laya
Chapter No.3: Learn to play 2 alankars(palta) in bhairav That in taal
Zhaptal with Thaai, dugun and chaugun laya
Unit – 2: 13/14 Hrs
Chapter No.4: Knowledge of playing Maseetkhani gat and
Razhakani gat with four alaps and four tans in raag
yaman
Chapter No.5: Knowledge of playing Razhakhani gat with four alap
and four tans in raag Vrindavani sarang
Chapter No.6: Knowledge of playing razhakhani gat with four alap
and four tans in raag Alhaiya bilawal .
Unit – 3: 13/14 Hrs
Chapter No.7: Knowledge of following talas with demonstration:
a)Teental b)Dadra
Chapter No.8: Knowledge of following talas with demonstration:
a)Keharwa b)Zhaptal
Chapter No.9: Learn to demonstrate ekgun,dugun and chaugun of
the following talas:
a) Dadra b) Keharwa c) Zhaptal

Text Books References

1. Sangeet Visharad by Vasant, Hathras publications

2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
8. Indian Musical Tradition, Deshpande, MM Publication
9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate, Prasarang KU
Dharwad
10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad
11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU Dharwad

Pedagogy – Lecturing and Book chapter

Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70

Total 100

Page | 113
 Semester 1

Course Title: OEC Vocal

Total Contact Hours: L + I + P=60 Course Credits: 3
Formative Assessment Marks: 30 Duration of ESA/ Exam: 15 minutes
(15+15) duration for each candidate in practical
subject
Model Syllabus Authors: Summative Assessment Marks: 70
Performing Arts Curriculum Committee
 L= Lecture I=Instruction P=Practical

Course Objectives:
1. To impart the knowledge of shuddha and vikruta swaras.
2. To impart the knowledge of sargam geet and chota khayal
3. To impart the knowledge of singing shudda and vikruta swaras. Sargam geet
and chota khyal with alap and Taans

Course Outcomes (COs):

1. At the end of the course the students will be able to know the basics of
classical music(swara and laya)
2. At the end of the course the students will be able to sing swrageet, chota
khayal with alap and taans
3. At the end of the course the students will be able to demonstrate talas.

Page | 114
 BA. MUSIC (Hindustani Music) (Vocal)
BA Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: OEC Vocal

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

OEC Vocal

Unit – 1 :
Chapter No.1: Learn to sing Different Swaras (Komal and
Teevra)
Chapter No. 2: Learn to sing six alankaras in thaat bhairav
Chapter No. 3: Learn to sing six alankaras in thaat bilawal
Unit – 2 :
Chapter No.4: Theoretical knowledge of raag bhairav

Chapter No.5: Learn to sing Sargam geet and Chota Khayal in

raag bhairav.
Chapter No.6: Learn to sing Chota Khayal with four aalaps and
four taans in raag bhairav.
Unit – 3 :
Chapter No.7: Learn to sing bhada khyal and chota khyal with
four aalaps and four tans in raag bhairav.
Chapter No.8: Learn to sing bhada khyal and chota khyal with
four aalaps and four tans in raag durga.
Chapter No.9: Knowledge of following taalas with
demonstration
a) Dadra b) Teen taal

Text Books References

1. Raag darshan – Rajeev Purandare – Prasaranga, Karnataka University, Dharwad
2. Sangeet Visharad – Laxminarayan Garg - Sangeet Karyalaya, Hataras
3. Bhatkande Kramika pusthaka malika – V N Bhatkande – Sangeet Karyalaya,
Hataras
4. Sangeet Shastra parichaya-A.U.Patil, S H taralagatti, GB Awate, Prasarang KUD

Pedagogy – Lecturing and Book chapter

Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal 30
Assignment
Summative Assessment - Theory 70
Total 100

Page | 115
 BA. MUSIC (Hindustani Music)
(Sitar)
BA Semester 1
Title of the course: Hindustani Music /Sitar practical
Course 2
Number of Theory Credits Number of lecture hours/semester
3 65

Content of Course – Sitar Practical

Unit – 1 : 14 Hrs
Chapter No.1: Learn to play 2 alankars(palta) in bhairav That in taal
Dadra with Thaai, dugun and chaugun laya
Chapter No.2: Learn to play 2 alankars(palta) in bhairav That in taal
Keharwa with Thaai, dugun and chaugun laya
Chapter No.3: Learn to play 2 alankars(palta) in bhairav That in taal
Zhaptal with Thaai, dugun and chaugun laya
Unit – 2 : 14 Hrs
Chapter No.4: Knowledge of playing Maseetkhani gat and Razhakani
gat with four alaps and four tans in raag yaman
Chapter No.5: Knowledge of playing Razhakhani gat with four alap
and four tans in raag Vrindavani sarang
Chapter No.6: Knowledge of playing razhakhani gat with four alap
and four tans in raag Alhaiya bilawal
Unit – 3 : 14 Hrs
Chapter No.7: Knowledge of following talas with demonstration:
a)Teental b)Dadra
Chapter No.8: Knowledge of following talas with demonstration:
a)Keharwa b)Zhaptal
Chapter No.9: Learn to demonstrate ekgun,dugun and chaugun of the following talas:
a)Dadra b)Keharwa c)Zhaptal

Text Books References

1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad

Pedagogy – Lecturing and Book chapter

Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal 30
Assignment
Summative Assessment - Theory 70
Total 100
Page | 116
 Bachelor of Arts in Music (Hindustani Music)
BA Semester 1, Activity Based (SEC)

Course Title: OEC Vocal

Total Contact Hours: L + I + P=60 Course Credits: 3 credits
Formative Assessment Marks: 30 Duration of ESA/ Exam: 15 minutes
(15+15) duration for each candidate in practical
subject
Model Syllabus Authors: Summative Assessment Marks: 70
Performing Arts Curriculum Committee
 L= Lecture I=Instruction P=Practical

Course Objectives:
1. To impart the knowledge of shuddha and vikruta swaras.
2. To impart the knowledge of Razhakhani Gat.
3. To impart the knowledge of playing shudda and vikruta swaras. Razhakhani Gats
with alap and Taans

Course Outcomes:
1. At the end of the course the students will be able to know the basics of classical
music(swara and laya)
2. At the end of the course the students will be able to play Rajakhani gat with alap
and taans
3. At the end of the course the students will be able to demonstrate talas.

Page | 117
 Bachelor of Arts in Music (Hindustani Music)
(SITAR)
BA Semester 1, Discipline Elective (DSE) / Open Elective (OE)

Title of the course: OEC Sitar

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

OEC Sitar
Unit – 1 :
Chapter No.1: Knowledge of basic strokes of sitar
Chapter No. 2: Learn to play six alankaras in thaat bilawal
Chapter No. 3: Learn to sing six alankaras in thaat kalyan
Unit – 2 :
Chapter No.4: Theoretical knowledge of raag yaman and Aliya
bilawal
Chapter No.5: Learn to play razakhani gat in raag yaman
Chapter No.6: Learn to play razakhani gat in Aliya bilawal.
Unit – 3 :
Chapter No.7: Learn to play Maseetkhani gat and razakhani gat
with four aalaps and four taans in raag yaman.
Chapter No.8: Learn to play Maseetkhani gat and razakhani gat
with four aalaps and four tans in raag Aliya bilawal.
Chapter No.9: Knowledge of following taalas with demonstration
a) Dadra b) Teen taal

Text Books References

1. Raag darshan – Rajeev Purandare – Prasaranga, Karnataka University, Dharwad
2. Sangeet Visharad – Laxminarayan Garg - Sangeet Karyalaya, Hataras
3. Bhatkande Kramika pusthaka malika – V N Bhatkande – Sangeet Karyalaya,
Hataras
4. Sangeet Shastra parichaya-A.U.Patil, S H taralagatti, GB Awate, Prasarang KUD

Pedagogy – Lecturing and Book chapter

Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal 30
Assignment
Summative Assessment - Theory 70
Total 100

Page | 118
 Bachelor of Arts in Music (Hindustani Music)
(Tabla)
BA Semester 1
Title of the Course: Hindustani Music / Tabla practical
Course 2
Number of Theory Credits Number of lecture hours/semester
3 65

Content of Course – Tabla Practical

Unit – 1 :
Chapter No.1: Learn to demonstrate ekgun,dugun and chaugun of the
following talas
a)Dadra b)Keharwa c)Teental

Chapter No.2: Knowledge to demonstrate and learn to play thekas

and four badal thekas of following talas:
a)Dadra b)Keharwa
Chapter No.3: Knowledge to demonstrate and learn to play thekas
and four badal thekas of following talas:
a)Zaptal b)Teental
Unit – 2 :
Chapter No.4: Learn to play one Peshkar with four platas ending with
tihai in taal Teental
Chapter No.5: Learn to play two kaydas with four platas ending with tihai in
taal Teental
Chapter No.6: Learn to play two kaydas in Taal Zaptal
Unit – 3 :
Chapter No.7: Learn to play Sath-sangat in taal Teental
Chapter No.8: Learn to play Sath-sangat in taal Zaptal
Chapter No.9: Learn to play Sath-sangat in taal Ektaal
Text Books References
 Sangeet Visharad by Vasant, Hathras publications
 Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras
Publications
 Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi
University
 Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
 Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
 Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
 Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
 Indian Musical Tradition, Deshpande, MM Publication
Pedagogy – Lecturing and Book chapter
Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100
Page | 119
 Semester 1

Course Title: OEC Tabla

Total Contact Hours: L + I + P=60 Course Credits: 3 credits
Formative Assessment Marks: 30 Duration of ESA/ Exam: 15 minutes
(15+15) duration for each candidate in practical
subject
Model Syllabus Authors: Summative Assessment Marks: 70
Performing Arts Curriculum Committee
 L= Lecture I=Instruction P=Practical

Course Objectives:
1. To impart the knowledge of basics of Tabla playing(different bols of Tabla and Dugga)
2. To impart the knowledge of playing Thekas and badal Thekas of different Talas
3. To impart the knowledge of solo play in tabla (Peshkaar, Kayda , Mukhda and Thukda )
Course Outcomes:
1. At the end of the course the students will be able to know basics of Tabla
playing(different bols of Tabla and Dugga)
2. At the end of the course the students will be able to play Thekas and badal Thekas of
different Talas.
3. At the end of the course the students will be able to play solo in tabla (Peshkaar, Kayda
, Mukhda and Thukda )

Page | 120
 Bachelor of Arts in Music (Hindustani Music) (TABLA)
BA Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: OEC Tabla

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

OEC Tabla
Unit – 1 :
Chapter No.1: learn to play basic bols of Tabla
Chapter No. 2: Learn to play basic bols of Dagga
Chapter No. 3: Learn to play different bols in Tabla
Unit – 2 :
Chapter No.4: Learn to play the following thekas
a)Teental b) Zaptal
Chapter No.5: Learn to play 2 Badal Thekas of following Talas
a)Teental b) Zaptal.
Chapter No.6: Learn to play a kayda in taal teental
Unit – 3 :
Chapter No.7: Learn to play teental kayda with four paltas ending
with tihai.
Chapter No.8: Learn to play Jhaptal Kayda with four platas
ending with tihai.
Chapter No.9: learn to play 2 Mukhdas in taal Teental

Text Books References

1. AbhinavTalManjari-BySathyanarayanVashisth
2. TheMusic ofIndia-SripasdhBandopadhya-
D.B.TanpurewaleSonsandco.pvt.ltd.Bombay
3. Nibaddha Sangeeth-Sangeet Karyalaya Hathras
4. Taal marthand- Laxmi narayan garage- Sangeet karyalaya hathras

Pedagogy – Lecturing and Book chapter

Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100

Page | 121
 Bachelor of Arts in Music (Hindustani Music)
Semester 1, Activity Based (SEC)

Course Title: SEC- Activity based

Total Contact Hours: L + I + P=60 Course Credits: 3 credits
Formative Assessment Marks: 30 Duration of ESA/ Exam: 15 minutes
(15+15) duration for each candidate in practical
subject
Model Syllabus Authors: Summative Assessment Marks: 70
Performing Arts Curriculum Committee
 L= Lecture I=Instruction P=Practical

Course Objectives:
1. To impart the knowledge of various musical instruments and their maintenance.
2. To impart the knowledge of stage preparation for music programmes, knowledge
of sound system
3. Visit AIR/Doordarshan to enable the students to understand the process of
recording.

Course Outcomes:
1. At the end of the course students will be able to understand different musical
instruments and their maintenance.

2. At the end of the course students will be able to manage the stage for performance
including sound system.

3. At the end of the course students will be able to know the process of recording and
output.

Page | 122
 Bachelor of Arts in Music (Hindustani Music)
Semester 1, Activity Based (SEC)

Title of the course: Activity Based

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

SEC

Unit – 1 :
Chapter No.1: Knowledge of String instruments

Chapter No. 2: Knowledge of wind instruments

Chapter No. 3: Knowledge of Percussion instruments

Unit – 2 :

Chapter No.4: Knowledge of preparing stage for music programmes

Chapter No.5: Basic Knowledge of sound system for music programmes

Chapter No.6: Knowledge of synchronization of sound

Unit – 3 :

Chapter No.7: Visit to All India Radio/Doordarshan

Chapter No.8: Knowledge of music recording

Chapter No.9: Basic knowledge of harmonium playing

Page | 123
 Bachelor of Arts in Music (Hindustani Music)
Semester 1 and 2 DSCC
DSCC Hindustani Music – Vocal, Sitar and Tabla

Course Title: MUSIC

Total Contact Hours: L42 + P65 Course Credits: 3+3 Credits
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 hours theory
(15+15) subject and 20 minutes duration for each
candidate in practical subject
Model Syllabus Authors: Summative Assessment Marks: 70
Performing Arts Curriculum Committee
 L= Lecture P=Practical

Course Objectives:
1. To impart the knowledge of historical development of music at early stage,
knowledge about musical instruments and technical terms.
2. To impart the knowledge of notation system to enable the students to write
bandish in swaralipi/talalipi paddhati. Students will be able to demonstrate talas.
3. In practical course objective is to train the students to sing/play swaralankaras,
vilambit and drut compositions with alap and tans of prescribed ragas in syllabus.
To train the students of percussion instrument to play different compositions of
solo play.

Course Outcomes:
At the end of the course the student will be able to:
1. At the end of the course the students will be able to get the historical
development of music at early stage, knowledge about musical instruments and
technical terms.
2. At the end of the course the students will be able to write bandish in
swaralipi/talalipi paddhati. Students will be able to demonstrate talas.
3. At the end of the course the students will be able to sing /play swaralankaras,
vilambit and drut compositions with alap and tans of prescribed ragas in syllabus.
To train the students of percussion instrument to play different compositions of
solo play.

Page | 124
 Bachelor of Arts in Music (Hindustani Music)
(Tabla)
BA Semester 2: Theory is common for vocal, sitar and tabla
Title of the course: Hindustani Music Theory
Course 2
Number of Theory Credits Number of lecture hours/semester
3 42

Content of Course – Hindustani Music Theory

Unit – 1 :
Chapter No.1: Knowledge of Technical terms:
a)Raaga b)Raaga jaati(oudava,shadava,sampoorna)
c)Shuddha d)Vikruta e)Komal-Teevra f)Aalap
g)taan h)Sthayi i)Antra
Chapter No.2: Knowledge of Technical terms:
a)Theka b)Sam c)Khaali d)Thaali
Chapter No.3: Knowledge of Technical terms:
a)Bhaaj b) Jod c)Gath d)Aalap e)Jhaala
Unit – 2 :
Chapter No.4: History of Music in vedic period
Chapter No.5: Music and Nature
Chapter No.6: Importance of music in life.
Unit – 3 :
Chapter No.7: Origin of Tabla
Chapter No.8: Sketch and label of Tabla instrument
Chapter No.9: Knowledge of writing Khyal, gaths and Taalas in
swaralipi and Talalipi system

Text Books References

1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
8. Indian Musical Tradition, Deshpande, MM Publication
9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate, Prasarang KU
Dharwad
10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad
11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU Dharwad

Pedagogy – Lecturing and Book chapter

Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100

Page | 125
 Bachelor of Arts in Music (Hindustani Music)
(Vocal)
BA Semester 2
Title of the course: Hindustani Music /Vocal Practical
Course 2
Number of Theory Credits Number of lecture hours/semester
3 65

Content of Course – Vocal Practical

Unit – 1 :
Chapter No.1: Learn to sing swarageet in raag kafi
Chapter No.2: Learn to sing lakshangeet in raag kafi
Chapter No.3: Learn to sing any form of song in raag kafi
Unit – 2 :
Chapter No.4: Knowledge of singing Bada khayal and Chota khayal
with four alaps and four tans in raag bhairav
Chapter No.5: Knowledge of singing chota khayal with four alap and
four tans in raag Durga
Chapter No.6: Knowledge of singing chota khayal with four alap and
four tans in raag Bhimpalas
Unit – 3 :
Chapter No.7: Knowledge of following talas with demonstration:
a)Ektal b)Roopak
Chapter No.8: Knowledge of following talas with demonstration:
a)Aaddha b) Deepchandi
Chapter No.9: Learn to demonstrate ekgun,dugun and chaugun of the following
talas
a)Roopak b)Teental

Text Books References

1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
8. Indian Musical Tradition, Deshpande, MM Publication
9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate,
Prasarang KU Dharwad
10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad
11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU
Dharwad
Pedagogy – Lecturing and Book chapter
Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100

Page | 126
 Bachelor of Arts in Music (Hindustani Music)
(Sitar)
BA Semester 2
Title of the course: Hindustani Music /Sitar Practical
Course 2
Number of Theory Credits Number of lecture hours/semester
3 65

Content of Course – Sitar Practical

Unit – 1 :
Chapter No.1: Learn to play Razhakhani Gat in raag kafi
Chapter No.2: Learn to play Jhaala in raag kafi
Chapter No.3: Learn to play one dhun in raag kafi
Unit – 2 :
Chapter No.4: Learn to play Maseetkhani Gat and Razhakhani Gat
with four alaps and four tans in raag bhairav
Chapter No.5: Learn to play Razhakhani Gat with four alap and four
tans in raag Durga
Chapter No.6: Learn to play Razhakhani Gat with four alap and four
tans in raag Bhimpalas
Unit – 3 :
Chapter No.7: Knowledge of following talas with demonstration:
a)Ektal b)Roopak
Chapter No.8: Knowledge of following talas with demonstration:
a)Aaddha b) Deepchandi
Chapter No.9: Learn to demonstrate ekgun,dugun and chaugun of the following talas
a)Roopak b)Teental
Text Books References
1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
8. Indian Musical Tradition, Deshpande, MM Publication
9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate,
Prasarang KU Dharwad
10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad
11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU
Dharwad
Pedagogy – Lecturing and Book chapter
Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100

Page | 127
 Bachelor of Arts in Music (Hindustani Music)
(Tabla)
BA Semester 2
Title of the course: Hindustani Music /Tabla Practical
Course 2
Number of Theory Credits Number of lecture hours/semester
3 65

Content of Course – Tabla Practical

Unit – 1 :
Chapter No.1: Learn to demonstrate ekgun,dugun and chaugun of the following talas
a)Roopak b)Ektal c)Aadha
Chapter No.2: Knowledge to demonstrate and learn to play thekas
and four badal thekas of following talas:
a)Roopak b)Dhumali
Chapter No.3: Knowledge to demonstrate and learn to play thekas
and four badal thekas of following talas:
a)Aadha b)Ektal
Unit – 2 :
Chapter No.4: Learn to play one Peshkar with four platas ending with
tihai in taal Zaptal
Chapter No.5: Learn to play One Peshkar and two kaydas with four
platas ending with tihai in taal Teental
Chapter No.6: Learn to play Rela, Thukda, Gath, Chakradaar in Taal Teental
Unit – 3 :
Chapter No.7: Learn to play Teental Vilambit
Chapter No.8: Learn to play Ektal Vilambit
Chapter No.9: Learn to play Sath-sangat in taal Roopak
Text Books References
1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
8. Indian Musical Tradition, Deshpande, MM Publication
9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate,
Prasarang KU Dharwad
10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad
11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU
Dharwad
Pedagogy – Lecturing and Book chapter
Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100

Page | 128
 Bachelor of Performing Arts in Music (Hindustani
Music)

Semester 1st and 2nd

ADMISSION ELIGIBILITY

1: Invitation of Applications:
a) The University shall issue a notification for admission to various UG Programmes for
all odd semesters soon after the announcement of PUC II year / 10+2 results.
b) Admissions shall be purely based on merit cm roster as per the norms of Government
of Karnataka issued from time to time.
c) Academic year normally commences in the month of June every year. The exact date
for commencement of academic year shall be decided by the University.
d) Affiliated colleges shall admit students for each programme not exceeding the approved
intake. Prior approval from the University is mandatory in case the admissions exceed
approved limit.
2: ELIGIBILITY: A candidate who has passed two-year Pre-University Course (PUC)
Examination conducted by Pre-University Education Board, Government of Karnataka, or
10+2 Examination conducted by CBSE or equivalent examinations by any Other State or
any other recognized Board / Department shall be eligible for admission to First Semester
U.G. Programme.
For B.A. / B.P.A (Music)./ Programmes: A candidate with PUC / 10+2 of any
stream or 3-year Diploma Course with any subject or 2-year JOC / ITI of any subject shall
be eligible.

Page | 129
 Bachelor of Performing Arts in Music (Hindustani Music)
Semester 1st and 2nd
Theory and Practical

SEMESTER : 1
1.  Course-1 : Theory : Khayal
 Course-2 : Practical : Khayal
 Open Elective : Khayal

2.  Course-1 : Theory : Sitar

 Course-2 : Practical : Sitar
 Open Elective : Sitar
3.  Course-1 : Theory : Violin
 Course-2 : Practical : Violin
 Open Elective : Violin
4.  Course-1 : Theory : Thumri
 Course-2 : Practical : Thumri
 Open Elective : Thumri
5.  Course-1 : Theory : Tabla
 Course-2 : Practical : Tabla
 Open Elective : Tabla
6.  SEC – Activity Based

SEMESTER : 2
1.  Course-1 : Theory : Khayal
 Course-2 : Practical : Khayal
 Open Elective : Khayal
2.  Course-1 : Theory : Sitar
 Course-2 : Practical : Sitar
 Open Elective : Sitar
3.  Course-1 : Theory : Violin
 Course-2 : Practical : Violin
 Open Elective : Violin
4.  Course-1 : Theory : Thumri
 Course-2 : Practical : Thumri
 Open Elective : Thumri
5.  Course-1 : Theory : Tabla
 Course-2 : Practical : Tabla
 Open Elective : Tabla

Page | 130
 Bachelor of Performing Arts in Music (Hindustani Music)

Discipline Specific Core Course – DSCC – ( Hindustani Music- Khyal, Thumri,

Sitar, Tabla and Violin)
In the subject of Hindustani Music students can offer 2 DSCC subjects.
There shall be 5 students per batch for practical class. Boys and girls batch should be done
separately.

Teaching hours
Theory 3 hours = Total 3 hours /week credit: 3
Practical 6 hours = Total 6 hours/week credit: 3
Total work load= 42 hours for theory and 65 hours for practical Total credit: 6

Scheme of examination

Theory: 100 Marks (70 Sem end +30 IA) with 3 hours duration
Practical: 100 Marks (70 Sem end+ 30 IA) 20minutes duration for Each Student.
Internal Assessment (IA): 30 marks for Theory and 30 marks for Practical

Page | 131
 Modal Curriculum
Name of the Degree Program: B.P.A (Music)
Discipline Core: Music Total Credits for the Program: 176

Starting year of implementation: 2021-22

Program Outcomes:
By the end of the program the students will be able to:
 Get the theoretical and practical knowledge of the prescribed syllabus of their
respective DSCC subjects. Thus will have strong foundation of classical music
which is very essential for advanced training in music.
 Sing Bada Khayal and Chota Khayal, Bandish with Alaps and Taans along with
theoretical knowledge. Students of Instrumental music will able to demonstrate
Solo play in their respective musical instruments of their respective DSCC subjects
with theoretical knowledge.

Assessment:
Weightage for assessments (in percentage)
Type of Course Formative Assessment / IA Summative Assessment
Theory 30 (15+15) 70
Practical 30 (15+15) 70
Projects --- ---
Experiential Learning --- ---
(Internshipsetc.)

Page | 132
 Curriculum Structure for the Undergraduate Degree Program
B.P.A (Music)

Total Credits for the Program: 176

Name of the Degree Program: BPA (Music)
Starting Year of Implementation: 2021-22

Program Articulation Matrix:

This matrix lists only the core courses. Core courses are essential to earn the degree in that
discipline/subject. They include courses such as theory, practical, project, internships etc. Elective
courses may be listed separately
Program outcomes
Pre-
Title/Name that the course
Semester requisite Pedagogy## Assessment$
ofthe course addresses (not more
course(s)
than3 per course)
1 BPA PO1-PO9 --- L+P 30 (15+15)
(Music)

2 BPA PO2 - PO9 I Sem BPA L+P 30 (15+15)

(Music) (Music)

## Pedagogy for student engagement is predominantly lectures and prcaticals. However, other
pedagogies enhancing better student engagement is recommended for each course. The list includes
active learning/ course projects/ problem or project-based learning/ case studies/self-study like
seminar, term paper or MOOC
Every course includes assessment for higher order thinking skills (Applying/ Analyzing/
Evaluating/Creating). However, this column may contain alternate assessment methods that help
formative assessment (i.e. assessment for learning).

Page | 133
 Bachelor of Performing Arts in Music (Hindustani Music)

Semester: 1 KHAYAL

Course Title: (DSCC) Khyal-I Theory-I and Khyal-I Practical-I

Total Contact Hours: L42 + P65 Course Credits: 3+3 Credits
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 hours theory
(15+15) subject and 20 minutes duration for each
candidate in practical subject
Model Syllabus Authors: Summative Assessment Marks: 70
Performing Arts Curriculum Committee
 L= Lecture P=Practical

Course Objectives:
1.To impart the knowledge of origin of music and technical terms of music.
2.To impart the knowledge of basics (swara and laya aspect) of practical music and writing the
bandish in swaralipi-paddati.
3.In practical course objective is to train the students to sing basics of Khyal presentation.

Course Outcomes (COs):

1. At the end of the course the students will be able to get the knowledge about origin of music.
2. At the end of the course the students will be able to write Bandish in Swaralipi-Paddati.
3. At the end of the course the students will be able to sing basics of Khyal presentation.

Page | 134
 Bachelor of Performing Arts in Music (Hindustani Music)
(Khayal)
BPA Semester 1
Title of the course: Hindustani Music: Khayal
Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 65

Content of Course – 1 Theory Khayal Theory 39/42 Hr

Unit – 1: 14 Hrs
Chapter No.1: Knowledge of writing Chota Khyal Bandish in Swaralipi
paddhati of ragas prescribed for practical course.
Chapter No. 2: Knowledge of writing Bada Khyal Bandish in Swaralipi
paddhati of ragas prescribed for practical course.
Chapter No. 3: Knowledge of writing Alaps and Taans of Bada Khyal and
Chota Khyal in Swaralipi paddhati of ragas prescribed for
practical course.
Unit – 2: 14 Hrs
Chapter No.4: Origin of Music
Chapter No.5 : Knowledge Pt. Bhathkande and Pt. V.D. Palsukar
notation system.
Chapter No.6 : Biographies of the following eminent personalities
A)Jayadev B) Swamy Haridas
Unit – 3: 14 Hrs
Chapter No.7: Definition of the following Technical Terms
a)Sangeet b)Naad c)Shruti d)Swara e)Aaroh-avaroh
f)Taal g)Laya
Chapter No.8: Knowledge of Saragamgeet, Chota khyal and Lakshangeet
Chapter No.9: Study of theoretical details of Ragas and Talas prescribed
for the practical course
Text Books
References
1. Sangeet shastra Dhrapana-A.U.Patil- Prasarnaga,KarnatakUniversity,Dharwad-1975
2. Bharatiy Sangeet Charitre-B.D.Pathak –Prasarnaga,KarnatakUniversity,Dharwad-1975
3. Sangeet Visharad –Vansant,SangeetKaryalayaHartharas
4. Hindustani Sangeet – Mrutyunjayaswami Puranikmath – Prasarnaga, Karnatak
University,Dharwad
5. Rag Darshan–Rajeev Purndare–Prasarnaga Karnatak University Dharwad.
Pedagogy – Lecturing and Book chapter
Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100

Page | 135
 KHAYAL - COURSE 2
Unit – 1: 13/14 Hrs
Chapter No.1: Learn to sing Swaras of Madya Saptak, Mandra Saptak
and Tara Saptak
Chapter No.2: Learn to sing six alankaras inThaat Bilawal
Chapter No.3: Learn to sing six alankaras in Thaat Kalyan

Unit – 2: 13/14 Hrs

Chapter No.4: Learn to sing a Saragam geet and a Chota khyal with
four Alaps and four Tans in the Raag Bhoop
Chapter No.5: Learn to sing a Saragamgeet and a Chota khyal with
four Alaps and four Tans in Raag Alhaiya Bilawal
Chapter No.6: Knowledge of following Talas with demonstration.
a) Teental b)Dadra
Unit – 3: 13/14 Hrs
Chapter No.7: Learn to sing a Bada khyal and a Chota khyal in Raga
Yaman
Chapter No.8: Learn to sing a Bada khyal and a Chota khyal in Raga
Bhimpalas
Chapter No.9: Detail knowledge of Ragas and Talas prescribed for
practical course of the I- semester
Text Books
References
1) Bhatkhande Kramik Pusthak Malika-V.N.Bhatkande–Sangeet Karyalaya Hathras
2) Rag Darshan–Rajeev Purndare–Prasarnaga Karnatak University Dharwad
3) Raga BhodhBhag 1to 6 –Pt.B.R.Devdhar-Sangeet Karyalaya Hathras

Pedagogy – Lecturing and Book chapter

Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 136
 Bachelor of Performing Arts in Music (Hindustani Music)
(Khayal)
Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Course Title: OEC Khayal

Total Contact Hours: L + I + P =60 Course Credits: 0+ 1+2 = 3 credits

Duration of ESA/Exam: 15 minutes

Formative Assessment Marks: 30 (15+15) duration for each candidate in practical
subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 70
CURRICULUM COMMITTEE

 L= Lecture I=Instruction P=Practical

Course Pre-requisite (s):

Course Objectives:
4. To impart the knowledge of shuddha and vikruta swaras.
5. To impart the knowledge of sargam geet and chota khayal
6. To impart the knowledge of singing shudda and vikruta swaras. Sargam geet and
chota khyal with alap and Taans
Course Outcomes (COs):
(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
4. At the end of the course the students will be able to know the basics of classical
music(swara and laya)
5. At the end of the course the students will be able to sing swrageet, chota khayal with alap
and taans
6. At the end of the course the students will be able to demonstrate talas.

Page | 137
 Bachelor of Performing Arts in Music (Hindustani Music)
(Khayal)
Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: OEC Khayal

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

OEC Khayal
Unit – 1 :
Chapter No.1: Learn to sing Different Swaras (Komal and Teevra)

Chapter No. 2: Learn to sing six alankaras in thaat bhairav

Chapter No. 3: Learn to sing six alankaras in thaat bilawal

Unit – 2 :
Chapter No.4: Theoretical knowledge of raag bhairav
Chapter No.5: Learn to sing Sargam geet and Chota Khayal in raag
bhairav.

Chapter No.6: Learn to sing Chota Khayal with four aalaps and four
taans in raag bhairav.

Unit – 3 :
Chapter No.7: Learn to sing bhada khyal and chota khyal with four
aalaps and four tans in raag bhairav.

Chapter No.8: Learn to sing bhada khyal and chota khyal with four
aalaps and four tans in raag durga.

Chapter No.9: Knowledge of following taalas with demonstration

a) Dadra b) Teen taal

Text Books
References
5. Raag darshan – Rajeev Purandare – Prasaranga, Karnataka University, Dharwad
6. Sangeet Visharad – Laxminarayan Garg - Sangeet Karyalaya, Hataras
7. Bhatkande Kramika pusthaka malika – V N Bhatkande – Sangeet Karyalaya, Hataras
8. Sangeet Shastra parichaya-A.U.Patil, S H taralagatti, GB Awate, Prasarang KUD

Pedagogy: Practical class and experiential learning

Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 138
 Bachelor of Performing Arts in Music (Hindustani Music)
Semester 1 SITAR

Course Title: (DSCC) Sitar-I Theory-1 and Sitar-I Practical-1

Total Contact Hours: L42 + P65 Course Credits: 3+3 Credits
Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 hours theory
(15+15) subject and 20 minutes duration for each
candidate in practical subject

Model Syllabus Authors: Summative Assessment Marks: 70

Performing Arts Curriculum Committee
 L= Lecture P=Practical

Course Objectives:
1. To impart the knowledge of origin of sitar and technical terms of music.
2. To impart the knowledge of writing the Gats in swaralipi-paddati.
3. In practical course, objective is to train the students to play basics of sitar presentation

Course Outcomes (COs):

1. At the end of the course the students will be able to get the knowledge about origin of Sitar.
2. At the end of the course the students will be able to write Gats in swaralipi paddati.
3. At the end of the course the students will be able to play basics of sitar presentation

Page | 139
 Bachelor of Performing Arts in Music (Hindustani Music)
(Sitar)
BPA Semester 1
Title of the course: Hindustani Music: Sitar
Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 65

Content of Course – 1 Theory Sitar Theory

Unit – 1:
Chapter No.1: Knowledge of writing Dhrut Gat in Swaralipi paddhati
of ragas prescribed for practical course.
Chapter No. 2: Knowledge of writing Vilambit Ghat in Swaralipi paddhati
of ragas prescribed for practical course.
Chapter No. 3: Knowledge of writing Alaps and Paltas of Vilambit Ghat
and Dhrut Ghat in Swaralipi paddhati of ragas prescribed
for practical course.
Unit – 2:
Chapter No.4: Origin of Sitar
Chapter No.5 : Knowledge Pt. Bhathkande and Pt. V.D. Palsukar
notation system.
Chapter No.6 : Biographies of the following eminent personalities
a) Pt. Bhathkande b) Pt. V.D. Paluskar
Unit – 3:
Chapter No.7: Definition of following Technical Terms
a) Sangeet b)Naad c)Shruti d)Sam e)Alap
f)Jod alapa g)Raga
Chapter No.8: Knowledge of Maseetkhani Gat, Razakhani Gat, Chala
That and Achal That
Chapter No.9: Study of theoretical details of Ragas and Talas prescribed
for practical course
Text Books / References
1. Hindustani Sangeet – Mrutyunjaswami Puranikmath – Prasarnaga Karnatak
University, Dharwad.
2. Musica lInstruments of India-KrishnaMurthy –MunshiramManoharlalPublishersPvt.Ltd.
3. My Music My Life-Ravishankar–Munshiram Manoharlal Publishers Pvt.Ltd.
4. Rag Darshan–Rajeev Purndare–Prasarnaga Karnatak University Dharwad.
5. Bharatiya Sangeet Vadyagalu- Rajeev Purandare- Prasarnaga Karnatak University
Dharwad.
Pedagogy – Lecturing and Book chapter
Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100
Page | 140
 SITAR - COURSE 2
Unit – 1:
Chapter No.1: Learn to play Swaras of Madya Saptak, Mandra Saptak
and Tara Saptak
Chapter No.2: Learn to play six alankaras inThaat Bilawal
Chapter No.3: Learn to play six alankaras in Thaat Kalyan

Unit – 2:
Chapter No.4: Learn to play a Razakhani Gat with four Alaps and
four Paltas in Raag Bhoop
Chapter No.5: Learn to play a Razakhani Ga twith four Alaps and
four Paltas in Raag Alhaiya Bilawal
Chapter No.6: Knowledge of following Talas with demonstration.
a) Teental b)Dadra
Unit – 3:
Chapter No.7: Learn to play a Maseetkhani Gat and Razakhani Gat in
Raga Yaman
Chapter No.8: Learn to play a Maseetkhani Gat and Razakhani Gat in
Raga Bhimpalas
Chapter No.9: Detail knowledge of Ragas and Talas prescribed for
practical course of the I- semester
Text Books
References
1) Bhatkhande Kramik Pusthak Malika-V.N.Bhatkande–Sangeet Karyalaya Hathras
2) Rag Darshan–Rajeev Purndare–Prasarnaga Karnatak University Dharwad
3) Raga BhodhBhag 1to 6 –Pt.B.R.Devdhar-Sangeet Karyalaya Hathras
Pedagogy – Lecturing and Book chapter
Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 141
 Bachelor of Performing Arts in Music (Hindustani Music)
(Sitar)
Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Course Title: OEC Sitar

Total Contact Hours: L + I + P =60 Course Credits: 0+ 1+2 = 3 credits
Duration of ESA/Exam: 15 minutes
Formative Assessment Marks: 30 (15+15) duration for each candidate in practical
subject
Model Syllabus Authors: PERFORMING ARTS
Summative Assessment Marks: 70
CURRICULUM COMMITTEE
 L= Lecture I=Instruction P=Practical

Course Objectives:
1. To impart the knowledge of shuddha and vikruta swaras.
2. To impart the knowledge of Razhakhani gat
3. To impart the knowledge of playing shudda and vikruta swaras. Razhakhani Gats
with alap and Taans
Course Outcomes (COs):
1. At the end of the course the students will be able to know the basics of classical
music(swara and laya)
2. At the end of the course the students will be able to play Rajakhani gat with alap and
taans
3. At the end of the course the students will be able to demonstrate talas.

Page | 142
 Bachelor of Performing Arts in Music (Hindustani Music)
(Sitar)
Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: OEC SITAR

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

OEC Sitar

Unit – 1 :
Chapter No.1: Knowledge of basic strokes of sitar
Chapter No. 2: Learn to play six alankaras in thaat bilawal

Chapter No. 3: Learn to sing six alankaras in thaat kalyan

Unit – 2 :

Chapter No.4: Theoretical knowledge of raag yaman and Aliya bilawal

Chapter No.5: Learn to play razakhani gat in raag yaman.

Chapter No.6: Learn to play razakhani gat in Aliya bilawal.

Unit – 3 :
Chapter No.7: Learn to play Maseetkhani gat and razakhani gat with four
aalaps and four taans in raag yaman..
Chapter No.8: Learn to play Maseetkhani gat and razakhani gat with four
aalaps and four tans in raag Aliya bilawal.
Chapter No.9: Knowledge of following taalas with demonstration
a) Dadra b) Teen taal

Text Books
References
1. Raag darshan – Rajeev Purandare – Prasaranga, Karnataka University, Dharwad
2. Sangeet Visharad – Laxminarayan Garg - Sangeet Karyalaya, Hataras
3. Bhatkande Kramika pusthaka malika – V N Bhatkande – Sangeet Karyalaya, Hataras
4. Sangeet Shastra parichaya-A.U.Patil, S H taralagatti, GB Awate, Prasarang KUD

Pedagogy – Lecturing and Book chapter

Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100

Page | 143
 Bachelor of Performing Arts in Music (Hindustani Music)
Semester 1 VIOLIN

Course Title: (DSCC) Violin-I Theory-1 and Violin-I Practical-1

Total Contact Hours: L 42 + P 65 Course Credits: 3+3

Duration of ESA/Exam: 3 hours theory

Formative Assessment Marks: 30 (15+15) subject and 20 minutes duration for each
candidate in practical subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 70
CURRICULUM COMMITTEE

 L= Lecture P=Practical

Course Objectives:
1. To impart the knowledge of origin of violin and technical terms of music.
2. To impart the knowledge of writing the Gats in swaralipi-paddati.
3. In practical course, objective is to train the students to play basics of Violin presentation

Course Outcomes (COs):

1. At the end of the course the students will be able to get the knowledge about origin of
violin.
2. At the end of the course the students will be able to write Gats in swaralipi paddati.
3. At the end of the course the students will be able to play basics of violin presentation.

Page | 144
 Bachelor of Performing Arts in Music (Hindustani Music)
Semester 1 VIOLIN
Title of the course: Hindustani Music: Violin
Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 65

Content of Course – 1 Theory Violin Theory

Unit – 1:
Chapter No.1: Knowledge of writing Dhrut Gat in Swaralipi paddhati
of ragas prescribed for practical course.
Chapter No. 2: Knowledge of writing Vilambit Ghat in Swaralipi paddhati
of ragas prescribed for practical course.
Chapter No. 3: Knowledge of writing Alaps and Paltas of Vilambit Ghat
and Dhrut Ghat in Swaralipi paddhati of ragas prescribed
for practical course.
Unit – 2:
Chapter No.4: Origin of Violin
Chapter No.5 : Knowledge Pt. Bhathkande and Pt. V.D. Palsukar
notation system.
Chapter No.6 : Biographies of the following eminent personalities
a) Pt. Bhathkande b) Pt. V.D. Paluskar
Unit – 3:
Chapter No.7: Definition of following Technical Terms
a) Sangeet b)Naad c)Shruti d)Sam e)Alap
f) Pakad g)Raga
Chapter No.8: Knowledge of Vilambit gat and Drut Gat in Violin
Chapter No.9: Study of theoretical details of Ragas and Talas prescribed
for practical course
Text Books
References
1. Hindustani Sangeet – Mrutyunjaswami Puranikmath – Prasarnaga Karnatak
University, Dharwad.
2. Musica lInstruments of India-KrishnaMurthy –MunshiramManoharlalPublishersPvt.Ltd.
3. My Music My Life-Ravishankar–Munshiram Manoharlal Publishers Pvt.Ltd.
4. Rag Darshan–Rajeev Purndare–Prasarnaga Karnatak University Dharwad.
5. Bharatiya Sangeet Vadyagalu- Rajeev Purandare- Prasarnaga Karnatak University
Dharwad.
Pedagogy – Lecturing and Book chapter
Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100

Page | 145
 VIOLIN - COURSE 2
Unit – 1:
Chapter No.1: Learn to play Swaras of Madya Saptak, Mandra Saptak
and Tara Saptak
Chapter No.2: Learn to play six alankaras inThaat Bilawal
Chapter No.3: Learn to play six alankaras in Thaat Kalyan

Unit – 2:
Chapter No.4: Learn to play a Drut Gat with four Alaps and four
Paltas in Raag Bhoop
Chapter No.5: Learn to play a Drut with four Alaps and four Paltas
in Raag Alhaiya Bilawal
Chapter No.6: Knowledge of following Talas with demonstration.
a) Teental b)Dadra
Unit – 3:
Chapter No.7: Learn to play a Vilambit Gat and Drut Gat in Raga
Yaman
Chapter No.8: Learn to play a Vilambit Gat and Drut Gat in
Raga Bhimpalas
Chapter No.9: Detail knowledge of Ragas and Talas prescribed for
practical course of the I- semester
Text Books
References
1) Bhatkhande Kramik Pusthak Malika-V.N.Bhatkande–Sangeet Karyalaya Hathras
2) Rag Darshan–Rajeev Purndare–Prasarnaga Karnatak University Dharwad
3) Raga BhodhBhag 1to 6 –Pt.B.R.Devdhar-Sangeet Karyalaya Hathras
Pedagogy: Practical class and experiential learning

Formative Assessment
Assessment Occasion/ type Weightage in Marks
15+15
Total 30

Date Course Co-ordinator Subject Committee Chairperson

Page | 146
 Bachelor of Performing Arts in Music (Hindustani Music)
(Violin)
Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Course Title: OEC Violin

Total Contact Hours: L + I + P =60 Course Credits: 0+ 1+2 = 3 credits
Duration of ESA/Exam: 15 minutes
Formative Assessment Marks: 30 (15+15) duration for each candidate in practical
subject
Model Syllabus Authors: PERFORMING ARTS
Summative Assessment Marks: 70
CURRICULUM COMMITTEE
 L= Lecture I=Instruction P=Practical

Course Objectives:
1. To impart the knowledge of shuddha and vikruta swaras.
2. To impart the knowledge of drut gat
3. To impart the knowledge of playing shudda and vikruta swaras. Drut Gats with
alap and Taans
Course Outcomes (COs):

1. At the end of the course the students will be able to know the basics of classical
music(swara and laya)
2. At the end of the course the students will be able to play drut gat with alap and taans
3. At the end of the course the students will be able to demonstrate talas.

Page | 147
 Bachelor of Performing Arts in Music (Hindustani Music)
(Violin)
Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: OEC VIOLIN

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

OEC Violin

Unit – 1 :
Chapter No.1: Knowledge of violin bowing
Chapter No. 2: Learn to play six alankaras in thaat bilawal

Chapter No. 3: Learn to sing six alankaras in thaat kalyan

Unit – 2 :

Chapter No.4: Theoretical knowledge of raag yaman and Aliya bilawal

Chapter No.5: Learn to play drut gat in raag yaman

Chapter No.6: Learn to play drut gat in Aliya bilawal.

Unit – 3 :
Chapter No.7: Learn to play vilambit gat and drut gat with four aalaps
and four taanasin raag yaman.
Chapter No.8: Learn to play vilambit gat and drut gat with four aalaps
and four taanasin raag Aliya bilawal.
Chapter No.9: Knowledge of following taalas with demonstration
a) Dadra b) Teen taal

Text Books
References
1. Raag darshan – Rajeev Purandare – Prasaranga, Karnataka University, Dharwad
2. Sangeet Visharad – Laxminarayan Garg - Sangeet Karyalaya, Hataras
3. Bhatkande Kramika pusthaka malika – V N Bhatkande – Sangeet Karyalaya, Hataras
4. Sangeet Shastra parichaya-A.U.Patil, S H taralagatti, GB Awate, Prasarang KUD

Pedagogy – Lecturing and Experimental Learning

Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100

Page | 148
 Bachelor of Performing Arts in Music (Hindustani Music)
Semester 1 THUMRI

Course Title: (DSCC) Thumri-I Theory 1 and Thumri-I Practical 1

Total Contact Hours: L 42 + P 65 Course Credits: 3+3

Duration of ESA/Exam: 3 hours theory

Formative Assessment Marks: 30 (15+15) subject and 20 minutes duration for each
candidate in practical subject

Model Syllabus Authors: Performing Arts

Summative Assessment Marks: 70
Curriculum Committee

 L= Lecture P=Practical

Course Objectives:
1. To impart the knowledge of origin of thumri and technical terms of music.
2. To impart the knowledge of writing the thumri in swaralipi-paddati and to give training
to sing thumri composition.
3. In practical course, objective is to train the students to sing basics of Thumri
presentation

Course Outcomes (COs):

1. At the end of the course the students will be able to get the knowledge about origin of Thumri.
2. At the end of the course the students will be able to write Thumri in swaralipi paddhati and
will be able to sing thumri composition.
3. At the end of the course the students will be able to sing basics of thumri presentation.

Page | 149
 Bachelor of Performing Arts in Music (Hindustani Music)
Semester 1 THUMRI
Title of the course: Hindustani Music: Thumri
Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 65

Content of Course – 1 Theory Thumri Theory

Unit – 1:
Chapter No.1: Knowledge of writing Composition in Swaralipi paddhati
of ragas prescribed for practical course.
Chapter No. 2: Knowledge of writing Thumri Bandish in Swaralipi
paddhati of ragas prescribed for practical course.
Chapter No. 3: Knowledge of writing Sargam Geet and Lakshan Geet in
Swaralipi paddhati as prescribed for practical course.
Unit – 2:
Chapter No.4: Origin of Thumri
Chapter No.5 : Knowledge Pt. Bhathkande and Pt. V.D. Palsukar
notation system.
Chapter No.6 : Biographies of the following eminent personalities
a)Vidhushi Shobha Gurutu b) Vidhushi BadeMotibai
Unit – 3:
Chapter No.7: Definition of following Technical Terms
a)Bandish b)Swara c)KomalSwara d)TeevraSwara
e)Vikrat Swara f)Taal g)Laya
Chapter No.8: Knowledge of Thumri, Bhajan, Chaturang and Gazal.
Chapter No.9: Study of theoretical details of Ragas and Talas prescribed
for practical course
Text Books
References
1. Sangeet shastra Part I and II – R.M Purandare, S.H.Taralagatti, G.B.Avate –
Prasarnaga Karnatak University Dharwad
2. Raga Darshan-RajeevPurandre-Prasarnaga KarnatakUniversity Dharwad
3. Sangeet Shastra Darpan-A.U.Patil-Prasarnaga Karnatak University Dharwad
4. Sangeet Sanjeevini- R.I.Hiremath

Pedagogy – Lecturing and Experimental Learning

Formative Assessment & Summative Assessment
Assessment Occasion/ type Weightage in Marks
Formative Assessment - Internal Assignment 30
Summative Assessment - Theory 70
Total 100

Page | 150
 THUMRI - COURSE 2
Unit – 1:
Chapter No.1: Learn to sing Swaras of Madya Saptak, Mandra Saptak
and Tara Saptak
Chapter No.2: Learn to sing Saragam Geet in Raag Kafi
Chapter No.3: Learn to sing Lakshan Geet in Raag Kafi
Unit – 2:
Chapter No.4: Learn to sing Chota Khayal with four Alaps and four
Tans in Raag Kafi
Chapter No.5: Learn to sing Chota Khayal with four Alaps and four
Tans in Raag Kalavati
Chapter No.6: Knowledge of following Talas with demonstration.
a) Teental b)Dadra
Unit – 3:
Chapter No.7: Learn to sing a Thumri composition its full
development and techniques in Raag Kafi
Chapter No.8: Learn to sing 1 Dasarapada of 14th century and
1 Vachana of 12th century
Chapter No.9: Detail knowledge of Ragas and Talas prescribed for
practical course of the I- semester
Text Books
References
1) Bhatkhande Kramik Pusthak Malika-V.N.Bhatkande–Sangeet Karyalaya Hathras
2) Rag Darshan–Rajeev Purndare–Prasarnaga Karnatak University Dharwad
3) Raga BhodhBhag 1to 6 –Pt.B.R.Devdhar-Sangeet Karyalaya Hathras
Pedagogy: Practical class and experiential learning

Formative Assessment
Assessment Occasion/ type Weightage in Marks
15+15
Total 30

Page | 151
 Bachelor of Performing Arts in HINDUSTANI MUSIC
(Thumri)
Semester 1, Discipline Elective (DSE)/ Open Elective (OE)
Course Title: OEC Thumri

Total Contact Hours: L + I + P =60 Course Credits: 0+ 1+2 = 3 credits

Duration of ESA/Exam: 15 minutes

Formative Assessment Marks: 30 (15+15) duration for each candidate in practical
subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 70
CURRICULUM COMMITTEE

 L= Lecture I=Instruction P=Practical

Course Pre-requisite (s):

Course Objectives:
1. To impart the knowledge of shuddha and vikruta swaras.
2. To impart the knowledge of sargam geet and chota khayal
3. To impart the knowledge of singing shudda and vikruta swaras. Thumri
compositions with its development.
Course Outcomes (COs):
(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
1. At the end of the course the students will be able to know the basics of classical
music(swara and laya)

2. At the end of the course the students will be able to sing swrageet, Thumri compositions
with its development.

3. At the end of the course the students will be able to demonstrate talas.

Page | 152
 Bachelor of Performing Arts in HINDUSTANI MUSIC
(Thumri)
Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: OEC THUMRI

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

OEC Thumri

Unit – 1 :
Chapter No.1: Knowledge of different swaras
Chapter No. 2: Learn to play six alankaras in thaat bilawal

Chapter No. 3: Learn to sing six alankaras in thaat kalyan

Unit – 2 :

Chapter No.4: Theoretical knowledge of raag khamaj

Chapter No.5: Learn to sing sargam geet in raag khamaj

Chapter No.6: Learn to sing vachana

Unit – 3 :
Chapter No.7: Learn to sing Chota khyal in raag khamaj.
Chapter No.8: Learn to sing thumri composition in raag khamaj.
Chapter No.9: Knowledge of following taalas with demonstration
a) Bhajan teka b) Deep chandi
Text Books
References
1. Raag darshan – Rajeev Purandare – Prasaranga, Karnataka University, Dharwad
2. Sangeet Visharad – Laxminarayan Garg - Sangeet Karyalaya, Hataras
3. Bhatkande Kramika pusthaka malika – V N Bhatkande – Sangeet Karyalaya, Hataras
4. Thumri gayaki - R.C. Mehta
5. Thumri parichay - Leela karval

Pedagogy: Practical class and experiential learning

Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 153
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 1 TABLA

Course Title: (DSCC) Tabla-I Theory 1 and Tabla-I Practical 1

Total Contact Hours: L 42 + P 65 Course Credits: 3+3

Duration of ESA/Exam: 3 hours theory

Formative Assessment Marks: 30 (15+15) subject and 20 minutes duration for each
candidate in practical subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 70
CURRICULUM COMMITTEE

 L= Lecture P=Practical

Course Pre-requisite (s):

Course Objectives:
1. To impart the knowledge of origin of tabla and technical terms of music.
2. To impart the knowledge of writing tabla compositions in talalipi-paddati and to give
training to play tabla compositions.
3. In practical course, objective is to train the students to play basics of tabla presentation

Course Outcomes (COs):

(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
4. At the end of the course the students will be able to get the knowledge about origin of Tabla.
5. At the end of the course the students will be able to write Tabla compositions in talaalipi
paddhati and will be able to play those compositions.
6. At the end of the course the students will be able to play basic tabla presentation.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program

Outcomes (POs 1-12)
Course Outcomes (COs) / Program 1 2 3 4 5 6 7 8 9 10 11 12
Outcomes (POs)
1. Semester (COs 1-3) (POs 1-9)

2.

Course Articulation Matrix relates course outcomes of course with the corresponding program
outcomes whose attainment is attempted in this course. Mark ‘X’ in the intersection cell if a
course outcome addresses a particular program outcome.

Page | 154
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 1 TABLA
Title of the course: Hindustani Music: Tabla
Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 65

Content of Course – 1 Theory Tabla Theory

Unit – 1:
Chapter No.1: Knowledge of writing Thekas in Talalipi paddhati
of Talas prescribed for practical course.
Chapter No. 2: Knowledge of writing Peshkar, Kayda,and paltas in
Talalipi paddhati of the talas prescribed for practical course
Chapter No. 3: Knowledge of writing Thukda ,Mukda and chakradar of
the talas prescribed for practical course
Unit – 2:
Chapter No.4: Origin of Tabla
Chapter No.5 : Knowledge Pt.V. N. Bhathkande and Pt. V.D. Palsukar
notation system.
Chapter No.6 : Biographies of the following eminent personalities
a) Pt. Kante maharaj b) Pt. Nana Panse
Unit – 3:
Chapter No.7: Definition of following Technical Terms
a) Sangeet b) Naad c) Tala d) Matra
e) Sam f) Khali g) Bhari
Chapter No.8: Knowledge of Peshkar, Kayda and Tukada
Chapter No.9: Study of theoretical details of Talas prescribed
for practical course
Text Books
References
1. Nibaddha Sangeeth -Sangeet Karyalaya Hathras
2. Musica lInstruments of India-KrishnaMurthy –
MunshiramManoharlalPublishersPvt.Ltd
3. TheMusic ofIndia-SripasdhBandopadhya-
D.B.TanpurewaleSonsandco.pvt.ltd.Bombay
4. AbhinavTalManjari-BySathyanarayanVashi

Pedagogy : Lecturing – Book Chapters

Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Theory 70
Total 100

Page | 155
 TABLA - COURSE 2
Unit – 1:
Chapter No.1: Learn to play basic bols of Tabla and Dagga
Chapter No.2: Learn to play thekas with demonstration of following Talas
a)Jhaptal b)Dadra
Chapter No.3: Learn to sing Lakshan Geet in Raag Kafi
Unit – 2:
Chapter No.4: Learn to play 1 Peshkar with 5 paltas ending with Tihai in
Tala Teental
Chapter No.5: Learn to play 1 Kayada with 5 paltas ending with Tihai in
Tala Teental
Chapter No.6: Learn to play a ‘Dhir-Dhir’ exercise.
Unit – 3:
Chapter No.7: Learn to play 4 Mukdas in Tala Teental
Chapter No.8: Learn to play 4 Thukda in Tala Teental
Chapter No.9: Learn to play 2 Chakradars in Tala Teental
Text Books References
1. AbhinavTalManjari-BySathyanarayanVashisth
2. The Music of India-SripasdhBandopadhya-D.B.Tanpurewale Sonsandco.pvt.ltd.Bombay
3. Nibaddha Sangeeth-Sangeet Karyalaya Hathras

Pedagogy: Practical class and experiential learning

Formative Assessment
Assessment Occasion/ type Weightage in Marks
15+15

Total 30

Date Course Co-ordinator Subject Committee Chairperson

Page | 156
 Bachelor of Performing Arts in HINDUSTANI MUSIC
(Tabla)
Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Course Title: OEC Tabla

Total Contact Hours: L + I + P =60 Course Credits: 0+ 1+2 = 3 credits

Duration of ESA/Exam: 15 minutes

Formative Assessment Marks: 30 (15+15) duration for each candidate in practical
subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 70
CURRICULUM COMMITTEE

 L= Lecture I=Instruction P=Practical

Course Pre-requisite (s):

Course Objectives:
4. To impart the knowledge of basics of Tabla playing(different bols of Tabla and
Dugga)
5. To impart the knowledge of playing Thekas and badal Thekas of different Talas
6. To impart the knowledge of solo play in tabla (Peshkaar, Kayda , Mukhda and
Thukda )
Course Outcomes (COs):
(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
4. At the end of the course the students will be able to know basics of Tabla
playing(different bols of Tabla and Dugga)
5. At the end of the course the students will be able to play Thekas and badal
Thekas of different Talas.
6. At the end of the course the students will be able to play solo in tabla (Peshkaar,
Kayda , Mukhda and Thukda )

Page | 157
 Bachelor of Performing Arts in HINDUSTANI MUSIC
(Tabla)
Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: OEC TABLA

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

OEC Tabla

Unit – 1 :
Chapter No.1: Learn to play basic bols of Tabla
Chapter No. 2: Learn to play basic bols of Dagga
Chapter No. 3: Learn to play different bols in Tabla

Unit – 2 :

Chapter No.4: Learn to play the following thekas

a)Teental b) Zaptal
Chapter No.5: Learn to play 2 Badal Thekas of following Talas
Teental b) Zaptal
Chapter No.6: Learn to play a kayda in taal teental
Unit – 3 :
Chapter No.7: Learn to play teental kayda with four paltas ending with tihai
Chapter No.8: Learn to play Jhaptal Kayda with four platas ending with tihai

Chapter No.9: Learn to play 2 Mukhdas in taal Teental

Text Books
References
1. AbhinavTalManjari-BySathyanarayanVashisth
2. TheMusic ofIndia-SripasdhBandopadhy.
D.B.TanpurewaleSonsandco.pvt.ltd.Bombay
3. Nibaddha Sangeeth-Sangeet Karyalaya Hathras
4. Taal marthand- Laxmi narayan garage- Sangeet karyalaya hathras

Pedagogy: Practical class and experiential learning

Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 158
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 1, Activity Based (SEC)

Course Title: SEC- Activity based

Total Contact Hours: L + I + P =30 Course Credits: 0+ 1+1 = 2 credits

Duration of ESA/Exam: 15 minutes

Formative Assessment Marks: 15 duration for each candidate in practical
subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 35
CURRICULUM COMMITTEE

 L= Lecture I=Instruction P=Practical

Course Pre-requisite (s):

Course Objectives:
1. To impart the knowledge of various musical instruments and their maintenance.
2. To impart the knowledge of stage preparation for music programmes,
knowledge of sound system
3. Visit AIR/Doordarshan to enable the students to understand the
process of recording .
Course Outcomes (COs):
(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
1. At the end of the course students will be able to understand different musical
instruments and their maintenance.
2. At the end of the course students will be able to manage the stage for performance
including sound system.
3. At the end of the course students will be able to know the process of recording and
output.

Page | 159
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 1, Activity Based (SEC)

Title of the course: Activity Based

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

SEC

Unit – 1 :
Chapter No.1: Knowledge of String instruments

Chapter No. 2: Knowledge of wind instruments

Chapter No. 3: Knowledge of Percussion instruments

Unit – 2 :

Chapter No.4: Knowledge of preparing stage for music programmes

Chapter No.5: Basic Knowledge of sound system for music programmes

Chapter No.6: Knowledge of synchronization of sound

Unit – 3 :

Chapter No.7: Visit to All India Radio/Doordarshan

Chapter No.8: Knowledge of music recording

Chapter No.9: Basic knowledge of harmonium playing

Pedagogy: Practical class and experiential learning

Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 160
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 2 KHAYAL

Course Title: (DSCC) Khyal-II Theory 2 and Khyal-II Practical 2

Total Contact Hours: L 42 + P 65 Course Credits: 3+3

Duration of ESA/Exam: 3 hours theory

Formative Assessment Marks: 30 (15+15) subject and 20 minutes duration for each
candidate in practical subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 70
CURRICULUM COMMITTEE

*L=Lecturing P=Practical
Course Pre-requisite (s): Knowledge of BPA (Music) Khyal-I.
Course Objectives:
1. To impart the knowledge of singing shuddha and vikruta swaras in three saptakas.
2. To impart the knowledge of singing Saragam Geet, Chota Khayal and Bada Khayal with
Alap and Tans. Knowledge of writing Bada khayal and Chota Khayal bandish in
swaralip paddhati.
3. To impart the knowledge of Talas with demonstration.

Course Outcomes (COs):

At the end of the course the student should be able to:
(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)

1. At the end of the course the students will be able to get the knowledge of singing shuddha
and vikruta swaras in three saptakas.
2. At the end of the course the students will be able to get the knowledge of singing
Saragam Geet, Chota Khayal and Bada Khayal with Alap and Tans
3. At the end of the course the students will be able to get the knowledge of Talas with
demonstration and the theoretical description of raagas.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program

Outcomes (POs 1-12)
Course Outcomes (COs) / Program 1 2 3 4 5 6 7 8 9 10 11 12
Outcomes (POs)
1. Semester (COs 1-3) (POs 1-9)

2.

Course Articulation Matrix relates course outcomes of course with the corresponding program
outcomes whose attainment is attempted in this course. Mark ‘X’ in the intersection cell if a
course outcome addresses a particular program outcome.

Page | 161
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 2 KHAYAL
Title of the course: Hindustani Music: Khayal
Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 65

Content of Course – 1 Theory Khayal Theory 2

Unit – 1:
Chapter No.1: Knowledge of writing Chota Khyal Bandish in Swaralipi
paddhati prescribed for practical course.
Chapter No. 2: Knowledge of writing Bada Khyal Bandish in Swaralipi
paddatti prescribed for practical course.
Chapter No. 3: Knowledge of writing Alaps and Taans of Bada Khyal and
Chota Khyal in Swaralipi paddatti prescribed for practical course.
Unit – 2:
Chapter No.4: Nada and its varities.
Chapter No.5 : Knowledge Pt. Bhathkande thaat system.
Chapter No.6 : Biographies of the following eminent personalities
a) Tansen b) Tyagraj
Unit – 3:
Chapter No.7: Definition of following Technical Terms
a) Alankar b)Taan c)Vadi d)Samvadi e)Anuvadi f)Vivadi
g)Theka
Chapter No.8: Concept of Bada Khyal and Chota Khyal
Chapter No.9: Study of theoretical details of Ragas and Talas prescribed
for practical course
Text Books
References
1. SangeetShastraDarpan-A.U.Patil-PrasarnagaKarnatakUniversityDharwad
2. Bhatkhande Sangeeth Shastra – Part 1, 2 and 3 – Pt. V.N.Bhatkhande- Sangeet
KaryalayaHathras
3. HindustaniSangeetgararu-S.V.Mathpthi-RudreshwarPrathistan-Gorta
4. SangeetVisharad-Laxminarayan Garg--SangeetKaryalaya Hathras

Pedagogy : Lecturing – Book Chapters

Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Theory 70
Total 100

Page | 162
 KHAYAL - COURSE 2
Unit – 1:
Chapter No.1: Learn to sing shuddha and vikruta Swaras in three saptakas
Chapter No.2: Learn to sing six alankaras in Thaat Bhairav
Chapter No.3: Learn to sing six alankaras in Thaat Kaafi
Unit – 2:
Chapter No.4: Learn to sing a Saragamgeet and a Chotakhyal with four
Alaps and four Tans in Raag Durga
Chapter No.5: Learn to sing a Saragamgeet and a Chotakhyal with four
Alaps and four Tans in Raag Kaafi
Chapter No.6: Knowledge of following Talas with demonstration.
a) Keharava b) Zaptal
Unit – 3:
Chapter No.7: Learn to sing a Bada khyal and a Chota khyal in the in Raga
Madamad Saranga
Chapter No.8: Learn to sing a Bada khyal and a Chota khyal in the in Raga
Bhairav
Chapter No.9: Detail knowledge of Ragas and Talas prescribed for
practical course of the II-Semester
Text Books References
1. Bhatkhande Sangeeth Shastra – Part 1, 2 and 3 – Pt. V.N.Bhatkhande- Sangeet
KaryalayaHathras
2. SangeetVisharad-Laxminarayan Garg--SangeetKaryalaya Hathras

Pedagogy: Practical class and experiential learning

Formative Assessment
Assessment Occasion/ type Weightage in Marks
15+15

Total 30

Date Course Co-ordinator Subject Committee Chairperson

Page | 163
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 2 SITAR

Course Title:Sitar-II Theory and Sitar-II Practical

Total Contact Hours: L42 + P65 Course Credits: 3+3

Duration of ESA/Exam: 3 hours theory

Formative Assessment Marks: 30 (15+15) subject and 20 minutes duration for each
candidate in practical subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 70
CURRICULUM COMMITTEE

Course Pre-requisite (s): Knowledge of Sitar-I.

Course Objectives:
1. To impart the knowledge of playing shuddha and vikruta swaras in three saptakas
2. To impart the knowledge of playing MaseetKhani Gat and Razakhani Gat with platas.
knowledge of writing MaseetKhani Gat and Razakhani Gat in swaralipi paddhati
3. To impart the knowledge of Talas with demonstration.

Course Outcomes (COs):

At the end of the course the student should be able to:
( Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
1. At the end of the course the students will be able to get the knowledge of playing swaras in
Madhya, Mandra and Tar Saptak.
2. At the end of the course the students will be able to write MaseetKhani Gat and Razakhani Gat
with Alap and Tans.
3. At the end of the course the students will be able to get the knowledge of Talas with
demonstration.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program

Outcomes (POs 1-12)
Course Outcomes (COs) / Program 1 2 3 4 5 6 7 8 9 10 11 12
Outcomes (POs)
1. Semester (COs 1-3) (POs 1-9)

2.

Course Articulation Matrix relates course outcomes of course with the corresponding program
outcomes whose attainment is attempted in this course. Mark ‘X’ in the intersection cell if a
course outcome addresses a particular program outcome.

Page | 164
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 2 SITAR
Title of the course: Hindustani Music: Sitar
Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 65

Content of Course – 1 Theory Sitar Theory 2

Unit – 1:
Chapter No.1: Knowledge of writing Razhakhani Gat in Swaralipi paddatti
prescribed for practical course.
Chapter No. 2: Knowledge of writing Maseetkhani in Swaralipipaddatti
prescribed for practical course.
Chapter No. 3: Knowledge of writing Alaps and Paltas of MaseetKhani Gat and
Razhakhani Gat in Swaralipi paddatti as prescribed for
practical course.
Unit – 2:
Chapter No.4: Description of Sitar parts
Chapter No.5 : Knowledge Pt. Bhathkande thaat system.
Chapter No.6 : Biographies of the following eminent personalities
a)Ustad Murad Khan b) Ustad Imdad Khan
Unit – 3:
Chapter No.7: Knowledgeof following Technical Terms
a) Naad b) Ahatnaad c) Anahatnaad d) Sthayi e) Antra
f) Sanchari g) Abhog
Chapter No.8: Importance of Vadi swara in music
Chapter No.9: Study of theoretical details of Ragas and Talas prescribed
for practical course
Text Books
References
1. LearntoplaySitar- V.R.Ramratan
2. AbhinavGeetanjali-1,2,3and4-Pt.RamshreyaJha
3. MusicalInstruments ofIndia–Krishnaswami-MushirammanoharlalPublishersPvt.Ltd.
4. RagaDarshan-RajeevPurandare-Prasaranga,Karnatak UniversityDharwad

Pedagogy : Lecturing – Book Chapters

Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Theory 70
Total 100

Page | 165
 SITAR - COURSE 2
Unit – 1:
Chapter No.1: Learn to play different Swaras (Komal and Teevra)
Chapter No.2: Learn to play six alankaras in Thaat Bhairav
Chapter No.3: Learn to play six alankaras in Thaat Kaafi
Unit – 2:
Chapter No.4: Learn to play a Razakhani Gat with four Alaps and four
Paltas in Raag Durga
Chapter No.5: Learn to play a Razakhani Gat with four Alaps and four
Paltas in Raag Kaafi
Chapter No.6: Knowledge of following Talas with demonstration.
a) Keharava b) Zaptal
Unit – 3:
Chapter No.7: Learn to play a Maseetkhani Gat and Razakhani Gat in the
in Raga Bhoop
Chapter No.8: Learn to play a Maseetkhani Gat and Razakhani Gat in the
in Raga Bhairav
Chapter No.9: Detail knowledge of Ragas and Talas prescribed for
practical course of the II-Semester
Text Books References
3. Bhatkhande Sangeeth Shastra – Part 1, 2 and 3 – Pt. V.N.Bhatkhande- Sangeet
KaryalayaHathras
4. SangeetVisharad-Laxminarayan Garg--SangeetKaryalaya Hathras

Pedagogy: Practical class and experiential learning

Formative Assessment
Assessment Occasion/ type Weightage in Marks
15+15

Total 30

Date Course Co-ordinator Subject Committee Chairperson

Page | 166
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 2 VIOLIN

Course Title: (DSCC) Violin-II Theory and Violin-II Practical

Total Contact Hours: L42 + P65 Course Credits: 3+3

Duration of ESA/Exam: 3 hours theory

Formative Assessment Marks: 30 (15+15) subject and 20 minutes duration for each
candidate in practical subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 70
CURRICULUM COMMITTEE

Course Pre-requisite (s): Knowledge of violin-I.

Course Objectives:
1. To impart the knowledge of playing shuddha and vikruta swaras in three saptakas
2. To impart the knowledge of playing Vilambit Gat and Dhrut Gat with Alap and Tans.
Knowledge of writing gats in swaralipi paddhati.
3. To impart the knowledge of Talas with demonstration

Course Outcomes (COs):

At the end of the course the student should be able to:
( Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
1. At the end of the course the students will be able to get the knowledge of playing shuddha and
vikruta swaras in three saptakas .
2. At the end of the course the students will be able to get the knowledge of playing Vilambit Gat
and Dhrut Gat with Alap and Tans.
3. At the end of the course the students will be able to get the basic knowledge of basic technical
terms of Raag and Taal.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program

Outcomes (POs 1-12)
Course Outcomes (COs) / Program 1 2 3 4 5 6 7 8 9 10 11 12
Outcomes (POs)
1. Semester (COs 1-3) (POs 1-9)

2.

Course Articulation Matrix relates course outcomes of course with the corresponding program
outcomes whose attainment is attempted in this course. Mark ‘X’ in the intersection cell if a
course outcome addresses a particular program outcome.

Page | 167
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 2 VIOLIN
Title of the course: Hindustani Music: Violin
Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 65

Content of Course – 1 Theory Violin Theory 2

Unit – 1:
Chapter No.1: Knowledge of writing Dhrut Ghat in Swaralipi paddatti
prescribed for practical course.
Chapter No. 2: Knowledge of writing Vilambit Ghat in Swaralipi paddatti
prescribed for practical course.
Chapter No. 3: Knowledge of writing Alaps and Paltas of Vilambit Ghat and
Dhrut Ghat in Swaralipi padhatti as prescribed for practical
course.
Unit – 2:
Chapter No.4: Description of Violin Parts
Chapter No.5 : Knowledge Pt. Bhathkande thaat system.
Chapter No.6 : Biographies of the following eminent personalities
a) Amir Khusru b) Gopal Naik
Unit – 3:
Chapter No.7: Definition of following Technical Terms
a) Naad b) Ahatnaad c) Anahatnaad d) Sthayi e) Antara
f) Sanchari g) Abhog
Chapter No.8: Merits and Demerits of Instrumentalist
Chapter No.9: Study of theoretical details of Ragas and Talas prescribed
for practical course
Text Books
References
1. RagaDarshan-RajeevPurandare-Prasaranga, KarnatakUniversityDharwad
2. HindustaniSangeethagararu-S.V.Mathpathi-RudreswharPrathistan-Gorta
3. Universal History of Music-MushiramManoharlalPublishers
4. Sangeetamurth–R.I.Hiremath

Pedagogy : Lecturing – Book Chapters

Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Theory 70
Total 100

Page | 168
 VIOLIN - COURSE 2
Unit – 1:
Chapter No.1: Learn to play Different Swaras (Komal and Teevra)
Chapter No.2: Learn to play six alankaras inThaat Bhairav
Chapter No.3: Learn to play six alankaras inThaat Kaafi
Unit – 2:
Chapter No.4: Learn to play a Drut Gat with four Alaps and four Paltas
in Raag Durga
Chapter No.5: Learn to play a Drut Ghat with four Alaps and four Paltas
in Raag Kaafi
Chapter No.6: Knowledge of following Talas with demonstration.
a) Keharava b) Zaptal
Unit – 3:
Chapter No.7: Learn to play a Vilambit Gat and Drut Gat in the in Raga
Bhoop
Chapter No.8: Learn to play a Vilambit Gat and Drut Gat in the
Raga Bhairav
Chapter No.9: Detail knowledge of Ragas and Talas prescribed for
practical course of the II-Semester
Text Books References
1. Bhatkhande Sangeeth Shastra – Part 1, 2 and 3 – Pt. V.N.Bhatkhande- Sangeet
KaryalayaHathras
2. SangeetVisharad-Laxminarayan Garg--SangeetKaryalaya Hathras

Pedagogy: Practical class and experiential learning

Formative Assessment
Assessment Occasion/ type Weightage in Marks
15+15

Total 30

Date Course Co-ordinator Subject Committee Chairperson

Page | 169
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 2 THUMRI

Course Title: (DSCC) Thumri-IITheory and Thumri-II Practical

Total Contact Hours: L42 + P65 Course Credits: 3+3

Duration of ESA/Exam: 3 hours theory

Formative Assessment Marks: 30 (15+15) subject and 20 minutes duration for each
candidate in practical subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 70
CURRICULUM COMMITTEE

Course Pre-requisite (s): Knowledge of Thumri-I.

Course Objectives:
7. To impart the knowledge of singing different swaras.
8. To impart the knowledge of singing Thumri bandish with its full development and techniques.
Knowledge of writing Thumri bandish in swaralipi paddhati
9. To impart the knowledge of Talas with demonstration

Course Outcomes (COs):

At the end of the course the student should be able to:
(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
10. At the end of the course the students will be able to get the knowledge of singing different
swaras.
11. At the end of the course the students will be able to sing Thumri bandish with its full
development and techniques.
12. At the end of the course the students will be able to get the basic knowledge of basic
technical terms of Raag and Taal.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program

Outcomes (POs 1-12)
Course Outcomes (COs) / 1 2 3 4 5 6 7 8 9 10 11 12
Program Outcomes (POs)
2. Semester (COs 1-3) (POs 1-9)

2.

Course Articulation Matrix relates course outcomes of course with the corresponding program
outcomes whose attainment is attempted in this course. Mark ‘X’ in the intersection cell if a
course outcome addresses a particular program outcome.

Page | 170
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 2 THUMRI
Title of the course: Hindustani Music: Thumri
Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 65

Content of Course – 1 Theory Thumri Theory 2

Unit – 1:
Chapter No.1: Knowledge of writing Composition in Swaralipipaddatti
prescribed for practical course.
Chapter No. 2: Knowledge of writing Thumri Bandish in Swaralipi paddatti
prescribed for practical course.
Chapter No. 3: Knowledge of writing Sargam Geet and Lakshan Geet in
Swaralipi paddatti prescribed for practical course.
Unit – 2:
Chapter No.4: Description of Tanpura
Chapter No.5 : Knowledge Pt. Bhathkande thaat system.
Chapter No.6 : Biographies of the following eminent personalities
a) Ustad Bade Ghulam Ali Khan b) Vidhushi Rita Ganguly
Unit – 3:
Chapter No.7: Definition of following Technical Terms
a) Alankar b) Saptak c) MandraSaptaka d) MadyaSaptaka
e) TaraSaptaka f) Matra g) Sam
Chapter No.8: Theoretical knowledge of Rutu ragas
Chapter No.9: Study of theoretical details of Ragas and Talas prescribed
for practical course
Text Books
References
1. SangeethNibhandhavali-LaxminarayanGarag-Sangeeth KarayalayaHathras
2. HamareSangeetRatan-LaxminarayanGarag-SangeethKarayalayaHathras
3. SangeethRatnaMansoor-S.S.Malvad-PrasarangaKarnatk University Dharwad
4. SangeethShastraDarpan-A.U.Patil-PrasarangaKarnatk University Dharwad

Pedagogy : Lecturing – Book Chapters

Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Theory 70
Total 100

Page | 171
 THUMRI - COURSE 2
Unit – 1:
Chapter No.1: Learn to sing Different Swaras (Komal and Teevra)
Chapter No.2: Learn to sing Saragam Geet in Raag Khamaj
Chapter No.3: Learn to sing Lakshan Geet in Raag Khamaj
Unit – 2:
Chapter No.4: Learn to sing Chota Khayal with four Alaps and four Tans
in Raag Khamaj
Chapter No.5: Learn to sin gChota Khayal with fou rAlaps and four Tans
in Raag Chandrakauns
Chapter No.6: Knowledge of following Talas with demonstration.
a) Dadra b) Keharava
Unit – 3:
Chapter No.7: Learn to sing a Thumri composition its full development
and techniques in Raag Khamaj
Chapter No.8: Learn to sing two bhavageetas
Chapter No.9: Detail knowledge of Ragas and Talas prescribed for
practical course of the II-Semester
Text Books References
1. Bhatkhande Sangeeth Shastra – Part 1, 2 and 3 – Pt. V.N.Bhatkhande- Sangeet
KaryalayaHathras
2. SangeetVisharad-Laxminarayan Garg--SangeetKaryalaya Hathras

Pedagogy: Practical class and experiential learning

Formative Assessment
Assessment Occasion/ type Weightage in Marks
15+15

Total 30

Date Course Co-ordinator Subject Committee Chairperson

Page | 172
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 2 TABLA

Course Title: (DSCC) Tabla-II Theory 2 and Tabla II Practical 2

Total Contact Hours: L 42 + P 65 Course Credits: 3+3

Duration of ESA/Exam: 3 hours theory

Formative Assessment Marks: 30 (15+15) subject and 20 minutes duration for each
candidate in practical subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 70
CURRICULUM COMMITTEE

 L= Lecture P=Practical

Course Pre-requisite (s): knowledge of Tabla-I

Course Objectives:
1. To impart the knowledge of concept of tabla solo.
2. To impart the knowledge of writing tabla compositions in talalipi-paddati and to give
training to play tabla compositions.
3. In practical course, objective is to train the students to play basics of tabla presentation

Course Outcomes (COs):

(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
1. At the end of the course the students will be able to get the knowledge of concept of tabla
solo.
2. At the end of the course the students will be able to write Tabla compositions in talaalipi
paddhati and will be able to play those compositions.
3. At the end of the course the students will be able to play tabla presentation.

Page | 173
 Bachelor of Performing Arts in HINDUSTANI MUSIC
Semester 2 TABLA
Title of the course: Hindustani Music: Tabla
Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 65

Content of Course – 1 Theory Tabla Theory 2

Unit – 1:
Chapter No.1: Knowledge of writing Composition in Talalipi paddatti
prescribed for practical course.
Chapter No. 2: knowledge of describing the parts of Tabla
Chapter No. 3: knowledge of Basic concept of Tabla.
Unit – 2:
Chapter No.4: Knowledge of Peshkar, Kayda and Rela in Tabla solo play.
Chapter No.5 : Knowledge of Thukda, Gat and chakradar in Tabla solo play.
Chapter No.6 : Biographies of the following eminent personalities
a) Ustad. Allarakha b) Pt. Jhanprakash Ghosh
Unit – 3:
Chapter No.7: Definition of following Technical Terms
a) Matra b) Vibhaga c) Avatana d) Theka e) Tihai
f) Vilambit laya g) Drut Laya
Chapter No.8: Concept of Lehra in solo play
Chapter No.9: Study of theoretical details of Talas prescribed for practical
course
Text Books
References
1. Nibaddha Sangeeth-SangeetKaryalayaHathras
2. RagaBhodhBhag 1to 6 –Pt.B.R.Devdhar-SangeetKaryalayaHathras
3. TheMusic ofIndia-SripasdhBandopadhya-D.B.TanpurewaleSonsandco.pvt.ltd.Bombay
4. AbhinavTalManjari-BySathyanarayanVashisth

Pedagogy : Lecturing – Book Chapters

Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Theory 70
Total 100

Page | 174
 TABLA - COURSE 2
Unit – 1:
Chapter No.1: Knowledge of following Talas with demonstration.
a) Deepchandi b) Ektal
Chapter No.2: Knowledge of following Talas with demonstration.
a) Tilwada b) Jhaptal
Chapter No.3: Knowledge of Ekgun and Dugun of the Thekas of
I and II sem practical syllabus with demonstration.
Unit – 2:
Chapter No.4: Knowledge of playing 1 Peshkar with 5 paltas ending
with Tihai in Tala Zaptal
Chapter No.5: Knowledge of playing 1 Kayada with 5 paltas ending with
Tihai in Tala Zaptal
Chapter No.6: Knowledge of Lehra in Taal Jhaptal
Unit – 3:
Chapter No.7: Knowledge of playing 4 Mukhda in Taal Jhaptal
Chapter No.8: Knowledge of playing 4 Thukda in Taal Jhaptal
Chapter No.9: Knowledge of playing 2 Chakradaar in Taal Jhaptal
Text Books References
1. AbhinavTalManjari-BySathyanarayanVashisth
2. TheMusic ofIndia-SripasdhBandopadhya-D.B.TanpurewaleSonsandco.pvt.ltd.Bombay
3. Nibaddha Sangeeth-Sangeet Karyalaya Hathras
4. Taal marthand- Laxmi narayan garage- Sangeet karyalaya hathras

Pedagogy: Practical class and experiential learning

Formative Assessment
Assessment Occasion/ type Weightage in Marks
15+15
Total 30

Date Course Co-ordinator Subject Committee Chairperson

Page | 175
 BA. HINDUSTANI MUSIC
(Fine Arts and Music)
BA Semester 1st and 2nd
Theory and Practical

SEMESTER : 1

Course -1 : Theory
1. Hindustani Music Theory
(Theory is common for Vocal, Sitar and Tabla)
Course -2 : Practical
1.Vocal Practical
2.Vocal Open Elective
1.Sitar Practical
2.Sitar Open Elective
1.Tabla Practical
2.Tabla Open Elective

SEMESTER : 2

Course -1 : Theory
1. Hindustani Music Theory
(Theory is common for Vocal, Sitar and Tabla)
Course -2 : Practical
1.Vocal Practical
2.Vocal Open Elective
1.Sitar Practical
2.Sitar Open Elective
1.Tabla Practical
2.Tabla Open Elective

Page | 176
 Bachelor of Arts in HINDUSTANI MUSIC
(Fine Arts and Music)
Semester – I DSCC
DSCC Hindustani Music (Vocal/Sitar/Tabla)
Course Title: MUSIC

Total Contact Hours: L42 + P65 Course Credits: 3+3

Duration of ESA/Exam:3 hours

theory subject and 20 minutes
Formative Assessment Marks: 30 (15+15)
duration for each candidate in
practical subject

Model Syllabus Authors:

Summative Assessment Marks: 70
Performing Arts Curriculum Committee

 L= Lecture P=Practical

Course Pre-requisite(s):
Course Objectives:
1. To impart the knowledge of origin of music, basic of music and technical terms of music
2. To impart the knowledge of notation system to enable the students to write bandish in
swaralipi/talalipi paddhati
3. In practical course objective is to train the students to sing/play swaralankaras, vilambit
and drut compositions with alap and tans of prescribed ragas in syllabus. To train the
students of percussion instrument to play different compositions of solo play.

Course Outcomes (COs):

At the end of the course the student will be able to:
(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
1 At the end of the course the students will be able to get the knowledge about origin of
music, basic of music and technical terms of music .
2 At the end of the course the students will be able to write Bandish in swaralipi/talalipi-
paddati.
3 At the end of the course the students will be able to sing /play swaralankaras, vilambit
and drut compositions with alap and tans of prescribed ragas in syllabus. To train the
students of percussion instrument to play different compositions of solo play.

Page | 177
 Bachelor of Arts in HINDUSTANI MUSIC
(Fine Arts and Music) (Vocal/Sitar/Tabla)
BA Semester 1: Theory is common for vocal, sitar and tabla
Title of the course: Hindustani Music Theory
Course 1 Course 2
Number of Number of lecture Number of Theory Number of lecture
Theory Credits hours/semester Credits hours/semester
3 42 3 42

Content of Course – 1 Theory Hindustani Music Theory 39/42 Hr

Unit – 1: 14 Hrs
Chapter No.1: Knowledge of Technical terms:
a)Sangeeta b)Naada c)Anahat d)swara e)Shruti
f)Aandolan g)Alankara h)Aaroha i)Avaroh
Chapter No. 2: Knowledge of Technical terms:
a)Kaala b)Taala c)Laya d)Vilambit e)Drut f)Maatra
Chapter No. 3: Knowledge of Technical terms:
a)Maseetkhani Gat b) Razhakani Gat c)Meend d)Palta
Unit – 2: 14 Hrs
Chapter No.4: Origin of Music
Chapter No.5 : Knowledge of Swaralipi paddhati of Pt.Bhatkhande
Chapter No.6 : Knowledge of Talalipi paddhati of Pt.Bhatkhande
Unit – 3: 14 Hrs
Chapter No.7: Importance of Tala and Laya in Music
Chapter No.8: Sketch and lebal of Tanpura instrument
Chapter No.9: Knowledge of writing kayals, gats and Talas in swaralipi
and talalipi Paddhati
Text Books References
1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III, IV, V, VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
8. Indian Musical Tradition, Deshpande, MM Publication
9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate, Prasarang KU
Dharwad
10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad
11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU Dharwad
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Theory 70
Total 100

Page | 178
 VOCAL - COURSE 2
Vocal Practical
Unit – 1: 13/14 Hrs
Chapter No.1: Learn to play 2 alankars(palta) in bhairav That in taal
Dadra with Thaai, dugun and chaugun laya

Chapter No.2: Learn to play 2 alankars(palta) in bhairav That in taal

Keharwa with Thaai, dugun and chaugun laya

Chapter No.3: Learn to play 2 alankars(palta) in bhairav That in taal

Zhaptal with Thaai, dugun and chaugun laya

Unit – 2: 13/14 Hrs

Chapter No.4: Knowledge of playing Maseetkhani gat and
Razhakani gat with four alaps and four tans in raag
yaman

Chapter No.5: Knowledge of playing Razhakhani gat with four alap

and four tans in raag Vrindavani sarang

Chapter No.6: Knowledge of playing razhakhani gat with four alap

and four tans in raag Alhaiya bilawal .

Unit – 3: 13/14 Hrs

Chapter No.7: Knowledge of following talas with demonstration:
a)Teental b)Dadra

Chapter No.8: Knowledge of following talas with demonstration:

a)Keharwa b)Zhaptal
Chapter No.9: Learn to demonstrate ekgun,dugun and chaugun of
the following talas:
a) Dadra b) Keharwa c) Zhaptal

Text Books References

1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
8. Indian Musical Tradition, Deshpande, MM Publication
9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate, Prasarang KU
Dharwad
10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad
11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU Dharwad
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 179
 Semester 1

Course Title: OEC Vocal

Total Contact Hours: L + I + P =60 Course Credits: 0+ 1+2 = 3 credits

Duration of ESA/Exam: 15 minutes

Formative Assessment Marks: 30 (15+15) duration for each candidate in practical
subject

Model Syllabus Authors:

Summative Assessment Marks: 70
Performing Arts Curriculum Committee

 L= Lecture I=Instruction P=Practical

Course Pre-requisite (s):

Course Objectives:
1. To impart the knowledge of shuddha and vikruta swaras.
2. To impart the knowledge of sargam geet and chota khayal
3. To impart the knowledge of singing shudda and vikruta swaras. Sargam geet and
chota khyal with alap and Taans
Course Outcomes (COs):
(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
1. At the end of the course the students will be able to know the basics of classical
music(swara and laya)
2. At the end of the course the students will be able to sing swrageet, chota khayal with alap
and taans
3. At the end of the course the students will be able to demonstrate talas.

Page | 180
 BA. HINDUSTANI MUSIC (VOCAL)
(Fine Arts and Music)
BA Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: OEC Vocal

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

OEC Vocal
Unit – 1 :
Chapter No.1: Learn to sing Different Swaras (Komal and Teevra)

Chapter No. 2: Learn to sing six alankaras in thaat bhairav

Chapter No. 3: Learn to sing six alankaras in thaat bilawal

Unit – 2 :
Chapter No.4: Theoretical knowledge of raag bhairav
Chapter No.5: Learn to sing Sargam geet and Chota Khayal in raag
bhairav.

Chapter No.6: Learn to sing Chota Khayal with four aalaps and four
taans in raag bhairav.

Unit – 3 :
Chapter No.7: Learn to sing bhada khyal and chota khyal with four
aalaps and four tans in raag bhairav.

Chapter No.8: Learn to sing bhada khyal and chota khyal with four
aalaps and four tans in raag durga.

Chapter No.9: Knowledge of following taalas with demonstration

a) Dadra b) Teen taal

Text Books References

1. Raag darshan – Rajeev Purandare – Prasaranga, Karnataka University, Dharwad
2. Sangeet Visharad – Laxminarayan Garg - Sangeet Karyalaya, Hataras
3. Bhatkande Kramika pusthaka malika – V N Bhatkande – Sangeet Karyalaya, Hataras
4. Sangeet Shastra parichaya-A.U.Patil, S H taralagatti, GB Awate, Prasarang KUD

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 181
 Bachelor of Arts in HINDUSTANI MUSIC
(Fine Arts and Music)
(Sitar)
BA Semester 1
Title of the course: Hindustani Music /Sitar practical
Course 2
Number of Theory Credits Number of lecture hours/semester
3 65

Content of Course – Sitar Practical

Unit – 1 : 14 Hrs
Chapter No.1: Learn to play 2 alankars(palta) in bhairav That in taal
Dadra with Thaai, dugun and chaugun laya
Chapter No.2: Learn to play 2 alankars(palta) in bhairav That in taal
Keharwa with Thaai, dugun and chaugun laya
Chapter No.3: Learn to play 2 alankars(palta) in bhairav That in taal
Zhaptal with Thaai, dugun and chaugun laya
Unit – 2 : 14 Hrs
Chapter No.4: Knowledge of playing Maseetkhani gat and Razhakani
gat with four alaps and four tans in raag yaman
Chapter No.5: Knowledge of playing Razhakhani gat with four alap
and four tans in raag Vrindavani sarang
Chapter No.6: Knowledge of playing razhakhani gat with four alap
and four tans in raag Alhaiya bilawal
Unit – 3 : 14 Hrs
Chapter No.7: Knowledge of following talas with demonstration:
a)Teental b)Dadra
Chapter No.8: Knowledge of following talas with demonstration:
a)Keharwa b)Zhaptal
Chapter No.9: Learn to demonstrate ekgun,dugun and chaugun of the following talas:
a)Dadra b)Keharwa c)Zhaptal
Text Books References
1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 182
 Bachelor of Arts in HINDUSTANI MUSIC
(Fine Arts and Music)
BA Semester 1, Activity Based (SEC)
Course Title: OEC Sitar

Total Contact Hours: L + I + P =60 Course Credits: 0+ 1+2 = 3 credits

Duration of ESA/Exam: 15 minutes

Formative Assessment Marks: 30 (15+15) duration for each candidate in practical
subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 70
CURRICULUM COMMITTEE

 L= Lecture I=Instruction P=Practical

Course Pre-requisite (s):

Course Objectives:
4. To impart the knowledge of shuddha and vikruta swaras.
5. To impart the knowledge of Razhakhani gat
6. To impart the knowledge of playing shudda and vikruta swaras. Razhakhani Gats
with alap and Taans
Course Outcomes (COs):
(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
4. At the end of the course the students will be able to know the basics of classical
music(swara and laya)
5. At the end of the course the students will be able to play Rajakhani gat with alap and
taans
6. At the end of the course the students will be able to demonstrate talas.

Page | 183
 BA. HINDUSTANI MUSIC (SITAR)
(Fine Arts and Music)
BA Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: OEC Sitar

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

OEC Sitar

Unit – 1 :
Chapter No.1: Knowledge of basic strokes of sitar

Chapter No. 2: Learn to play six alankaras in thaat bilawal

Chapter No. 3: Learn to sing six alankaras in thaat kalyan

Unit – 2 :

Chapter No.4: Theoretical knowledge of raag yaman and Aliya bilawal

Chapter No.5: Learn to play razakhani gat in raag yaman

Chapter No.6: Learn to play razakhani gat in Aliya bilawal.

Unit – 3 :

Chapter No.7: Learn to play Maseetkhani gat and razakhani gat with four
aalaps and four taans in raag yaman.

Chapter No.8: Learn to play Maseetkhani gat and razakhani gat with four
aalaps and four tans in raag Aliya bilawal.

Chapter No.9: Knowledge of following taalas with demonstration

a) Dadra b) Teen taal

Text Books References

1. Raag darshan – Rajeev Purandare – Prasaranga, Karnataka University, Dharwad
2. Sangeet Visharad – Laxminarayan Garg - Sangeet Karyalaya, Hataras
3. Bhatkande Kramika pusthaka malika – V N Bhatkande – Sangeet Karyalaya, Hataras
4. Sangeet Shastra parichaya-A.U.Patil, S H taralagatti, GB Awate, Prasarang KUD

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 184
 Bachelor of Arts in HINDUSTANI MUSIC
(Fine Arts and Music)
(Tabla)
BA Semester 1
Title of the course: Hindustani Music /Tabla practical
Course 2
Number of Theory Credits Number of lecture hours/semester
3 65

Content of Course – Tabla Practical

Unit – 1 :
Chapter No.1: Learn to demonstrate ekgun,dugun and chaugun of the
following talas
a)Dadra b)Keharwa c)teental
Chapter No.2: Knowledge to demonstrate and learn to play thekas
and four badal thekas of following talas:
a)Dadra b)Keharwa
Chapter No.3: Knowledge to demonstrate and learn to play thekas
and four badal thekas of following talas:
a)Zaptal b)Teental
Unit – 2 :
Chapter No.4: Learn to play one Peshkar with four platas ending with
tihai in taal Teental
Chapter No.5: Learn to play two kaydas with four platas ending with tihai in taal
Teental
Chapter No.6: Learn to play two kaydas in taal Zaptal
Unit – 3 :
Chapter No.7: Learn to play Sath-sangat in taal Teental
Chapter No.8: Learn to play Sath-sangat in taal Zaptal
Chapter No.9: Learn to play Sath-sangat in taal Ektaal
Text Books References
1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
8. Indian Musical Tradition, Deshpande, MM Publication

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 185
 Semester 1

Course Title: OEC Tabla

Total Contact Hours: L + I + P =60 Course Credits: 0+ 1+2 = 3 credits

Duration of ESA/Exam: 15 minutes

Formative Assessment Marks: 30 (15+15) duration for each candidate in practical
subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 70
CURRICULUM COMMITTEE

 L= Lecture I=Instruction P=Practical

Course Pre-requisite (s):

Course Objectives:
1. To impart the knowledge of basics of Tabla playing(different bols of Tabla and
Dugga)
2. To impart the knowledge of playing Thekas and badal Thekas of different Talas
3. To impart the knowledge of solo play in tabla (Peshkaar, Kayda , Mukhda and
Thukda )
Course Outcomes (COs):
(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
1. At the end of the course the students will be able to know basics of Tabla
playing(different bols of Tabla and Dugga)
2. At the end of the course the students will be able to play Thekas and badal
Thekas of different Talas.
3. At the end of the course the students will be able to play solo in tabla (Peshkaar,
Kayda , Mukhda and Thukda )

Page | 186
 BA. HINDUSTANI MUSIC (TABLA)
(Fine Arts and Music)
BA Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: OEC Tabla

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

OEC Tabla

Unit – 1 :
Chapter No.1: learn to play basic bols of Tabla

Chapter No. 2: Learn to play basic bols of Dagga

Chapter No. 3: Learn to play different bols in Tabla

Unit – 2 :

Chapter No.4: Learn to play the following thekas

a)Teental b) Zaptal

Chapter No.5: Learn to play 2 Badal Thekas of following Talas

Teental b) Zaptal.

Chapter No.6: Learn to play a kayda in taal teental

Unit – 3 :

Chapter No.7: Learn to play teental kayda with four paltas ending with
tihai

Chapter No.8: Learn to play Jhaptal Kayda with four platas ending with
tihai

Chapter No.9: learn to play 2 Mukhdas in taal Teental

Text Books References

1. AbhinavTalManjari-BySathyanarayanVashisth
2. TheMusic ofIndia-SripasdhBandopadhya-D.B.TanpurewaleSonsandco.pvt.ltd.Bombay
3. Nibaddha Sangeeth-Sangeet Karyalaya Hathras
4. Taal marthand- Laxmi narayan garage- Sangeet karyalaya hathras

Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 187
 BA. HINDUSTANI MUSIC
(Fine Arts and Music)
BA Semester 1, Activity Based (SEC)
Course Title: SEC- Activity based

Total Contact Hours: L + I + P =30 Course Credits: 0+ 1+1 = 2 credits

Duration of ESA/Exam: 15 minutes

Formative Assessment Marks: 15 duration for each candidate in practical
subject

Model Syllabus Authors: PERFORMING ARTS

Summative Assessment Marks: 35
CURRICULUM COMMITTEE

 L= Lecture I=Instruction P=Practical

Course Pre-requisite (s):

Course Objectives:
1. To impart the knowledge of various musical instruments and their maintenance.
2. To impart the knowledge of stage preparation for music programmes,
knowledge of sound system
3. Visit AIR/Doordarshan to enable the students to understand the
process of recording .
Course Outcomes (COs):
(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
1. At the end of the course students will be able to understand different musical
instruments and their maintenance.

2. At the end of the course students will be able to manage the stage for performance
including sound system.

3. At the end of the course students will be able to know the process of recording and
output.

Page | 188
 BA. HINDUSTANI MUSIC
(Fine Arts and Music)
BA Semester 1, Activity Based (SEC)

Title of the course: Activity Based

Course 1
Number of Theory Credits Number of lecture hours/semester
3 60

SEC

Unit – 1 :
Chapter No.1: Knowledge of String instruments

Chapter No. 2: Knowledge of wind instruments

Chapter No. 3: Knowledge of Percussion instruments

Unit – 2 :

Chapter No.4: Knowledge of preparing stage for music programmes

Chapter No.5: Basic Knowledge of sound system for music programmes

Chapter No.6: Knowledge of synchronization of sound

Unit – 3 :

Chapter No.7: Visit to All India Radio/Doordarshan

Chapter No.8: Knowledge of music recording

Chapter No.9: Basic knowledge of harmonium playing

Page | 189
 MUSIC
Hindustani Music
Semester – II DSCC

DSCC Hindustani Music (Vocal/Sitar/Tabla)

Course Title: MUSIC

Total Contact Hours: L42 + P65 Course Credits: 3+3

Duration of ESA/Exam:3 hours

theory subject and 20 minutes
Formative Assessment Marks: 30 (15+15)
duration for each candidate in
practical subject

Model Syllabus Authors: PERFORMING

Summative Assessment Marks: 70
ARTS CURRICULUM COMMITTEE

 L= Lecture P=Practical

Course Pre-requisite(s): BA (Music)-I Semester

Course Objectives:
1. To impart the knowledge of historical development of music at early stage, knowledge
about musical instruments and technical terms.
2. To impart the knowledge of notation system to enable the students to write bandish in
swaralipi/talalipi paddhati. Students will be able to demonstrate talas.
3. In practical course objective is to train the students to sing/play swaralankaras, vilambit
and drut compositions with alap and tans of prescribed ragas in syllabus. To train the
students of percussion instrument to play different compositions of solo play.

Course Outcomes (COs):

At the end of the course the student will be able to:
(Course outcomes are statements of observable student actions that serve as evidence of
knowledge, skills and values acquired in this course)
1. At the end of the course the students will be able to get the historical development of
music at early stage, knowledge about musical instruments and technical terms.
2. At the end of the course the students will be able to write bandish in swaralipi/talalipi
paddhati. Students will be able to demonstrate talas.

3. At the end of the course the students will be able to sing /play swaralankaras, vilambit
and drut compositions with alap and tans of prescribed ragas in syllabus. To train the
students of percussion instrument to play different compositions of solo play.

Page | 190
 Bachelor of Arts in HINDUSTANI MUSIC
(Fine Arts and Music)
(Tabla)
BA Semester 2: Theory is common for vocal, sitar and tabla
Title of the course: Hindustani Music Theory
Course 2
Number of Theory Credits Number of lecture hours/semester
3 42

Content of Course – Hindustani Music Theory

Unit – 1 :
Chapter No.1: Knowledge of Technical terms:
a)Raaga b)Raaga jaati(oudava,shadava,sampoorna)
c)Shuddha d)Vikruta e)Komal-Teevra f)Aalap
g)taan h)Sthayi i)Antra
Chapter No.2: Knowledge of Technical terms:
a)Theka b)Sam c)Khaali d)Thaali
Chapter No.3: Knowledge of Technical terms:
a)Bhaaj b) Jod c)Gath d)Aalap e)Jhaala
Unit – 2 :
Chapter No.4: History of Music in vedic period
Chapter No.5: Music and Nature
Chapter No.6: Importance of music in life.
Unit – 3 :
Chapter No.7: Origin of Tabla
Chapter No.8: Sketch and label of Tabla instrument
Chapter No.9: Knowledge of writing Khyal, gaths and Taalas in
swaralipi and Talalipi system
Text Books References
1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
8. Indian Musical Tradition, Deshpande, MM Publication
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 191
 Bachelor of Arts in HINDUSTANI MUSIC
(Fine Arts and Music)
(Vocal)
BA Semester 2
Title of the course: Hindustani Music /Vocal Practical
Course 2
Number of Theory Credits Number of lecture hours/semester
3 65

Content of Course – Vocal Practical

Unit – 1 :
Chapter No.1: Learn to sing swarageet in raag kafi
Chapter No.2: Learn to sing lakshangeet in raag kafi
Chapter No.3: Learn to sing any form of song in raag kafi
Unit – 2 :
Chapter No.4: Knowledge of singing Bada khayal and Chota khayal
with four alaps and four tans in raag bhairav
Chapter No.5: Knowledge of singing chota khayal with four alap and
four tans in raag Durga
Chapter No.6: Knowledge of singing chota khayal with four alap and
four tans in raag Bhimpalas
Unit – 3 :
Chapter No.7: Knowledge of following talas with demonstration:
a)Ektal b)Roopak
Chapter No.8: Knowledge of following talas with demonstration:
a)Aaddha b) Deepchandi
Chapter No.9: Learn to demonstrate ekgun,dugun and chaugun of the following talas
a)Roopak b)Teental
Text Books References
1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
8. Indian Musical Tradition, Deshpande, MM Publication
9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate,
Prasarang KU Dharwad
10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad
11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU
Dharwad
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 192
 Bachelor of Arts in HINDUSTANI MUSIC
(Fine Arts and Music)
(Sitar)
BA Semester 2
Title of the course: Hindustani Music /Sitar Practical
Course 2
Number of Theory Credits Number of lecture hours/semester
3 65

Content of Course – Sitar Practical

Unit – 1 :
Chapter No.1: Learn to play Razhakhani Gat in raag kafi
Chapter No.2: Learn to play Jhaala in raag kafi
Chapter No.3: Learn to play one dhun in raag kafi
Unit – 2 :
Chapter No.4: Learn to play Maseetkhani Gat and Razhakhani Gat
with four alaps and four tans in raag bhairav
Chapter No.5: Learn to play Razhakhani Gat with four alap and four
tans in raag Durga
Chapter No.6: Learn to play Razhakhani Gat with four alap and four
tans in raag Bhimpalas
Unit – 3 :
Chapter No.7: Knowledge of following talas with demonstration:
a)Ektal b)Roopak
Chapter No.8: Knowledge of following talas with demonstration:
a)Aaddha b) Deepchandi
Chapter No.9: Learn to demonstrate ekgun,dugun and chaugun of the following
talas
a)Roopak b)Teental
Text Books References
1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
8. Indian Musical Tradition, Deshpande, MM Publication
9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate,
Prasarang KU Dharwad
10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad
11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU
Dharwad
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 193
 Bachelor of Arts in HINDUSTANI MUSIC
(Fine Arts and Music) (Tabla)
BA Semester 2
Title of the course: Hindustani Music /Tabla Practical
Course 2
Number of Theory Credits Number of lecture hours/semester
3 65

Content of Course – Tabla Practical

Unit – 1 :
Chapter No.1: Learn to demonstrate ekgun,dugun and chaugun of the following
talas
a)Roopak b)Ektal c)Aadha
Chapter No.2: Knowledge to demonstrate and learn to play thekas
and four badal thekas of following talas:
a)Roopak b)Dhumali
Chapter No.3: Knowledge to demonstrate and learn to play thekas
and four badal thekas of following talas:
a)Aadha b)Ektal
Unit – 2 :
Chapter No.4: Learn to play one Peshkar with four platas ending with
tihai in taal Zaptal
Chapter No.5: Learn to play One Peshkar and two kaydas with four
platas ending with tihai in taal Teental
Chapter No.6: Learn to play Rela, Thukda, Gath, Chakradaar in Taal Teental
Unit – 3 :
Chapter No.7: Learn to play Teental Vilambit
Chapter No.8: Learn to play Ektal Vilambit
Chapter No.9: Learn to play Sath-sangat in taal Roopak
Text Books References
1. Sangeet Visharad by Vasant, Hathras publications
2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications
3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University
4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad
5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications
6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan
7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad
8. Indian Musical Tradition, Deshpande, MM Publication
9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate,
Prasarang KU Dharwad
10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad
11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU
Dharwad
Pedagogy
Formative Assessment
Assessment Occasion/ type Weightage in Marks
Internal Assignment 30
Practical 70
Total 100

Page | 194