Visharad Second Year
विशारद द्वितीय वर्ष
Examination conducted by Akhil Bharatiya Gandharva Mahavidyalaya Mandal (ABGMVM)
Note · सूचना
One hour is allotted for this examination. In addition, a separate 25-minute stage performance is held before an audience, in the manner of a music recital. In the stage performance the candidate must present a vilambit and a madhya laya bandish with full elaboration in one raag from this year’s syllabus. Vocal candidates may take melodic accompaniment only during the stage performance.
Theory · शास्त्र
Paper 1 — Detailed exposition of all prescribed raags with a comparative study of similarities and differences; identifying a raag from a group of notes and writing out its elaboration. Detailed study of all prescribed taals, with the ability to write them in both notation systems and in dugun, tigun and chaugun laykari. Detailed study of margi and deshi sangeet, swasthan rules, gandharva gaan and vrindagaan. The shuddha–chhayalag system of raag classification, parmel praveshak raags, and the tenfold classification given in the Sangeet Ratnakar. Introduction to the styles of two eminent contemporary performers. Comparison of medieval and modern note placement, and calculating string length from frequency. The evolution of swar from ancient to modern times. A brief history of the gharanas. Exposition of the sarana chatushtayi experiments of Bharata and Sharngadeva. General knowledge of Carnatic swar, taal and raag, with a comparative study against Hindustani music.
Definitions · परिभाषाएँ
Paper 2 — Detailed analytical study of the sympathetic overtones produced by the tanpura. Kalavant, pandit, vaggeyakar, geeti, the baanis of dhrupad, and types of gamak. The contributions of the treatise-writers Bharatamuni, Sharngadeva, Matanga, Ramamatya, Ahobal, Acharya Brihaspati and Thakur Jaidev Singh. Detailed study of Rabindra Sangeet; the Haveli Sangeet tradition; the gradual development of notation systems with their merits and defects; film music, playback singing, recording, poetry and music; rules of orchestral composition; rules of ancient prabandh singing and its types; and a general knowledge of Western notation.
Essays on musical topics — the current problems of music; the relationship of rasa and laya; organising a mehfil; and the guru-shishya tradition versus modern pedagogy.
Practical · क्रियात्मक
Swar Knowledge (Notes) · स्वरज्ञान
Proficiency in performing before an audience is expected this year. The student must have a subtle grasp of the raags, original ideas on both practical and theoretical topics, and the ability to understand and explain them. Direct experience of organising and conducting a music gathering is expected. Ability to absorb any composition, heard or notated, and to render a learned composition both in its original notated form and adapted to the gayaki ang.
Raag Knowledge · रागज्ञान
Subtle study of the nature of raags, independent thinking within them, and the creation of new compositions (sargam, gat/geet and orchestral pieces), with apt use of aavirbhav, tirobhav, gamak, meend and andolan. In every raag for detailed study: one vilambit and one drut khayal, or masitkhani and razakhani gats. Vilambit khayals must be prepared in a variety of taals. The ability to perform each raag for 20 to 30 minutes is expected.
Raags · राग:
The first six raags are for detailed study; the remaining seven for general knowledge.
- In the general-knowledge raags: madhya laya bandishes or gats, with the ability to perform for 15 minutes with aalap, taan and tode.
- Five further compositions in different raags — one dhrupad, one dhamar (with dugun, tigun and chaugun), two taranas and one trivat.
- For semi-classical music, a thumri, dadra or an equivalent form in a regional language.
Taal Knowledge (Rhythm) · ताल-ज्ञान
Complete command of every taal learned so far, reciting them with hand claps and in various laykaris, and the ability to sing a bandish while keeping taal by hand.
Marking Scheme · अंकपत्रिका
| Description · विवरण | Marks · अंक |
|---|---|
| Tuning — ability to tune the tanpura and one’s own instrument | 15 |
| Vilambit bandish with full elaboration in one of this year’s raags | 16 |
| Bandish with three aalaps each, in different taals, in two other raags (10+10) | 20 |
| Bandish only, with characteristic aalap, in one further raag from this year and one earlier raag (7+7) | 14 |
| Madhya laya bandish with full elaboration in one of this year’s raags | 10 |
| Bandish with three aalaps and five taans in two other raags (6+6) | 12 |
| Bandish only, with characteristic aalap, in one further raag from this year and one earlier raag (4+4) | 8 |
| Dhrupad-dhamar or equivalent gat bandish (4), chaugun of its sthayi-antara (5), dedhgun (6), and nom-tom aalap-jod (5) | 20 |
| Any one of tarana, trivat or jhala in this year’s raags | 7 |
| A bandish in a taal other than Teentaal, with three aalaps and five taans or tode | 10 |
| Raag swaroop — clarifying the form of two pairs from Puriya–Marwa, Basant–Puriya Dhanashri, Kedar–Kamod, Miyan Malhar–Bahar, with aalap and taan | 18 |
| Any one semi-classical song form in this year’s prescribed raags | 10 |
| Identifying one vilambit and one madhya laya theka on the tabla (5); starting bandishes of every song form correctly against the theka (8); reciting a theka in tigun and dedhgun (3+4) | 20 |
| Notation — writing out the notation of a heard bandish line and singing it back, and playing and singing a patriotic song on the harmonium | 20 |
| Stage performance — one of this year’s raags plus semi-classical or light music, presented for 20 to 30 minutes | 50 |
| Total · कुल | 250 |
Theory (Written) · शास्त्र (लिखित)
| Paper 1 (minimum 26 marks) | 75 |
| Paper 2 (minimum 26 marks) | 75 |
| Total Theory · कुल शास्त्र | 150 |
Other Exams
Prarambhik
Praveshika First Year
Praveshika Second Year
Madhyama First Year
Madhyama Second Year
Visharad First Year
Alankar First Year
Alankar Second Year
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