UGC NET Music Syllabus 2024, Exam Pattern For Paper 1 And 2

Post Name : UGC NET Music Syllabus 2024, Exam Pattern For Paper 1 And 2

Post Date :  27 January , 2024

Post Description :  candidates preparing for the UGC NET 2024 exam should familiarize themselves with the UGC NET Music Syllabus 2024 to enhance their chances of success. The National Testing Agent (NTA) releases the UGC NET Music Syllabus and Exam Pattern along with its official notification. You can check the updated UGC NET Music syllabus & exam pattern in this post below. UGC NET Music Syllabus 2024 is the same as any other Exam. Therefore, it is crucial to be well-versed in all these subjects to excel in the examination. To help you prepare effectively, we have provided all the necessary information regarding the UGC NET Music Syllabus in this post.

UGC NET Music Syllabus 2024 Overview

The UGC NET Music Syllabus 2024 follows a pattern similar to other exams. The exam is conducted in stages, and here is a concise overview of the syllabus:

UGC NET Music Syllabus Topic Wise

The syllabus is a crucial tool for candidates preparing for the UGC NET exam. In addition to studying the UGC NET Music Syllabus 2024, it’s highly beneficial for candidates to practice with UGC NET Previous Year Question Papers. These papers offer valuable insights into the exam pattern and help candidates get familiar with the types of questions they can expect.

Unit 1: Technical Terms

• Sangeet Nada: ahata & anahata Shruti & its five jaties
• Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara
• Vadi – Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara
• Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas
• Avirbhav, Tirobhava, Geeta
• Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj
• Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music
• Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala
• Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme
• Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas, Alapana, Tanam, Kaku, and Akarmatrik notations.

Above are the topics of Unit 1 for UGC NET Music Syllabus 2024

Unit 2: Folk Music

• Origin, evolution, and classification of Indian folk song/music.
• Characteristics of folk music.
• Detailed study of folk music, folk instruments, and performers of various regions in India.
• Ragas and Talas are used in folk music
• Folk fairs & festivals in India.

Above are the topics covered in Unit 2 for UGC NET Music Syllabus 2024

Unit 3: Rasa and Aesthetics

• Rasa, Principles of Rasa according to Bharata and others.
• Rasa nishpatti and its application to Indian Classical Music.
• Bhava and Rasa
• Rasa in relation to Swara, laya, tala, Chanda, and lyrics.
• Aesthetics according to Indian and western Philosophers.
• General knowledge of 64 kalas according to Vatsyayan
• General history of Raga-Ragini Paintings and Raga Dhayana.
• Interrelation of Fine Arts.

Above are the topics in Unit 3 for UGC NET Music Syllabus 2024

Unit 4: Research Methodology and Pedagogy, Avenues, Interdisciplinary Aspects, and Modern Technology 

• Research Pedagogy: Research areas, review of literature, selection of suitable research topics and research problems, Methodology of Music research, Preparing synopsis, Data collection, and its sources, Analysis of data collection, Writing project report, Research project Indexing, references, and bibliography, etc.
• Research Avenues and its Interdisciplinary aspects: Music and Literature, Music Therapy, Philosophy, Psychology, Physics, Mathematics, Economics, Social Sciences, Religion, and Culture.
• Modern Technology: Electronic equipment, computer, internet, etc.
• New trends in Indian Music in the post-independence era.

Above are the topics covered in Unit 4 for UGC NET Music Syllabus 2024

For Hindustani Music (Vocal, Instrumental, And Musicology)

Unit 5: Applied Theory

• Detailed study of Sangeet Utpatti, Musical scales (Indian and western), Detail study of Gram, Murchchhana, and Chatussarna, Jaati Lakshana, Jaati Bhed, the concept of Raag, Raag-Lakshan.
• Classification of Raag:
  • Gram Raag and Deshi Raag Classification
  • Male Raag classification
  • Thaat Raag classification
  • Shuddha, Chhayalag, and Sankeerna Raag classification
  • Raag-Raagini classification
  • Raagang classification, Time theory of Raagas, Placement of shuddha and vikrit swaras on shruties in Ancient, Medieval, and Modern Period, Description of popular Raagas and Taalas, Notation systems of Hindustani, Karnataka, and Western Music, Merits and demerits of a vocalist (Gayak), Remix, Fusion, Orchestra, Coir, and Acoustic, Comparative studies of Hindustani and Karnatak Swaras and Taalas, Karnatak names of Popular Hindustani Ragas, Knowledge of different Layakaaries such as dugun, Tiguan, Chaugun, Aad, Kuad, and Viaad.

Unit 6: History of Indian Music, The Contribution of Musicologists and Their Textual Tradition

Study of the Historical Development of Hindustani Music from Vedic to Modern period

• Ancient Medieval and Modern Musicologist and Scholars:- Bharat, Naarad, Matang, Someshwardev, Jagdekmall, Nanyadev, Sharangdev, Parshwadev, -5- Sudhakalash, Maharana Kumbha, Ramamatya, Damodar Pandit, Pt. Ahobal, Shriniwas, Hridyanarayana, Vyankatmakhi, Pt. Vishnu Digambar Palushkar, Pt. Vishnu Narayan Bhatkhande, Pt. Vinayak Rao Patwardhan, Pt. Omkarnanath Thakur, Acharya Brihaspati, Thakur Jaidev Singh, Sharachchandra Shridhar Paranjape, Bhagwat Sharan Sharma, Dr. Prem Lata Sharma, Dr. Subhadra Choudhary, Prof. R.C. Mehta, Prof. Pradeep Kumar Dixit.
• Study of ancient, Medieval, and Modern Treatises in Indian Music like Natya Shastra, Nardiya Shiksha, Sangeet makarand, Brihaddeshi, Manasollaas, Sangeet Chudamani, Bharat Bhashya, Sangeet Ratnakar, Sangeet Samaysar, Sangeetopanishatsaaroddhar, Sangeet Raj, Swaramalekalanidhi, Sangeet Darpan, Sangeet Paarijaat, Raga Tatvavibodh, Hridaya Kautuk, Hridaya Prakash, Chaturdandi Prakashika, Sangeet Chintamani, Pranavbharati, etc.
• Contribution of Western Scholars to Indian Music: Capt. N.A. Willard William Johnes, Capt. C.R. Day, E. Clements, Fox Strangwayes, H.A. Popley & Alain Danielou.

Unit 7: Compositional Forms and Their Evolution

• Prabandh, Dhrupad, Dhamaar, Saadra
• Kheyaal, Tarana, Trivat, Chaturang, Sargam Geet, Lakshan Geet, Raagmaala etc.
• Thumri, Dadra, Tappa, Hori, Kajri, Chaiti etc.
• Light Music: Geet, Gazal, Bhajan, etc.
• Firozkhani Gat, Maseetkhani Gat, Razakhani Gat, and Zafarkhani Gat and its kind.
• Jaati, Javali, Kriti, Tillana, Raagam, Taanam, Pallavi.
• Origin, development, and presentation of above said vocal and instrumental compositions
• Popular artists in the field of abovesaid forms.

Unit 8: Musical Instruments and its Classification

• Classification of Indian Musical Instruments in Ancient, Medieval, and Modern period
• Different types of Veenas in the ancient period
  • Tat – Sitar, Sarod, Violin, Dilruba, Israj, Santoor, Tanpura, Surbahar, Guitar.
  • Ghan – Jaltarang, Ghatam, Morsing, Chipali, Manjeera, Jhanjh, Kartal
  • Sushir – Flute and its varieties, Shehnai, Nagaswaram, Harmonium
  • Avanaddha – Pakhawaj, Tabla, Mridangam, Kanjira, Khol, Chang, Nakkara, Duff, Hudaka, Dholak.
• Origin, evolution, playing techniques, and famous artist of these Instruments

Unit 9: Contribution of Composers/Performers to Indian Music

• Tansen, Haridas, Gopal Nayak, Sadarang, Pandit Balkrishna Bua Ichalkaranjikar, Pandit Vishnu Digambar Palushkar, Pandit Vishnu Narayan Bhatkhand, Ustaad Faiyaz Khan, Ustad Bade Gulam Ali Khan, Ustad Nisaar Hussain Khan, Pandit Omkar Nath Thakur, Pandit Vinayak Rao Patwardhan, Pandit Narayan Rao Vyas, Pandit C.R. Vyas, Pandit Krishna Rao Shankar Pandit, Pandit Mallikarjun Mansoor, Smt Gangubai Hangal, Kesar Bai Kerkar, Abdul Kareem Khan, Heerabai Barodekar, Suhasini Koretkar, Bade Ramdas, Siddheswari Devi, Begum Akhtar, Shobha Gurtu, Girija Devi, Savita Devi, Moghubai Kurdikar, Kishori Amonkar, Pandit Kumar Gandharv, Pandit Jasraj, Pandit Balvant Rai Bhatt. Pt. Ramashraa Jha.
• Asad Ali Khan, Pt. Lal Mani Mishra, Abdul Halim Zafar Khan, Ali Akbar Khan, Sharan Rani, Amjad Ali Khan, Anath Lal, Panna Lal Ghosh, Vijay Raghav Rao, Ragunath Seth, Hari Prasad Chaurasia, Ahmad Jaan Thirakava, Pt. Samta Prasad, Kishan Maharaj, Kudau Singh, Paagal Das, Brij Bhooshan Kabra, Vishwa Mohan Bhatt, Shiv Kumar Sharma, Bhajan Sopori, M.S. Gopal Krishnan, V.G. Jog, N. Rajam, Appa Jalgaonkar, Mehmood Dhaulpuri.
• Recipient of Bharat Ratna:-
  • M.S. Subbhalakshmi, Pt. Ravi Shankar, Utsad Bismillah Khan, Lata Mangeshkar and Pt. Bhim Sen Joshi.
  • Purandar Das, Shyam Shastri, Mutthuswami Dixitar, Tyagraja, Swathi Tirunal
  • Bach, Beethoven, Mozart, Yahudi Menuhin.

Unit 10: Gharna and Institutional System and Conferences of Hindustani Music

• General study of origin and development of Gharana.
• Institutionalized system and their contribution to Hindustani Music.
• Four baanies of Dhrupad and its importance to Hindustani Music.
• General study of various Gharanas of Dhrupad Kheyal and Instrumental Music.
• Special features of Gharanas in Vocal and Instrumental Music and its famous artists.
• Purab and Punjab Angas of Tumari.
• Important music conferences in India.
• National and International awards in the field of music.
• Contribution of Music educational institutes Akademies, Prasar Bharati, Song and Drama Division, and Film in Indian Music.

Above are the topics in Hindustani Music for UGC NET Music Syllabus 2024

For Karnataka Music

Unit 5: Applied Theory 

• Musical scales (Indian & Western), Suddha and vikrita svaras, Sruti in ancient, medieval & modern period, Detailed study of grama, murchanajaati, Jaati Lakshana in ancient period, Concept of Raga, Classification of Raga from ancient to the modern period, Ragalakshana-s of popular ragas, Mela – Janya system, Katapayadi, and Bhuta Sankhya, Janya- Raga classification, Ancient-Palai-Pan system, 22 Srutis & their distribution among Swaras and Ragas, Suladi sapta Tala- s, Scheme of 35 Talas, Tala Dasa pranas, Marga and Desi talas, Talas of Tirupugazh, Shadangas and Shodasangas, important Ragas and Talas of Hindustani music. Notation systems in Hindustani, Karnatak, and Western music (Staff Notation). Voice culture, Orchestration, and Acoustics.

Unit 6: Historical Perspective of Music- Contributions of Scholars, Musicologists, Musical Concepts in Treatises

• Narada – Naradiya siksha, Sangita makaranda, Bharata – Natya sastra, Dattila-Dattilam, Matanga – Brihaddesi, Someshwara – Manasollasa, Parsvadeva – Sangita Samayasara, Sarangadeva – Sangita Ratnakara, Simhabhupala, Nanyadeva- Bharata Bhashyam, Lochana kavi – Raga Tarangini, Jagadekamalla – Sangita Chudamani, Vidyaranya – Sangita Sara, Ramamatya – Swaramelakalanidhi, Rana Kumbha – Sangita Raja, Somnatha – Raga Vibodha, Ahobala – Sangita Parijata, Govinda Dikshita – Sangita Sudha, Venkatamakhi – Chaturdandi Prakasika, Tulaja – Sangita Saramrita , Govinda Acharya – Sangraha Chudamani, Subbarama Dikshitar – Sangita Sampradaya Pradarsini, Abraham Panditar – Karunamrita Sagaram
• Nadamuni Panditar – Swara Prastara Sagaram, Atoor krishna Pisharoti – Sangita Chandrika.
• References to Musical concepts in Silappadikaram, Sangam Texts, Panchamarabu
• Tala Samudram, Mahabharata Chudamani, Yazhnool, and other important texts in Tamil, Telugu, Kannada, and Malayalam.

Musicologists 

• V.N.Bhatkhande, V.D.Paluskar, Swami Prajnanananda, B.C.Deva, P. Sambamurthy, S.Seetha, V.Raghavan, Premalata Sharma, R.Satyanarayana, T.S.Parthasarthy, N.Ramanathan, S.A.K. Durga, Balantrapu Rajanikantarao, R.C Mehta & their works.
• Contribution of western scholars to Indian Music, Curt Sachs, N.A.Willard, William Jones, C.R.Day, E.Clements, Fox Strangways, H.A.Popley & Alain Danielou.

Unit 7: Compositional Forms and Their Evolution

• Origin and development of Prabandha, Gitam, Swarajati, Jatisvarm, Tanavarnam, Padavarnam, Kirtana, Kriti, Padam, Javali, Tillana, Ragam – Tanam – Pallavi, Niraval, Kalpanasvara, Tevaram, Divyaprabandham, Tiruppugazh, Thaya, Ragamalika, Viruttam, Dandakam, Churnika, Sloka, Daru, Ashtapadi, Tarangam, Thiruvaimozhi, Thiruppavai, Chindu, Thiruvasagam, Group kritis.
• Geya nataka-a, Nritya nataka-s
• Hindustani musical forms Dhrupad, Dhamar, Khayal, Thumri, Tappa, Tarana, Trivat, Chaturang, and Vrindgan.

Unit 8: Music Instruments of India

• The Indian concept of classification of music Instruments.
• Origin, Evolution, Structure, and playing Technique of Veena, Tambura, Violin, Chitra Vina, Viola, Mandolin, Flute, Nadaswaram, Pancha Mukha vadyam, Mridangam, Tavil, Kanjira, Dappu, Chenda, Maddalam, Timila, Jaltarang, Ghatam, Morsing, Chipla, Jalra, Kartala, and other Tala instruments.
• Outline knowledge of – Sitar, Sarangi, Sarod, Shehnai, Tabla, Pakhawaj, Piano, Guitar, and Clarionet.

Unit 9: Contribution of Composers/Performers to Music (Indian and Western)

• Tevaram, Alwars, Jayadeva, Dasa Kuta, Purandara Dasa, Annamacharya, Tallapaka composers, Bhadrachala Ramadasa, Arunagirinathar, Muthutandavar, Marimuttupillai, Arunachala Kavirayar, Sangeeta Mummurthy viz., Syamasastry, Tyagaraja, Muttuswami Dikshitar, Swati Tirunal, Gopalakrishna Bharati, Tanjore Quartette, Patnam Subramanya Iyer and other prominent post-Trinity composers.
• Ariyakudi Ramanuja Iyengar, Musiri Subrahmanya Iyer, G.N Balasubramaniam
• Maharajapuram Vishwanatha Iyer, Semangudi Srinivas Iyer, Chembai Vaidyanatha Bhagavatar
• K.V Narayana Swamy, M.D Ramanathan, R.K Srikanthan, M.Balamurali Krishna, M.S.Subbalakshmi, D.K. Pattammal, M.L.Vasantkumari, Brinda, Mukta and other prominent vocalists.
• Karaikudi Samba Siva Iyer, Veena Dhanammal, S.Balachander, Mysore Doraiswami Iyengar, S.Balachander, ChittiBabu, Mysore Chowdiah, Lalgudi Jayaraman
• Dwaram Venkataswami Naidu, T.N.Krishnan, M.S.Gopalakrishnan, Sarabha Sastri, T.R.Mahalingam, N.Ramani, Sheikh Chinna Moulana, Amabalapuzha Brothers
• Namagiri Pettai Krishnan, Palghat Mani Iyer, Palani Subramaniam, Viku Vinayakram, Harishankar and other prominent musicians of Veena, Violin, Flute, Nadaswaram, Mridangam, Ghatam, and Kanjira.

Unit 10: Prominent Banis, Music Training, Education, and Propagation

• Merits and limitations of Gurukula sampradaya, Institutional training, and Academic teaching system in Universities
• Nagasvaram Bani – Tanjavur style, Mridanga Bani – Tanjavur, Pudukkotai, and Palakadu Styles, Banis of Dhanammal School, Ariyakudi, Musiri, GNB, Maharajapuram, Chembai, and Semmangudi.
• Styles of Music Trinity and analysis of their Ragas, Compositions with various musical versions.
• Music propagation through Music academies, Prasar Bharati, Song and Drama Division, Films, and Music festivals like Tiruvaiyaru, Chembai, Melattur, etc.
• Influence of other music systems on Karnatak music – Hindustani and Western.
• National and International Awards in Music.

Above are the topics of Karnataka Music for UGC NET Music Syllabus 2024

For Percussion

Unit 5: Applied Theory – Taal & Avanadhavadhya

• Description and playing techniques of Varna’s and their combinations in Tabla and Pakhawaj instruments. Ten Pranas of Taal (detailed study). Detailed study of Margi and Deshi Taal system (Paddhati), knowledge of Karnataka Taal system: Detailed knowledge of Uttar Bhartiya Taal Padhati and Taalas used in Uttar Bhartiya Sangeet. A brief knowledge of Taalas used with Rabindra Sangeet.
• Laya and Layakari. Detailed knowledge of Hindustani and Karnatak taal notation systems.
• Brief knowledge of staff notation system.
• Tabla accompaniment with vocal, (classical, semi-classical music) instrumental music, and Kathak Dance.
• Relationship between Taal and Chhand, Knowledge of composing Tihaies of different matras.
• Detailed knowledge of Tihai-Damdar, Bedam, Nauhakka, and chakradar Tihaies.
• Mathematical calculation of chakradar- (Sadharan, Firmaishi, and Kamali chakradar).
• Difference between Chakradar Gat, Chakradar Tukada and Chakradar Paran.
• The Chakra of Thirty-two tihaies describes by Acharya Brihaspati.

Unit 6: History of Music, Treies, and Contribution of Musocoligist

• Bharat, Sharangdeva, Matang, Parashwadev Nanyadev, Ramamatya, Somnath, Damodar Pandit, Ahobal, Venkatmakhi, V.N. Bhatkhande, V.D. Paluskar, Pundarik Vitthal, Dr. Subhadra Chaudhary, Nikhil Ghosh, Madhukar Ganesh Godbole, Swami Pagal Das, Purshottam Das Pakhawaji, Girish Chandra Shrivastava, BhagawatSharan Sharma, Prof. Sudhir Kumar Saxena, Dr. Aban Mistry, Dr. Yogmaya Shukla, Arvind Mulgaonkar, Sudhir Mainkar, Dr. Arun Kumar Sen, Chhote Lal Mishra.

Detailed study of the following texts: 

• Natya Shastra, Sangeet Ratnakar, Bruhad Deshi, Sangeet Samyasar Sangeet Raj, Ashtottar Shat Taal, Lakshanam, Bhartiya Sangeet Vadya, Table Ka Udagam Vikas avam Vadan Shailiyan, Bhartiya Talon Ka Shastriya Vivechan, Pakhawaj avam Table ke Gharane avam, Parmparayen, Taal Kosh, Tabla Vadan Kala avam Shastra, Tabla, Bhartiya Taal Men Anekata Mein Ekta, Aesthetics of Tabla, Tabla Puran, Taal Vadya Parichaya, Tabla Granth Manjusha, Laya Taal Vichar Manthan, Tabla Vadan Mein Nihit Saundaraya, Solo Tabla Drumming of North India, Tabla of Lucknow, Taal Vadya Shashtra, Bhartiya Sangeet Men Taal, Chand Avam Roop Vidhan.

Unit 7: Detailed Study of Compositional Forms of Avanaddha Vadyas 

• Definition of Bandish – expandable and nonexpendable compositions.
• The aesthetics of bandishen. Importance of presentation of Bandishen
• Detailed study of Theka, Peshkar, Quaida and its prastar (Paltas), Bant, Rela, Rau, Tukda, Mukhada, Gat, and its various kinds, Rang-Rela, Fird, Paran, Tihaies of various kinds. Gats and Quaidas of different Gharanas, LaggiLadi.
• Study of different compositions popular in classical vocal, Semi-Classical, and instrumental music:- Khayal, Masitkhani Gat, Raza Khani Gat, Thumri, Dadra, Tappa, Kajari, Chaiti, Dhrupad, Dhamar, Sadra, Jhoola, Bhajan, Gazal, Geet.
• General Knowledge of compositions used in Kathak dance:- Aamad, Paran, Tatkal, Toda, Stuti Paran.

Unit 8: Classification of Musical Instruments, Descriptions of Musical Instruments from Ancient to Present Period in India. 

• Classification of Indian Musical Instruments as per described by Bharat, Sharangdev, and Dr. Lalmani Mishra.
• Detailed study of Origin, Evolution, Structure, and playing technique of the following instruments:-
  • Tat Vadya:- Veena, Vichitra Veena, Naradiya Veena, Saraswati Veena, Rudra Veena, Sitar, Sarod, Sarangi, Violin, Dilruba, Israj, Santoor, Surbahar, Tanpura, Guitar, Eaktara, Dotara.
  • Sushir Vadya:- Flute, Shehanai, Nagasvaram, Claronate, Algoza, Sundari, Maguti.
  • Avanaddha Vadya:- Panav, Patah, Mirdang, Pakhawaj, Tabla, Mridangam, Tavil, Khanjira, Khol, Chenda, Chang, Upang, Duff, Nakkara, Dhol, Dholak, Sambal, Dholaki, Naal, Huddaka, Pung.
  • Ghana Vadya:- Jal-Tarang, Nal-Tarang, Ghatam, Morsinq, Chipli, Jalra, Kartaal, Jhanjh, Manjira.
• Popular percussion instruments used in Western Music:- Kittle Drum, Snare Drum, Bass Drum, Tenor Drum, and other important percussions.

Unit 9: Performer & Composers

• Tabla:- Natthu Khan, Modu Khan, Bakshu Khan, Abid Hussian Khan, Haji Vilayat Ali, Salari Khan, Chudiya Imam Baksh, Ram Sahay, Munir Khan, Habibuddin Khan, Ahmemadjan Thirukuwa, Amir Hussain, Jahangir Khan, Sheik Daud, Bade Munne Khan, Karamtullah Khan, Allarakha Khan, Gyan Prakash Ghosh, Nikhil Ghosh, Gama Maharaj, Kishan Maharaj, Kanthe Maharaj, Samta Prasad (Gudai Maharaj), Anokhe Lal Mishra, Bhai Gaitonde, Pandharinath Nageshkar, Suresh Talwalkar, Hashamat Ali Khan, Zakir Hussain and contemporary tabla and pakhawaj vizards & scholars.
• Pakhawaj:- Kudau Singh Jodhsingh, Nana Panse, Ayodhya Prasad, Pagal Das, Chatrapati Singh, Arjun Sejwal, Madhav Rao Alkutkar, Sakhara Ram.
• Nakkara Vadak:- Dilawar Khan, Aggan Khan.
• Dholak Vadak:- Bafati Khan, Gulam Jafer, Dholki:- Vijay Chauhan.

Karntak Music:- Vocalists and Instrumentalists 

• Bharat Ratan Subbalakshmi, S. Balchandar, Bal Muralikrishnan, Lalgudi Jayaraman, T.N. Krishnan, Palghat Raghu, Palghat Mani Iyer, Umayalpuram Sivaraman, U. Srinivasan, Vikku Vinayak Ram, Hari Shankar.

North Indian Vocalist & Instrumentalist 

Allauddin Khan, Vilayat Khan, Ravishankar, Abdul Haleem Jafer, Balram Pathak, Nikhil Banerjee, Hafeez Ali Khan, Ali Akbar Khan, Amajad Ali Khan, V.G. Jog, D.K. Datar, N Rajam, Hari Prasad Chourasiya, Pannalal Ghosh, Bismillah Khan, Ali Hussain, Siddharam Jadhav, Krishna Rao Shankar Pandit, Mogubai Kurdikar, Kesar Bai Kerkar, Mallikarjun Mansoor, Abdul Karim Khan, Faiyaz Khan, Bhimsen Joshi, Gangubai Hangal Malini Rajurkar, Kishori Amonkar, Jas Raj, Kumar Gandharava and Aamir Khan.

Dancers:- 

Acchan Maharaj, Lacchu Maharaj, Sitara Devi, Gopi Krishna, Birju Maharaj, Durga Lal, Yamini Krishnamurty Sanyukta Panigrahi and Kalyani Kutti Amma.

All National and International Awardees in the field of Music, Dance, folk music, and folk dances with special reference to percussion instrumentalists.

Unit 10: Detailed Study of Gharanas and Institutional System in Music 

• Definition of Baaj & Gharanas
• Historical Evaluation & Developments of Gharanas of Tabla & Pakhawaj, Delhi Gharana, Ajarada Gharana, Farrukhabad Gharana, Lucknow Gharana, Benaras Gharana, Punjab Gharana, Nana Panase Gharana, Kudau Singh Gharana.
• Varna Nikas (Playing Technique) in different Gharanas.
• Main Characteristics of Peshkar, Quida, Rela, Gat, Takada, Paran, Tihai, Chakradar & Lagi Ladi based on Gharanas.
• Importance and utility of Tabla & Pakhawaj in classical music, semi-classical, sugam & film music.
• Universities, Academies, and other institutions, Renowned Professors, Gurus, Academicians, and Administrators who are propagating music.

Above are the topics of Percussion for UGC NET Music Syllabus 2024

For Rabindra Sangeet

Unit 5: Applied Theory 

• The Knowledge of round-the-clock ragas and raginis, the knowledge of talas, the knowledge of kirtan, baul, and other folk songs of Bengal, the Knowledge of monsoon and vernal ragas and raginis, selected provincial songs, selected verses from the Vedas and Upanishads frequently chanted by Tagore. Rabindra Nath Tagore specially created talas i.e., Jhampak (5 matra), Sasthi (6 matra), Rupakra (8 matra), Nabatal (9 matra), Ekadasi (11 matra), Nabapanchatal (18 matra). Mulgan and Bhanga Gan. Brahma sangeet by Tagore. Tagore’s poetic songs, (Kabyageeti), and Vedic hymns (tuned by Tagore). Patriotic songs. Akarmatrik Notation system.

Unit 6: Historical Perspective of Music

• Conversation between Tagore and eminent personalities of India and abroad. Western scholars on Tagore Music. ‘Sangeet Chinta’ full study of Tagore book. Influence of European music as a whole on Tagore. Influence of European Music and provincial tune. Tagore’s creative journey in songwriting and musical compositions. History of Anthology of Tagore songs. Basic knowledge of Indian classical music with special emphasis on Dhrupad, Kheyal, Tappa, and Thumri. Knowledge of notation and tal (Indian and Western).

Unit 7: Composition Forms and Their Evolution

• Main forms for Rabindra Sangeet. Geetanjali and song offerings – a textual study. Biography of Tagore: The Music composer up to the Geetanjali era throughout Tagore’s life. The music composer (second part) after Geetanjali to 1941. Barsamangal, sarodotsav etc.
• Aesthetic approach of Rabindranath Tagore through Rabindra Sangeet. Tagore’s Philosophy of Music, Sahityer pathe, Sahitya, Sahityer Swarup. Tagore’s vision of music in his early days. The concept of Tagore’s musical philosophy is expressed in essays, poems, novels, etc. Knowledge of Raga. Bengali Songs: Pre contemporary and Post Rabindranath era. Bramhasangeet and Patriotic songs of the different authors other than Rabindranath. Bramhasangeet: different author other than Tagore family. Bedgan, Maghotsav, Upasana Song, Songs of Tagore House, Hansirgan.

Unit 8: Music Instrument of India 

• Popular instruments used in Rabindra Sangeet, i.e., Esraj, Guitar, keyboard, Sitar, Tanpura, Harmonium, Sarod, Violin, Mandira, Organ – Piano, Flute and its varieties, Pakhawaj, Tabla, Sri khol, Dhol, Mridangam, Jaltarang, etc.
• Rabindra Sangeet: Experiments in Rhythms and Talas
• Application of Various talas & rhythms. Surantar and Chhandantar.

Unit 9: Contribution of Scholars/Performers and Their Textual Traditions

• Tagore’s Geetinatya and Nrityanatya e.g. – Valmiki Prativa, Kalmrigaya, Mayar Khela, Chitrangada, Chandalika, Shyama, Taser Des, Shapmochan, etc. and other Dramas full of various songs, i.e., like Prayaschitta, Visarjan, Muktadhara, Achalayatan, Raja, Raktakarabi, Phalguni, Basant, Sisutirtha, Rinsodh, Raja o Rani, Prakitir Pratisodh. Tapati etc. (All dramatic works and examples of Tagore’s musical creativity in Gitabitan – a textual study (Part I, II, III) and Swarabitan (Notation Books) 1- 66 and others. Bhanusingher Padabali, Ritunatya. History of Anthology of Tagore’s songs.

Contribution of Scholar/Performer/Musicians 

• Pratibha Devi, Subinoy Roy, Nilima Sen, Indira Devi Chowdhurani, Maya Sen, Suchitra Mitra, Kanika Bandyopadhyay, Santidev Ghosh, Jyotirindranath Tagore, Debendranath Tagore, Sailajaranjan Majumdar, Anadi Dastidar, Kangalicharan Sen, Amiya Thakur, Bhimrao Sastri, Ases Bandyopadhyay, Girijasankar Chakraborty, Ramesh Chandra Bandyopadhyay, Rajeswari Dutta, Sankha Ghosh, Sudhir Chakraborty, etc.

Unit 10: Gharana and Institutionalised System of Music

• An overall survey of Tagore’s musical creativity, and tonal and rhythmic varieties of Tagore’s musical compositions including his experimental variations. Periods and phases of Tagore’s musical compositions. Periods and phases of Tagore’s musical compositions (Chronological order may be maintained). Influence of Hindustani, Karnatak, and Western music on Rabindra Sangeet, Compositions who influenced Rabindra Sangeet. Tagore Song is used in films. Tagore songs: Tunes adapted from Tappa, Thumri, Tarana, and Bhajan with original songs.
• The cultural atmosphere of Tagore’s family (Pathuriaghata and Jorasanko, Kolkata). Thematic Variations of Tagore’s music: (Puja, Prem, Swadesh, Prakriti, Vichitra, Anusthanik) Festival songs of Rabindra Sangeet. Knowledge of Hindustani songs and Tagore’s opinion on these songs.
• National Anthem of India and Bangladesh. Rabindra Sangeet is based on the classical tune.

UGC NET Music Exam Pattern 2024

The UGC NET Exam Pattern for Music is designed to assess the musical expertise and knowledge of candidates seeking to excel in this field. It follows a structured format that includes two papers – Paper I and Paper II. Paper I is common for all subjects and evaluates candidates on general teaching and research aptitude, while Paper II focuses specifically on Music. The UGC NET Music Syllabus 2024 encompasses a wide range of musical aspects, including historical periods, genres, music theory, composition, performance, and ethnomusicology. Below is the table representing the UGC NET Music Exam Pattern:

Important Topics in UGC NET Music Syllabus 2024

Below is a list of crucial topics that hold significant weight in the UGC NET Music syllabus 2024. Mastering these areas will undoubtedly enhance your chances of excelling in the examination.

• Indian Classical Music: Hindustani and Carnatic traditions.
• Western Music: The evolution of musical styles and prominent composers.
• Music Theory: Fundamentals, notation, and scales.
• Musicology: Study of historical and contemporary musical practices.
• Raga and Tala: Understanding the intricate melodic and rhythmic structures.
• Music Education: Methods and approaches to teaching music.
• World Music: Exploration of diverse musical cultures and traditions.
• Music Technology: Role and impact of technology in the music industry.
• Music and Society: The cultural, social, and political influence of music.
• Music Psychology: The psychological aspects of musical perception and performance.