BSEH SS Music Melodic study plan

Define and correctly use at least 30 core terms (swara, shruti, saptak, alankar, vadi, samvadi, anuvadi, vivadi, jati, gayan-shaili) in your own written sentences

Map the three saptaks and the concept of shruti (22 shrutis, placement debates) onto a hand-drawn diagram you can redraw from memory

Classify all nine prescribed talas by matra, vibhag, tali and khali, and recite each theka aloud with hand claps at a steady pulse

Distinguish jati (audav, shadav, sampurna) and apply it to three ragas you already know

Write full lakshana notes for each prescribed raga: aroha, avaroha, pakad, vadi, samvadi, time of performance, and thaat

Sing or play the pakad of every prescribed raga from memory without notation

Build a comparative grid grouping ragas that share a thaat or similar aroha (e.g. pairs that are commonly confused) and state the distinguishing phrase for each

Identify ragas by ear from recordings using only pakad cues, logging your accuracy

Write sargam notation in the Bhatkhande system for one composition (bandish or dhrupad) in each of four prescribed ragas, marking sam, tali, khali and vibhag lines correctly

Convert notation between full sargam and palta/alankar form and check bar-to-bar alignment against the tala

Notate at least two alankars and one tala-based exercise using proper symbols for komal, tivra, mandra and taar marks

Self-audit your notation against a recording and correct every matra misalignment

Build a timeline of Indian music history from Vedic chant through the medieval period to modern institutional eras, naming key treatises and their authors

Summarise the contribution of at least eight musicians and musicologists (composers, theorists, instrument reformers) in two to three sentences each

Compare khayal, dhrupad, thumri, tarana and one other style on structure, tempo, ornamentation and typical presentation

Describe the gharana system: how gharanas formed, what they transmit, and name at least four gharanas with one stylistic marker each

Recite theka for every prescribed tala at vilambit, madhya and drut laya while keeping tali-khali hand movements accurate

Demonstrate laya concepts in practice: barabar, dugun, tigun and chaugun over one tala cycle, counted aloud

Perform a short raga presentation (alap, one composition, a few taans or todas) and record it for self-review

Answer viva-style questions aloud about your chosen raga's lakshana and your tala's structure

Classify instruments using the standard fourfold scheme (tata, sushir, avanaddha, ghan) and place every prescribed melodic instrument correctly

Describe the construction, tuning and playing technique of each prescribed melodic instrument in your own words

Name one or two prominent exponents associated with each prescribed instrument

Perform your raga presentation again, applying the fixes from week 5, and add a second composition in a different tala

Write notation from memory for compositions in three more prescribed ragas without reference material

Answer timed short-answer questions on history, musicians and styles, then correct every wrong answer in writing

Explain the Bhatkhande notation system's symbols and conventions aloud as if to an examiner

Link at least five historical figures to the styles or gharanas they shaped

Run two full-length mock exams covering all eight domains under time pressure and review every error

Do a final closed-book recall pass on terminology, raga lakshana and tala tables

Perform a complete raga presentation with alap, composition, improvisation and tala recitation as a final rehearsal

Rehearse viva answers on raga choice, tala structure and instrument classification until fluent