Karnataka II PUC Hindustani Music (KSEAB) study plan

Define and write from memory 40 core technical terms (naad, shruti, swara, sthayi, aroha, avaroha, pakad, vadi, samvadi, anuvadi, vivadi, alpatva, bahutva, nyasa, apanyas, meend, kan, gamak, murki, khatka, zamzama, andolan, ghaseet, and similar) with one-line meanings in your own words.

Distinguish the four kinds of swara movement (kan, meend, gamak, andolan) by writing one original notation snippet for each.

Map every technical term you defined to at least one of the four prescribed ragas, noting where it actually occurs in practice.

Build a personal glossary sheet grouped by category (swara-related, raga-related, tala-related, form-related) so later weeks can reuse it.

Write the full aroha and avaroha of each prescribed raga in sargam notation, marking vakra (zig-zag) movements explicitly.

Identify and notate at least three characteristic phrases (pakad-type) per prescribed raga and mark their vadi, samvadi and time of performance.

Classify each prescribed raga under its thaat and state its jati (number of notes ascending and descending, including vakra counts).

Compare two ragas that share notes and explain in writing which phrase distinguishes them, naming the raganga involved.

List all ten thaats with their note structures and place each prescribed raga under the correct thaat without referring to notes.

Explain the concept of ragang and identify at least four ragangas with one example raga each.

Work out the jati of each prescribed raga and verify the arithmetic of note counts in aroha and avaroha.

Write short original alaps (8-12 phrases) in two prescribed ragas that use only phrases belonging to that raga.

Write the theka in bol notation for each prescribed tala, marking sam, tali, khali and vibhag with the standard symbols.

Count and mark the matras of each prescribed tala aloud while clapping, keeping a steady pulse for at least four cycles.

Notate one simple layakari pattern (for example barabar, dugun and chaugun) in each prescribed tala.

Explain in writing the difference between theka, bol and layakari, using one tala as a worked example.

Convert two short compositions from swaralipi into sung or played form, then write them back from memory and compare with the original.

Write a complete talalipi for a composition, aligning each bol or phrase under its correct matra and vibhag.

Compose and notate one original 8-16 matra bandish or sadra in a prescribed raga, with correct notation symbols for meend, kan and dirgha swara.

Check your own notation for errors in matra alignment and correct at least three mistakes you find.

Build a timeline of Hindustani music history from the Vedic period through the medieval and modern periods, naming the key texts and patrons at each stage.

Describe the major gharanas (at minimum Gwalior, Kirana, Agra, Jaipur-Atrauli and Patiala) with their stylistic markers and representative exponents.

Compare dhrupad, khayal, tarana and sadra in a table covering structure, tempo, language and typical ornamentation.

Write a short paragraph explaining how the gharana system shaped the transmission of raga knowledge.

Write a short profile of each prescribed musician covering life dates, gharana, major contributions and one representative recording or composition.

Explain the concept of rasa and name the nine rasas, linking at least three to specific ragas or forms.

Discuss in writing how technology, notation and the concert economy have changed Hindustani music practice in the modern context.

Revisit the week 1 glossary and add any terms you have since encountered but not yet defined.

Revise every raga and tala profile card and correct any fact you now know to be wrong.

Sing or play through each prescribed raga's pakad and each tala's theka from memory in a single sitting.

Complete two full-length timed practice papers covering all ten domains under exam conditions.

Review every wrong answer, write the correct fact beside it, and re-test only those items after two days.