UPMSP Class 12 Vocal Music study guide
UPMSP Class 12 Vocal Music · Work through your exam, one topic at a time.
UPMSP Class 12 Vocal Music - the Intermediate (Class 12) Hindustani vocal music subject of the Uttar Pradesh Board of High School and Intermediate Education - is a two-part school-leaving qualification: a written theory paper answered in descriptive form, and a practical examination before an examiner panel, with internal assessment as the Board prescribes. It suits students who have carried vocal music through Class 11 and intend to study music at degree level, pursue performance or teaching, or simply want a Board-recognised arts subject with a strong performance core. The UPMSP Class 12 Vocal Music study guide has 10 sections and about 2,848 words.
01Raag Gayan: Vilambit and Drut Khayal with Alaap-Taan
UPMSP Class 12 vocal music asks you to sing and to explain: bada khayal in vilambit laya and chhota khayal in drut laya from the prescribed ragas, each with alaap and taan. Written answers must show how a khayal is built, not only how it sounds.
325 words, about 2 min02Swar and Laya Fundamentals
Shuddha: S R G M P D N. Vikrit: komal r g d n, plus teevra M.
317 words, about 2 min03Taal and Laya: Thekas and Layakari
Teentaal, 16 matras, 4+4+4+4, tali 1, 5, 13, khali 9: dha dhin dhin dha dha dhin dhin dha dha tin tin ta ta dhin dhin dha. Ektaal, 12 matras, 2+2+2+2+2+2, tali 1, 5, 9, 11, khali 3, 7: dhin dhin dha dhin dhin dhin dha tin tin ta dha dhin.
326 words, about 2 min04Notation Systems and Writing Notation
Both Bhatkhande and Vishnu Digambar Paluskar notate horizontally, left to right, in singing order. Bhatkhande: capitals for shuddha (S R G M P D N), small letters for komal (r g d n), a marked M for teevra madhyam.
296 words, about 1 min05Sangeet ke Prakar: Classical, Semi-Classical and Folk Forms
Dhrupad: the oldest living Hindustani vocal form; four angs - sthayi, antara, sanchari, aabhog - with pakhawaj, nom-tom alaap, and four vanis (Nauhar, Dagar, Khandar, Gaudi). Dhamar: a Holi-season composition in dhamar taal of 14 matras, with pakhawaj, describing Krishna and colours.
248 words, about 1 min06Gharana and History of Hindustani Vocal Music
Gwalior: traced to Hassu, Haddu and Nathu Khan; the cradle of khayal, plain raga presentation, clear bol-alaap, strong emphasis on the composed bandish. Agra: Faiyaz Khan and Vilayat Hussain Khan; nom-tom alaap, bol-banao, forceful layakari.
257 words, about 1 min07Life Sketches and Contributions of Musicians and Musicologists
Bharat: Natyashastra; 22 shrutis, three gramas, murchhana. Sharangdev: Sangeet Ratnakar (13th century), the encyclopaedic Sanskrit treatise on raga, tala and prabandha.
261 words, about 1 min08Sangeet ke Siddhant and Swar-Saadhana
Naad is of two kinds: ahata (struck, produced by voice or instrument) and anahata (unstruck). A raag must have swar, varna, aroha and avaroha, vadi and samvadi, pakad, an appropriate time, and rasa.
263 words, about 1 min09Aadhunik Sangeet: Modern Trends and Institutions
Recording: Edison's phonograph (1877); Fred Gaisberg's Calcutta sessions of 1902 preserved Gauhar Jaan and others, turning performance into a fixed, repeatable commodity. Broadcast: the Indian Broadcasting Company (1927) and All India Radio (1936) created a national listening public and a microphone-friendly style of singing.
248 words, about 1 min10Practical Viva-Voce and Identification
Tune to the raag, not to a fixed chord. If the raag has Pa, use Pa–Sa–Sa–Sa; if Pa is varjit (Malkauns, Marwa, Puriya), use Ma–Sa–Sa–Sa; if Ma is also absent (Bhoopali), use Ni–Sa–Sa–Sa.
307 words, about 2 min