UPESSC Assistant Professor Music syllabus

1Technical–Terminology

• Nada, Shruti, Swara, Grama-Moorchana, Jati, Raga, Tala, Tan, Gamak, Gandharva-Gaan, Marga-Deshi, Giti, Gaan, Varna, Alankar, Melody, Harmony, Musical Scales, Musical intervals, Consonance-Dissonance, Harmonics.Western and South Indian terminology and their explanation, Swarit, Alpatva-Bahutva, Abirbhav-Tirobhav, Kirtana, Jatiswara, Pada, Swarjati, Ragmalika, Tillana, Nyasa, Ansa, Gitinatya, Nritya-Natya, Baitalik, Varsha-Mangal, Basantotsav, Gita-Bitana, Swara-Bitana,

2Applied Theory

• Detailed and critical study of Ragas, classification of Ragas, i.e., Jati Gayan, Grama Raga vargikaran, Mela Raga Vargikaran, Raga-Ragini Vargikaran, Thata Raga Vargikaran, and Raganga Vargikaran, Time-theory of Ragas, Application of melody and harmony in Indian Music, Placement of Shuddha and Vikrit Swaras on Shruties in ancient, medieval and modern period. Detailed knowledge of prevalent talas of Hindustani music, knowledge of tala Dashpranas and tala, detailed study of different layakaris viz, Dugun, Tigun, Chaugun, Ada, Kuada, Biaada and method to apply them in compositions.
• Tagore's treatment of Hindustani ragas and raginis, elements of Hindustani classical music, Karnatak music, Western Music, Music from other provinces, folk music.

3Compositional Forms and their Evolution

• Prabandha, Dhrupad, Khyal, Dhamar, Thumri, Tappa, Tarana, Chaturang, Trivat, Ragmala, Vrindagana, Vrinda Vadan, Javeli, Kriti, Tillana, Alap, Varnam (Pad Varnam and Tana Varnam), Padam, Ragam, Tanam, Pallavi, Gita, Varna, Ragamalika, Narvallu, Swara Kalpana (Manodharma Sangeet), Divyaprabandham.
• Main Forms of Rabindra Sangeet.

4Gharanas and Gayaki

• Origin and Development of Gharanas in Hindustani Music and their contribution in preserving and promoting traditional Hindustani Classical Music. Merits and demerits of Gharana System.
• Origin and Development of Gharanas and their contribution in promoting traditional Indian Classical Music, merits and demerits of Gharana system.
• Study of the traditions and specialities of different gharanas in vocal, music. Desirability and possibility of gharanas in contemporary music.
• Guru Shishya parampara and different styles of singing and playing in Karnatak Music.
• An overall survey of Rabindra Nath Tagore's musical creativity, tonal and rythmic varieties of Tagore's musical compositions including his own experimental variations. Periods and phases of Tagore's musical compositions (Chronological order may be maintained)
• The Cultural atmosphere of Tagore's family (Pathuriaghata and Jorasanko, Calcutta) Thematic variations of Tagore's Music: (Puja, Swadesh, Prem, Prakriti, Vichitra, Anusthanik).

5Contribution of Scholars to Indian Music and their textual tradition

• Narad, Bharat, Dattil, Matanga, Sharangadeva, Nanyadeva and others. Lochan, Ramamatya, Pundarik Vitthal, Somnath, Damodar Mishra, Ahobal, Hridaya Narain Deva, Vynkatmakhi, Sriniwas, Pt. Bhatkhande, Pt. V. D. Paluskar, Pt. Omkarnath Thakur, K. C. D. Brahaspati, Dr. Premlata Sharma, Prof. Swatantra Sharma
• Study of ancient, medieval and modern treatises in like Bharat Natyashastra, Brahadeshi, Sangeet Ratnakar, Sangeet Makarand, Sri Raga Tatva vivodh Saundary Rasa Avam Sangeet Abhinav Geetanjali Part I, II, III, Bhartiya Sangeet Ka Etihasik vishleshan, Pashchatya swarlipi Padhati awam bhartiya sangeet.
• Contribution of prominent Karnatak Scholars, composers and performers and their medieval and modern period such as Ramamatya, Vyankatmakhi, Tyagraja, Muttu-Swami Dikshitara, Shyama Sastri, Prof. Sambhamoorti, Subbulakshmi, Balmurli Krishnan

6Historical Perspective of Music

• A study of the historical development of Hindustani music (Vocal), Karnatak Music and Rabindra Sangeet in ancient, medieval and modern period, Western staff notation and comparison between Hindustani and western notation system.
• Contribution of Western Scholars to Indian Music.

7Aesthetics

• Its origin, and views of western philosophers : Principle of aesthetics and its relation to Indian Music and importance in India music views of Indian scholars our aestheties.
• Rasa theory and its application to Indian Music.
• Relationship of Musical aesthetics and Rasa in Hindustani Music (Vocal)
• Interrelationship of Fine Arts with special reference to Rag – Ragini Paintings, Dhyan of Ragas and others.

8Instruments / Dance

• Origin, evolution, structure of various instruments and their well – known exponents of Hindustani (Vocal) and Karnatac Music. Importance of Tanpura and its Harmonics.
• Elementary knowledge of Indian dances like Kathak, Bharatnatyam, Kuchipudi, Oddissi, Kathakali Mahiniattam, Sattriya, Manipuri.

9Folk Music

• Influence of folk music on Indian Classical Music. Stylisation of folk melodies into ragas.
• Popular folk tunes and folk dances of Hindustani, Karnatak and Rabindra Sangeet, such as Baul, Bhatiyali, Lavani, Garba, Kajri, Chaity, Maand, Bhangra, Gidda, Jhoomar, Swang, Pandawani, Amar – Praner Manush Acchhe Prane, Amar Sonar Bangla, Kirtan, Sari, Rai Beshe, Jhumur, Karakattam, Kavadi Attam, Villuppattu and other prominent folk forms.
• Analysis of the elements of Hindustani folk music, Karnatac folk music or South Indian folk music and Rabindra folk Sangeet or folk music of Bengal and the elements regarding their interrelationship.
• General Study of the Folk Music of various regions of India like Uttar Pradesh, Rajasthan, Haryana, Punjab, Maharashtra, Gujrat,Chttishgarh, Madhya Pradesh, Bihar, Jharkhand, Uttarakhand, Himachal Pradesh.

10Music Teaching and Research Technologies

• Bhairav, Yaman, Bhairvi, Khamaj, Bihag, Shuddha Kalyan, Shuddha Sarang, Ahir-Bhairav, Nat Bhairav, Pooriya, Marwa, Sohani, Basant, Paraj, Jog, Maroo Bihag, Pooriya Kalyan, Bheempalari, Jaunpuri, Todi, Multani, Darbari, Adana, Miyan Malhar, Bahar.
• Guru Shishya Parampara, Sangeet – Sampradaya Pradarsini and the institutional system of music teaching with reference to Hindustani and Karnatak Music.
• Utility of teaching aids like electronic equipments in music education with reference to Hindustani, Karnatak music and Rabindra Sangeet.
• The methodologies of music research, preparing synopsis, data collection.
• Study of interrelation between textual and oral tradition.

General Knowledge — common to every subject

1Current Affairs

• A. Major events & Current Affairs : National/International
• B. Personalities in News
• C. Sports News
• D. Current Research in the field of Science.

2Teaching and Research Aptitude

• A. Teaching : Nature, Objectives, Need, Methods Evaluation and Factor Affecting Teaching
• B. Research : Meaning and Methods
• C. Data : Source, Collection and Analysis
• D. Role of UGC in Qualitative Development in Higher Education.

3Information and Communication Technology (ICT)

• A. ICT : Meaning, Advantages and Disadvantages
• B. Basics of Internet & E-mailing
• C. General Abbreviation and Terminology.

4People and Environment

• A. People & Environment Interaction
• B. Environmental Depredation : cause & Solution
• C. National and International affairs for better Environment
• D. Environmental Control.

5Indian History and Geography

• A. Salient Features of Indian Culture
• B. Indian National Movement (1857-1950)
• C. Origin of Universe and Solar System
• D. Indian Geography (General).

6Indian Constitution and Economy

• A. Preamble, Fundamental Rights and Directive Principles
• B. Indian political system : Legislative Executive and Judiciary
• C. Election Commission and Public Service Commission
• D. Population, Poverty, Unemployment; Planning and Development; Income Tax
• E. Agriculture, Industry, Trade; Money, Currency, Banking and Capital Market.

UPESSC Assistant Professor syllabus, Music (Vocal) (Subject Code-25), Syllabus/upessc_2026/Music_Vocal_en.pdf (English pages 1-2) — transcribed from the scanned pages, wording as printed. Sitar and Tabla have their own UPESSC syllabi.