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HP SET Music Combo Packages
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5. 1500 (+) Current Affairs MCQ with Answer PDF in English.
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HP SET Music Syllabus 2026, Exam Pattern
HP SET Music Syllabus 2026, Exam Pattern, HP SET Exam Date 2026
Detail Information about HP SET has published notification 2026 for the Notification of State Eligibility Test. Those Candidates who are Interested to the following vacancy and completed all Eligibility Criteria can read the Notification & Apply Online. In this page we provide the Complete Syllabus of this Entrance Exam with Latest Update Exam Pattern and the Exam Date also.
Himachal Pradesh SET Syllabus 2026 - Overview
| Name of Exam | Himachal Pradesh State Eligibility Test |
| Conducting Body | Himachal Pradesh Public Service Commission |
| Exam Name | HP SET 2026 |
| Job Location | Himachal Pradesh |
| Mode of Exam | Offline/Online |
| Official Website | https://hppsc.hp.gov.in/ |
HP SET Music Syllabus 2026
Music :
Unit-I: 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, Akarmatrik notations.
Unit-II: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 used in folk music Folk fairs & festivals in India.
Unit-III: 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, chhanda 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.
Unit-IV : 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 equipments, computer, internet etc.
New trends in Indian Music in post-independence era.
HINDUSTANI MUSIC (VOCAL, INSTRUMENTAL AND MUSICOLOGY)
Unit-V:Applied Theory:
Detail study of Sangeet Utpatti; Musical scales (Indian and western); Detail study of Gram, Murchchhana and Chatussarna; Jaati Lakshana, Jaati Bhed, concept of Raag, Raag-Lakshan.
Classification of Raag:
1) Gram Raag and Deshi Raag Classification
2) Male Raag classification
3) Thaat Raag classification
4) Shuddha, Chhayalag and
Sankeerna Raag classification
5) Raag-Raagini classification
6) 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, Tigun, Chaugun, Aad, Kuad and Viaad.
Unit-VI
History of Indian Music, 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,
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 Birhaspati, 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, Sanageet 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-VII : Compositional forms and their evolution:
Prabandh, Dhrupad, Dhamaar, Saadra Kheyaal, Tarana, Trivat, Chaturang, Sargam Geet, Lakshan Geet, Raagmaala etc.
Thumri, Dadra, Tappa, Hori, Kajri, and Chaiti etc.
Light Music: Geet, Gazal and 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-VIII:Musical Instruments and its Classification :
Classification of Indian Musical Instruments in Ancient, Medieval and Modern period Different types of Veenas in ancient period Tat - Sitar, Sarod, Violin, Dilruba, Israj, Santoor, Tanpura, Surbahhar, 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-IX: 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 Naryan 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, Begham 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-X: Gharna and Institutional System and conferences of Hindustani Music:
General study of origin and development of Gharana.
Institutionalised 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.
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, Akarmatrik notations.
Unit-II: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 used in folk music Folk fairs & festivals in India.
Unit-III: 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, chhanda 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.
Unit-IV : 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 equipments, computer, internet etc.
New trends in Indian Music in post-independence era.
HINDUSTANI MUSIC (VOCAL, INSTRUMENTAL AND MUSICOLOGY)
Unit-V:Applied Theory:
Detail study of Sangeet Utpatti; Musical scales (Indian and western); Detail study of Gram, Murchchhana and Chatussarna; Jaati Lakshana, Jaati Bhed, concept of Raag, Raag-Lakshan.
Classification of Raag:
1) Gram Raag and Deshi Raag Classification
2) Male Raag classification
3) Thaat Raag classification
4) Shuddha, Chhayalag and
Sankeerna Raag classification
5) Raag-Raagini classification
6) 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, Tigun, Chaugun, Aad, Kuad and Viaad.
Unit-VI
History of Indian Music, 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,
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 Birhaspati, 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, Sanageet 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-VII : Compositional forms and their evolution:
Prabandh, Dhrupad, Dhamaar, Saadra Kheyaal, Tarana, Trivat, Chaturang, Sargam Geet, Lakshan Geet, Raagmaala etc.
Thumri, Dadra, Tappa, Hori, Kajri, and Chaiti etc.
Light Music: Geet, Gazal and 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-VIII:Musical Instruments and its Classification :
Classification of Indian Musical Instruments in Ancient, Medieval and Modern period Different types of Veenas in ancient period Tat - Sitar, Sarod, Violin, Dilruba, Israj, Santoor, Tanpura, Surbahhar, 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-IX: 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 Naryan 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, Begham 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-X: Gharna and Institutional System and conferences of Hindustani Music:
General study of origin and development of Gharana.
Institutionalised 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.
HP SET Music Exam Pattern 2026
| Paper | Subject | No.of Question | Marks | Duration |
| Paper - 2 | Music | 100 | 200 | 120 Minutes |
| Total | 100 | 200 | 120 Minutes |
HP SET Exam Date 2026 : Notified Soon
Starting Date of Applcation Form : 05th January 2026
Last Date to Application Form : 30th January 2026
FAQs
Hp Set Music 2026 Exam Syllabus Frequently Asked Questions (FAQ's)
Here at Toppersexam.com , you can practice a complete set of Imporatnt Questions (MCQ) along with a Free HP SET Music MCQ designed by our expert faculty.
In this article Page, we have provided the required syllabus of the HP SET Music exam.
Being familiar with HP SET Music Exam Pattern will help you understand the types of questions asked, difficulty level of the exam and important topics that require your keen attention. It will also acquaint you with the marking scheme and time allotted to each Topics.
HP SET Music syllabus pdf download option is available here which will help you to get the PDF saved in your device that you can access anytime. It consists of a complete syllabus of HP SET Music which you can refer to while preparing for the exams.
HP SET Music exam is not tough but it depends on your preparation. The candidates find the Subject not challenging. The dedicated preparation in the right direction will undoubtedly take you towards the goal.
The candidates must be well versed and acquainted with the syllabus and the exam pattern. Select the areas where improvement is required and schedule your preparation accordingly. To ace this exam, the applicants ought to maintain speed with high accuracy. Practicing previous years question papers will help you understand the exam pattern and the level of difficulty of the exam. You need to hone your strengths and improve upon your weaknesses. Toppersexam.com will aid you through the preparation and drive you to success. At Toppersexam.com, you can practice a complete set of test series along with a free HP SET Music mock test designed by our expert faculty.
The syllabus of HP SET Music Exam includes all topics that are important for the exam and are necessary for thorough preparation. Toppersexam provides a complete and updated syllabus with a detailed topic-wise breakdown.
You can download the complete HP SET Music Exam syllabus PDF from toppersexam.com. The PDF is available free and includes a detailed list of topics, section-wise subjects, and weightage for better exam preparation.
Yes, HP SET Music Exam has a topic-wise syllabus that includes all relevant subtopics. Toppersexam provides the detailed breakdown, helping candidates focus on high-weightage areas and avoid missing important sections.
Toppersexam ensures that the HP SET Music syllabus is updated for 2026. The latest syllabus reflects current exam trends, question patterns, and updated topics as per official notifications.
The HP SET Music Exam pattern includes details like the number of sections, total questions, marks distribution, and exam duration. Toppersexam provides a comprehensive guide on exam format, marking scheme, and question types.
Yes, the majority of questions in HP SET Music Exam are MCQs. Toppersexam provides practice MCQs with answers to help candidates understand the question pattern and improve accuracy.
Yes, questions are divided section-wise. Toppersexam provides a clear guide on how many questions are asked per section and their difficulty level for effective preparation.
Yes, Toppersexam offers online mock tests that strictly follow the HP SET Music Exam pattern. These mocks help candidates practice time management and get real-exam experience.
Yes, exam patterns can change over time. Toppersexam provides updated information on the latest exam pattern, question types, and section-wise changes.
Understanding the exam pattern is crucial for time management, question prioritization, and strategy planning. Toppersexam guides candidates on how to use the pattern effectively to maximize scores.
Start by dividing the syllabus into sections and prioritizing high-weightage topics. Toppersexam provides a preparation strategy, along with topic-wise tips and sample questions to make syllabus analysis easier.
Yes, focusing on high-weightage topics improves efficiency. Toppersexam highlights important topics, helping candidates prioritize sections for better performance.
Toppersexam provides a free downloadable PDF that includes both the syllabus and detailed exam pattern. This helps candidates study offline and revise efficiently.