Punjabi University Patiala

Department of Music

Syllabus

M.A. Part I : (Music Vocal) Semester I

2016-17 and 2017-18 Session

Outlines of tests

Paper I Scientific & Accoustical Study of Hindustani Music (Vocal).

Paper II History of Indian Music (Vocal)

Paper III Stage Performance

Paper IV Viva-Voce

Syllabus and courses of reading:

Paper I: Scientific & Accoustical Study of Hindustani Music (Vocal).

Time- 3 hrs. Maximum Marks : 75

Pass Marks : 35% Total Teaching Hours : 65

Internal Assessment: 25 Marks

Instructions for the paper-setter:

The question paper will consist of three sections : A, B & C. Section A &B will

have 04 questions each from the respective sections of the syllabus and will carry

12 marks each. Section C is compulsory of 09 short answers type questions,

covering the entire syllabus uniformly and will carry 27 ( 9 x3) marks in all.

INSTRUCTIONS FROR THE CANDIDATES

Candidates are required to attempt two questions each from the sections A & B

and the entire Section C is compulsory.

Section – A

1 An introduction to accoustics in the particular context of auditorium

accoustics.

2. Study of the following accoustical terms: Vibration; Pitch; Intensity;

Timbre.

3 Origin and development of Scale in music along with study of

different music scales.

4 Swar Sthapna on the string of veena as described by scholars of

medieval period.

Section – B

5 Evolution of notation system, its merits, demerits and importance in

music education.

6 Voice Culture in the context of Hindustani Music.

7 Correct intonation of swaras..

8 A detailed study of technical terms of music with special reference

to practical utility in various styles:

Avirbhav-Tirobhav; Alpatva-Bahutav; Kan ; Meend; Gamak;

Khatka; Murki

Books suggested:

Introduction to Musical Scales : Alan Danielou

Psycho Accoustics of Music & Speech : B.C. Deva

Sensation of Tone : Helmholtz

Voice Culture : S.A.K. Durga

Pranav Bharti : Onkar Nath Thakaur

The Story of Indian Music : O. Goswami

Sangeet Shastra : K.Vasudev Shastri

Hindustan Music : G.H. Ranade

Sangeet Visharad : Basant

Gayan Kala (Pbi.Uni.PTA) : Dr.Yashpal Sharma

Bhartiya Sangeet Mein Shruti : Dr. Yashpal Sharma

Sitar As I Know : Dr. Ravi Sharma

Dhwani Aur Sangeet : Lalit Kishore Singh

Science and Music : James Jeans

Physics and Music : G. Anfilov

Bharti Sangeet Swarlipi Paddhati : Devinder Kaur

Itihasak Sarvekhan

Sangeet Chintamani : Acharya KCD Brahaspati

Paper - II : History of Indian Music (Vocal).

Time 3 hrs. Maximum Marks : 75

Pass Marks : 35% Total Teaching Hours : 65

Internal Assessment : 25 Marks

Instructions for the paper-setter:

The question paper will consist of three sections : A, B & C. Section A &B

will have 04 questions each from the respective sections of the syllabus and will

carry 12 marks each. Section C is compulsory of 09 short answers type questions,

covering the entire syllabus uniformly and will carry 27 (9x3) marks in all.

INSTRUCTIONS FROR THE CANDIDATES

Candidates are required to attempt two questions each from the sections A & B

and the entire Section C is compulsory.

Section A

1. Development of Indian Music in the following periods:

( i) Vedic Period (ii) Hindu Period (iii) Mughal Period

2. Life sketch and contribution of the following music scholars and

musicians:

(i) Pandit V.N.Bhatkhande (ii) Pandit V.D. Paluskar.

(iii) Pt. Dilip Chander Vedi (iv) Pt. Bhimsen Joshi (v) Ustad Sohan Singh

3. Analytical Study of Musical references mentioned in Shri Guru Granth Sahib.

Section B

4. Contribution of Punjab in the field of Indian Classical Music.

5. Historical Development of the following Gayan shaillies:

(i) Prabandh (ii) Dhrupad (iii) Dhamar (iv) Tarana

6. Origin, development and characteristics of the following gharanas of

Khayal Gayan.

(i) Gwalior (ii) Agra (iii) Delhi

Books suggested:

Bharti Sangeet Da Itihas: Yoginder Pal Sharma

(Pbi.Uni.Publication) Bachittar Singh

Gurmat Sangeet Parbandh Te Passar : Dr.Gurnam Singh (Pbi.Uni.Publication)

Sangeet Chintamani: Acharya K.C.D. Brahspati

Hamare Sangeet Rattan : Sangeet Karyalaya Hathras

Bhartiya Sangeet Ka Itihas : Umesh Joshi

Bhartiya Sangeet Ka Itihas : Dr.Sharat Chander Pranjpe

Punjab Vich Sangeet Kala Da Nikas Te Vikas : Panna Lal Madan (Pbi.Uni. PTA)

Punjab Ki Sangeet Parampara : Dr. Geeta Paintal

Bhartiya Sangeet Ki Utpatti Evam Vikas : Dr.J.S.Bawra

Punjabi Sangeetkar: Dr.Gurnam Singh (Pbi.Uni.Pta.)

Prachin Bharat Mein Sangeet : Dharamvati Srivastava

Hamara Adhunik Sangeet : Sushil Kumar Chaube

Bhartiya Sangeet Pandhtiyon Ka Tulnatamak Adhayan : V.N.Bhatkhande

Short Historical Survey of the Music of Upper India: V.N. Bhatkhande

Paper III Stage Performance (Music Vocal)

Total Teaching Hours : 65 Maximum Marks : 75

Pass Marks : 35% Internal

Assessment 25 Marks

Instructions for the Examiners

The Examination will be conducted by a Board of Examiners consisting of

Head of the Department/nominee, internal teacher and external expert as per

decision of the Syndicate 25-10-91 (Para 2, 3).

Prescribed Ragas:

Note: The Candidate has to choose one Raga out of the ragas prescribed in the

paper-IV with Vilambit & Drut Khayals,proper elaboration & all the

technicalities of gayan.

(A) Performance of Raga:

(i) Vilambit Khyal Marks: 25

(ii) Drut Khyal Marks: 15

(B) A Tarana in any raga mentioned in Paper IV except the raga selected

for performance . Marks 15

(C) One folk song from Punjab Region while playing Harmonium. - Marks:10

(D) Demonstration of the following taals on hand in Ekgun,

Dugun and Chaugun Layakaries: Ek Taal, Teen Taal, Char Taal,

Teevra, Sool Taal. – Marks: 10

Paper - IV : Viva-Voce (Music Vocal)

Total Teaching Hours : 65 Maximum Marks : 75

Pass Marks : 35% Internal Assessment: 25 Marks

Instruction for the Examiners

The Examination will be conducted by a Board of Examiners consisting of

Head of the department/nominee, internal teacher and external expert as per

decision of the Syndicate 25-10-91 (Para 2, 3).

From the following Ragas, one Vilambit Khyal is compulsory, other than

the raga selected for Stage-performance. Drut Khyals have to be done in all the

ragas. Marks should be awarded on the basis of performance and viva-voce.

Rageshri , Ahir Bhairav , Puriya Dhanashri, Bhimplasi, Alhaiya Bilawal , Bihag

Books suggested for Practical Papers:

Sangitanjali (Part I to VI) : Onkar Nath Thakur

Raag Vigyan (Parts I to VII) : V.R. Patvardhan

Kramik Pustak Malika: V.N. Bhatkhande

Sangeet Vyas Kriti (Part I to IV) : S.G. Vyas

Aprachalit Raags : J.D. Pataki

Abhinav Gitanjali: Ramashray Jha

Sangeet Ratnavali (Part I): Surinder Kapila

Raag Praveen: Ganesh Prasad Sharma

Malhar Ke Prakar : J.T. Shah

Kanhra Ke Parkar : J.T. Shah

Sarang Ke Parkas : J.T. Shah

Compositionn in Indian Music: R.C.Mehta

Punjab Dian Lok Dhunan (Pbi.Uni.Pta.): Gurpartap Singh Gill

Punjabi Lok Geet : Devinder Satyarthi

Tabla Vigyan: Lal Mani Mishra

Gayan Bandshanwali (Pbi.Uni.Pta.) : Gurnam Singh

Shri Guru Granth Raag Ratanawali: Prof. Tara Singh

Tabla Vadan Part I(Pbi.Uni.Pta.) : Dr. Jagmohan Sharma

Tabla Vadan Part II (Pbi.Uni.Pta.): Dr. Manmohan Sharma

MA Part -1 (Music Vocal), Semester- II

2016-17 and 2017-18 session

Outlines of tests

Paper I Scientific & Accoustical Study of Hindustani Music.

Paper II History of Indian Music .

Paper III Stage Performance .

Paper IV Viva-Voce .

Syllabus and courses of reading:

Paper I : Scientific & Accoustical Study of Hindustani Music .

Time 3 hrs. Maximum Marks : 75 Pass

Marks : 35% Total Teaching Hours : 65

Internal Assessment: 25 Marks

Instructions for the paper-setter:

The question paper will consist of three sections : A, B & C. Section A &B

will have 04 questions each from the respective sections of the syllabus and will

carry 12 marks each. Section C is compulsory of 09 short answers type questions,

covering the entire syllabus uniformly and will carry 27 (9x3) marks in all.

INSTRUCTIONS FROR THE CANDIDATES

Candidates are required to attempt two questions each from the sections A & B

and the entire Section C is compulsory.

Section – A

1. Study of following accoustical terms: Frequency; Beats; Echo;

Resonance; Overtones.

2. Study of sound with particular reference to the study of studio recording

techniques with special reference to composing, editing and mixing.

3. Study of Moorchhna along with its relevance in modern times.

4. Comparative system of Hindustani and Karnatka styles of music

with special reference to Swar, raag and taal system.

Section – B

5. Detailed study of Shruti from Ancient to Modern Period

6. Cycle of fourths & fifths in the context of Swar-Samvad.

7. Study of Melody & Harmony and its application in music.

8. Usage of Electronic gadgets in the presentation of music for public

performances, their techniques and importance.

Books suggested:

Psycho Accoustics of Music & Speech : B.C. Deva

Sensation of Tone : Helmholtz

Physics and Music : G. Anklov

Pranav Bharti : Onkar Nath Thakaur

Dhawani aur Sangeet : Lalit Kishore Singh

Sangeet Vishard : Basant

Sangeet Bodh : S.C. Pranjpe

The Study of Indian Music : O Goswami

Sangeet Shastra Vidyan : Panna Lal Madaan

Gayan Kala (Pbi.Uni.PTA) : Dr.Yashpal Sharma

Bhartiya Sangeet Mein Shruti : Dr. Yashpal Sharma

Sitar As I Know : Dr. Ravi Sharma

Science and Music : James Jeans

Physics and Music : G. Anfilov

Paper- II : History of Indian Music (Vocal)

Time 3 hrs. Maximum Marks : 75

Pass Marks : 35% Total Teaching Hours : 65

Internal Assessment : 25 Marks

Instructions for the paper-setter

The question paper will consist of three sections : A, B & C. Section A &B

will have 04 questions each from the respective sections of the syllabus and will

carry 12 marks each. Section C is compulsory of 09 short answers type questions,

covering the entire syllabus uniformly and will carry 27 (9x3) marks in all.

INSTRUCTIONS FROR THE CANDIDATES

Candidates are required to attempt two questions each from the sections A & B

and the entire Section C is compulsory.

Section – A

1. Development of Indian music in the following periods:

(i) British Period (ii) Post-independence Era

.

2. Life sketch and contribution of the following scholars and

musicians:

(i) Ustad Amir Khan (ii) Ustad Bade Gulam Ali Khan

(iii) Prof. Tara Singh (iv) Pandit Onkar Nath Thakaur

(v) Acharya Brihaspati

3. Contribution of the following royal patrons in the development of

Indian Music:

(i) Allauddin Khilji (ii) Maan Singh Tomar

(iii) Mohammad Shah Rangila (iv) Wajid Ali Shah

Section – B

4. Historical development of the following Gayan shaillies:

(i) Khayal (ii) Thumri (iii) Tappa

5 Origin, development and characteristics of the following gharanas of

khyal gayan:

(i) Kirana (ii) Jaipur (iii) Rampur Sehaswan

6. Study of Gharana Tradition in Punjab with particular reference to Patiala

Gharana.

Books suggested:

Bharti Sangeet Da Itihas : Yoginder Pal Sharma

(Pbi. Uni. Publication) : Bachittar Singh

Gurmat Sangeet Parbach Te Parsar : Dr.Gurnam Singh

(Pbi. Uni. Publication)

Sangeet Chintamani : Acharya K.C.D. Brahspati

Hamare Sangeet Rattan : Sangeet Karyalaya Hathras

Bhartiya Sangeet Ka Itihas : Umesh Joshi

Bhartiya Sangeet Ka Itihas : Dr.Sharat Chander Pranjpe

Punjab Vich Sangeet Kala Da Nikas Te Vikas : Panna Lal Madan

(Pbi.Uni.PTA)

Punjab Ki Sangeet Parampara : Dr. Geeta Paintal

Bhartiya Sangeet Ki Utpatti Evam Vikas :Dr.J.S.Bawra

Punjabi Sangeetkar : Dr.Gurnam Singh

(Pbi.Uni.Pta.)

Prachin Bharat Mein Sangeet : Dharamvati

Srivastava

Hamara Adhunik Sangeet : Sushil Kumar Chaube

Bhartiya Sangeet Pandhtiyon Ka Tulnatamak Adhayan : V.N.Bhatkhande

Short Historical Survey of the Music of Upper India : V.N. Bhatkhande

Khusro, Tansen Tatha Anya Kalakar : Acharya Brihaspati

Sangeet Gharana Ank

Sangeetak Gayan Shalies

Parmukh Sangeetkar - I & II

Paper III Stage Performance (Music Vocal)

Total Teaching Hours : 65 Maximum Marks : 75

Pass Marks : 35% Internal Assessment 25 Marks

Instruction for the Examiners

The Examination will be conducted by a Board of Examiners consisting of

Head of the Department/nominee, internal teacher and external expert as per

decision of the Syndicate 25-10-91 (Para 2, 3).

Prescribed Ragas:

Note : The candidate has to choose one raga out of the Ragas prescribed in

Paper-IV with Vilambit and Drut khyals, proper elaboration and all

the technicalities of gayan.

(A) Performance of Raag:

(i) Vilambit Khyal Marks 25

(ii) Drut Khayal Marks 15

(B) Dhrupad in any one raga prescribed in paper IV except the raga

selected for the stage performance Marks 15

(C) A Raga based Bhajan or a Shabad in raga as prescribed in Sri Guru

Granth Sahib while playing Harmonium

Marks 10

(D) Demonstration of the following talas on hand in Ekgun, Dugun and

Chaugun Layakaries: Jhap Taal, Jhumra, Jat, Deepchandi and

Roopak. Marks 10

Paper - IV : Viva-Voce Music (Vocal)

Total Teaching Hours : 65 Maximum Marks : 75

Pass Marks : 35% Internal Assessment : 25 Marks

Instruction for the Examiners

The Examination will be conducted by a Board of Examiners consisting of

Head of the department/nominee, internal teacher and external expert as per

decision of the Syndicate 25-10-91 (Para 2, 3).

From the following Ragas one Vilambit Khyal is compulsory, other than

the raga selected for Stage-performance. Drut Khyals have to be done in all the

ragas. Marks should be awarded on the basis of performance and viva-voce.

Shudh Sarang, Darbari Kanhra, Lalit, Chandra Kauns, Kalavati and Mian Ki Todi.

Books suggested for Practical Papers:

Sangitanjali (PartsI to VI) : Onkar Nath Thakur

Kramik Pustak Malika(Parts I to VI) : V.N. Bhatkhande

Sangeet Vyas Kriti (Part I to IV) : S.G. Vyas

Aprachalit Raags(Parts I to II): J.D. Pataki

Abhinav Gitanjali(Part I to IV): Ramashray Jha

Sangeet Ratnavali (Part I): Surinder Kapila

Raag Praveen: Ganesh Prasad Sharma

Malhar Ke Prakar : J.T. Shah

Kanhra Ke Parkar : J.T. Shah

Sarang Ke Parkar : J.T. Shah

Compositionn in Indian Music: R.C.Mehta

Dhrupad: Indurama Srivastva

Tabla Vigyan: Lal Mani Mishra

Gayan Bandshanwali (Pbi.Uni.Pta.) : Gurnam Singh

Shri Guru Granth Raag Ratanawali: Prof. Tara Singh

Tabla Vadan Part I (Pbi.Uni.Pta.) : Dr. Jagmohan Sharma

Tabla Vadan Part II (Pbi.Uni.Pta.): Dr. Manmohan Sharma

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;[o, okr ns/ skb d/ ;zdoG ftu.

Gkr - n

1) g[osB s'I nkX[fBe ;w/I sZe ;o[sh dk ft;fsqs nfXn?B.

2) ;to-;ztkd d/ ;zdoG ftZu ;-w ns/ ;-g ;ztkd uZeo<

3) ;zjfs ns/ nB[rsh dk nfXn?B ns/ ;zrhs ftZu fJ;dk T[g:'r.

4) iB-;XkoB ftZu ;zrhse gq;s[sh ;w/I fJb?eN"qfBe :zsoK dk gq:'r

fJ;dh seBhe (tkdB ;?bh) ns/ wjZssk.

n?w aJ/ ;zrhs (rkfJB) Gkr-gfjbk

;w?;No-d{ik

g/go LII Gkosh ;zrhs (rkfJB) dk fJfsjk;.

e[Zb nfXnkgB ;wK L 65 xzN/ tZZX s''I tZX nze L 75

gk; nze L 35 % nzdo{Bh w[bKeD L 25 nze

g/goK bJh ;wK l 3 xzN/

gohfyne bJh ;aosK

gq;aB gZso d/ T, n ns/ J fszB Gkr j'Dr/. Gkr T ns/ n ftZu

uko-uko gq;aB j'Dr/. jo/e gq;aB 12 nzeK dk j't/rk. Gkr J ftu ;ko/

f;b/p; Bkb ;pzXs 3-3 nzeK d/ 09 ;zy/g T[ZsoK tkb/ gq;aB j'Dr/.

gqhfynkoEh tk;s/ jdkfJsk

gq;aB gZso d/ Gkr T, n, ftu'I d'-d' gq;aB eoBk iao{oh j?. Gkr J d/ ;ko/

gq;aB iao{oh jB.

Gkr- T

1) j/m fby/ ekbK ftZu Gkosh ;zrhs dk ftek; L

(T) fpqfN;a ekb (n) ;[szsosk T[gozs ekb

2) j/m fby/ ;zrhsekoK ns/ ftdtkBK dk ihtB-fpUok ns/ :'rdkB L-

(T) T[;skd nwho yakB (n) T[;skd pV/ r[bkw nbh yakB

(J) gq' a skok f;zx (j) gzfvs Ueko BkE mke[o

(e) nukohnk pqfj;gsh

3) j/m fby/ ;akjh ;ogq;sK dk Gkosh ;zrhs d/ ftek; ftZu :'rdkB L

(T) nZbkT[ZdhB fybih (n) wkB f;zx s'wo (J) w[jzwd ;akj ozrhbk

(;) tkfid nbh ;akj

Gkr- n

1) j/m fbyhnK rkfJB ;a?bhnK dk fJfsjk;e ftek; L

(T) fyankb (n) m[woh (J) NZgk

2) fynkb rkfJB d/ j/m fby/ xokfDnK dk fBek;, ftek; ns/

ft;a/;asktK L (T) feokBk (n) i?g[o (J) okwg[o-;fj;tkB

3) gfNnkbk xokDk d/ ft;a/a;a jtkb/ Bkb gzikp ftu xokDk gozgok dk

nfXn?B.

;[MkJhnK g[;seK

1) Gkosh ;zrhs dk fJfsjk; (gzikph :{Bhtof;Nh, gfNnkbk) L :"frzdogkb ;aowk ns/

pfuZso f;zx

2) r[owfs ;zrhs gqpzX s/ gk;ko (gzikph :{Bhtof;Nh, gfNnkbk) L vk ar[oBkw f;zx

3) ;zrhs fuzskwDh L nukohnk e/ a;h avh pqfj;gsh

jwko/ ;zrhs osB (;zrhs eko:kb:, jkEo;)

4) Gkosh: ;zrhs ek fJfsjk; L T[w/;a i';ah

5) gzikp ftu ;zrhs ebk dk fBek; s/ ftek; (gzikph :{Bhtof;Nh, gfNnkbk) L gzBk

bkb wdkB

6) gzikp eh ;zrhs gozgok L vka rhsk g?asb

7) Gkosh: ;zrhs eh T[sgsh J/tw ftek; L vk a i/ an?; apktok

8) gzikph ;zrhseko (gzikph :{Bhtof;Nh, gfNnkbk) L vka r[oBkw f;zx

9) gqkuhB Gkos w/I ;zrhs L Xowtsh ;qhtk;st

10) jwkok nkX[fBe ;zrhs L ;[;ahb e[wko u"p/

11) Gkosh: ;zrhs gZXshU ek s[bBkswe nfXn?B L th an?B Gksyzv/

12) ;a'oN fj;N'ohnB ;ot/ nkca dk fwT{faie nkca nZg fJzvhnk L th an?B Gksyzv/

n?w aJ/ ;zrhs (rkfJB)

;w?;No d{ik

g/go LIII (go?eNheb g/go) wzu gqdo;aB

e[Zb nfXnkgB ;wK L 65 xzN/ tZX s''I tZX nze L 75

gk; nze L 35 % nzdo{Bh w[bKeD L 25 nze

g/go bJh ;wK L 3 xzN/

gohfyne bJh jdkfJsK

go?eNheb gqhfynk fJe p'ov d[nkok bJh ikt/rh, fi; ftu ftGkr dk

w[yh$ Bkwiad w?Ipo nzdo{Bh s/ pkjoh wkfjo ;akfwb j'Dr/. fJj c?;bk

f;zvhe/N d[nkok 25-10-91 B{z fbnk frnk (g?ok 2, 3)

B'N L gohfynkoEh g/go u"Ek ftu do;kJ/ okrK ftZu' fe;/ th fJe okr ftZu,

nkgDh g;zd nB[;ko ftbzps s/ do[Zs fynkb ftXhts sohe/ Bkb rkJ/rk.

g/;aekoh L-

(T) (1) ftbzps fynkb nze- 25

(2) do[Zs fynkb nze-15

(n) g/go u"Ek ftu do;kJ/ okrK ftu'I fe;/ fJZe okr ftZu Xo[gd rkfJB

eoBk j?. fJj okr g/;aekoh tkb/ okr s'I nbZr j't/rk.

nze 15

(J) GiB iK ;apd dk rkfJB ;ak;soh fB:wK nB[;ko ehsk ikt/rk. ;apd

rkfJB ;qh r[o{ rozE ;kfjp ftZu nzfes okr nB[;ko eoBk j?.

gohynkoEh jkow'Bhnw tik ;edk j?. nze-10

(;) j/m fbyhnK skbK jZE Bkb skbh, ykbh fdykT[Id/ j'J/ fJZe r[D, d"r[D

ns/ u"r[D b?nekoh ftZu do;kT[ L MZgskb, M{wok, isskb, dhguzdh

ns/ o{ge nze-10

n?w aJ/ ;zrhs (rkfJB) Gkr-gfjbk

;w?;No- d{ik

g/go LIV (go?eNheb g/go) w"fye gqhfynk

e[Zb nfXnkgB ;wK L 65 xzN/ tZZX s''I tZX nze L 75

gk; nze L 35 % nzdo{Bh w[bKeD L 25 nze

g/go bJh ;wK L 3 xzN/

gohfyne bJh jdkfJsK

go?eNheb gqhfynk fJe p'ov d[nkok bJh ikt/rh, fi; ftu ftGkr dk w[yh$ Bkwiad

w?Ipo nzdo{Bh s/ pkjoh wkfjo ;akfwb j'Dr/. fJj c?;bk f;zvhe/N d[nkok 25-10-91

B{z fbnk frnk (g?ok 2, 3).

j/m fby/ okrK ftZu'I fJe ftbzps fyankb eoBk bkiawh j't/rk. i' g/go 3 ftu u[D/

okr s'I tZyok j't/rk. ;ko/ okrK ftZu do[s fyankb eoBk bkiawh j? Bshik gq;s[sh

eoB dh r[Dtsk ns/ w"fye T[Zso s/ fBoGo eo/rk.

fBwBfbfys okrK ftZu'I fJe ftbzps fyankb bkiawh j?. wzu-gqdo;aB d/ bJh

u[D/ rJ/ okrK s''I fJbktk pkeh ;ko/ okrK ftZu do[Zs fyankb fsnko j'Dk ukjhdk j?.

gqdo;aB w"fye gqhfynk d/ nkXko @s/ jh nze fBoXkos ehs/ ikDr/.

;[ZX-;kozr, dopkoh ekBQVk , bfbs, uzdoe"I; , ebktsh, whnK eh s'Vh