sign in sign up
<<
Home , Kerala Folklore Academy, Kriti, Shyama Shastri, Thiruvempavai, Tyagaraja, Vivadi

File Ref.No.5212/GA - IV - B2/2013/CU

UNIVERSITY OF CALICUT

Abstract General and Academic - Faculty of Fine Arts - Syllabus of MA Music Programme under CCSS PG Regulations 2019 in the Teaching Department of the University with effect from 2019 Admission onwards - Implemented- Orders Issued.

G & A - IV - B U.O.No. 10883/2019/Admn Dated, Calicut University.P.O, 17.08.2019

Read:-1. U.O.No. 4500/2019/Admn Dated, 26.03.2019 2..Minutes of the meeting of the Board of Studies in Music (SB)held on 29/04/2019 and 30/04/2019. 3. Remarks of the Dean,Faculty of Fine Arts dtd 06/08/019

ORDER

The Regulations under Choice-based Credit Semester System for Post Graduate Programmes (CCSS-PG -2019) for all Teaching Departments / Schools of the University ,w.e.f 2019 admissions has been implemented vide paper read first above. The meeting of the Board of Studies in Music(SB) has approved the Syllabus of MA Music Programme in tune with new CCSS PG Regulation implemented with effect from 2019 Admission onwards, vide paper read second above. The Dean,Faculty of Fine Arts has approved the minutes of the meeting of the Board of Studies in Music (SB) held on29/04/2019 and 30/04/2019 , vide paper read third above . Under these circumstances , considering the urgency, the Vice Chancellor has accorded sanction to implement the Scheme and Syllabus of MA Music Programme for the Teaching Department of the University in accordance with the new CCSS PG Regulations 2019, with effect from 2019 Admission onwards, subject to ratification by the Academic Council. The Scheme and Syllabus of MA Music Programme in accordance with CCSS PG Regulations 2019 in the Teaching Department of the University , is therefore implemented with effect from 2019 Admission onwards . Orders are issued accordingly. (Syllabus appended)

Biju George K

Assistant Registrar To The HoD, School of Drama Copy to: PS to VC/PA to PVC/ PA to Registrar/PA to CE/JCE I/JCE V/JCE VII/EX and EG Sections/GA I F/DoA/CHMK Library/ Digital Wing/Information Centres/SF/DF/FC Forwarded / By Order

Section Officer UNIVERSITY OF CALICUT

SYLLABUS OF

M.A. MUSIC PROGRAMME CHOICE BASED CREDIT SEMESTER SYSTEM (CCSS) FOR UNIVERSITY TEACHING DEPARTMENTS

SCHEME & SYLLABUS ( 2019 Admission onwards ) 0

REVISED PG SYLLABUS

(With effect from 2019 admission onwards)

OF

M.A. MUSIC PROGRAMME CHOICE BASED CREDIT SEMESTER SYSTEM (CCSS)

FOR UNIVERSITY TEACHING DEPARTMENTS

UNIVERSITY OF CALICUT SCHOOL OF DRAMA & FINE ARTS DR. JOHN MATTHAI CENTRE, ARANATTUKARA (P.O) THRISSUR – 680 618 TEL: 0487 2385352 1

M.A.MUSIC PROGRAMME CHOICE BASED CREDIT SEMESTER SYSTEM (CCSS)

NAMES OF COURSES & CODES

SL NO COURSE COURSE CODE

1. CORE COURSES C

2. ELECTIVE COURSES E

3. AUDIT COURSES A

4. PROJECT P

M.A.MUSIC CHOICE BASED CREDIT SEMESTER SYSTEM (CCSS) 2

For University Teaching Departments (w.e.f from 2019 admissions) The duration of the M. A Music Programme shall be 2 years split into 4 semesters. The duration of each semester shall be 90 working days inclusive of examinations, spread over five months. Odd Semesters shall be held from June to October and even semesters from November to March subject the academic calendar of the University. A student admitted to a PG programme shall be required to attend at least 75% of the total number of classes(theory/Practical) held during each Semester. The students having less % of attendance shall not be allowed to appear for the University examinations. This scheme and Syllabus is applicable to University Teaching Departments/ or schools of this University. The total credits for the entire programme is 72 (Seventy two) in the case of 4 semester programmes other than MBA for the successful completion of the Programme. These credits are to be distributed among the Core courses, Elective courses, and Project/Dissertation as follows. The minimum number of credits from Core courses, Elective courses, & Project/Dissertation shall be 48, 16, and 8 respectively for 4 semester programmes other than MBA. The scheme and Syllabus of the Programme consists of

A. Programme Structure B. Eligibility Criteria for Admission C. Distribution of Credits D. Core Course Structure E. Details of Electives F. Evaluation and Grading G. Internal Evaluation/Continuous assessment H. Pattern of Question papers I. Project Work J. Detailed Syllabus

Programme Structure 3

The Programme shall include 3 types of Courses – Core course, Elective courses and Project/Dissertation. Core courses should generally be offered by the parent Department/School concerned. Elective courses and Audited courses are offered by the parent Department and/or other Departments. A Department/ School shall come forward to offer more and more Elective courses and Audited Courses suitable for other Departments/Schools. There shall be compulsory Project/Dissertation to be undertaken by all students. No course shall have more than 4 credits except for Project/Dissertation, for which the maximum credits shall be 8 and the minimum 4.

Core courses are courses related to a programme which shall be successfully completed by a student to receive the degree and which cannot be substituted by any other course.

Elective Courses are courses which can be substituted by equivalent course from the same subject or other Departments/Schools and which must be successfully completed to receive the degree.

Audited course means a course which the student can register without earning credits (zero credit course). Audited Courses will not carry any credits. In addition to the above courses, there will be 2 Audit courses Ability Enhancement Course (AEC) & Professional Competency Course (PCC) with 2 credits each. These courses are to be done within the first two semesters. These courses are mandatory requirement of a programme. The credits will not be counted for computing the overall SGPA/ CGPA of the student. The concerned Department shall conduct examination for these courses and shall intimate/upload the results of the same to the University on the stipulated date during the III Semester. The Student has to obtain only minimum pass requirements in these two courses. The details of Audit courses are given below:

Semester Course Title Suggested Area Details I Ability Internship/Seminar Each student must present a Enhancement presentation/Publications/ Seminar on a selected topic in 4

Course (AEC) Practicaltraining/ Community Music in the presence of faculty Linkage Programme/ members. A report must be (2 Credits)* Book Reviews etc prepared and submitted before presenting the Seminar. The Abstract of the Seminar must be sent to the HOD through the Teacher-in-charge. Or Each student should do a Practical Demonstration of teaching Music in a class which will be done in the presence of faculty members II Professional To test the skill level of Each student must compose or Competency students e.g. testing the set to tune a given song or Course (PCC) application level of their composition to showcase their understanding of musical creative skills and professional (2 Credits)* concepts. competency in the presence of faculty members. Or Each student must provide Tala accompaniment to given compositions upon listening to audio renderings in the presence of faculty members.  (The Credits for the Audit Course will not be considered for the calculation of CGPA. The students need to get a P Grade only for the completion of the Course.) Project Work or Dissertation shall be done in the fourth and final semester.Total Credits for the programme shall be 72, and the pattern of distribution is as detailed below: a) Total credits for Core courses (both Theory &Practical’s)shall be 48 (Forty eight) b) Total credits for Elective Course shall be 16 (Sixteen) 5

c) Total credits for Project/Dissertation shall be 8 (eight)

STRUCTURE OF THE M.A.MUSIC PROGRAMME

Programme Duration 4 Semesters - for M.A Accumulated Minimum credits required for successful 72 completion of Programme Minimum credits required from Core courses 48 Minimum credits required from Elective courses 16 Minimum credits required from compulsory 8 project/Dissertation Minimum and Maximum credits to be registered in a 16-24 Semester Minimum attendance required 75%

No student shall register for more than 24 credits excluding re-examination and repeat courses and less than 16 credits per semester. The number of courses a student can take is restricted by the rules that govern the minimum and maximum credits she/he may earn during a semester. The Department/School offering any course shall prescribe the maximum number of students that can be admitted taking into consideration the facilities available. In a Department/School, preference shall be given to those students for whom the course is a Core-course, if the demand is beyond the maximum prescribed. The student can reduce the number of credits by opting out if she/he feels that she/he has registered for more courses than she/he can handle, within 30 days of the commencement of classes. Each Semester shall have a minimum of 90 working days inclusive of all examinations. The minimum requirement of attendance during a semester for a student shall be 75% for each course.

ELIGIBILITY CRITERIA FOR ADMISSION 6

Admissions to 12 seats in M.A. Music shall be based on Merit and restricted to Bachelor Degree Holders in Music, recognised by the University of Calicut under the criteria given below: B.A. Music Degree of this University or recognised degree (admission of other than B.A. Music candidates through Entrance Test) with at least 45% marks for Part III Main (excluding subsidiaries) of University of Calicut or equivalent grade. OBC/OEC candidates are eligible to relaxation upto 5%. SC/ST candidates need only to get a pass. Candidates under Grade system, Part III (Core & Complementary) CGPA at least equivalent to 50%. General candidates should obtain CGPA not less than 1.5, (equal to 50% marks) in 6 point grading system, other Backward Category should obtain minimum CGPA of 1(equal to 45%marks) and SC/ST candidates should obtain minimum CGPA of 0.5(equal to 40% marks) Three other seats shall be on the basis of the following criteria: All the Bachelor Degree holders (recognised by the University of Calicut) other than B.A. Music Degree are eligible for admission in such cases, concerned departments of Music and a senior most faculty member together shall conduct the Aptitude test. The minimum requisite for appearing for Aptitude Test shall be the ability to render an ‘‘ATA TALA ’’ in 2 degrees of speed. Total Marks for Aptitude test shall be 100. Ranking of the students shall be by computing the marks obtained in Part I & Part II with marks secured in Aptitude test. In the absence of eligible candidates from the categories, the above seats shall be allotted to B.A. Music degree holders.

M.A.MUSIC (CCSS) DISTRIBUTION OF CREDITS

Sem Course Type Credit Total Credits Theory 4 4 I Practical 4 4 Practical 4 4 Practical 4 4 Ability Enhancement Course (AEC) 2 0 Total Core credits 16 Course Type Credits Total Credits 7

Theory 4 4 Practical 3 3 II Practical 3 3 Practical 3 3 Practical (Elective) 2 2 Practical (Elective) 2 2 Professional Competency Course (PCC) 2 0 Total credits Core + Elective 13 + 4 17 Course Type Credits Total Credits Theory 4 4 Practical 3 3 III Practical 3 3 Practical 3 3 Practical (Elective) 2 2 Practical (Elective) 2 2 Practical (Elective) 2 2 Total credits Core + Elective 13 + 6 19 Course Type Credits Total Credits Practical 3 3 Practical 3 3 IV Project/Dissertation 8 8 Practical (Elective) 2 2 Practical (Elective) 2 2 Practical (Elective) 2 2 Total credits Core + Project+ Elective 6+8+6 20

Total Core Credits - 48 Total Elective Credits – 16 Total Credits from Compulsory Project/Dissertation - 8 Total Credits for the Programme - 72

M.A.MUSIC CHOICE BASED CREDIT SEMESTER SYSTEM (CCSS) SCHEME & SYLLABUS CORE COURSE STRUCTURE

SEMESTER-I

Sl.N Course Course Title Course Cre Marks o. Type dits Code Internal External 8

1. MUS1C01 History of Music up to Theory-I 4 20% 80% Sangitaratnakara Period

2. MUS1C02 Foundation Course in Practical-I 4 20% 80% Performance 3. MUS1C03 & Practical-II 4 20% 80% Keerthanams 4. MUS1C04 Swarajathis & Practical-III 4 20% 80% Keerthanams 5. MUS1A01 Ability Enhancement - 2 - - Course SEMESTER-II

Sl. Course Course Title Course Cre Marks Type dits No Code Internal External

6. MUS2C05 History of Music of the Theory-II 4 20% 80% Post-Ratnakara Period

7. MUS2C06 Compositions in Practical- 3 20% 80% Vilambita Kala IV

8. MUS2C07 Group Practical- 3 20% 80% V

9. MUS2C08 Manodharma Sangita Practical- 3 20% 80% VI

10. MUS2A02 Professional - 2 - - Competency Course

SEMESTER-III

Sl. Course Course Title Course Type Credits Marks

No Code Internal External

11. MUS3C09 History of Music of Theory-III 4 20% 80% Modern Period

12. MUS3C10 Compositions of Practical-VI 3 20% 80% Maharaja Sri Swati Tirunal 9

13. MUS3C11 Geya Natakam- Practical-VII 3 20% 80% Vijayam

14. MUS3C12 Manodharma Practical- 3 20% 80% Sangita VIII

SEMESTER-IV

Sl. Course Course Title Course Type Credits Marks

No Code Internal External

15. MUS4C13 Ragam Tanam Practical-IX 3 20% 80%

16. MUS4C14 Music Concert Practical-X 3 20% 80%

17. MUS4C15 Project/Dissertation 8 100%

M.A.MUSIC - DETAILS OF ELECTIVES CHOICE BASED CREDIT SEMESTER SYSTEM (CCSS) SEMESTER-II

Sl. Course Course Title Course Credits Marks No Code Type Internal External 1. MUS2E01 Semi Classical Music Practical 2 20% 80% Compositions 2. MUS2E02 Modern Composers Practical 2 20% 80%

3. MUS2E03 Rare Varnams Practical 2 20% 80% 10

4. MUS2E04 Kovur & Tiruvottriyur Practical 2 20% 80% Pancharatnam 5. MUS2E05 Pre Trinity Composers Practical 2 20% 80%

SEMESTER-III

Sl. Course Course Title Course Credits Marks No Code Type Internal External 1. MUS3E06 Rare Practical 2 20% 80% 2. MUS3E07 Descriptive Notation Practical 2 20% 80% 3. MUS3E08 Compositions of Practical 2 20% 80% 4. MUS3E09 Post Trinity Composers Practical 2 20% 80% 5. MUS3E10 PanchalingaSthala Kritis Practical 2 20% 80% SEMESTER-IV

Sl. Course Course Title Course Credits Marks No Code Type Internal External 1. MUS4E11 Compositions of Practical 2 20% 80% Syamashastri 2. MUS4E12 Compositions of Practical 2 20% 80% 3. MUS4E13 Compositions of Practical 2 20% 80% 4. MUS4E14 Post Trinity Composers Practical 2 20% 80%

5. MUS4E15 Composers Practical 2 20% 80%

EVALUATION AND GRADING

The evaluation scheme for each paper shall contain two parts a) Internal evaluation b) External evaluation 20% weight shall be given to Internal Evaluation. The remaining 80% weight shall be for the end semester external evaluation.

INTERNAL EVALUATION: 11

The Internal Evaluation shall be based on a predetermined transparent system involving periodic written tests, viva-voce, seminars and attendance in respect of theory courses and based on written tests, viva-voce and lab skill/records in respect of practical courses as detailed below:

Theory Paper Marks Practical Paper Marks

a. Attendance/Classroom 3 a. Lab skill/Quality of 5 participation* Records

b. Seminar 5 b. Practical Test 10

c. Test Paper 8 c. Viva-voce 5

d. Viva-voce/Field work 4 d. Total Marks 20

e. Total marks 20

*90% & above: 3 marks, 80 to 89%: 2 marks, 75 to 79%: 1 Mark, below 75%: nil

The details of executing the internal evaluation shall be decided by the concerned Department Council. To ensure transparency of the evaluation process, photocopies of the answer scripts of the test papers shall be returned to the students within a week of the conduct of the tests. Any dispute regarding the Internal evaluation shall be taken up with the concerned teacher within 48 hours. The internal assessment marks awarded to the students in each course in a semester shall be notified on the notice board at least one week before the commencement of external examination.

EXTERNAL EVALUATION The External evaluation in theory courses is to be conducted with question papers set by external examiners. The evaluation of the answer scripts shall be done by the teacher offering the course and an external expert based on a well defined scheme of valuation framed by them. The external examination in practical courses shall be conducted and evaluated by two examiners – one Internal and an External.

GRADING SYSTEM

The indirect absolute Grading system where the marks are compounded to grades based on pre-determined class intervals and letter grades based on 10-point grading system as recommended by the UGC shall be followed. Based on the %of Marks scored, (internal and external marks put together), the students are graded in each course applying the following grading system given below: 12

Letter Grades with Grade Points and Marks Equivalence (For all programmes other than MBA)

Range of Marks(%) Grade Point Letter Grade

85 -100 8.5 - 10.0 O (Outstanding)

75 - 84.99 7.5 – 8.49 A+(Excellent)

65 – 74.99 6.5 – 7.49 A (Very Good)

55 – 64.99 5.5 – 6.49 B+ (Good)

50 – 54.99 5.0 – 5.49 B (Above Average)

45 – 49.99 4.5 – 4.99 C (Average)

40 – 44.99 4.0 -4.49 P (Pass)

0 - 39 0 – 3.99 F (Failed)/ RA (Reappear)

- 0 I (Incomplete)

- 0 Ab (Absent)

The cut-off mark for Grade B+(Good) is 55% Marks and the cut-off marks for Grade B (Above Average ) is 50% marks under this grading system.

Conversion formula: Percentage of Marks = Grade point x 10

SGPA - SEMESTER GRADE POINT AVERAGE

SGPA is the value obtained by dividing the sum of credit points (P) obtained by a student in the various courses studied in a semester by the total number of credits taken by him/her in that semester. The Grade point shall be rounded off to the first decimal place. SGPA determines the overall performance of a student at the end of a semester.

For instance, if a student has registered for ‘ n’ courses of credits C1, C2, ……Cn in a semester and if she/he has scored credit points P1, P2……Pn respectively in these courses, then SGPA of the student in that semester is calculated using the formula

SGPA = P1+ P2+ ….+Pn ………………………………….

C1+C2+……..+Cn 13

CGPA – CUMULATIVE GRADE POINT AVERAGE

Cumulative Grade Point Average is the value obtained by dividing the sumof credit points in all the courses opted by the student for the entire programme by the total number of credits and is calculated based on the same formula given. CGPA shall be rounded off to the first decimal place. CGPA determines the academic level of the student in a programme and is the index for ranking students.

An overall letter grade (Cumulative Grade) for the entire programme shall be awarded to a student depending on the CGPA using the same criteria used for awarding Grade in a course based on the grade point.

Each student shall be assigned a grade point and a letter grade in each course on the basis of the % of marks scored in the course (internal and external marks taken together) as shown above. The minimum grade point required for passing a course is 4.0. The student is required to pass all the core courses and the stipulated minimum number of elective courses in order to complete the programme successfully.

The student is required to pass all the core courses and the stipulated minimum number of elective courses in order to complete the programme successfully. After the completion of a semester, the Semester Grade Point Average of a student in that semester is calculated using the formula given under its definition. The minimum SGPA required for the successful completion of a semester is 5.0. However, a student with SGPA less than 5.0 in a semester is permitted to proceed to the next semester.

The Cumulative Grade Point Average (CGPA) of the student is calculated at the end of a programme. For the CGPA computation only the best performed courses with maximum credit points (P) alone shall be taken subject to the restrictions on the credits of Core and Elective courses prescribed for a specific degree. The CGPA of a student determines the academic level of the student in a programme and is the criterion for ranking the students.

An overall letter grade (Cumulative Grade) for the whole programme shall be awarded to the student based on the value of CGPA using the same criterion for assigning letter grade for a 14 course on the basis of the grade point. The minimum CGPA required for the successful completion of a programme is 5.0 which corresponds to 50% marks.

PATTERN OF QUESTION PAPERS:

Directions to Question Paper Setters:

Questions shall be set to assess the knowledge of students that is acquired, standard, application of knowledge, critical evaluation of knowledge, and the ability to synthesize knowledge. Due weightage shall be given to each module based on the content. Each Theory Question paper shall be set in English only.

For each course, there shall be an external examination of duration 3 hours. Each question paper will consist of two parts- Part A consisting of eight paragraph answer type questions, each of 4 Marks, in which any four questions are to be answered. Part-B consisting of four Essay type questions each with two options A and B of 16 Marks. The candidate is required to answer all questions, choosing either Option -A or Option -B of them. The questions are to be evenly distributed over the entire syllabus within each part.

I. PROJECT/DISSERTATION

There shall be a Project Work /Dissertation at the end of the IV Semester. Each student must submit a Dissertation/ Lecture Demonstration on a topic in the prescribed structure and format as a part of the Project work. In cases of blind, infirm, and differently abled students, the concerned BOS shall design the Project work accordingly. If the student is submitting a Dissertation, they must submit a written document which shall be of 50 to 75 pages in the prescribed format. If the student is doing a Lecture demonstration on a topic, they must give a Lecture demonstration for not less than 45 minutes and a written document must be submitted before the presentation. Irrespective of whether the student is taking Dissertation/Lecture Demonstration, each student should also prepare an Abstract on the topic in a single page which has to be submitted before the presentation.

The Valuation of the Project, shall be jointly done by the Supervisor of the project in the Department and an External Expert from the approved panel, based on a welldefined scheme of 15 valuation framed by them. The Valuation of Projects in Music may be evaluated with the criteria given below:

Sl No Particulars Weightage (%)

1. Relevance of the Topic 20

2. Methodology used 15

3. Content Analysis 30

4. Presentation & Quality of the Project 15

5. Viva-voce based on the Project 20

Grand Total 100

The External evaluation of the Projects shall be done in a Centralized Valuation camp to be held in the respective Departments,/Schools immediately after the examination under the supervision/control of the Academic committee.

Conduct of External Practical Exams:

Practical Examinations shall be conducted at the end of each semester for each course by the approved Board of Examiners of the University. Each Practical Examination shall be evaluated by a Panel consisting of an External and an Internal Examiner in accordance with the rules of the University. The duration of a Practical Exam for a student is subject to the number of modules in each course, but the maximum duration for a Practical exam for a student should not exceed more than one and a half hours.

For the Music Concert External Examination in the IV the Semester, the students will have to make own arrangements for the accompaniment of Violinist and Mridangist accordingly.

Conduct of External Theory Exams

There shall be one end semester examination of 3 hours duration for each theory course. The External Theory Examinations shall be written by the students in English which shall be conducted in the respective colleges as per the University regulations. Each student should have 16 a 75% attendance and those who have less attendance shall apply for condonation in the requisite format. Those students who have less attendance beyond condonation will not be permitted to write the Examination.

M.A.MUSIC COURSE OBJECTIVES  The M.A. Music Programme is designed in such a way which enables a student of Music to master the skills of singing and gain knowledge in the lakshana and lakshya aspects of music.  The main objective of the course is to enhance Music education in Higher education and enable any student interested in Music to take up Music as a career.  The different modules in each semester gives an outline knowledge in all aspects of music such as its musical history, Sruti, Tala, Manodharma Sangitha and its various branches, knowledge about Tamil Music, Hindusthani Music, Western staff notation, traditional aspects which have been followed by musicians, Lakshana Grandhas and their importance, musical compositions of different vaggeyakaras, variety of traditional and modern musical instruments, modern trends in music etc gives them a wider approach to music.  The practice of singing Alankaras in the 35 Talas in different melakartha helps them in singing in different ragas which also develops their swarajnaanam and also helps them to have a strong foundation in Tala. 17

 The last two semesters of the programme gives importance to the various branches of Manodharma Sangitha which is a vital factor in music and showcases their creative and aesthetic skill.  The Project in the last semester gives the student an opportunity to study a particular topic in an indepth manner and it brings out the musicological skill of the students.  The Music concert paper in the last semester serves to highlight the performance skill of students, which enables them to give individual performances on their own & to shape themselves into musicians and musicologists in future.  The various seminars, assignments, the practical sessions and the different Electives in last two semesters gives them adequate exposure to enrich their musical knowledge regarding the contribution of legendary musicians and vaggeyakaras.

DETAILED SYLLABUS M.A.MUSIC (CCSS)

SEMESTER –I MUS1C01 THEORY –I HISTORY OF MUSIC UPTO SANGITARATNAKARA PERIOD

Sl.No. Code Course Title Course Credits Marks Type Internal External 1 MUS1C01 History of Music up to Theory 4 20 80 Sangitaratnakara Period

Course Outcome

 To learn the various musical aspects in musical history

 To know more about the music and instruments that existed earlier.

 Learn more about the wonderful aspects of Ragas 18

Module 1.

Different periods of Musical History-Ancient, Medieval and Modern

Module 2 Sama Gana & it’s Characteristics- Scale of Samagana, Swara ornamentation, Swaras and symbols used in Samagana, Method of Singing, Notation, Sama Hastha, Instruments used in Samagana.

Module 3. Ancient Tamil Music System- References to Music in Chilappathikaram, Classification of Musical Scales, Musical Instruments –(Yazh)-Origin, Decline and varieties, Nalayira Divya Prabantham, , Thiruvempavai, Thiruppugazh and Kavadichindu.

Module 4 Vadi, Samvadi, Anuvadi & Vivadi Swara systems

Module 5. System of Classification:-

a. Marga Raga-s – Desi Raga-s. b. Marga - Grama Raga, Uparaga, Bhasha, Vibhasha and Antara Bhasha. c. Desi – Raganga, Bhashanga, Kriyanga & Upanga. d. Sudha, Chayalaga & Sankirna Raga-s. Module 6. Association of Kala (Time) with Raga-s, Raga classification based on Time Theory. Module 7 Music of the Kudumiyanmalai Inscriptions.

Module 8. Musical forms of the Medieval Period – Gita, Vadya & Nritha Prabandhas.

Module 9 Tala – Marga & Desi Talas. Detailed study of Taladasaprana-s. Module 10. Association of Rasa with Raga-s.

Texts for Reference and study

1. Tanjore as a Seat of Music -Dr.S.Seetha - University of Madras (2001) 2. Essentials of Musicology in South Indian Music - Prof.Janakiraaman S.R -The Indian music Publishing House, Chennai (2008) 3. Music Through the Ages – Dr.V.Premlatha -Sandeep Prakashan Publishers (1985) 19

4. South Indian Music -Book III, IV, V, & VI - Prof.P.Sambamurthy- Indian Music Publishing House, Chennai (1982 -83) 5. History of Indian Music - Prof.P.Sambamurthy - Indian Music Publishing House, Chennai (1981) 6. Ragas in – Dr.S.Bhagyalekshmy – CBH Publications, Trivandrum

SEMESTER –I MUS1C02 PRACTICAL –I FOUNDATION COURSE IN PERFORMANCE. Sl.No. Code Course Title Course Credits Marks Type Internal External 2 MUS1C02 Foundation Course Practical 4 20 80 in Performance

Course Outcome

 To learn the basics of the 35 Talas and how to render Alankaras in it.

 Ability to perform 35 Alankaras in different ragas.

 To know more about the Laya exercises & Korvais.

 The ability to render Varnas in 5 kaalas &Tisram

Module 1. Ability to render Alankara-s in 35 Tala-s in the Melakartha Raga-s: Hanumathodi, , , Dhirasankarabharanam, Mechakalyani. Module 2 20

Laya Exercises – Rendering of Chaturasra, Tisra, Khanda & Misra Sollu-s with the shifting of eduppus by fraction of a Mathra or beat in different kalams in the following Talas– AdiTalam, Rupakam & Misra Chappu. Module 3. Ability to render simple Korvais and Makutams in Adi, Rupaka & Misra Chappu Tala-s Module 4. Ability to translate the Swara syllables, complex passages from Kritis and Alapana-s Module 5. Ability to render any Two Varnams in different Kalams & Nadais (5 Kalams). Module 6. Ability to render any two Ata Tala Varnams in different Kalams & Thisra Nadai.

Texts for Reference and study

1. South Indian Music -Book II - Prof.P.Sambamurthy- Indian Music Publishing House, Chennai (1982 -83) 2. Dakshinendian Sangeetham – Vol I - Sri.A.K.Ravindranath – Dept of Cultural Publications, Govt of Kerala, Trivandrum, 1970

3. Varnasagaram - Dr.T.K.Govinda Rao – Gaana mandir Publications, Chennai (2000)

4. Ragas in Carnatic Music – Dr.S.Bhagyalekshmy - CBH Publications, Trivandrum

Note: Students must start listening to Audio renderings in the I Semester itself of the following legendary Carnatic musicians to help develop their Manodharma Skills:

1. Semmangudi Sreenivasa Iyer 1. M.S.Subbalakshmi

2. D.K.Pattammal 2. D.K.Jayaraman

3. Dr.M.L. kumari 3.Other Carnatic musicians

SEMESTER –I MUS1C03 PRACTICAL –II VARNAMS & KEERTHANAMS Sl.No. Code Course Title Course Credits Marks Type Internal External 3 MUS1C03 Varnams & Keerthanams Practical 4 20 80 21

Course Outcome

 To sing Ata tala Varnams with perfection.

 To know more about the Laya exercises & Korvais.

 The ability to render Varnas in 5 kaalas &Tisram

Module 1. Ata Tala Varnams in and Todi

Module 2 One in the following Melakartha Raga-s: , Mayamalavagowla, , Kharaharapriya, Gourimanohari, , Harikamboji, Vagadheeswari, Panthuvarali, , , Hemavathi, Lathangi, Vachaspathi, Subha Panthuvarali.

Texts for Reference and study

1. Compositions of Thyagaraja – Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai

2. Compositions of Muthuswami Dikshithar - Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai (1997)

3. Compositions of – Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai

4. Compositions of Maharaja Swathi Thirunal - Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai (1997)

Note: Students must start listening to Audio renderings in the I Semester itself of the following legendary Carnatic musicians to help develop their Manodharma Skills:

1. Semmangudi Sreenivasa Iyer 1. M.S.Subbalakshmi

2. D.K.Pattammal 2. D.K.Jayaraman

3. Dr.M.L.Vasantha kumari 3.Other Carnatic musicians

SEMESTER –I MUS1C04 PRACTICAL –III SWARAJATHIS & KEERTHANAMS 22

Sl.No. Code Course Title Course Credits Marks Type Internal External 4 MUS1C04 Swarajathis & Keerthanams Practical 4 20 80

Course Outcome

 To sing of Shyama Shastri with perfection.

 To know more about the different ragas & learn Kritis

 The ability to render Varnas in 5 kaalas &Tisram

Module 1. Three -s of Syama Sastri in the Raga-s , Todi and Yadukula Kamboji

Module 2 One Kriti in the following Raga-s: Ritigowla, , , Surutti, Saurashtram, Sri, . Kedaragowla, , Kanada, , Hindustani .

Texts for Reference and study

1. Dakshinendian Sangeetham – Vol I - Sri.A.K.Ravindranath – Dept of Cultural Publications, Govt of Kerala, Trivandrum, 1970

2. Compositions of Thyagaraja – Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai

3. Compositions of Muthuswami Dikshithar - Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai (1997)

4. Compositions of Shyama Shastri – Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai

5. Compositions of Maharaja Swathi Thirunal - Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai (1997)

Note: Students must start listening to Audio renderings in the I Semester itself of the following legendary Carnatic musicians to help develop their Manodharma Skills:

1. Semmangudi Sreenivasa Iyer 4. M.S.Subbalakshmi

2. D.K.Pattammal 5. D.K.Jayaraman 23

3. Dr.M.L.Vasantha kumari 6. Other Carnatic musicians

I SEMESTER – ABILITY ENHANCEMENT COURSE – MUS1A01 Each student must present a Seminar on a selected topic in Music in the presence of faculty members. A report must be prepared and submitted before presenting the Seminar. The Abstract of the Seminar must be sent to the HOD through the Teacher-in-charge.

OR

Each student should do a Practical Demonstration of teaching Music in a class which shall be done in the presence of faculty members. The composition to be taught may be given by the teacher in charge to the student in advance so that the student can prepare well in advance for the teaching session. The Notation of the composition shall be submitted to the HOD through the teacher in charge.

SEMESTER –II MUS2C05 THEORY –II HISTORY OF MUSIC OF THE POST-RATNAKARA PERIOD Sl.No. Code Course Title Course Credits Marks Type Internal External 5 MUS2C05 History of Music of the Theory 4 20 80 Post- Ratnakara Period

Course Outcome

 To learn about different Mela systems.

 Outline knowledge of different talas and ragas and its aspects

 Indepth knowledge about ManodharmaSangitha & other relevant aspects in music.

 To know about the Lakshana grandhas in Music

Module 1. Mela- Raga Systems of Raga Classification & its development up to Modern Times. Module 2. Different Mela Systems of the Post-72 Mela Padhathi – 144 Mela-s, 108 Mela-s & 5184 Mela-s. 24

Module 3. Classification of Raga-s – Ghana, Naya & Desya, Vakra Raga-s & it’s varieties, Uthama, Madhyama & Adhama Raga-s.

Module 4. Devathamaya Rupa of Raga-s.

Module 5. Raga- Ragini-Parivara System.

Module 6 Lakhana of Vaggeyakaras & Classification

Module 7. Gamakas, Sthayas & Alankaras in Music

Module 8. Modal Shift of Tonic.

Module 9. Tala – Development of the 35 Tala System, Chappu Talas, Desadi & Madhyadi Talas.

Module 10. Manodharma Variety – Alapana, Thaya, Thanam, Niraval & Kalpanaswaram. Exposition of Pallavi – Ability to notate a Pallavi in Thrikalam.

Module 11. Detailed Study on the Lakshana Grantha-Chathurdandi Prakasika of Venkatamakhi.

Module 12. Landmarks in the History of Music

Module 13. Madhura Bhakthi in Music with reference to Compositions of various Composers on this theme.

Texts for Reference and study

1. South Indian Music – Vol III, IV,V, &VI Prof.P.Sambamurthy, Indian Music Publishing House, Chennai.(1983)

2. History of Indian Music - Prof.P.Sambamurthy - Indian Music Publishing House, Chennai (1981) 3. Essentials of Musicology in South Indian Music - Prof.Janakiraaman S.R -The Indian music Publishing House, Chennai (2008) 4. Lakshana Grandhas inMusic - Dr.S.Bhagyalekshmy CBH Publications, Trivandrum 25

5. Great Composers – Vol-I - Prof.P.Sambamurthy - Indian Music Publishing House, Chennai (1981)

SEMESTER –II MUS2C06 PRACTICAL –IV COMPOSITIONS IN VILAMBITA KALA Sl.No. Code Course Title Course Credits Marks Type Internal External 6 MUS2C06 Compositions in Vilambita Practical 3 20 80 Kala

Course Outcome

 To learn to sing Kritis in Vilambita kala in Major and Minor ragas.

 Develop ability to sing intricate sangathis.

 Acquire knowledge about ManodharmaSangitha in music.

Module 1

Todi, , , Bhairavi, , , , Begada, , , , Madhyamavathi, Purvikalyani, Kalyani, .

Note: Students are to listen to Audio renderings of great legendary musicians to develop Swarajnanam, Raagajnanam, &Layam 26

Texts for Reference and study

1. Compositions of Thyagaraja – Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai

2. Compositions of Muthuswami Dikshithar - Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai (1997)

3. Compositions of Shyama Shastri – Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai

4. Compositions of Maharaja Swathi Thirunal - Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai (1997)

SEMESTER –II MUS2C07 PRACTICAL –V GROUP KRITIS Sl.No. Code Course Title Course Credits Marks Type Internal External 7 MUS2C07 Group Kritis Practical 3 20 80

Course Outcome

 To learn about Samudaaya Kritis of various composers.

 Outline knowledge of different talas and ragas and its aspects

 Indepth knowledge about Pancharatna Kritis of Thyagaraja.

Module 1 One Composition each from the following Group Kritis:-

1. Navagraha Kritis – Muthuswami Dikshitar 2. Kamalamba Navavaranam - Muthuswami Dikshitar 3. Navaratna Malika – Syama Sastri

Module 2 27

Pancharathna Kritis – Natta, Gowla, , Varali & Sri (All the five compositions)

Texts for Reference and study

1. Compositions of Thyagaraja – Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai

2. Compositions of Muthuswami Dikshithar - Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai (1997)

3. Compositions of Shyama Shastri – Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai

4. Compositions of Maharaja Swathi Thirunal - Dr.T.K.Govinda Rao Gaana mandir Publications, Chennai (1997)

SEMESTER –II MUS2C08 PRACTICAL –VI MANODHARMA SANGITA Sl.No. Code Course Title Course Credits Marks Type Internal External 8 MUS2C08 Manodharma Sangita Practical 3 20 80

Course Outcome

 To learn to sing Major and Minor ragas.

 To develop the skill of rendering Alapana & Swara

 Indepth knowledge about ManodharmaSangitha & its branches.

Module 1 Ability to render Raga Alapana and Kalpanaswaras for different Tala-s and Eduppu-s in the following Raga-s:

Madhyamavathi, Purvikalyani, Panthuvarali, Simhendramadhyamam, Charukesi, Lathangi, Vachaspathi, Kharaharapriya, Keeravani, Mayamalavagowla, Shanmukhapriya, Bilhari, Hindolam. 28

Note: Students are to listen to Audio renderings of great legendary musicians to develop Swarajnanam, Raagajnanam, &Layam.

SEMESTER -II – PROFESSIONAL COMPETENCY COURSE -MUS2A02 Each student must compose or set to tune a given song or composition to showcase their creative skills and professional competency in the presence of faculty members. The student shall set the song in simple popular ragas suggested by the faculty members. Sufficient practice sessions shall be given to students well in advance before the Internals. Or Each student must provide Tala accompaniment to given compositions upon listening to audio renderings (without accompaniment) in the presence of faculty members. The student must be given practice sessions and should be prepared enough to put Tala for given compositions. SEMESTER –III MUS3C09 THEORY –III HISTORY OF MUSIC OF MODERN PERIOD Sl.No. Code Course Title Course Credits Marks Type Internal External 9 MUS3C09 History of Music of Theory 4 20 80 Modern period

Course Outcome

 To learn about different musical concepts.

 Outline knowledge of Music, ragas talas and Instruments used

 Outline knowledge of Western Staff Notation

 Musical analysis of a Kriti

 Music and Maths

 Traditional and Modern trends in Music 29

Module 1. :

a. Origin, Evolution & Development of Sopana Sangitha, its characteristics, points of difference between Sopana Sangitha & Karnataka Sangitha.

b. Kathakali Music – Instruments used in Kathakali Music, Ragas used in Kathakali Music

c. Folk Music of Kerala- Different Classifications of Folk Music based on Worship, Occupation, Festivals & Entertainment.

d. Kerala Talas – Tala Ensembles - Panchavadya and , & Laya Vadyas and Sangita Vadyas used in Kerala Temples.

Module 2. Western Music: Outline knowledge of Staff Notation, Swaras & Symbols used in Staff Notation, Ability to reproduce in staff notation simple melodies – Gita & Adi Tala Varna.

Module 3. Musical Instruments : Different Systems of classification of Musical Instruments. Different stages in the development of .

Module 4. Mathematical Applications in Music. Cycle of Fifth and Fourth notes. Study of 22 Srutis and the Ragas in which they occur.

Module 5. Srutis, Swaras & Swarasthanams occurring in Carnatic Music.

Module 6. Musical Prosody – Analytical study of a Musical Composition with reference to Raga, Tala & various aspects of ‘Sabdalankaras’

Module 7. Trends & Developments of Music in the 20th Century – with reference to Musical Instruments, Compositions, Concerts, Music Education, Books, Journals & Magazines, other communication Media. 30

Note: Students are to listen to Audio renderings of great legendary musicians to develop Swarajnanam, Raagajnanam, &Layam Texts for Reference and study

1. Essentials of Musicology in South Indian Music - Prof.Janakiraaman S.R -The Indian music Publishing House, Chennai (2008) 2. South Indian Music -Book III, IV, V, & VI - Prof.P.Sambamurthy- Indian Music Publishing House, Chennai (1982 -83) 3. History of Indian Music - Prof.P.Sambamurthy - Indian Music Publishing House, Chennai (1981) 4. Vanishing Temple Arts - Dr.Deepthi Omcherry Bhalla – Shubhi Publications, Haryana

5. Kerala Folk literature – Chummar Choondal – Kerala Folklore Academy

6. Splendour of Indian Music – Dr.P.T.Chelladurai, Vaigai Publishers, Dindigal (1991)

SEMESTER –III MUS3C10 PRACTICAL –VI COMPOSITIONS OF MAHARAJA SRI SWATI TIRUNAL Sl.No. Code Course Title Course Credits Marks Type Internal External 10 MUS3C10 Compositions of Maharaja Practical 3 20 80 Sri Swati Tirunal

Course Outcome

 To learn about Maharaja Swathi Thirunal and his compositions.

 Kritis of Swathi Thirunal in different talas and ragas and its musical beauties.

 Indepth knowledge about the different musical forms composed by Swathi Thirunal.

Module 1. 31

Compositions of Maharaja Sri Swati Tirunal a. Pancharaga Swarajathi b. Padavarna – Todi /Sudhakapi Module 2 (One composition each from the following) a. Navavidha Bhakti Kriti b Navarathri Kirthanas c. Utsava Prabandha Kirthanas Module 3 a. Ragamalika b. Kuchelopakhyanam c. Ajamila Upakhyanam d. Manipravala Padam e. Javali f. Thillana Module 4 Compositions in the following Raga-s:- Mohana Kalyani, Lalithapanchamam, , Bhushavali, Nayaki, Hamirkalyani. Module 5 Ability to render any one of the Compositions from the group – ‘Navarathri- Kirthanas’ with Raga Alapana, Niraval and Kalpanaswaram.

Note: Students are to listen to Audio renderings of great legendary musicians to develop Swarajnanam, Raagajnanam, &Layam

Texts for Reference and study

1. Compositions of Maharaja Swathi Thirunal - Dr.T.K.Govinda Rao, Gaana Mandir Publications, Chennai, 1997

2. Swathi Thirunal Krithikal (Mal) – Prof.P.R.Kumara Kerala Varma, Dept of Cultural Publications, Govt of Kerala, Trivandrum

3. Maharaja Swaathi Thirunal -V.S.Sharma -

SEMESTER –III MUS3C11 PRACTICAL –VII GEYA NATAKAM - PRAHLADA BHAKTI VIJAYAM 32

Sl.No. Code Course Title Course Credits Marks Type Internal External 11 MUS3C11 Geya Natakam – Prahlada Practical 3 20 80 Bhakti Vijayam

Course Outcome

 To learn about Musical Operas.

 Outline knowledge of Prahlada Bhakthi Vijayam

 Ability to sing the Kritis in Prahlada Bhakthi Vijayam.

1.Rendering of any 15 Compositions from ‘Prahlada Bhakti Vijayam’ of Saint Tyagaraja.

Note: Students are to listen to Audio renderings of great legendary musicians to develop Swarajnanam, Raagajnanam, &Layam Texts for Reference and study

1. Prahlada Bhakthi Vijayam -

SEMESTER –III MUS3C12 PRACTICAL –VIII MANODHARMA SANGITA Sl.No. Code Course Title Course Credits Marks Type Internal External 12 MUS3C12 Manodharma Sangita Practical 3 20 80

Course Outcome

 To learn about Manodharma Sangitha.

 Ability to sing Raga Alapana of Major & Minor ragas 33

 Ability to sing Kalpana swara of Major ragas & Minor ragas .

Module 1 Ability to render Vilambita Kala Kriti with detailed Alapana, Neraval and Kalpanaswaram in the following Raga-s:- Todi, Sankarabharanam, Kalyani, Saveri, Bhairavi, Kambhoji, Mohanam.

Module 2 Ability to render Kalpana Swara for the Kritis learnt in the following Raga-s:- Atana, Anandabhairavi, Arabhi, , , Hidusthani Bihag, Malayamarutham, , Valachi, Hindusthani Kapi, Sriranjini, , Varali, Kedaragowla, Ritigowla, Surutti, Nattakurinji, Ranjini.

Note: Students are to listen to Audio renderings of great legendary musicians to develop Swarajnanam, Raagajnanam, &Layam

SEMESTER –IV MUS4C13 PRACTICAL –IX RAGAM TANAM PALLAVI Sl.No. Code Course Title Course Credits Marks Type Internal External 13 MUS4C13 Ragam Tanam Pallavi Practical 3 20 80

Course Outcome

 To learn about Pallavi singing.

 Outline knowledge of Ragam tanam Pallavi 34

 Indepth knowledge about ManodharmaSangitha & other relevant aspects in music.

 Ability to perform Ragam Tanam Pallavi with Anuloma, Pratilomam& Tisram

Module 1 Alapana, Tanam and Pallavi. Learning a Pallavi theme in any of these Raga-s selected from the following Raga-s:-

Sankarabharanam, Kalyani, Todi, Bhairavi, Kharaharapriya, Kambhoji, Shanmukhapriya, Saveri. Module 2 1. (a) Pallavi should be set to Chatushkala. (b) Pallavi should be rendered with detailed Alapana, Tanam and Kalpana- swara, Ragamalika Swaras in any three Raga-s. (c) Pallavi should be rendered with Tisra Gathi, Anuloma and Pratiloma.

2. Students should be able to grasp and render simple Pallavi given by the Examiner with Niraval and Kalpana Swaras.

Note: Students are to listen to Audio renderings of great legendary musicians to develop Swarajnanam, Raagajnanam, Layam, & also audio CD’S of Ragam Tanam Pallavi renderings. Texts for Reference and study

1. South Indian Music - Book -IV – Prof.P.Sambamurthy – Indian Music Publishing House, Chennai

SEMESTER –IV MUS4C14 PRACTICAL –X MUSIC CONCERT Sl.No. Code Course Title Course Credits Marks Type Internal External 14 MUS4C14 Music Concert Practical 3 20 80

Course Outcome

 To develop the ability of singing with perfection. 35

 Outline knowledge of different talas and ragas and its aspects

 To develop confidence for students to give individual performances

 Ability to sing with Violin and Mridangam accompaniment.

Each student should present a Musical recital/Concert for a duration of One hour with Violin and Mridangam accompaniment.

The following should be the Pattern of the Concert

1. An Ata Tala Varna in 2 degrees of speed and Tisram. 2. One or two compositions of Janaka or Janya variety with Raga Alapana and Kalpana Swaras. 3. Other items representing different Musical forms like Padam, Javali, , , etc. 4. A Ragamalika Slokam (at least in 3 Ragas). 5. The Concert should conclude with a ‘Mangalam’.

Note: Students are to listen to Audio renderings of great legendary musicians to develop Swarajnanam, Raagajnanam, &Layam

SEMESTER –IV MUS4C15 - PROJECT Sl.No. Code Course Title Course Credits Marks Type Internal External 15 MUS4C15 Project -- 8 -- 100

Course Outcome

 To focus on a topic and submit a written document on the topic. 36

 To develop researching capabilities in students

 Indepth knowledge about various aspects in music.

 To develop musicological & analytical skills in music.

The students can submit either a Dissertation on a Topic with a supervising Faculty member, or a Lecture Demonstration. Dissertation: Students shall select in consultation with a Supervising Teacher, a subject for preparing a Project work. The typed document shall be of 50 to 75 pages. The Project should be submitted presenting the Methodology, Data and findings. The evaluation of the project will be jointly done by the External Examiner & the Supervising Teacher, which will be followed by a Viva-Voce Examination based on the Project. Lecture Demonstration: Students should select a Topic in consultation with a Supervising Faculty member & give a Lecture Demonstration for not less than 45 minutes. They should also submit a written document of the Topic selected, before presentation.

Irrespective of whether the student is taking Dissertation/Lecture Demonstration, each student should also prepare an Abstract on the topic of the Project in a single page which has to be submitted before the presentation.

M.A.MUSIC (CCSS) DETAILS OF ELECTIVE COURSES

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 1. MUS2E01 Semi Classical Music Practical 2 20% 80% Compositions Ashtapadi of Jayadeva, Javali, Thiruppugazh, Tarangam of Narayana Thirtha, , Abhang, & Kavadichindu

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 37

2 MUS2E02 Modern Composers Practical 2 20% 80% Compositions of the following composers: -Any 10

Paapanasam Sivan, Harikeshanallur Muthiah Bhagavathar, G.N.Balasubramanyam, Mysore Vasudevaachaarya, T.Lakshmana Pillai, M.D.Ramanathan, and Neelakanta Sivan

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 3 MUS2E03 Rare Varnams Practical 2 20% 80% Any 8 Varnams composed by Modern Composers

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 4 MUS2E04 Kovur & Tiruvottriyur Practical 2 20% 80% Pancharatnam

All Compositions from the Group Kiriti-s, Kovur & Tiruvotriyur Pancharatnam of Saint Tyagaraja.

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 5 MUS2E05 Pre Trinity Composers Practical 2 20% 80%

Any 8 Compositions composed by Pre-Trinity Composers

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 6 MUS3E06 Rare Tillanas Practical 2 20% 80% Any 10 Tillana-s composed by Modern composers

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 7 MUS3E07 Descriptive Notation Practical 2 20% 80% Ability to Notate an Adi Tala Varna, A Chowka Kala Kriti, A Brief Raga sanchara of any Rakti Raga and Ability to Notate a Composition given on the spot by External Examiner. 38

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 8 MUS3E08 Compositions of Practical 2 20% 80% Annamacharya Any 10 Compositions composed by Annamacharya

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 9 MUS3E09 Post Trinity Composers Practical 2 20% 80% Any 6 Compositions composed by Post Trinity Composers

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 10 MUS3E10 Panchalinga Sthala Practical 2 20% 80% Kritis

All the Five Compositions of Panchalinga Sthala Kriti-s of Muthuswami Dikshitar.

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 11 MUS4E11 Compositions of Practical 2 20% 80% Syama Sastri Any 6 Kriti-s of Syama Sastri in Rare Raga and Tala

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 12 MUS4E12 Compositions of Practical 2 20% 80% Muthuswami Dikshitar Any 6 Kriti-s of Muthuswami Dikshitar in Rare Raga and Tala

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 13 MUS4E13 Compositions of Practical 2 20% 80% Tyagaraja Any 6 Kriti-s of Tyagaraja in Rare Raga and Tala

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 39

14 MUS4E14 Post Trinity Composers Practical 2 20% 80% Any 6 Kriti-s composed by Post Trinity Composers

Sl. Course Course Title Course Cre Marks No Code Type dits Internal External 15 MUS4E15 Kerala Composers Practical 2 20% 80%

Any 6 Kriti-s composed by Kerala Composers either in Malayalam or Manipravalam Language.

Sd/-

Dr.Susha Chandran.P

Chairperson

PG Board of Studies in Music

University of Calicut

********************