Composing Techniques Based on Indian Rhythmical Structures
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1 ; Mahatma Gandhi University B. A. Music Programme(Vocal
1 ; MAHATMA GANDHI UNIVERSITY B. A. MUSIC PROGRAMME(VOCAL) COURSE DETAILS Sem Course Title Hrs/ Cred Exam Hrs. Total Week it Practical 30 mts Credit Theory 3 hrs. Common Course – 1 5 4 3 Common Course – 2 4 3 3 I Common Course – 3 4 4 3 20 Core Course – 1 (Practical) 7 4 30 mts 1st Complementary – 1 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 1 (Theory) 2 2 3 Common Course – 4 5 4 3 Common Course – 5 4 3 3 II Common Course – 6 4 4 3 20 Core Course – 2 (Practical) 7 4 30 mts 1st Complementary – 2 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 2 (Theory) 2 2 3 Common Course – 7 5 4 3 Common Course – 8 5 4 3 III Core Course – 3 (Theory) 3 4 3 19 Core Course – 4 (Practical) 7 3 30 mts 1st Complementary – 3 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 3 (Theory) 2 2 3 Common Course – 9 5 4 3 Common Course – 10 5 4 3 IV Core Course – 5 (Theory) 3 4 3 19 Core Course – 6 (Practical) 7 3 30 mts 1st Complementary – 4 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 4 (Theory) 2 2 3 Core Course – 7 (Theory) 4 4 3 Core Course – 8 (Practical) 6 4 30 mts V Core Course – 9 (Practical) 5 4 30 mts 21 Core Course – 10 (Practical) 5 4 30 mts Open Course – 1 (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 1 2 1 Core Course – 11 (Theory) 4 4 3 Core Course – 12 (Practical) 6 4 30 mts VI Core Course – 13 (Practical) 5 4 30 mts 21 Core Course – 14 (Practical) 5 4 30 mts Elective (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 2 2 1 Total 150 120 120 Core & Complementary 104 hrs 82 credits Common Course 46 hrs 38 credits Practical examination will be conducted at the end of each semester 2 MAHATMA GANDHI UNIVERSITY B. -
University of Kerala Ba Music Faculty of Fine Arts Choice
UNIVERSITY OF KERALA COURSE STRUCTURE AND SYLLABUS FOR BACHELOR OF ARTS DEGREE IN MUSIC BA MUSIC UNDER FACULTY OF FINE ARTS CHOICE BASED-CREDIT-SYSTEM (CBCS) Outcome Based Teaching, Learning and Evaluation (2021 Admission onwards) 1 Revised Scheme & Syllabus – 2021 First Degree Programme in Music Scheme of the courses Sem Course No. Course title Inst. Hrs Credit Total Total per week hours credits I EN 1111 Language course I (English I) 5 4 25 17 1111 Language course II (Additional 4 3 Language I) 1121 Foundation course I (English) 4 2 MU 1141 Core course I (Theory I) 6 4 Introduction to Indian Music MU 1131 Complementary I 3 2 (Veena) SK 1131.3 Complementary course II 3 2 II EN 1211 Language course III 5 4 25 20 (English III) EN1212 Language course IV 4 3 (English III) 1211 Language course V 4 3 (Additional Language II) MU1241 Core course II (Practical I) 6 4 Abhyasaganam & Sabhaganam MU1231 Complementary III 3 3 (Veena) SK1231.3 Complementary course IV 3 3 III EN 1311 Language course VI 5 4 25 21 (English IV) 1311 Language course VII 5 4 (Additional language III ) MU1321 Foundation course II 4 3 MU1341 Core course III (Theory II) 2 2 Ragam MU1342 Core course IV (Practical II) 3 2 Varnams and Kritis I MU1331 Complementary course V 3 3 (Veena) SK1331.3 Complementary course VI 3 3 IV EN 1411 Language course VIII 5 4 25 21 (English V) 1411 Language course IX 5 4 (Additional language IV) MU1441 Core course V (Theory III) 5 3 Ragam, Talam and Vaggeyakaras 2 MU1442 Core course VI (Practical III) 4 4 Varnams and Kritis II MU1431 Complementary -
November - December 2020 No
Society for Asian Art Newsletter for Members November - December 2020 No. 6 A Message from the SAA President Dear SAA Members and Friends, Have you noticed that time seems to be passing much faster, even though we are staying at home? Is it the lack of excitement, the lack of travels, or the shorter time between SAA Zoom Meetings and Webinars? I am happy to inform you that our events are so well attended that we are confident for the future and are going ahead enthusiastically with planning events to keep your mind and your interest in Asian art at full capacity. That is, after all, the mission of the SAA! November and December may have fewer events because of the many holidays and celebrations, but just look at the Spring 2021 Arts of Asia Lecture Series starting on January 22. Congratulations to the Arts of Asia Committee and our Instructor of Record, Mary-Ann Milford-Lutzker, for getting this together with such a thrilling list of scholars. The other committees have also been busy. Please sign up for our exciting programs in November and December, and be sure to save the dates for the 2021 trips. By now, many of you may have visited the Asian Art Museum since the re-opening on October 1, 2020, and contemplated your most loved works of art in person. We are fortunate to have this partial access to the special exhibitions and the collection galleries. While we await the opening of the new Akiko Yamazaki and Jerry Yang Pavilion and the East West Bank Art Terrace, we are also waiting for access to Samsung Hall, the Loggia and Koret Education Center, spaces where we love to meet you in person, have live lectures and events, or even sell books. -
CARNATIC MUSIC Melodic Instrument - (Code No
CARNATIC MUSIC Melodic Instrument - (Code No. 032) Class – IX (2021-22) Practical Max. Marks : 70 No. of periods I. Introduction of Svara exercises and Sapta Tala alankaras in two speeds. 30 II. Learning of 02 Pillari Geetams, 02 Sadharana Geetams/Sanchari 50 Geetams, 01 Svarajati, 02 Adi Tala Varnams in one speed. III. Brief outline of Ragas - Mayamalavagoula,Kalyani, Kharaharapriya, 30 Sankarabharanam, Hamsadhvani, Mohanam & Suddha Dhanyasi. Basic techniques and construction of any one of the chosen instrument. 25 a. Violin IV. b. Veena c. Flute d. Mandolin Rendering of any two of the following : 25 V. a. Devotional Song b. Folk Song c. Patriotic Song Total Periods 160 CARNATIC MUSIC Melodic Instrument - (Code No. 032) Format for Practical Examination for Class – IX Practical Max. Marks : 70 I. Questions based on the rendering of Swara Execises 10 marks and Sapta Tala alankaras in two speeds. II. Questions based on Gitams, Swarajati and Varnam 10 marks III. Brief explanation of Ragas from the syllabus. 10 marks IV. Questions based on the chosen instrument 08 marks V. Rendering in part or full of the compositions from the 07 marks topic V. VI. Reciting the Sahitya or lyric of the compositions learnt 05 marks Marks 50 Marks Internal Assessment 20 marks 70 marks CARNATIC MUSIC Melodic Instrument - (Code No. 032) Format for Examination for Class – IX (2021-22) Theory Max. Marks: 30 Time: 2 hours I Section I i 6 MCQ based on all above mentioned topics. 6 marks II Section II i Notation of any one Gitam 6 marks ii Brief lakshanas of any two -
Vol.74-76 2003-2005.Pdf
ISSN. 0970-3101 THE JOURNAL Of THE MUSIC ACADEMY MADRAS Devoted to the Advancement of the Science and Art of Music Vol. LXXIV 2003 ^ JllilPd frTBrf^ ^TTT^ II “I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; (but) where my Bhaktas sing, there be /, N arada !” Narada Bhakti Sutra EDITORIAL BOARD Dr. V.V. Srivatsa (Editor) N. Murali, President (Ex. Officio) Dr. Malathi Rangaswami (Convenor) Sulochana Pattabhi Raman Lakshmi Viswanathan Dr. SA.K. Durga Dr. Pappu Venugopala Rao V. Sriram THE MUSIC ACADEMY MADRAS New No. 168 (Old No. 306), T.T.K. Road, Chennai 600 014. Email : [email protected] Website : www.musicacademymadras.in ANNUAL SUBSCRIPTION - INLAND Rs. 150 FOREIGN US $ 5 Statement about ownership and other particulars about newspaper “JOURNAL OF THE MUSIC ACADEMY MADRAS” Chennai as required to be published under Section 19-D sub-section (B) of the Press and Registration Books Act read with rule 8 of the Registration of Newspapers (Central Rules) 1956. FORM IV JOURNAL OF THE MUSIC ACADEMY MADRAS Place of Publication Chennai All Correspondence relating to the journal should be addressed Periodicity of Publication and all books etc., intended for it should be sent in duplicate to the Annual Editor, The journal o f the Music Academy Madras, New 168 (Old 306), Printer Mr. N Subramanian T.T.K. Road, Chennai 600 014. 14, Neelakanta Mehta Street Articles on music and dance are accepted for publication on the T Nagar, Chennai 600 017 recommendation of the Editor. The Editor reserves the right to accept Publisher Dr. -
Department of Indian Music Name of the PG Degree Program
Department of Indian Music Name of the PG Degree Program: M.A. Indian Music First Semester FPAC101 Foundation Course in Performance – 1 (Practical) C 4 FPAC102 Kalpita Sangita 1 (Practical) C 4 FPAC103 Manodharma Sangita 1 (Practical) C 4 FPAC114 Historical and Theoretical Concepts of Fine Arts – 1 C 4 ( Theory) FPAE101 Elective Paper 1 - Devotional Music - Regional Forms of South India E 3 (Practical) FPAE105 Elective Paper 2 - Compositions of Muttusvami Dikshitar (Practical) E 3 Soft Skills Languages (Sanskrit and Telugu)1 S 2 Second Semester FPAC105 Foundation Course in Performance – 2 (Practical) C 4 FPAC107 Manodharma Sangita 2 (Practical) C 4 FPAC115 Historical and Theoretical Concepts of Fine Arts – 2 ( Theory) C 4 FPAE111 Elective Paper 3 - Opera – Nauka Caritram (Practical) E 3 FPAE102 Elective Paper 4 - Nandanar caritram (Practical) E 3 FPAE104 Elective Paper 5 – Percussion Instruments (Theory) E 3 Soft Skills Languages (Kannada and Malayalam)2 S 2 Third Semester FPAC108 Foundation Course in Performance – 3 (Practical) C 4 FPAC106 Kalpita Sangita 2 (Practical) C 4 FPAC110 Alapana, Tanam & Pallavi – 1 (Practical) C 4 FPAC116 Advanced Theory – Music (Theory) C 4 FPAE106 Elective Paper 6 - Compositions of Syama Sastri (Practical) E 3 FPAE108 Elective Paper 7 - South Indian Art Music - An appreciation (Theory) E 3 UOMS145 Source Readings-Selected Verses and Passages from Tamiz Texts ( S 2 Theory) uom1001 Internship S 2 Fourth Semester FPAC117 Research Methodology (Theory) C 4 FPAC112 Project work and Viva Voce C 8 FPAC113 Alapana, -
Chicago Jazz Festival Spotlights Hometown
NOVEMBER 2017 VOLUME 84 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Hawkins Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Kevin R. Maher 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, -
1465539437P14M1TEXT.Pdf
PAPER 14 KIRTANAM and TILLANA MODULE 1 The Importance of KIRTANAM in Bharatanatyam repertoire KIRTANAM Singing The Praise of God Is Keertana / कीर्तन. Keertan Is a Sanskrit Word .It means telling the Glory of God. In Southern Part India Keertana, came to be known as Kirtanam / कीर्तनम Or Keertanai / ककर्तनै with a regional touch. The different names with Adjectives attributed to gods are known as Kirtanam. Keertan Singing is a common feature in the pan Indian Tradition. It Is Sung In Temples And Religious Congregations. This Musical Form Is Prevalent In The Regional Languages All Over India. Irrespective Of the Type of Music Whether Hindustani or Carnatic, Keertan Takes a Special Place in the Repertoire of Music, Dance, Harikatha / हररकथा and bhajan Concerts. The Recitation And Chanting Of Vedas By A Group Of Priests As Part Of The Rituals Can Be Considered As The Early Example Of Collective Singing Of Devotional Music. Devotion Is a Universal Feeling and the Supreme Prayer to Attain God’s Feet. There are Threefold Margas to approach The Infinite .They are Gyanamarga / ऻानमागत (Intellectual Path), Karma Marga / कमत मागत (way of action) and The Bakhtimarga / भक्तर्मागत (Devotional Path).The devotional path is considered the ideal and easiest to approach god. The attractive form of displaying devotion is by singing his praise. Hence kirtanas are the best musical form in the sphere of devotional music. Structure of the kirtanam Kirtanams are set in simple ragas (tunes) to make easy for everybody to sing. The talas set are also simple and rhythmic. -
About Carnatic Music What Is Carnatic Music?
About Carnatic Music What is Carnatic Music? It is an ancient form of Classical Music associated with South India. There are several websites which give elaborate information about the basics of Carnatic Music, we list a couple of them here for your easy reference. It is certainly interesting to go through the information given in these websites but we feel it is not a must for a listener to assimilate all the technicalities for enjoying Carnatic music. The most fundamental aspects discussed in this page with audio demonstrations should suffice for anyone to get started with Carnatic music. What are the key elements of Carnatic Music? Shruti or Pitch - Carnatic Music is a melody based system and every sound produced revolves around a central concept of 'Shruthi' or 'Pitch'. 'Swaras' or 'Notes' - There are basically seven swaras - Sa Ri Ga Ma Pa Da Ni, arranged in the order of increasing frequency. Of these, Sa and Pa are invariable, whereas the swaras Ri, Ga, Da and Ni have three variations (mentioned as Ri1, Ri2, Ri3, Ga1, Ga2, Ga3 and so on...) and Ma has only two variations. Thus we end up with sixteen swaras. Why we have only two or three variations in each swara is because that is all the frequencies available with in an octave! Raga - A combination of swaras in a particular sequence. Every raga has an ascending and descending sequence of swaras, called the arohanam- avarohanam , which can be called the DNA of the raga. Tala - It is the rhythm component of Carnatic Music. All of us tap our feet naturally to any music we hear, isn't it? In Carnatic music, the tapping or keeping the rhythm is done by hand gestures. -
Carnatic Vocals and Instrumental Syllabus Levels 1-10
IndianRaga Certification Carnatic Vocals and Instrumental Curriculum A IndianRaga Certification The new gold standard in Indian Classical Music IndianRaga’s new certification program is the first ever structured, coherent, fair assessment mechanism to certify performers of Indian Classical Music at various levels of training and performance. A. Basis for assessment B Assessment of candidates to be based on technical principles combined with the ability to perform. B. Panel of assessors Holistic assessment of each candidate by a panel of accomplished musicians. C. Standardized Testing Online video-based mechanism eliminates bias and delivers an unparalleled test-taking experience. C Advantages of getting certified What How 1. Recognition of musical skills . Syllabus will test Levels 1 through 2. Qualitative concepts of 10 to evaluate assessment of level of accomplishment Indian Classical progress at 3. Encouragement of various levels of commitment Music and ability towards music. to perform training and 4. Presentation of credentials for performance musical or academic profile. A B D C A. Levels 1, 2, 3 B. Levels 4,5,6 Understanding the different levels. - Initial levels of training - Ability to render ragas - Understanding of basic with easy We have grouped the concepts - Sufficient practice on - Ability to identify ragas levels into four groups: her/his own A, B, C and D. These - Exposure to live performances levels correspond to Beginner, Beginner +, D. Levels 9 & 10 Intermediate and C. Levels 7 & 8 Advanced. See to the - Highest level -
CARNATIC MUSIC (VOCAL) Theory (Code No. 031) Syllabus for Class IX (2019-20)
CARNATIC MUSIC (VOCAL) Theory (code no. 031) Syllabus for Class IX (2019-20) 30 Marks I. Brief history of Carnatic Music with special reference to Saint Purandara dasa, Annamacharya, Bhadrachala Ramadasa, Saint Tyagaraja, Muthuswamy Dikshitar, Syama Shastry and Swati Tirunal. II. Definition of the following terms: Sangeetam, Nada, raga, laya, Tala, Dhatu, Mathu, Sruti, Alankara, Arohana, Avarohana, Graha (Sama, Atita, Anagata), Svara – Prakruti & Vikriti Svaras, Poorvanga & Uttaranga, Sthayi, vadi, Samvadi, Anuvadi & Vivadi Svara – Amsa, Nyasa and Jeeva. III. Brief raga lakshanas of Mohanam, Hamsadhvani, Malahari, Sankarabharanam, Mayamalavagoula, Bilahari, khamas, Kharaharapriya, Kalyani, Abhogi & Hindolam. IV. Brief knowledge about the musical forms. Geetam, Svarajati, Svara Exercises, Alankaras, Varnam, Jatisvaram, Kirtana & Kriti. V. Description of following Talas: Adi – Single & Double Kalai, Roopakam, Chapu – Tisra, Misra & Khanda and Sooladi Sapta Talas. VI. Notation of Gitams in Roopaka and Triputa Tala CARNATIC MUSIC (VOCAL) Theory Format of written examination for class IX Time: 2 hrs. Marks: 30 Long Answer (Essay) 6x2 a. Biography b. Musical Forms c. Notation of Gitams in above mentioned Tala Short Answers with Examples 6x2 d. Writing of minimum Two Raga-lakshana from prescribed list in the syllabus. e. Description of talas, illustrating with examples. f. Short notes of minimum 05 technical terms from the topic II. Short- Long Answer 6 g. Definition of any two from the following terms (Sangeetam, Nada, Raga,Sruti, Alankara, Svara) h. Six MCQ based on all the above mentioned topic Note: - Examiners should set atleast seven questions in total and the students should answer five questions from them, including two Essays, two short answer and short notes questions based on technical terms (topic VI & III) will be compulsory. -
तमिलनाडु केन्द्रीय विश्िविद्यालय Electives for the Odd Semester Elec
तमिलनाडु केन्द्रीय वि�िवि饍यालय CENTRAL UNIVERSITY OF TAMIL NADU (Established by an Act of Parliament, 2009) नीलक्कु डी परिसि /Neelakudi Campus, कंगलाꅍचेिी/Kangalancherry, ति셁वा셂ि/Thiruvarur- 610 005. SCHOOL OF PERFORMING AND FINE ARTS DEPARTMENT OF MUSIC Generic ELECTIVE COURSES IN MUSIC Electives for the Odd Semester Code Title Credits Eligibility MUSE01 Elements of Indian 3 Prior music knowledge is not required Music MUSE02 Karnataka Music for 3 Prior music knowledge is not required Beginners-Vocal MUSE03 Karnataka Music for 3 Prior music knowledge is not required Beginners- Veena MUSE04 Devotional and Patriotic 3 Basic music singing knowledge is required. registration is Songs based on personal interview MUSE08 Karnataka Music for 3 Students who had passed the Elective paper MUSE06 Beginners- Veena - offered by the Department of Music. Level -3 (or) Students who already possess the basic knowledge of Karnataka Music- Veena. For such Students, registration is based on personal interview. Electives for the Even Semester MUSE05 Karnataka Music Vocal 3 Students who had passed the Elective paper MUSE02 offered –Level – 2 by the Department of Music, CUTN. (Or) Students who already possess the basic knowledge of Karnataka Music. For such Students, registration is based on personal interview. MUSE06 Karnataka Music Veena 3 Students who had passed the Elective paper MUSE03 offered - Level - 2 by the Department of Music. (Or) Students who already possess the basic knowledge of Karnataka Music- Veena. For such Students, registration is based on personal interview. MUSE07 Karnataka Music 3 Students who had passed the Elective paper MUSE04 offered Compositions - Vocal by the Department of Music.