MRIDANGA SYLLABUS for MA (CBCS) Effective from 2014-15
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Alamkara-Gamaka: an Anthology
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 20, Issue 9, Ver. III (Sep. 2015), PP 122-125 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Alamkara-Gamaka: An Anthology Arun S1, Dr. Choodamani Nandagopal2 1. (M.Phil Research Scholar, Faculty of Humanities and Social Sciences, Jain University, Bangalore, India) 2. (Guide and DEAN, Faculty of Humanities and Social Sciences, Jain University, Bangalore, India) Abstract: Music, by nature is a dynamic embellishment. But, it is the innate embellishments present within the art form and the artiste, makes it appreciable to a large audience. Alamkara (Fore-runners of Gamaka) and Gamaka (Certain melodic embellishment in the voice which is aesthetic to the aesthete) are the codified embellishments as per Sanskrit lexicons. These are not units in themselves but they are Unifying Forces. It is interesting that the mnemonic syllables (Abstract sound rhetoric units) emanated from percussion instruments which by nature are abstract units of sound phonemes perfectly synchronize with the diffused elements such as Alamkara and Gamaka. While summing up the thirty three Alamkaras of Bharata as per the treatise Natya Shastra, the “Tension-Retention Concept” discussed in the paper proves the above statement. Keywords: Alamkara, Gamaka, Mnemonic Syllables, Music, Natya Shastra, Nuances, Percussion, Sangitaratnakara. I. Introduction Any Art, be it performing, visual or otherwise is basically are set of gyrations; but without the nuances which adheres in the art form. The nuances might not have a definite scientific origin but the fact of; “something catchy or different” which makes the aesthete appreciate a particular piece of work proves the presence of the nuances or certain embellishments. -
M.A-Music-Vocal-Syllabus.Pdf
BANGALORE UNIVERSITY NAAC ACCREDITED WITH ‘A’ GRADE P.G. DEPARTMENT OF PERFORMING ARTS JNANABHARATHI, BANGALORE-560056 MUSIC SYLLABUS – M.A KARNATAKA MUSIC VOCAL AND INSTRUMENTAL (VEENA, VIOLIN AND FLUTE) CBCS SYSTEM- 2014 Dr. B.M. Jayashree. Professor of Music Chairperson, BOS (PG) M.A. KARNATAKA MUSIC VOCAL AND INSTRUMENTAL (VEENA, VIOLIN AND FLUTE) Semester scheme syllabus CBCS Scheme of Examination, continuous Evaluation and other Requirements: 1. ELIGIBILITY: A Degree with music vocal/instrumental as one of the optional subject with at least 50% in the concerned optional subject an merit internal among these applicant Of A Graduate with minimum of 50% marks secured in the senior grade examination in music (vocal/instrumental) conducted by secondary education board of Karnataka OR a graduate with a minimum of 50% marks secured in PG Diploma or 2 years diploma or 4 year certificate course in vocal/instrumental music conducted either by any recognized Universities of any state out side Karnataka or central institution/Universities Any degree with: a) Any certificate course in music b) All India Radio/Doordarshan gradation c) Any diploma in music or five years of learning certificate by any veteran musician d) Entrance test (practical) is compulsory for admission. 2. M.A. MUSIC course consists of four semesters. 3. First semester will have three theory paper (core), three practical papers (core) and one practical paper (soft core). 4. Second semester will have three theory papers (core), two practical papers (core), one is project work/Dissertation practical paper and one is practical paper (soft core) 5. Third semester will have two theory papers (core), three practical papers (core) and one is open Elective Practical paper 6. -
The West Bengal College Service Commission State
THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in 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. -
6. ADDITIONAL SUBJECTS (A) MUSIC Any One of the Following Can Be Offered: (Hindustani Or Carnatic)
6. ADDITIONAL SUBJECTS (A) MUSIC Any one of the following can be offered: (Hindustani or Carnatic) 1. Carnatic Music-Vocal 4. Hindustani Music-Vocal or or 2. Carnatic Music-Melodic Instruments 5. Hindustani Music Melodic Instruments or or 3. Carnatic Music-Percussion 6. Hindustani Music Percussion Instruments Instruments (i) CARNATIC MUSIC VOCAL THE WEIGHTAGE FOR FORMATIVE ASSESSMENT (F.A.) AND SUMMATIVE ASSESSMENT (S.A.) FOR TERM I & II SHALL BE AS FOLLOWS Term Type of Assessment Percentage of Termwise Total Weightage in Weightage Academic Session for both Terms First Term Summative 1 15% 15+35 50% (April - Theory Paper Sept.) Practicals 35% Second Summative 2 15% 15+35 50% Term Theory Paper (Oct.- Practicals 35% March) Total 100% Term-I Term-II Total Theory 15% + 15% = 30% Practical 35% + 35% = 70% Total 100% 163 Carnatic Music (Code No. 034) Any one of the following can be offered : (Hindustani or Carnatic) 1. Carnatic Music-Vocal 4. Hindustani Music-Vocal or or 2. Carnatic Music-Melodic Instruments 5. Hindustani Music Melodic Instruments or or 3. Carnatic Music-Percussion 6. Hindustani Music Percussion Instruments Instruments (i) CARNATIC MUSIC VOCAL THE WEIGHTAGE FOR FORMATIVE ASSESSMENT (F.A.) AND SUMMATIVE ASSESSMENT (S.A.) FOR TERM I & II SHALL BE AS FOLLOWS Term Type of Assessment Percentage of Termwise Total Weightage in Weightage Academic Session for both Terms First Term Summative 1 15% 15+35 50% (April - Theory Paper Sept.) Practicals 35% Second Summative 2 15% 15+35 50% Term Theory Paper (Oct.- Practicals 35% March) Total 100% Term-I Term-II Total Theory 15% + 15% = 30% Practical 35% + 35% = 70% Total 100% 164 SYLLABUS FOR SUMMATIVE ASSESSMENT FIRST TERM (APRIL 2016 - SEPTEMBER 2016) CARNATIC MUSIC (VOCAL) (CODE 031) CLASS IX TOPIC (A) Theory 15 Marks 1. -
Sreenivasarao's Blogs HOME ABOUT THIS WORDPRESS.COM SITE IS the BEE's KNEES
sreenivasarao's blogs HOME ABOUT THIS WORDPRESS.COM SITE IS THE BEE'S KNEES ← Music of India – a brief outline – Part fifteen Music of India – a brief outline – Part Seventeen → Music of India – a brief outline – Part sixteen Continued from Part Fifteen – Lakshana Granthas– Continued Part Sixteen (of 22 ) – Lakshana Granthas – Continued Pages 8. Sangita-ratnakara by Sarangadeva About Archives January 2016 October 2015 September 2015 August 2015 July 2015 June 2015 May 2015 April 2015 February 2015 January 2014 December 2013 Sarangadeva’s Sangita-ratnakara (first half of 13th century) is of particular importance, because it was written November 2013 just before influence of the Muslim conquest began to assert itself on Indian culture. The Music discussed in Sangita-ratnakara is free from Persian influence. Sangita-ratnakara therefore marks the stage at which the October 2013 ‘integrated’ Music of India was before it branched into North-South Music traditions. October 2012 It is clear that by the time of Sarangadeva, the Music of India had moved far away from Marga or Gandharva, as September 2012 also from the system based on Jatis (class of melodies) and two parent scales. By his time, many new August 2012 conventions had entered into the main stream; and the concept of Ragas that had taken firm roots was wielding considerable authority. Sarangadeva brought together various strands of the past music traditions, defined almost 267 Ragas, established a sound theoretical basis for music and provided a model for the later Categories musicology (Samgita Shastra). Abhinavagupta (3) Sarangadeva’s emphasis was on the ever changing nature of music, the expanding role of regional (Desi) Agama (6) influences on it, and the increasing complexity of musical material that needed to be systemised time and again. -
Number of Ph.D.S Awarded Per Teacher During the Last Five Years
Number of Ph.D.s awarded per teacher during the last five years Year of registratio Year of Name of the Name of the n of the award of PhD scholar Department Name of the guide/s Title of the thesis scholar PhD Prof. Suneera Himanchal pradesh ki sangeet jivi jatiyan itihaas vartaman istithi tatha bhavishya Om Sharma Music Kasliwal ek aadhyayan 2009 2013 Prof. Suneera Kolkata main Nirmit sarikayukta tantri vadyo ka vashistya evam vadya nirmatao Manish Mamgai Music Kasliwal ka yogdan 2009 2014 Prof. Suneera Ragdari Sangeet Main Prayukt hone vale panjab ke paramparagat Vadya va unke Pawan Kumar Music Kasliwal pramukh Kalakar Ek aadhyayan 2009 2013 Prof. Suneera Aadhyunik Yug main nirmit pramukh prayogatmak swar Vadya Uttar Bharatiya Jasbeer Music Kasliwal Shashtriya Sangeet ke Vishesh Sandarbh Main 2012 2016 Prof. Suneera Life and Works of Naushad a Study and use of His Classical music in hindi films Radha Tyagi Music Kasliwal 1937 2005 2011 2016 Prof. Suneera Shashtriya sangeet ke vikas main sameelano ki bhoomika Delhi prant ke vishesh Sukhpreet Singh Music Kasliwal sandarbh main 2011 2015 Prof. Suneera Aadhunik Yug Main Swarlipi paddhati ke badalte Swaroop ek Vishleshanatmak Neha Sharma Music Kasliwal Aadhyayan 2012 2016 Prof. Suneera Pandit Vishnu Digambar Paluskar Evam Sansthagat sangeet shikshan prampara ek Bharat Bhushan Music Kasliwal vishleshanatmak aadhyayan 2012 2016 Prof. Suneera Ragdari Sangeet Main Pandit Vishnu Digambar Paluskar Dwara Bhakti Rachnao ka Vineet Goswami Music Kasliwal Prayog Aadhyayan Evam Abhilekhan 2012 2016 Prof. Anupam Madhyakal se vartaman samay tak sitar vvadan ke paramparagat bolo main Anuja Jha Music Mahajan parivartan evam parivardhan 2011 2015 Prof. -
Folk Instruments of Punjab
Folk Instruments of Punjab By Inderpreet Kaur Folk Instruments of Punjab Algoza Gharha Bugchu Kato Chimta Sapp Dilruba Gagar Dhadd Ektara Dhol Tumbi Khartal Sarangi Alghoza is a pair of woodwind instruments adopted by Punjabi, Sindhi, Kutchi, Rajasthani and Baloch folk musicians. It is also called Mattiyan ,Jōrhi, Pāwā Jōrhī, Do Nālī, Donāl, Girāw, Satārā or Nagōze. Bugchu (Punjabi: ਬੁਘਚੂ) is a traditional musical instrument native to the Punjab region. It is used in various cultural activities like folk music and folk dances such as bhangra, Malwai Giddha etc. It is a simple but unique instrument made of wood. Its shape is much similar to damru, an Indian musical instrument. Chimta (Punjabi: ਚਚਮਟਾ This instrument is often used in popular Punjabi folk songs, Bhangra music and the Sikh religious music known as Gurbani Kirtan. Dilruba (Punjabi: ਚਿਲਰੱਬਾ; It is a relatively young instrument, being only about 300 years old. The Dilruba (translated as robber of the heart) is found in North India, primarily Punjab, where it is used in Gurmat Sangeet and Hindustani classical music and in West Bengal. Dhadd (Punjabi: ਢੱਡ), also spelled as Dhad or Dhadh is an hourglass-shaped traditional musical instrument native to Punjab that is mainly used by the Dhadi singers. It is also used by other folk singers of the region Dhol (Hindi: ढोल, Punjabi: ਢੋਲ, can refer to any one of a number of similar types of double-headed drum widely used, with regional variations, throughout the Indian subcontinent. Its range of distribution in India, Bangladesh and Pakistan primarily includes northern areas such as the Punjab, Haryana, Delhi, Kashmir, Sindh, Assam Valley Gagar (Punjabi: ਗਾਗਰ, pronounced: gāger), a metal pitcher used to store water in earlier days, is also used as a musical instrument in number of Punjabi folk songs and dances. -
MUSIC Hindustani
The Maharaja Sayajirao University of Baroda, Vadodara Ph. D Entrance Tet (PET) SYLLABUS Subject: MUSIC PET ExamCode : 21 Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music -1- 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. -2- 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. -
Bibliography
BIBLIOGRAPHY Books and Publications Author's Name Year A Guide to Musical Acoustics H. Lowery English Published by Dobson Books Ltd. London A Historical Study of Indian Music Pragnanananda, English Munshiram Manoharlal Publishers Private Swami 1981 Ltd., 54 Rani Jhansi Road, New Delhi 110055 A Short historical survey of the Music of Pt. V. N. Bhatkhande English upper India. Tr. By 1985 Baroda, Indian Musicological Society Dr. Arun Kumar Sen A Text Book of Botany Dr. V. Singh English Rastogi Publication, Shivaji road, Meerut A Text Book of Sound R. L. Saihgal English S. Chand & co., Delhi, New Delhi, Jullundar, Lucknow, Bombay A Text Book of Sound D. R. Khanna & English Atma Ram and Sons, Kashmiri Gate, Delhi R. S. Bedi 1980 A Text Book of Sound M. N. Srinivasan English Himalaya Publishing House, Ramdoot Dr. 1991 Bhallerao Marg, Gorgaon, Bombay Acoustics Leo L. Beranek English McGraw-Hill Book Company, Inc. New York, 1954 Toronto, London, Acoustics for Music Students, Madras C. S. Ayyar English Published by C. S. Ayyar, 46, Edward Elliots 1959 Road, Madras - 4, (India) Acoustics of Buildings F. R. Watson English New York, John Wiley & Sons, Inc. 1948 London: Chapman & Hall. Ltd. Bibliography 419 Acoustics of Buildings including acoustics of Watson Floyd Rowe English auditoriums and sound proofing of room 1948 Acoustics of Music Wilmer T. English New York, Prentice-hall, Inc., 70,5th Avenue Bartholomew 1950 Acoustics Wave and Oscillations S. N. Sen English Willey Eastern Ltd. 4834/24, Ansari Road, 1990 Dariya Ganj, New Delhi -110002 Aine Akbari Abul Fazal ; English English Translated by Francis Gladwin, Tr. -
Sanskrit Scholars of Orissa
Orissa Review * April - 2006 Sanskrit Scholars of Orissa Jayanti Rath The contribution of Orissan scholars in the domain The famous drama 'Anargha Raghava' of Sanskrit literature is inormous. They have has been written by Murari Mishra. The drama shown their excellence in different branches of deals with the story of Ramayana. The earliest knowledge, i.e. Grammar, Politics, Dharma reference to car festival of Orissa is found in this Sastras, Kavyas, Poetics, Astrology, Astronomy, work. He describes about the assemblage of a Tantra, Dance, Music, Architecture, Arithmetic, large number of people near Tamila-Studde Geography, Trade Routes, Occult Practices, War Purusottama Kshetra, which is situated at the and War Preparation, Temple Rituals and so on. sea-sore. Murari Misra approximately belonged They have enriched it immensely. to 8th century A.D, because he was referred to Vishnu Sharma, the famous another of by Raja Sekhar of 9th century A.D. in his Kavya Pancha Tantra, is the earliest known Sanskrit Mimamsa. scholars of Orissa. He was the court poet and Satananda, a great astronomer of Orissa priest of Ananda Sakti Varman, the ruler of has left indelible mark in the field of Sanskrit study. Mathara dynasty. The Matharas were ruling over His work Bhasvati was once accepted as an Orissa in 4th and 5th Century A.D. Pancha authority on Astronomy and several Tantra is considered to be one of the most commentaries were written on this work by outstanding work of India of early period. But scholars of different parts of India which bear prior to this Upanishadas in Altharva Veda and testimony to its popularity. -
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. -
Sushira Vadya and the Development of Flute in Music
IF : 4.547 | IC Value 80.26 VolumVOLeUME-6, : 3 | Issu ISSUE-7,e : 11 | N ovembJULY-2017er 2014 • ISSN • ISSN No N 2277o 2277 - 8160- 8179 Original Research Paper Arts SUSHIRA VADYA AND THE DEVELOPMENT OF FLUTE IN MUSIC Jabahar Mishra Lecturer In Flute Department, Utkal University Of Culture, Bhubaneswar, Odisha ABSTRACT Wind instruments exhibit great diversity in structure and sonority and have been prominent in the music of all cultures since prehistoric times. A system of classication of these instruments must reect and categorize the relationships and the differences between the many varieties. The conventional division of the symphony orchestra into sections has simplied the grouping of wind instruments into woodwinds and brasses, but this is an inaccurate classication that generally does not apply outside Western culture. The fact that some modern woodwinds, such as utes and saxophones, are made of metal whereas several ancestors of present-day brasses, such as the cornet and the serpent, were typically made of wood illustrates the unsuitability of a classica- tion according to material. The most ancient and widespread Sushira Vadya (wind instrument) is the ute. The oldest mention is in the Veda-s wherein it is called Venu and Nadi. KEYWORDS : SUSHIRA, VADYA, MUSIC, FLUTE, INSTRUMENT One very popular belief is that the creation of the rst Sushira Vadya the percussion instruments (Avanaddha Vadya). This mode of might have been suggested to man by the wind whistling through classication even survives today despite the introduction of newer holes in bamboos in the glades. This, while a common occurrence in musical instruments into the eld.