DOCSLIB.ORG

1465539437P14M1TEXT.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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. This art musical form consist of pallavi / ऩ쥍ऱळी, annupallavi / अन्नुऩ쥍ऱळी and charanam / चरणं. Many kirtanams / कीर्तनं do not have anupallavi but consist of several charanams. If there are any svara / स्ळर or jathi / जर्ी passages after anupallavi it is again repeated after the charanam. This highlights the beauty of the music and dance th choreography. The kirtanam singing came to vogue from 16 century a.d.kirtanams must have derived from the musical form prabandas / प्रबंध. The simple language in the sahityas / साहह配य with equally flowing melody coupled with spiritual flavor gained popularity to this form .the adhyatma sankirtanas / अध्या配म संककर्तना and sringara sankirtanas / �ींगार संककर्तना can be taken as the earliest keertana compositions .during this period probably the gadya –padya sahitya / ग饍य-ऩ饍य साहह配य was introduced in keertana for the first time. The gradual transition took place from recitative music to lyrical music .the poetical expression was replaced with musical expression. The philosophical kirtanas of purandaradasa / ऩुरान्दरादासा, badrachala armadas / भद्राचऱ रामदास and other such composers are filled with musical expressions. The divyanama kirtanas / हदव्यनामा कीर्तन of tyagaraja / 配यागराज consists of pallavi and charanas. Some of the kirtanas by muthuswami dikshadar have samashti charana which is in a combination of anupallavi and charana. Uthukadu venkatasubbiers kirtanas have svara and jathi passages enhancing the sahitya. Compositions The kirtanams are composed in praise of Lord Ganesha, Shiva, Nataraja, Devi, Vishnu, Rama, Krishna, Hanuman, Kartikeya, Ayyapan, Lakhmi, Saraswathi, Guru etc. The description of the lord’s beauty, valour, compassion, competence are incorporated in an enhanced form. The verses will be of poetic nature full of similes and adjectives. Some will have philosophical descriptions. The kirtanams are sung by the bagavatas / भागळर् in the kathalakshepam / कथाकऱाऺेऩम or harikatha / हररकथा programs. The Bhagavathas recite stories of gods and kirtanam singing in the apt situations in middle of the story telling supports and enhances the beauty of the harikathas. Hence kirtanams became an integral part of harikatha. Kirtanams were also sung in the bhajana sampradaya in between the bhajans. Bhajans are the songs sung in praise of gods. The lines are first sung by the main singer and it is repeated by others. Sometimes same line is sung several times in unison and end with a namavali / नामाळऱी. It is always with very simple musical notes and without complicated musical intricacies. To break the monotony kirtanams were sung in between by the main singer. Kirtanams were also sung in music concerts since there is scope for raga alapana / आऱाऩना and kalpana svaras / क쥍ऩना स्ळर. So far there are no evidences available about kirtanam being performed in the temple or court dance programes. The tevaram / र्ेळारम hymns, thiruvachgam / तर्셁ळ楍गम, pasurams / ऩासुरम, thirupgazh / तर्셁ऩुगल, thirupavai / तर्셁ऩळै, mallari / म쥍ऱारी, tillana etc. were performed in the temple. The padavarnams, chowka varnams, padams, javalis, tillanas were frequently performed th dance forms in the court. In the beginning of the 20 century sadir was evolving as bharathanatyam for the public to enjoy the traditional art form. To add to the respectability of the dance form, kirtanam was introduced to the dance repertoire. It was novel and apt to perform kirtanam of a presiding deity in a particular kshetra / ऺेत्र where the dancer was performing. A dance festival in a temple always had one or more kirtanams performed in praise of that main deity. Kirtanams are full of bhakti rasa.it is apt for young children to perform kirtanams in a programme. It is comparatively easy for children to perform bhakti rasa than different varieties of sringara rasa as in padams and javalis. Kirtanams taken up for dance are fast and vibrant with svaras and jathis. The dance choreographer takes the liberty of adding a sloka in the beginning of the kirtanam or adding a jathi passage where ever needed. This highlights the beauty of the music and dance choreography. There is scope for the dancer to bring out the different bakhti rasas, karuna and joy in the kirtanas. Kirtanams are also sung and danced in bagavathamela natakams. Bagavathamelas are based on mythological stories of gods and is annually performed only in temples. Hence kirtanas are the integral part of these natakams. Kirtanam is the chanting of gods’ name, glory, form and quality. Sravanam is hearing and kirtanam is chanting or preaching. Singing kirtanam is to be associated with the almighty. By listening his praises constantly it is registered in the mind. Sincere devotion expressed in the form of music is considered the easy way to attain salvation. The songs in prahlada bakhti vijayam of saint tyagaraja reveals the different forms of devotions. There are nine modes of devotion. They are--- Sravanam / �ळणम---listening to his praise. Purandaradasa’s keertana katha sravana mado / कीर्तन कथा �ळण मादो in yamunakalyani raga and adi tala is the best example describing the sravanam. Smaranam / स्मरणं—meditation. Tyagaraja’s song smarane sukham / स्मराने सुखम in janaranjani raga and adi tala brings out the essence of smaranam. Kirtanam / कीर्तनम---singing or telling his glory. Harinama keertane / हरनाम कीर्तने in dhanyasi raga adi tala of prandaradasa is a good example of kirtanam. Vandanam / ळन्दनं---prayer in prostration. Swathi tirunal’s song vande deva / ळन्दे देळा in begada raga and jhampa tala describes vandanam. Archanam / अचतनम---worship through rituals. For example tyagaraja’s composition namakusuma mula / नामकु सुम मूऱ in sriraga and desadi tala. Padasevanam / ऩादसेळानाम—service at his feet or serving humanity. For example purandaradasa’s song bindeninna padava / बबन्देतनन्ना ऩाड़ळा in mohana raga and ata tala. Dasyam / दास्यम—being his servant. Tyagaraja’s composition tavadasogam / र्ळदासोगम in punnagavarali raga / ऩुन्नागाळाराऱी राग and adi tala / आहद र्ाऱा brings out the devotion. Sakhyam / सख्यं---being his friend, friendly to mankind. Swathi tirunal’s song bhavati visvaso / भळतर् वळश्ळासⴂ in mukhari raga and ata tala expresses the devotion. Atmanivedanam / आ配मतनळेदनम—surrender of oneself. Tyagaraja’s composition ragunayaka / रागुनायक in hamsadwani / हंसध्ळतन raga and adi tala brings out the essence of bakhti. The musical composition kirtanas give the essence of the navavidha bhakti. A philosophical content given in a musical form is easy to register in mind .the repetition of kirtanas gives a holistic experience of bhakti. Temples have contributed in preserving this musical form. The sthala kirtanas / स्थऱ कीर्तन or kshetra kirtanas / ऺेत्र कीर्तन are the compositions in praise of the presiding deity of that shrine. Many vaggeyakaras (composers) have composed songs on the particular deity for their ardent devotion towards god. These kirtanas describe spiritual aspects of the presiding deity, historical aspects of the kshetra, the mythological stories pertaining to that temple, about the sthala vruksha / ळऺृ (tree), pushkarani / ऩुष्करनी (sacred tanks), the festivals, special poojas, music, dance of the temple and many more such details. The sthala kirtanas are of two kinds, one being the songs in praise of the presiding deity of a temple, ishtadevatas and gods and goddesses of various shrines. The second one is the group kirtanas which are usually a set of five, seven, nine, twelve and sixteen songs in praise of a particular deity. Each song is a unit in the garland of songs (keertana malas). The temples which have the privilege of being visited and sung by great saints and composers are called ‘padal petra thalangal’. The musical trinities of carnatic music sri tyagaraja, syamasastri and muthuswami dikshadar have composed numerous kirtanams with full of bakthi bava. Among the musical trinities muthuswami dikshadar has composed a large number of group kirtanas. They are: 1. Vibhakti kirtanas / वळभक्तर् कीर्तन are a group of eight vibhaktis (cases) in praise of lord subramanya / सुब्रमन्य. 2. Nineteen kirtanas in praise of lord Ganapathi of different forms. 3. A set of twelve kirtanas in praise of lord tyagaraja / 配यागराज the presiding deity of tiruvarur / तर्셁ळ셁र and other kshetras / ऺेत्र. 4. A set of nine kirtanas on Lord Subramanya.
Recommended publications
  • The Music Academy, Madras 115-E, Mowbray’S Road

    The Music Academy, Madras 115-E, Mowbray’S Road

    Tyagaraja Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXIX 1968 Parts MV srri erarfa i “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada l ” EDITBD BY V. RAGHAVAN, M.A., p h .d . 1968 THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. iI i & ADVERTISEMENT CHARGES ►j COVER PAGES: Full Page Half Page Back (outside) Rs. 25 Rs. 13 Front (inside) 20 11 Back (Do.) „ 30 „ 16 INSIDE PAGES: 1st page (after cover) „ 18 „ io Other pages (each) „ 15 „ 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. e iX NOTICE All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal Of the Music Academy, Madras-14. « Articles on subjects of music and dance are accepted for mblication on the understanding that they are contributed solely o the Journal of the Music Academy. All manuscripts should be legibly written or preferably type­ written (double spaced—on one side of the paper only) and should >e signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan Editor. Pages.
  • Towards Automatic Audio Segmentation of Indian Carnatic Music

    Towards Automatic Audio Segmentation of Indian Carnatic Music

    Friedrich-Alexander-Universit¨at Erlangen-Nurnberg¨ Master Thesis Towards Automatic Audio Segmentation of Indian Carnatic Music submitted by Venkatesh Kulkarni submitted July 29, 2014 Supervisor / Advisor Dr. Balaji Thoshkahna Prof. Dr. Meinard Muller¨ Reviewers Prof. Dr. Meinard Muller¨ International Audio Laboratories Erlangen A Joint Institution of the Friedrich-Alexander-Universit¨at Erlangen-N¨urnberg (FAU) and Fraunhofer Institute for Integrated Circuits IIS ERKLARUNG¨ Erkl¨arung Hiermit versichere ich an Eides statt, dass ich die vorliegende Arbeit selbstst¨andig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus anderen Quellen oder indirekt ubernommenen¨ Daten und Konzepte sind unter Angabe der Quelle gekennzeichnet. Die Arbeit wurde bisher weder im In- noch im Ausland in gleicher oder ¨ahnlicher Form in einem Verfahren zur Erlangung eines akademischen Grades vorgelegt. Erlangen, July 29, 2014 Venkatesh Kulkarni i Master Thesis, Venkatesh Kulkarni ACKNOWLEDGEMENTS Acknowledgements I would like to express my gratitude to my supervisor, Dr. Balaji Thoshkahna, whose expertise, understanding and patience added considerably to my learning experience. I appreciate his vast knowledge and skill in many areas (e.g., signal processing, Carnatic music, ethics and interaction with participants).He provided me with direction, technical support and became more of a friend, than a supervisor. A very special thanks goes out to my Prof. Dr. Meinard M¨uller,without whose motivation and encouragement, I would not have considered a graduate career in music signal analysis research. Prof. Dr. Meinard M¨ulleris the one professor/teacher who truly made a difference in my life. He was always there to give his valuable and inspiring ideas during my thesis which motivated me to think like a researcher.
  • Copyright by Kristen Dawn Rudisill 2007

    Copyright by Kristen Dawn Rudisill 2007

    Copyright by Kristen Dawn Rudisill 2007 The Dissertation Committee for Kristen Dawn Rudisill certifies that this is the approved version of the following dissertation: BRAHMIN HUMOR: CHENNAI’S SABHA THEATER AND THE CREATION OF MIDDLE-CLASS INDIAN TASTE FROM THE 1950S TO THE PRESENT Committee: ______________________________ Kathryn Hansen, Co-Supervisor ______________________________ Martha Selby, Co-Supervisor ______________________________ Ward Keeler ______________________________ Kamran Ali ______________________________ Charlotte Canning BRAHMIN HUMOR: CHENNAI’S SABHA THEATER AND THE CREATION OF MIDDLE-CLASS INDIAN TASTE FROM THE 1950S TO THE PRESENT by Kristen Dawn Rudisill, B.A.; A.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2007 For Justin and Elijah who taught me the meaning of apu, pācam, kātal, and tuai ACKNOWLEDGMENTS I came to this project through one of the intellectual and personal journeys that we all take, and the number of people who have encouraged and influenced me make it too difficult to name them all. Here I will acknowledge just a few of those who helped make this dissertation what it is, though of course I take full credit for all of its failings. I first got interested in India as a religion major at Bryn Mawr College (and Haverford) and classes I took with two wonderful men who ended up advising my undergraduate thesis on the epic Ramayana: Michael Sells and Steven Hopkins. Dr. Sells introduced me to Wendy Doniger’s work, and like so many others, I went to the University of Chicago Divinity School to study with her, and her warmth compensated for the Chicago cold.
  • “I Cannot Live Without Music”

    “I Cannot Live Without Music”

    INTERVIEW “I cannot live without music” Swati Tirunal was undoubtedly one of the most important modern composers, one who included Hindustani styles in his compositions. Nowadays it has become fashionable to say you must avoid Hindustani in Carnatic music or the other way around. But looking back, Bhimsen Joshi was among those south Indians who became luminaries in the north Indian style. How many south Indians are really open to Hindustani music is debatable. The late M.S. Gopalakrishnan was very competent in the Hindustani field, and my colleague Sanjay Subrahmanyan is a Carnatic musician open to Hindustani ragas – he sings a Rama Varma at the Swarasadhana workshop focussing on Swati Tirunal’s compositions pallavi in Bagesree, for instance. Then again there are ‘fundamentalist’ groups Well known Carnatic vocalist Rama Varma was in Chennai recently to who think Behag, Sindhubhairavi, conduct a two-day workshop (9 and 10 February 2013) Swarasadhana, Yamunakalyani, Sivaranjani and their at the Satyananda Yoga Centre at Triplicane. Here he speaks of the event, ilk should be totally done away with. his journey in classical music and his thoughts on the changing trends of the art form. Rama Varma How did Swarasadhana happen? in conversation with I have been teaching in a village called Perla near Mangalore for the past M. Ramakrishnan four years, at a music school called Veenavadini, run by the musician Yogeesh Sharma. He invites musicians to visit there once a year. Four years ago Veenavadini invited me. They enjoyed my teaching and Do you follow the same style of teaching I enjoyed being there too, and my visits became regular.
  • Syllabus for Post Graduate Programme in Music

    Syllabus for Post Graduate Programme in Music

    1 Appendix to U.O.No.Acad/C1/13058/2020, dated 10.12.2020 KANNUR UNIVERSITY SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: MA MUSIC DEPARTMENT OF MUSIC KANNUR UNIVERSITY SWAMI ANANDA THEERTHA CAMPUS EDAT PO, PAYYANUR PIN: 670327 2 SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: M A (MUSIC) ABOUT THE DEPARTMENT. The Department of Music, Kannur University was established in 2002. Department offers MA Music programme and PhD. So far 17 batches of students have passed out from this Department. This Department is the only institution offering PG programme in Music in Malabar area of Kerala. The Department is functioning at Swami Ananda Theertha Campus, Kannur University, Edat, Payyanur. The Department has a well-equipped library with more than 1800 books and subscription to over 10 Journals on Music. We have gooddigital collection of recordings of well-known musicians. The Department also possesses variety of musical instruments such as Tambura, Veena, Violin, Mridangam, Key board, Harmonium etc. The Department is active in the research of various facets of music. So far 7 scholars have been awarded Ph D and two Ph D thesis are under evaluation. Department of Music conducts Seminars, Lecture programmes and Music concerts. Department of Music has conducted seminars and workshops in collaboration with Indira Gandhi National Centre for the Arts-New Delhi, All India Radio, Zonal Cultural Centre under the Ministry of Culture, Government of India, and Folklore Academy, Kannur.
  • Rakti in Raga and Laya

    Rakti in Raga and Laya

    VEDAVALLI SPEAKS Sangita Kalanidhi R. Vedavalli is not only one of the most accomplished of our vocalists, she is also among the foremost thinkers of Carnatic music today with a mind as insightful and uncluttered as her music. Sruti is delighted to share her thoughts on a variety of topics with its readers. Rakti in raga and laya Rakti in raga and laya’ is a swara-oriented as against gamaka- complex theme which covers a oriented raga-s. There is a section variety of aspects. Attempts have of exponents which fears that ‘been made to interpret rakti in the tradition of gamaka-oriented different ways. The origin of the singing is giving way to swara- word ‘rakti’ is hard to trace, but the oriented renditions. term is used commonly to denote a manner of singing that is of a Yo asau Dhwaniviseshastu highly appreciated quality. It swaravamavibhooshitaha carries with it a sense of intense ranjako janachittaanaam involvement or engagement. Rakti Sankarabharanam or Bhairavi? rasa raga udaahritaha is derived from the root word Tyagaraja did not compose these ‘ranj’ – ranjayati iti ragaha, ranjayati kriti-s as a cluster under the There is a reference to ‘dhwani- iti raktihi. That which is pleasing, category of ghana raga-s. Older visesha’ in this sloka from Brihaddcsi. which engages the mind joyfully texts record these five songs merely Scholars have suggested that may be called rakti. The term rakti dhwanivisesha may be taken th as Tyagaraja’ s compositions and is not found in pre-17 century not as the Pancharatna kriti-s. Not to connote sruti and that its texts like Niruktam, Vyjayanti and only are these raga-s unsuitable for integration with music ensures a Amarakosam.
  • M.A-Music-Vocal-Syllabus.Pdf

    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.
  • UCLA Electronic Theses and Dissertations

    UCLA Electronic Theses and Dissertations

    UCLA UCLA Electronic Theses and Dissertations Title Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel Permalink https://escholarship.org/uc/item/90b9h1rs Author Sriram, Pallavi Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Pallavi Sriram 2017 Copyright by Pallavi Sriram 2017 ABSTRACT OF DISSERTATION Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel by Pallavi Sriram Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor Janet M. O’Shea, Chair This dissertation presents a critical examination of dance and multiple movements across the Coromandel in a pivotal period: the long eighteenth century. On the eve of British colonialism, this period was one of profound political and economic shifts; new princely states and ruling elite defined themselves in the wake of Mughal expansion and decline, weakening Nayak states in the south, the emergence of several European trading companies as political stakeholders and a series of fiscal crises. In the midst of this rapidly changing landscape, new performance paradigms emerged defined by hybrid repertoires, focus on structure and contingent relationships to space and place – giving rise to what we understand today as classical south Indian dance. Far from stable or isolated tradition fixed in space and place, I argue that dance as choreographic ii practice, theorization and representation were central to the negotiation of changing geopolitics, urban milieus and individual mobility.
  • CARNATIC MUSIC (CODE – 032) CLASS – X (Melodic Instrument) 2020 – 21 Marking Scheme

    CARNATIC MUSIC (CODE – 032) CLASS – X (Melodic Instrument) 2020 – 21 Marking Scheme

    CARNATIC MUSIC (CODE – 032) CLASS – X (Melodic Instrument) 2020 – 21 Marking Scheme Time - 2 hrs. Max. Marks : 30 Part A Multiple Choice Questions: Attempts any of 15 Question all are of Equal Marks : 1. Raga Abhogi is Janya of a) Karaharapriya 2. 72 Melakarta Scheme has c) 12 Chakras 3. Identify AbhyasaGhanam form the following d) Gitam 4. Idenfity the VarjyaSwaras in Raga SuddoSaveri b) GhanDharam – NishanDham 5. Raga Harikambhoji is a d) Sampoorna Raga 6. Identify popular vidilist from the following b) M. S. Gopala Krishnan 7. Find out the string instrument which has frets d) Veena 8. Raga Mohanam is an d) Audava – Audava Raga 9. Alankaras are set to d) 7 Talas 10 Mela Number of Raga Maya MalawaGoula d) 15 11. Identify the famous flutist d) T R. Mahalingam 12. RupakaTala has AksharaKals b) 6 13. Indentify composer of Navagrehakritis c) MuthuswaniDikshitan 14. Essential angas of kriti are a) Pallavi-Anuppallavi- Charanam b) Pallavi –multifplecharanma c) Pallavi – MukkyiSwaram d) Pallavi – Charanam 15. Raga SuddaDeven is Janya of a) Sankarabharanam 16. Composer of Famous GhanePanchartnaKritis – identify a) Thyagaraja 17. Find out most important accompanying instrument for a vocal concert b) Mridangam 18. A musical form set to different ragas c) Ragamalika 19. Identify dance from of music b) Tillana 20. Raga Sri Ranjani is Janya of a) Karahara Priya 21. Find out the popular Vena artist d) S. Bala Chander Part B Answer any five questions. All questions carry equal marks 5X3 = 15 1. Gitam : Gitam are the simplest musical form. The term “Gita” means song it is melodic extension of raga in which it is composed.
  • 1 ; Mahatma Gandhi University B. A. Music Programme(Vocal

    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.
  • Global Feminisms: Interview Transcripts: India Language: English

    Global Feminisms: Interview Transcripts: India Language: English

    INDIA Global Feminisms: Comparative Case Studies of Women’s Activism and Scholarship Interview Transcripts: India Language: English Interview Transcripts: India Contents Acknowledgments 3 Shahjehan Aapa 4 Flavia Agnes 23 Neera Desai 48 Ima Thokchom Ramani Devi 67 Mahasweta Devi 83 Jarjum Ete 108 Lata Pratibha Madhukar 133 Mangai 158 Vina Mazumdar 184 D. Sharifa 204 2 Acknowledgments Global Feminisms: Comparative Case Studies of Women’s Activism and Scholarship was housed at the Institute for Research on Women and Gender at the University of Michigan (UM) in Ann Arbor, Michigan. The project was co-directed by Abigail Stewart, Jayati Lal and Kristin McGuire. The China site was housed at the China Women’s University in Beijing, China and directed by Wang Jinling and Zhang Jian, in collaboration with UM faculty member Wang Zheng. The India site was housed at the Sound and Picture Archives for Research on Women (SPARROW) in Mumbai, India and directed by C.S. Lakshmi, in collaboration with UM faculty members Jayati Lal and Abigail Stewart. The Poland site was housed at Fundacja Kobiet eFKa (Women’s Foundation eFKa) in Krakow, Poland and directed by Slawka Walczewska, in collaboration with UM faculty member Magdalena Zaborowska. The U.S. site was housed at the Institute for Research on Women and Gender at the University of Michigan in Ann Arbor, Michigan and directed by UM faculty member Elizabeth Cole. Graduate student interns on the project included Nicola Curtin, Kim Dorazio, Jana Haritatos, Helen Ho, Julianna Lee, Sumiao Li, Zakiya Luna, Leslie Marsh, Sridevi Nair, Justyna Pas, Rosa Peralta, Desdamona Rios and Ying Zhang.
  • University of Kerala Ba Music Faculty of Fine Arts Choice

    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