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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. -
Classical Music Conference Culture of North India with Special Reference to Kolkata
https://doi.org/10.37948/ensemble-2020-0201-a016 CLASSICAL MUSIC CONFERENCE CULTURE OF NORTH INDIA WITH SPECIAL REFERENCE TO KOLKATA Samarpita Chatterjee 1 , Sabyasachi Sarkhel 2 Article Ref. No.: Abstract: 20010236N2CASE The music of any country has its own historical and cultural background. Social changes, political changes, and patronage changes may influence the development of music. This may affect the practices in the field of music. This present study does the scrutiny of the broad sociocultural settings in context to the music conferences of India. The study then mainly probes and explores the prime music conferences of India, with special reference Article History: to Kolkata, from a century ago till the present time. It shows the role of Submitted on 02 Jan 2020 music conferences in disseminating interest and appreciation of Classical Accepted on 07 May 2020 music among the common public. The cultural climate shaped under the Published online on 09 May 2020 domination of British rule included the shift of patronage from aristocratic courts to wealthy persons and a mercantile class of urban Kolkata. This allowed the musicians to earn a livelihood, and at the same time, provided them with a new range of opportunities in the form of an increasing number of music conferences. This happened at a time when a new class of Keywords: Western-educated elites was formed in Kolkata. Analyzing the present patronage, british, stage scenario, made it clear that Kolkata still leads in the number of music performances, north indian, musical festivals / Classical music conferences. The present study also points out genre, hindustani music, shastriya the contemporary complexities that conference organizers face, and to sangeet, british, post independence conclude, incorporates suggestions to sustain the culture of the conference. -
Sadir, Bharatanatyam, Feminist Theory Sriv1dya
ANOTHER STAGE IN THE LIFE OP THE NATION: SADIR, BHARATANATYAM, FEMINIST THEORY A THESIS SUBMITTED TO THE UNIVERSITY OF HYDERABAD FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE SCHOOL OF HUMANITIES SRIV1DYA NATARAJAN FEBRUARY, 1997 CERTIFICATE This is to certify that Ms. Srividya Natarajan worked under my supervision for the Ph.D. Degree in English. Her thesis entitled "Another Stage in the Life of the Nation: Sadir. Bharatanatyam. Feminist Theory" represents her own independent work at the University of Hyderabad. This work has not been submitted to any other institution for the award of any degree. Hyderabad Tejaswini Niranjana Date: 14-02-1997 Department of English School of Humanities University of Hyderabad Hyderabad February 12, 1997 This is to certify that I, Srividya Natarajan, have carried out the research embodied in the present thesis for the full period prescribed under Ph.D. ordinances of the University. I declare to the best of my knowledge that no part of this thesis was earlier submitted for the award of research degree of any University. To those special teachers from whose lives I have learnt more than from all my other education put together: Kittappa Vadhyar, Paati, Thatha, Paddu, Mythili, Nigel. i ACKNOWLEDGEMENTS In the course of five years of work on this thesis, I have piled up more debts than I can acknowledge in due measure. A fellowship from the University Grants Commission gave me leisure for full-time research; some of this time was spent among the stacks of the Tamil Nadu Archives, the Madras University Library, the Music Academy Library, the Adyar Library, the T.T. -
Raja Mansingh Tomar Music and Arts University
RAJA MANSINGH TOMAR MUSIC AND ARTS UNIVERSITY Mahadaji Chok, Achaleshwar Mandir Marg, Gwalior – 474009, Madhya Pradesh Tel : 0751-2452650, 2450241, 4011838, Fax : 0751-4031934 Email : [email protected]; [email protected] Website : http://www.rmtmusicandartsuniversity.com Raja Mansingh Tomar Music and Arts University has been established at Gwalior under the Madhya Pradesh Act No. 3 of 2009 vide Raja Mansingh Tomar Sangit Evam Kala Vishwavidyalaya Adhiniyam, 2009. Unity in diversity is the cultural characteristic of India. The statements is fully in consonant with reference to Madhya Pradesh. It is one of the most recognized cetnres of arts and music from ancient times. It was also a centre for the teaching of Lord Krishna during the period of the Mahabharata in Sandipani Ashram of Ujjain. During the period of the Ramayan it was Chitrakoot which became the witness of Lord Rama’s penances. So many rivers create the aesthetic beauty of Madhya Pradesh, Apart from the various rivers such as Narmada, Kshipra, Betava, Sone, Indravati, Tapti and Chambal. Madhya Pradesh has also given birth to many saints, poets, musicians and great persons. Ashoka the great, was associated with Ujjaini and Vidisha, Mahendra and Sanghamitra started spreading the teachings of Buddhism from here. Madhya Pradesh is the pious land of Kalidas, Bhavabhuti, Tansen, Munj, Raja Bhoj, Vikramaditya, Baiju Bawra, Isuri, Patanjali Padmakar, and the great Hindi poet Keshav. This is the province which always encouraged and motivated the artists. Raja Man Singh Tomar also nutured the arts of music, dance and fine arts here. From time immemorial Madhya Pradesh has been resonated with the waves of Music. -
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. -
Academic Catalog 2020
Academic Catalog 03/01/2020 – 12/31/2020 University of Silicon Andhra Dr. Hanimireddy Lakireddy Bhavan 1521 California Circle, Milpitas, CA 95035 1-844-872-8680 www.universityofsiliconandhra.org University of Silicon Andhra, Academic Catalog- 2020 Table of Contents INTRODUCTION: ............................................................................................ 5 Mission Statement ........................................................................................................................................................................................................................... 5 Vision Statement ..............................................................................................................................................................................................................................5 Institutional Learning Outcomes ............................................................................................................................................................................................. 5 Notice to Current and Prospective Students ......................................................................................................................................................................... 6 Academic Freedom Statement .................................................................................................................................................................................................. 6 Notice to Prospective Degree Program Students -
Bharatanatyam: Eroticism, Devotion, and a Return to Tradition
BHARATANATYAM: EROTICISM, DEVOTION, AND A RETURN TO TRADITION A THESIS Presented to The Faculty of the Department of Religion In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Taylor Steine May/2016 Page 1! of 34! Abstract The classical Indian dance style of Bharatanatyam evolved out of the sadir dance of the devadāsīs. Through the colonial period, the dance style underwent major changes and continues to evolve today. This paper aims to examine the elements of eroticism and devotion within both the sadir dance style and the contemporary Bharatanatyam. The erotic is viewed as a religious path to devotion and salvation in the Hindu religion and I will analyze why this eroticism is seen as religious and what makes it so vital to understanding and connecting with the divine, especially through the embodied practices of religious dance. Introduction Bharatanatyam is an Indian dance style that evolved from the sadir dance of devadāsīs. Sadir has been popular since roughly the 6th century. The original sadir dance form most likely originated in the area of Tamil Nadu in southern India and was used in part for temple rituals. Because of this connection to the ancient sadir dance, Bharatanatyam has historic traditional value. It began as a dance style performed in temples as ritual devotion to the gods. This original form of the style performed by the devadāsīs was inherently religious, as devadāsīs were women employed by the temple specifically to perform religious texts for the deities and for devotees. Because some sadir pieces were dances based on poems about kings and not deities, secularism does have a place in the dance form. -
Tne Qjlassical Uoicinq Ine Miooern
tne Qjlassical J J Uoicinq ine Miooern THE POSTCOLONIAL POLITICS OF MUSIC IN SOUTH INDIA amandaj. weidman O O M I CALCUTTA 2007 Contents Date: v-> First published by Duke University Press in 2006 List of Illustrations vii © 2006 Duke University Press This edition printed in arrangement with Duke University Press Acknowledgments ix For publication and sale in India, Bangladesh, Burma, Bhutan, Sri Lanka, Note on Transliteration and Spelling xvii Nepal and Pakistan only Introduction l ISBN 81 7046 319 X 1. Gone Native?: Travels of Typset in Bembo by Tseng Information Systems, Inc. the Violin in South India 25 Book design by Amy Ruth Buchanan Cover design by Sunandini Banerjee 2. From the Palace to the Street: Staging "Classical" Music 59 Published by Naveen Kishore, Seagull Books Pvt Ltd 26 Circus Avenue, Calcutta 700 017 3. Gender and the Politics of Voice ill Printed at Rockewel Offset 4. Can the Subaltern Sing?: Music, 55B Mirza Ghalib Street, Calcutta 700 016 Language, and the Politics of Voice 150 Exclusively distributed in India and South Asia by Cambridge University Press India Pvt Ltd 5. A Writing Lesson: Musicology Cambridge House, 4381/4 Ansari Road, Daryaganj, New Delhi 110 002 and the Birth of the Composer 192 Portions of Chapter 3 were previously published as "Gender and the politics of voice: Colonial 6. Fantastic Fidelities 245 modernity and classical music in South India," in Cultural Anthropology 18, no. 2 (2003): 194-232. © 2003 American Anthropological Association. Afterword: Modernity and the Voice 286 Portions of Chapter 4 were previously published as "Can the subaltern sing? Music, language, Notes 291 and the politics of voice in twentieth-century South India," in Indian Economic and Social History Review 42, no. -
The Journal the Music Academy
ISSN. 0970-3101 THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LX 1989 *ra im rfra era faw ifa s i r ? ii ''I dwell not,in Vaikuntha, nor in the hearts of Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada!" Edited by: T. S. PARTHASARATHY The Music Academy Madras 306, T. T. K. Road, Madras-600014 Annual Subscription — Inland Rs. 20 : Foreign $ 3-00 OURSELVES This Journal is published as an Annual. All correspondence relating to the Journal should be addressed and all books etc., intended for it should be sent to The Editor, Journal of the Music Academy, 306, T. T. K. Road, Madras-600 014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, type written (double-spaced and on one side of the paper only) and should be signed by the writter (giving his or her address in full). The Editor of the Journal is not responsible for the views expressed by contributors in their articles. CONTENTS Pages The 62nd Madras Music Conference - Official Report 1-64 The Bhakta and External Worship (Sri Tyagaraja’s Utsava Sampradaya Songs) Dr. William J. Jackson 65-91 Rhythmic Analysis of Some Selected Tiruppugazh Songs Prof. Trichy Sankaran (Canada) 92-102 Saugita Lakshana Prachina Paddhati 7. S. Parthasarathy & P. K. Rajagopa/a Iyer 103-124 Indian Music on the March 7. S. -
Music in South India – Kerala a Smithsonian Folkways Lesson Designed By: Lum Chee Hoo University of Washington
Music in South India – Kerala A Smithsonian Folkways Lesson Designed by: Lum Chee Hoo University of Washington Summary: Talk about the geography, language, and culture of Kerala in South India using story songs, dance dramas, and rhythms. Introduce students to specific artists and instruments important to Kerala's musical traditions. Suggested Grade Levels: 9-12 Country: India Region: Asia Culture Group: Kerala Genre: Indian Instruments: Voice Language: Malayalam Co-Curricular Areas: Social Studies National Standards: 6, 9 Prerequisites: None Objectives: Learn about culture of Kerala group, including music, dance, and language Materials: “Idakka” from Music from South India- Kerala (FW04365) http://www.folkways.si.edu/tr-ankaran-nambudiri-and-pm-narayana- mara/idakka/world/music/track/smithsonian “Nala Charitam,” Music from South India- Kerala (FW04365) http://www.folkways.si.edu/mep-pillai-and-gopinathan-nayar-k-damodaran- pannikar-and-vasudeva-poduwal-mankulam-vishnu-nambudiri-and-kudama-ur- karunakaran-nayar/kathakai-nala-charitam/world/music/track/smithsonian “Panchawadyam” from Music from South India- Kerala (FW04365) http://www.folkways.si.edu/instrumental/panchawadyam/world/music/track/s mithsonian http://www.folkways.si.edu/narayana-mara-and- party/panchawadyam/world/music/track/smithsonian Liner notes from Music from South India- Kerala (FW04365) http://media.smithsonianfolkways.org/liner_notes/folkways/FW04365.pdf The JVC video anthology of world music and dance: South Asia I, India, Track 11- 2 (Kathakali-dance-drama: Dryodana vadham from the Mohabharata DVD - Vanaprastham: The last dance (1999). Director: Shaji N. Karun. Vanguard Cinema. ASIN: B000066C7A Map of South India Pictures of instruments: from liner notes and Music in South India: Experiencing music, expressing culture Lesson Segments: 1. -
Traders Kings and Pilgrims Page 1 of 64
CBSE-STD VI-Social Science-Traders Kings and Pilgrims Page 1 of 64 Master Lesson Plan For Traders Kings and Pilgrims Board Standard Subject Chapter Language Reference Link Creation date Traders Kings and Traders, Kings and CBSE STD VI Social Science English 2021-04-20 22:09:51 Pilgrims Pilgrims DISCLAIMER 1.Strictly not for Commercial use. 2.Provided on as is basis with no warranties of any kind. 3.Content that falls in Public Domain or common Knowledge facts can be used freely. 4.Some of the contents are owned by the Third parties and are used in compliance with their licensing conditions. Any one infringing the Copyright of such Third parties will be doing so at their own risks and costs. 5.Content can be downloaded and used for Personal, educational and informational purposes only. Any attempt to remove, alter, circumvent or distort the data that is accessed Is Illegal and strictly prohibited. ©SriSathyaSaiVidyaVahini www.srisathyasaividyavahini.org CBSE-STD VI-Social Science-Traders Kings and Pilgrims Page 2 of 64 ©SriSathyaSaiVidyaVahini www.srisathyasaividyavahini.org CBSE-STD VI-Social Science-Traders Kings and Pilgrims Page 3 of 64 Traders Kings and Pilgrims 1. MS_Objectives - Traders, Kings and Pilgrims Objectives - Traders, Kings and Pilgrims Notes to teacher: This asset lays down the proposed plan for transacting this chapter, It states the asset objectives of the MLP, This asset is for teacher’s reference and need not be taught to the students. Students will be able to - analyse the importance of trade among the major empires in the past, - trace the Silk Route and discuss its origin and importance in the spread of Buddhism, - describe the pilgrimages of famous Chinese Buddhist pilgrims, - explain the meaning and significance of Bhakti in people’s life, - compare the past trading process with the present-day technology-based trade. -
B.A Third Year, Examination 2016.Pdf Download
PANJAB UNIVERSITY, CHANDIGARH-160014 (INDIA) (Estd. under the Panjab University Act VII of 1947—enacted by the Govt. of India) SYLLABI FOR B.A. & B.Sc. GENERAL THIRD YEAR EXAMINATION, 2016 --: o :-- © The Registrar, Panjab University, Chandigarh. All Rights Reserved. CONTENTS Sr. No. Particulars Page No. 1 Eng lis h (Compuls ory) (f or B.A. Cand idat es on ly) 1 2 Pa njabi (Co mpuls ory) (f or B.A. Cand idat es on ly) 3 3 Hist ory and Cu lt ure of Pun ja b (f or B.A. Cand idat es on ly) 5 4 Eng lis h (Electi ve) 7 5 Hind i (Electi ve) 10 6 Sanskr it (Electi ve) 12 7 Pa njabi (Elec ti ve) 15 8 Urdu (Electi ve) 17 9 Pers ian (Elec ti ve) 20 10 Fren ch (Electi ve) 22 11 Ge rman (Electi ve ) 25 12 Ru ssia n (Electi ve) 27 13 Ara bic (Elective) 14 Beng al i (Electi ve) 15 Tamil (Electi ve) 16 Kann ada (Elective) (Kept in Abeyance) 30 17 Mala yala m (Elec ti ve) 18 Te lugu (Electi ve) 19 Physica l Edu cati on 31 20 Edu cati on 41 21 Adu lt Edu cati on 45 22 Musi c (Vo ca l) 48 23 Musi c (Instr umenta l ) 51 24 Tab la (Instrumenta l Music) 54 25 Ind ia n Class ical Dance 57 26 Fine Art s 60 27 Hist ory of Art 65 28 An ci en t Ind ia n Hist ory, Cu lt ure & Arc haeo logy 69 29 De fen ce and Strat eg ic Stud ies 72 30 Hist ory 77 31 Polit ical Sc ien ce 81 32 Econ omic s 85 33 So ci ology 88 34 Publ ic Ad minist rati on 93 35 Phil osophy 97 36 Ps ycho logy 101 37 Geog raph y 104 38 Gandh ia n Stud ies 113 39 Jou rnalis m & M ass Com mun icati on 117 40 Polic e Ad ministr ati on 122 41 Women ’s Stud ies 129 42 Human Righ ts and Du ti es 134 43