DRAFT

TAMIL NADU STATE COUNCIL FOR HIGHER EDUCATION CHENNAI – 600 005.

State Integrated Board of Studies

Music Post Graduation – 2 Year Programme

Tamilnadu State Council for Higher Education

A. Mandatory Areas

I. Music Theory

1. Musical references in Ancient Tamil treatises 2. Musical references in Ancient treatises 3. Music of the Modern Period 4. Advanced Theory 5. Comparative Musicology 6. Research Methodology 7. Project Work

II. Music Practical

1. Foundation Course in Performance 2. Musical Compositions 3. Alapana in Eight -s 4. Niraval 5. Tanam and Kalpanasvaram 6. Raga Alapana, Tanam and Pallavi 7. Traditional Devotional 8. Songs from Bhajana 9. Ragam, Niraval and Kalpana svaram

B Suggested Optional Areas

1. Devotional Music – Regional Forms of (Practical) 2. Isai Natakam/Geyanatakam 3. Compositions of Muttusvami Dikshitar (Practical) 4. Western Music – An Appreciation (Theory) 5. Compositions of Shyama Shastri (Practical) 6. Arunagirinatar’s Tiruppugazh (Practical) 7. Panchapuranam (Practical) 8. Hindustani Raga-s/Tala-s/ (Theory) 9. Learn an Instrument – Keyboard (Practical) 10. Tamil Compositions (Practical) 11. Patriotic songs (Practical)

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State Integrated Board of Studies – Music PG

A. Mandatory Papers

I. Music Theory

1. Musical references in Ancient Tamil treatises Silappadikaram and its Commentaries Pancamarabu Detailed study of Palai and Pan System of ancient Tamizh Music and the views of modern scholars Types of Alatti Tala Terms Pani, Kottu,Asai,Tukku,Alavu Study of 108 talas and tala concepts mentioned in Panchamarabu Talasamuttiram Caccaputavenba Chandams of Tirupugazh Classification of Musical Instruments in ancientTamil treatises A study of Yazh and its varieties Study of the musical aspects of Tevaram Study of the musical aspects of Divyaprabandham

References to Music in – Tolkappiyam Ettuttogai Pattupattu Kalladam Pingalanigandu Divakaram Panniru-tirumurai Pan, Kattalai, Edugai-Monai, Iyaibu Outline knowledge of the details of music in the following works – Bharatachattiram Bharatasenapatiyam Mahabharata Chudamani

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Tamilnadu State Council for Higher Education

2. Music references in Ancient Sanskrit treatises Music in Sama Veda Natyasastra and its Commentaries Outline knowledge of Lakshana granthas: Brhaddhesi Sangita Rathnakara Chaturdandi prakasika Samgraha Chudamani Historical development of the twelve svarasthana-s and the sixteen names of the present day Raga – Mela Janyaraga system of raga classification and its development up to present times Classification of into Ghana, Naya and Desya Development of Raga Lakshana, Tala – Marga Talas and Desi Talas, Development of the 35 Tala system, Capu tala-s, Desadi tala-s Historical study of the Tala Dasa Prana-s Musical forms Historical Development of Kalpita Sangita - Early musical forms and Gitam, Svarajati, , Ragamalika, , Manodharma Sangita

3. Music of the Modern Period Contribution of the following scholars: Subbarama Dikshitar Abraham Panditar A.M.Chinnasami Mudaliyar P Sambamurthy Development of notations Trends and developments with reference to: Music instruments Compositions Concerts Books Journals Music Education Research Lakshanas of the raga-s , , Darbar, Suddhadanyasi, Pantuvarali, Sahana and Sriranjani also writing of notations of various kriti-s learnt.

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State Integrated Board of Studies – Music PG

4. Advanced Theory Lakshana of the following raga-s also a comparative study - Yadukulakambhoji Sriraga – Darbar – Nayaki Kedaragaulai – Suratti – Ritigaulai Devagandhari – Saurashtram Modal shift of tonic Concepts of Art Music, Popular Music, Devotional Music and Folk Music A study of the structure of musical forms- Kriti, Ragamalika, Padam, Javali, Svarajati, Padavarnam, Tanavarnam and Jatisvaram Brief account of the styles of the Vaggeyakara who composed in these musical forms Advanced study of the role of tala and its elements in present day musical forms A study of Musical Instruments with respect to – Manufacture, Tuning Fretting (Vina) and playing technique Study of the contents of any two operas like Nauka Chraitram and Ramanatakam Temple and Fine Arts – Historical development of chinna melam and periya melam Patronage of Fine Arts by the courts of Kings Chola Period – Patronage of Fine Arts Nayak Period – Patronage of Fine Arts Maratha Period – Patronage of Fine Arts Treatment of music in Kuravanji nataka, , nataka, bhajana and harikatha Mudras in Musical compositions Musical mnemonics – their history and utility Appreciation of the styles of Musical trinity Analysis of the of prominent composers like Gopalakrishna Bharathiyar, Marimutha Pillai, Muthuthandavar, Arunachalakavirayar, Patnam Subramanya Aiyar, Ramnad Srinivsa Aiyangar, Tanjai Nalvar, Subbharaya Sastri, Muthiya Bhagavatar, Mysore Vasudevachariar, Papanasam Sivan, Koteesvara Aiyer

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Tamilnadu State Council for Higher Education

5. Comparative Musicology Comparative study of the following music systems- Karnatik, Hindustani and Western Music History of the current practice in the above systems Scales figuring in the three systems A comparative study of musical forms, tala systems, musical instruments and concert format in the above systems Outline knowledge of basic technical terms in the three systems Ability to reproduce a kriti in staff notation

6. Research Methodology Choosing a Topic Organisation of material Analysis Thesis writing The structure of a dissertation: Preface, Acknowledgement, Introduction, Chapterisation, Notes, Foot Notes, Charts, Appendix, Bibliography, Audio references, Video references and Photo Plates

7. Project Work Students will be required to select, in consultation with a faculty advisor, a subject for conducting a project work. A typed document not exceeding 50 pages should be submitted presenting the methodology, data and the findings

II. Music Practical

1. Foundation Course in Performance Plain note singing and gamaka Sarali varisai and alankaram in raga-s Mayamalava Gaula, , , , Todi, Harikambhoji Developing the ability to tune the Tambura Ability to render an Adi-Tala Varnam in 1st and 2nd Kalam and Tisram Maintaining the Kalapramana in Caturasram, Tisram, Khandam and Misram in one and two kalais. Ability to render a varnam in three kalam-s and in tisra nadai (12/1)

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State Integrated Board of Studies – Music PG

Three Aditala varnam-s preferably chosen from any of the following ragas - Todi, Begada, , Surutti, Navaragamalika, Kalyani, Pantuvarali Three Atatala Varnam-s preferably chosen from any of the following ragas - , Todi, Kambhoji, Kalyani, Kanada, Riti Gaula, Sankharabharanam ’s Ghanaraga Pancaratnam – all five Svarajati’s of Shyama Shastri – all three Gopalakrishna Bharathi’s Pancharathnam – all five

2. Musical Compositions One Vilambakala Kriti in each of the following raga-s - Sankarabharanam, , Bhairavi, Saveri, Kambhoji, Todi, Purvakalyani, Begada Kritis in and Hindola Kritis in Sahana and Sriranjani Kritis in Pantuvarali and Suddha Dhanyasi Kritis in Dhanyasi and Kritis in Darbar and Kritis in and Devagandhari Kritis in Ritigaula and Harikambhoji Padavarnam, Padam, Javali and Tillana Navagraha kriti –one Navavarna kriti-one

3. Alapana in Eight Raga-s Ability to render elaborate alapana in each of the following raga-s Sankarabharanam, Dhanyasi, Bhairavi, Saveri, Kambhoji, Todi, Purvakalyani, Begada

4. Niraval Ability to render elaborate niraval for themes set in the following raga-s Sankarabharanam, Bhairavi, Saveri, Kambhoji, Todi, Purvakalyani

5. Tanam and Kalpanasvaram Ability to render Tanam in the following raga-s Sankarabharanam, Dhanyasi, Bhairavi, Saveri, Kambhoji, Todi, Purvakalyani, Begada

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Tamilnadu State Council for Higher Education

Ability to render kalpanasvaram for themes set in following raga-s Sankarabharanam, Dhanyasi, Bhairavi, Saveri, Kambhoji, Todi, Purvakalyani, Begada Note: The tala-s underlying the themes (for kalpanasvaram) should be taken in the following order: Sama Eduppu - Adi (Oru Kalai) Rupakam (Short) Misra Capu Khanda Capu Vishama Eduppu- Adi (Oru Kalai) Rupakam (Short) Misra Capu Khanda Capu Adi (rendu kalai) Jhampa Talam Triputa Talam Ata Talam

6. Raga Alapana, Tanam and Pallavi Learning two rendu kalai, two nalu kalai and one nadai Pallavi theme to be selected out of the following raga-s Sankarabharanam, Dhanyasi, Bhairavi, Saveri, Todi, Purvakalyani, Begada Kharaharapriya, Kalyani, Shanmugapriya, Kiravani, Sankarabharanam, Bhairavi, Kambhoji, Todi Detailed alapana, tanam, niraval and kalpanasvaram should be performed for the themes selected Ability to render the pallavi themes in different kalam-s and nadai-s Ability to render kuraippu and simple makutam pattern

7. Traditional Devotional Silappadikaram, Tirukkural, Tevaram, Thiruvasagam, Thiruvisaippa, Thiruppallandu,Karaikkal Ammaiyar Padal, Periyapuranam, , Thiruvempavai, Divyaprabandham, Tiruppugazh, Sidhdhar Padalgal, Kavadi Chindu, Panchapuranam,Arutpa, Vedanayakam Sastriyar Padal, Gunangudi Mastan Sahib Padal, Kuravanji Padal

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State Integrated Board of Studies – Music PG

8. Songs from Bhajana Sampradaya Compositions of Annmacharya, Sadasiva Brahmendra, Purandaradasa Divyanama Kirtana Namavali

9. Ragam, Niraval and Kalpana svaram in the following ragas Bilahari and Hindolam Sahana and Dhanyasi Sriranjani Suddhadhanyasi Natakurinji and Pantuvarali

C Suggested Optional Areas

1. Devotional Music – Regional Forms of South India (Practical) – Devotional Songs in Tamil – Devotional Songs in Telugu Karnataka – Devotional Songs in Kannada Kerala – Devotional Songs in Malayalam

2. Isai Natakam/Geya Natakam - Practical or Theory or Both

3. Compositions of Muttusvami Dikshitar (Practical) Three songs representative of different types of kriti format Three songs representative of the raga-s handled by Dikshitar Three songs representative of the tala-s handled by Dikshitar One kriti each from the Navagraha, Navavarana and Panchalingasthala groups Discussion of the compositional style of Dikshitar with respect to dhatu, tala, matu and form and the influence on later composers

4. Western Music – An Appreciation (Theory) Theory History Notation String, Wind, Percussion Voice training and Culture

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Tamilnadu State Council for Higher Education

5. Compositions of Shyama Shastri (Practical) One Gitam One svarajati One Varnam Compositions in the following raga-s – Chintamani, Kalgada and Manji Comparison of the two versions of the composition in – Chintamani and Kalgada One composition from the Navaratnamalika kriti-s

6. Arunagirinatar’s Tiruppugazh (Practical) Twenty Five Tiruppugazh Its Text Meaning Tala-s Chandams and Patterns

7. Panchapuranam (Practical) Thevarams- two each of Appar, Sambandar and Sundarar Thiruvasagam Ninth Thirumurai Tenth Thirumurai Twelfth Thirumurai

8. Hindustani Raga-s/Tala-s/Bhajans (Theory) Learning the identity of 20 raga-s and knowing the related film songs in Tamil and Hindi Reckoning tala-s like chatusra-eka, deep chandi, teen taal, jap taal and their bols Rendition of three bhajans

9. Learn an Instrument – Keyboard (Practical) Western music notation – theory Major and Minor scales Introduction to Western Musical Instruments – Piano, Guitar, Drums, Clarinet, Violin

10. Tamil Compositions (Practical) Compositions of Muthuthandavar and Marimuthapillai Compositions of Arunachala kavi and Gopalakrishna bharathi Compositions of Koteesvara iyer and Papanasam sivan Tevaram, Thiruthandagam, Divyaprabhandam, Thiruvasagam Thiruppavai, Thiruvempavai, Thiruppugazh and Thiruarutpa

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State Integrated Board of Studies – Music PG

11. Patriotic songs (Practical) Tamil –3 – Bharatiyar, Bharatidasan, Namakkal Kavignar Telugu –1 Kannada –1 Malyalam-1 Hindi-2

Recommended books:

1. South Indian Music Book I to VI Prof P Sambamurthy 2. Great Composers I & II Prof P Sambamurthy 3. A Dictionary of South Indian Music and Musicians I to VI Prof P Sambamurthy 4. History of Music Prof P Sambamurthy 5. Great Musicians Prof P Sambamurthy 6. Cilappatikarathu Isaittamiz Dr. S. Ramanathan 7. Nandanar Carittirakkirtanaikal of Gopalakrishna Bharati Dr. S. Ramanathan 8. Isaittamiz Ilakkana Vilakkam Va. Su. Gomathi Sankara Ayyar 9. Kavadiccindum Kavijnan Varalarum Aranga Srinivasan 10. Pazantamiz Ilakkiyattil Isayiyal Dr. Vi.Pa.Ka. Sundaram 11. Isaiyiyal Verriccelvan 12. Tolkappiyattil Isaikkuriuppukal Dr. Vi.Pa.Ka. Sundaram 13. Talamuzakkiyal Vi.Pa.Ka. Sundaram 14. Isaitturai Tamizc corkal Vi.Pa.Ka. Sundaram 15. Isaittamizp Paamalai M.M. Dandapani Desikar 16. Tamizil Kirttanai Ilakkiyam Dr. S. Soundarapandiyan 17. Panar Kaivazi Yaznul A.A. Varaguna Pandiyan 18. Yaz Nul Vipulananda Adigal 19. Viruttapaaviyal Virabhaddira Mudaliyar 20. Pannirutirumurai Varalaru Ka. Vellai Varanan 21. Sarvasamayasamarasak Kirttanaikal Mayuram Vedanayakam Pillai 22. Tamizisai Ilakkana Marapu Dr. Salem. S. Jayalakshmi 23. Cilappatikaram with Commentaries Ed. U. Ve. Saminatha Ayyar 24. Tirukkutraalakkuravanji Tirikuda Rasappa Kavirayar 25. Panchamarapu of Arivanar Deivasikamani Gavundar 26. Paripaadal Ed. U. Ve. Saminatha Ayyar 27. Tamizisaikkalaik Kalanjiyam Dr. Vi.Pa.Ka. Sundaram 28. Tamizai Iyakkam Ira Illankumaran 29. Isai Manjari Periyasami Thuran 30. Dravidar Isai Pa. Dandapani 31. Tirumuraiyum Tamizisaiyum Pulavar Senduraimuthu

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Tamilnadu State Council for Higher Education

32. Isai Marapu Ka Sankaranar 33. Bharata Isai Marapu Dr. Jnana Kulendran 34. Aindisaippan Pa. Sundaresan 35. Kanalvari Va. Su Gomathi Sankarayyar 36. Tennaga Isaiyiyal Dr. P.T. Chelladurai 37. Purvika Sangita Unmai Ponnusami Pillai 38. Cilappatikarattil Isaiccelvangal Dr. Salem S. Jayalakshmi 39. Tamizisaip Padalgal Series-23 volumes Annamalai University 40. Tamizisai Nunukkam Isaiperarijnar Ko. Shanmugasundaram 41. Sirkazi Tamizisai Muvar Padalgal Isaiperarijnar Ko. Shanmugasundaram 42. Muvar Tevarappadalgal Isaiperarijnar Ko. Shanmugasundaram 43. Kuttanul Sattanar 44. Karunamritha Sagaram Abraham Pandithar 45. Pazantamizisai Ku Kothandapani Pillai 46. Kavadiccindu Dr. S. Ramanathan 47. Tevaram, Divyaprabandham Dr. S. Ramanathan 48. Tevara Divyaprabandhap Padalgal M.M. Dandapani Desikar 49. Isai Malar Kottu T.M. Tyagarajan 50. Tamizarisai Dr. A.N. Perumal 51. Isaittamiz Ka Vellai Varanan 52. Putiya Ragangal Prof. Ku. A. Thanapandiyan 53. Nunnalagukalum Ragangalum Prof. Ku. A. Thanapandiyan 54. Tiruppugaz Padalgalil candakkurugal Dr. E. Angayakkanni 55. Tiruppugazisai Dr. E. Angayakkanni 56. Tirujnanasambandar Tevara Padalgalil Isai Dr. E. Angayakkanni 57. Isaiyum ilakkiyamum Dr. E. Angayakkanni 58. Panchamarapil Isai Marapu Dr. E. Angayakkanni 59. Cilappatikarattil Kanappadum isaippadalgal Dr. E. Angayakkanni 60 Sekkizharum Isaiththamizhum Dr.M.A.Bhageerathi 61. Cindupadalkalin Yappilakkanam Dr. Ira. Tirumurugan 62. Cinduppaviyal Dr. Ira. Tirumurugan 63. Cindu Ilakkiyam Dr. Ira. Tirumurugan 64. Cilappatikaram - Tamizan Padaitha Kalaikkaruvulam Dr. Ira. Tirumurugan 65. Isaiyum Yazum A. Raghavan 66. Yazhnool Vipulananda Adigal 67. Tanjore as a Seat of Music Dr.S.Seetha 68. Kathakalakshepa – A Study Dr. M.Premeela 69. Music through the Ages Dr V Premlatha 70. Isaittamizh Ilakkana Vilakkam Gomathi Sankarayyar

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