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Music Post Graduation – 2 Year Programme

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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 Sanskrit 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 Raga-s 4. Niraval 5. Tanam and Kalpanasvaram 6. Raga Alapana, Tanam and Pallavi 7. Traditional Devotional 8. Songs from Bhajana Sampradaya 9. Ragam, Niraval and Kalpana svaram B Suggested Optional Areas 1. Devotional Music – Regional Forms of South India (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/Bhajans (Theory) 9. Learn an Instrument – Keyboard (Practical) 10. Tamil Compositions (Practical) 11. Patriotic songs (Practical) 1 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 2 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 ragas 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, Varnam, Ragamalika, Kriti, Tillana 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 Hindolam, Devagandhari, Darbar, Suddhadanyasi, Pantuvarali, Sahana and Sriranjani also writing of notations of various kriti-s learnt. 3 State Integrated Board of Studies – Music PG 4. Advanced Theory Lakshana of the following raga-s also a comparative study Kambhoji - Yadukulakambhoji Sriraga – Madhyamavati Darbar – Nayaki Kedaragaulai – Suratti Anandabhairavi – 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, Yakshagana, Bhagavata mela nataka, bhajana and harikatha Mudras in Musical compositions Musical mnemonics – their history and utility Appreciation of the styles of Musical trinity Analysis of the kritis 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 4 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, Sankarabharanam, Kalyani, Kharaharapriya, 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) 5 State Integrated Board of Studies – Music PG Three Aditala varnam-s preferably chosen from any of the following ragas - Todi, Begada, Saveri, Surutti, Navaragamalika, Kalyani, Pantuvarali Three Atatala Varnam-s preferably chosen from any of the following ragas - Bhairavi, Todi, Kambhoji, Kalyani, Kanada, Riti Gaula, Sankharabharanam Tyagaraja’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, Dhanyasi, Bhairavi, Saveri, Kambhoji, Todi, Purvakalyani, Begada Kritis in Bilahari and Hindola Kritis in Sahana and Sriranjani Kritis in Pantuvarali and Suddha Dhanyasi Kritis in Dhanyasi and Nattakurinji Kritis in Darbar and Varali Kritis in Arabhi 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 6 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, Thiruppavai, Thiruvempavai, Divyaprabandham, Tiruppugazh, Sidhdhar Padalgal, Kavadi Chindu, Panchapuranam,Arutpa, Vedanayakam Sastriyar Padal, Gunangudi Mastan Sahib Padal, Kuravanji Padal 7 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
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    AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 Sangeetha Vaibhavam Salutations to all. AMMA or Sadguru Mata Amritananamayi Devi says that music is the very essence of life – we find that music can be found in our breath itself. Everything in the world has a particular musical aspect to it though only true musicians will be able to understand and appreciate the same. Unless we are able to understand the various rhythms in the world, we will not be able to live in harmony with nature. When nature is in disharmony we will find lot of natural calamities like hurricane, flood etc. happening. Though man has progressed quite a lot with respect to technology as well as making living as pleasant as possible there is absolutely no answer to natural calamities. Only recently we found that the great nation of Japan didn’t stand a chance for the big earthquake as well as the tsunami that wreaked havoc. Though there are means to figure out if natural calamities are about to happen, such means aren’t foolproof and majority of time such means fail miserably. Therefore rather than trying to find out ways to live pleasantly in the world we should try to find a way to live harmoniously with nature. Many initiatives like planting trees, recycling etc. are required in order to bring harmony into nature. Unless nature’s harmony or calmness is maintained, there will be more and more natural calamities which have absolutely no answer from us. The easiest way to bring harmony to nature is through music.
  • PRATHAMA THEORY , ,, Or ; ; , | ||

    PRATHAMA THEORY , ,, Or ; ; , | ||

    SYAMA (Society of the Youth for Artistic Music Appreciation) 42B Race Course Road Singapore 218 557 Tel: +65 97696747 Email: [email protected] On the Web: http://www.syama.org PRATHAMA THEORY SRUTHI and THALAM : || Shurthi matha Laya Pita || The base note for a song is known as the Sruthi . It is also called as the pitch. Sruthi is considered as the mother of music. Musical speed, tempo or pace of a musical composition is called Thalam . IMPORTANT ANGAS OF A THALAM : LAGHU : Having one beat and 3/4/5/7/9 finger counts, commencing from the small finger with duration of 3/4/5/7/9 akshara kalas. Its symbol is “I”. DRUTAM : Having one beat and waving of the hand with duration of two akshara kalas and its symbol is “ O “. ANUDRUTAM : Having one beat with duration of one Akshara kala, and its symbol is “ U”. BASIC NOTATION : Symbol Meaning , Indicates one akshara kala ,, or ; Indicates two akshara kala ; , Indicates three akshara kala | Indicates the splitting of the laghu and dhrutham || Indicates the ending of thalam avartham If this symbol comes near the swaras, it will indicate splitting the group of swaras, if - the same symbol appears along with the sahithyas it indicate the continuation SAPTA SWARAS: Syllable Name English Notes Animals S Sadjam C Peacock R Rishabam D Bull / Cow G Gandharam E Goat Kiraunch M Madhyamam F Nightingale P Panchamam G Cuckoo D Daivatham A Horse N Nishadham B Elephant • S & P are fixed notes (no variations) They are called Prakruthi Swaras • R G M D N are called Vikruthi Swaras.
  • Muttuswami Dikshitar (1775-1835)

    Muttuswami Dikshitar (1775-1835)

    Muttuswami Dikshitar (1775-1835) V. Raghavan ~est concerts of Karnatic music open with the song Vatapi-Ganapatim, a Sansknt composition on Ganesha. This would form a suitable introduc­ tion to an account of the great Karnatic composer, Muttuswami Dikshitar, the bi--centenary (March 18, 1975) of whose birth is being celebrated all over the country. The language of the song reflects the classical heritage, and its theme the religious background, the esoteric erudition and their special features which marked out its composer, Muttuswami Dikshitar. The raga of the song, Hamsadhvani, is the creation of his father Ramaswami Dikshitar and shows that our composer did not burst into glory in a vacuum but was a natural high-point in the tide of musical creativity that was gradual­ ly rising in the 17th and 18th centuries in the Cauvery Delta, under the Nayak and Mahratta Rulers of Tanjore. It would take a separate article to dwell on the personality of Ramaswami Dikshitar (1735-1817). He was a leading, versatile, masterly and venturesome composer, among many such who strode the stage of the pre-Trinity* period of Karnatic music. On the' side of /akshya (singing and composing). the father, Rama­ swami Dikshitar, was apprenticed under Merattur Virabhadrayya. At that time one could not think of a greater guru than him. On the side of /akshana, Rama­ swami Dikshitar sought at Tiruvidaimarudur (Madhyarjuna) Venkatavaidya­ natha Dikshita, a descendant of the Panini of Karnatic music, Venkatamakhin. Thus on the side of theory and its evolution Ramaswami Dikshitar strength­ ened the Melakarta scheme formulated by Venkatamakhin, a task which his son Muttuswami Dikshitar carried out more fully and systematically through his compositions.