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Brief Profile Aranyakumar M. Assistant Professor Department of Music SN School of Arts and Communication University of Hyderabad Mobile: 9611521311 Email: [email protected] [email protected] A multi instrumental artiste, Dr. Aranyakumar studied Maihar style instrumental Music under legendary Sarod Maestro Pt.Rajeev Taranath, Sitarist Pt. Sudhir Phadke and Smt.Sandhya Apte. Belonging to the family of North Karnataka ‘Bayalata’ drama writer Shri Shivanand Kavi Munenni, he also studied about eight classical instruments under Gurus Shri Palaxadeva, Ustad Hameed Khan, Pt.Partha Chatterjee and Smt.Vidyavati Vajpeyi. He is credited with All India Radio ‘A’ grade in Sitar and ‘B High’ grade in Surbahar, Dilruba, Tarshehnai and Esraj instruments. Alongside, he is skilled in playing and teaching Sarod, Harmonium, Violin, Santoor, Tabla instruments. Aranyakumar is honored with Swarsamrat Pt.Basavraj Rajguru Rashtriya Yuva Puraskar, Dharwad (2018), Tansen Music Academy Yuva Kala Puraskar, Chennai (2018), Appashri Prashasthi, Kadaravalli (2020). Recognizing his musical achievements, a documentary titled ‘Bandish’ was produced by PSBT and broadcasted by Doordarshan in 2006. He has performed in major cultural festivals of National and International venues such as Conservatory of Vicenza in Italy. Aranyakumar has worked as Textbook Committee Member for PUE Board of Karnataka. His book ‘Hindustani Samaya Raga Parichaya’ was rewarded by Kannada Pustaka Pradhikar of Bangalore. He was a founder president of ‘Dharwad Music Society’ and ‘Nadayoga Society, Gajaminal’ the organizations working for the benefits of the Music field and rural people. He is currently working on Wolf-tone management in Esraj & Dilruba instruments. He is skilled in making musical instruments and working on designing of a new instrument. .

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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.
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