TV Sankaranarayanan (Vocal)
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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. -
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. -
Fusion Without Confusion Raga Basics Indian
Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap". -
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. -
(Estd. U/S 3 of UGC Act 1956) Coimbatore-64
Avinashilingam Institute for Home Science and Higher Education for Women University (Estd. u/s 3 of UGC Act 1956) Coimbatore-641043, Tamilnadu, India MA.MUSIC (Two year program with Practicals) Scheme of Instruction and Examination For the students admitted from 2018-2019 & onwards Part Subject Name of the Hrs of Scheme of Examination code paper/ instruction/week Duration CIA CE Component of Exam Total Credit Theory Practic al FIRST SEMESTER I Theory of 5 - 3 40 60 100 3 17MMUC01 Indian Music –I I 17MMUC02 Biography-I 4 - 3 40 60 100 3 I History of 4 - 3 40 60 100 3 17MMUC03 Indian Music-I I Concert Forms- 5 - 3 40 60 100 4 17MMUC04 Theory I Kalpitha - 5 3 40 60 100 4 17MMUC05 Sangeetha - Practical-I I Compositions of - 5 3 40 60 100 4 Tamil 17MMUC06 Composers - Practical-II II 17MSXCS1 CSS - 2 - 25 25 - SECOND SEMESTER I History of - 3 40 60 100 3 17MMUC07 Indian Music-II 4 I Research - 3 40 60 100 3 Methodology 5 17MMUC08 in Music (Theory) I 4 - 3 40 60 100 4 17MMUC09 Operas and Dance dramas I Nadopasana - 5 3 40 60 100 4 Kritis of 17MMUC10 Tyagaraja- Practical-III I Musical - 5 3 40 60 100 4 17MMUC11 Compositions - Practical- IV I 1 - - - - 100 2 17MMUC12 Mini Project II 17MMUM01 MOOC - - - - - - 2 I 17MMUI01 Inter 2 2 3 40 60 100 4 disciplinary Course II 17MSXCS1 CSS - 2 3 25 50 75 1 Part Subject code Name of the paper/ Hrs of Scheme of Examination Component instruction/week Theory Practical Duration CIA CE Total Credit of Exam Internship during summer vacation for one month THIRD SEMESTER I 17MMUC13 Musicology 4 - 3 40 60 100 3 I -
Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan
Table of Contents From the Publications & Outreach Committee ..................................... Lakshmi Radhakrishnan ............ 1 From the President’s Desk ...................................................................... Balaji Raghothaman .................. 2 Connect with SRUTI ............................................................................................................................ 4 SRUTI at 30 – Some reflections…………………………………. ........... Mani, Dinakar, Uma & Balaji .. 5 A Mellifluous Ode to Devi by Sikkil Gurucharan & Anil Srinivasan… .. Kamakshi Mallikarjun ............. 11 Concert – Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan ..... 14 A Grand Violin Trio Concert ................................................................... Sneha Ramesh Mani ................ 16 What is in a raga’s identity – label or the notes?? ................................... P. Swaminathan ...................... 18 Saayujya by T.M.Krishna & Priyadarsini Govind ................................... Toni Shapiro-Phim .................. 20 And the Oscar goes to …… Kaapi – Bombay Jayashree Concert .......... P. Sivakumar ......................... 24 Saarangi – Harsh Narayan ...................................................................... Allyn Miner ........................... 26 Lec-Dem on Bharat Ratna MS Subbulakshmi by RK Shriramkumar .... Prabhakar Chitrapu ................ 28 Bala Bhavam – Bharatanatyam by Rumya Venkateshwaran ................. Roopa Nayak ......................... 33 Dr. M. Balamurali -
Andhra University 1 Year Diploma in (Music) Syllabus
SCHOOL OF DISTANCE EDUCATIN – ANDHRA UNIVERSITY 1st YEAR DIPLOMA IN (MUSIC) SYLLABUS (BOS approved and modified syllabus to be implemented from the admitted Batch 2012-13) Theory 100 Marks Paper I : Technical aspects of South Indian Classical Music 1. Technical Terms: a) Nada b) Sruti c) Swaras d) Swarasthanas e) Sathayi 2. Tala System: Sapta Talas, 35 Talas, Tala Dasa Prans, Chapu Tala Varieties Desadi and Madhyadi Talas 3. Musical Forms and their Lakshnas: Gitam, Varnam, Kritis, Kirtana, Padam, Ragamalika, Jasti Swaram, Swarajati, Tillana and Javali. 4. Lakshanas and Sancharas of the following Ragas: A a) Todi, b) Mayamalavagoula, c) Bhairavi, d) Kambhoji, e) Sankarabharanam f) Kalyani, g) Kharaharapriya, h) Mohana, i) Madhyamavathi j) Bilahari B. a) Dhanyasi, b) Saveri e)Vasanta d) HIndola e) Ananda Bhairavi f) Mukhari g) Kanada h) Khamas i) Begada j) Poorikalyani Paper II : Theoretical Aspects of South Indian Classical Music 100 Marks 1. Raaga and raga Lakshanam: a) Definition and Classification of ragas. b) Study of 13 Lakshanas c) ragalapana Padhathi 2. Musical Instruments and their classification 3. Special study of Tambura, Veena, Violin, Flute, Nagaswaram and Mridangam. 4. Characteristics of a composer. 5. Short biographical sketches of the following: a) Jayadeva b) Annamayya, c) Purandhara Dasa d) Narayana Tirtha e) Ramadasa f) Kshetrayya. Practical (First year) 100 Marks Paper III (Practical I) Fundamentals of Classical Music 1. a. Saraliswaras 6 b. Janta swaras 8 c. Alankaras 7 2. Gitas - 7 (Two Pillari Gitas, Two Ghanaraga Gitas, one Dhruva and one Lakshana gitam) 3. One Swarapallavi and one Swarajati 4. Five Adi Tala Varnas. -
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 -
Lalgudi's Compositions, 21St Century Masterpieces
Lalgudi ’s compositions, 21st century masterpieces - Carnatic Music News - Darbar for cl ... Page 1 of 2 Music Academy to hold singing competion GO Top Most Lalgudi’s compositions, 21st century masterpieces Stories Viewed An engaging dialogue between By Vidya Subramanian www.vidyasubramanian.com flute & mandolin Akademi Ratna for Lalgudi CHENNAI, September 16: My guru, Padmabhushan G.Jayaraman Winning mind share, the Bombay Lalgudi Shri Jayaraman, is one of the most gifted and Jayashri way versatile musicians of this century. His genius has Music is a continuous process innumerable facets. With his warm and self-effacing of learning personality and total commitment to his art, he shares his Music has to be approached deep knowledge with readiness. with modesty Avoid easy route to concert stage Lalgudi Sir is a globally acclaimed musician, composer and When they bow,Ganesh & teacher. His 80th birthday celebration on September 18 Kumaresh sound distinct and September 19, 2010 at The Music Academy, Madras is Understand the science of music Future of voice science in India an event that all of us in the music fraternity are eagerly Listen to Tiruppavai and excitedly looking forward to. Each composition of my guru is a masterpiece in its own right. In this article, I attempt to highlight a few of these gems. Lalgudi Sir has composed in diverse compositional forms. His varnams and tillanas are legendary. He has also composed beautiful pieces in other musical forms such as kirtanams, swarajathis and jathiswarams. The fact that he does not use a mudra or signature term in his compositions bears testimony to his modesty. -
Vol.74-76 2003-2005.Pdf
ISSN. 0970-3101 THE JOURNAL Of THE MUSIC ACADEMY MADRAS Devoted to the Advancement of the Science and Art of Music Vol. LXXIV 2003 ^ JllilPd frTBrf^ ^TTT^ II “I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; (but) where my Bhaktas sing, there be /, N arada !” Narada Bhakti Sutra EDITORIAL BOARD Dr. V.V. Srivatsa (Editor) N. Murali, President (Ex. Officio) Dr. Malathi Rangaswami (Convenor) Sulochana Pattabhi Raman Lakshmi Viswanathan Dr. SA.K. Durga Dr. Pappu Venugopala Rao V. Sriram THE MUSIC ACADEMY MADRAS New No. 168 (Old No. 306), T.T.K. Road, Chennai 600 014. Email : [email protected] Website : www.musicacademymadras.in ANNUAL SUBSCRIPTION - INLAND Rs. 150 FOREIGN US $ 5 Statement about ownership and other particulars about newspaper “JOURNAL OF THE MUSIC ACADEMY MADRAS” Chennai as required to be published under Section 19-D sub-section (B) of the Press and Registration Books Act read with rule 8 of the Registration of Newspapers (Central Rules) 1956. FORM IV JOURNAL OF THE MUSIC ACADEMY MADRAS Place of Publication Chennai All Correspondence relating to the journal should be addressed Periodicity of Publication and all books etc., intended for it should be sent in duplicate to the Annual Editor, The journal o f the Music Academy Madras, New 168 (Old 306), Printer Mr. N Subramanian T.T.K. Road, Chennai 600 014. 14, Neelakanta Mehta Street Articles on music and dance are accepted for publication on the T Nagar, Chennai 600 017 recommendation of the Editor. The Editor reserves the right to accept Publisher Dr. -
Department of Indian Music Name of the PG Degree Program
Department of Indian Music Name of the PG Degree Program: M.A. Indian Music First Semester FPAC101 Foundation Course in Performance – 1 (Practical) C 4 FPAC102 Kalpita Sangita 1 (Practical) C 4 FPAC103 Manodharma Sangita 1 (Practical) C 4 FPAC114 Historical and Theoretical Concepts of Fine Arts – 1 C 4 ( Theory) FPAE101 Elective Paper 1 - Devotional Music - Regional Forms of South India E 3 (Practical) FPAE105 Elective Paper 2 - Compositions of Muttusvami Dikshitar (Practical) E 3 Soft Skills Languages (Sanskrit and Telugu)1 S 2 Second Semester FPAC105 Foundation Course in Performance – 2 (Practical) C 4 FPAC107 Manodharma Sangita 2 (Practical) C 4 FPAC115 Historical and Theoretical Concepts of Fine Arts – 2 ( Theory) C 4 FPAE111 Elective Paper 3 - Opera – Nauka Caritram (Practical) E 3 FPAE102 Elective Paper 4 - Nandanar caritram (Practical) E 3 FPAE104 Elective Paper 5 – Percussion Instruments (Theory) E 3 Soft Skills Languages (Kannada and Malayalam)2 S 2 Third Semester FPAC108 Foundation Course in Performance – 3 (Practical) C 4 FPAC106 Kalpita Sangita 2 (Practical) C 4 FPAC110 Alapana, Tanam & Pallavi – 1 (Practical) C 4 FPAC116 Advanced Theory – Music (Theory) C 4 FPAE106 Elective Paper 6 - Compositions of Syama Sastri (Practical) E 3 FPAE108 Elective Paper 7 - South Indian Art Music - An appreciation (Theory) E 3 UOMS145 Source Readings-Selected Verses and Passages from Tamiz Texts ( S 2 Theory) uom1001 Internship S 2 Fourth Semester FPAC117 Research Methodology (Theory) C 4 FPAC112 Project work and Viva Voce C 8 FPAC113 Alapana, -
Raga Dhana of Udupi Turns 25
raga that is not commonly chosen began to sound better than before good control over the bow and over for this mode of improvisation. The providing a lot of saukhyam when laya. While these are assets for an niraval embellishment showcased he sang Inta saukhyamanine accompanying violinist, there did his vidwat and the trademark of his (Kapi, Tyagaraja). A quick appear a difference in the styles and guru T.M. Krishna’s earlier genre Bhogeendrasayinam (Kuntalavarali, in the approaches to elaboration of of concert-music. Aligning with the Swati Tirunal) preceded the Ragam, ragas between the vocalist and the “pace and spin” formula of concert Tanam and Pallavi in Poorvikalyani. violinist. music, he sang Mariveredikku The professionally competent To the credit of the artists, it must (Shanmukhapriya, Patnam execution of this centrepiece with the be said that none of them showed Subramania Iyer) at a brisk pace repetition of the pallavi in various any sign of fatigue, nor did they and embellished it with swaras. speeds and gaits and some pleasing let the audience feel so. It was an He went on to sing an alapana of ragamalika swaras could simply not enjoyable experience, a luxury that Yadukulakambhoji which appears capture the magic created by the may not be possible during the to be a favourite raga of his and evocative music in the first half of mad rush of the season or on a rendered Syama Sastry’s swarajati the concert. working day. (Kamakshi), emulating his guru and The last phase had a portion of doing him proud, too.