DOCSLIB.ORG

List of Compositions in Raga

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

LIST OF COMPOSITIONS IN RAGA MAYAMALAVAGOWLA Courtesy : SHRI.LAKSHMAN RAGDE 1 Abhisara prayogam sheidan Adi A.S.Lakshmi Ammal 2 Adalira channaya manchi vadugada ninnu Adi Lalitadasar 3 Adarinchutaku nive Adi Pallavur Mani Iyer 4 Ade lanka sadinche Annamacharya 5 Ade ni peddarika Annamacharya 6 Adi mudanalil enran tayudalile irundu (tp) Anga Arunagirinathar 7 Adikkondar anda vedikkai kana kannayiram Adi Muttu Tandavar 8 Adityam (p) Sriramachandra Murti Sistla 9 Adityama devadi devam akhilanda natham Adi Muttiah Bhagavatar 10 Adiyan devadi devan Adi ? 11 Alladabadiyunnanda Annamacharya 12 Amba yuvati jaganmate akhila janani dayanidhe Adi Ashok R.Madhav 13 Ammamma unna Rupaka Shrikaanth K.Murthy 14 Ampavayya Annamacharya 15 Anandan paramanandan saccidanandan C/Eka D.Pattammal 16 Anatimmu nAtOnu Annamacharya 17 Andavan niye shodanai sheidal yaridam sholven Adi Papanasham Shivan 18 Anikadavata yantatiki Annamacharya 19 Annaiyum pitavum munnari deivam ena (sg) T/Triputa Arunachala Annavi 20 Annam parikkum (te) Chapu Tirunavukkarashar 21 Anniyu nitani mula Annamacharya 22 Anubhavadadugeya madi adakkanubhavigalu bandu T/Adi Purandaradasa 23 Appatikappude kaka asalintele appurame Rupaka Annamacharya 24 Arindavar yar onrum ariyadavar yar Adi C.S.Natarajasundaram Pillai 25 Arumukhane arulbavane arupagaiyai Rupaka Rukmini Ramani 26 Atrantare mashrunarosha S.Jagannarayanan 27 Avadh sukhdayi baje badhayi ratan simhasan par Adi Svati Tirunal 28 Avadharu chittaginchu hanumantudu Annamacharya 29 Avan anri or anuvum ashaiyadadi Jhampa Shuddhananda Bharati 30 Ayiram namam potri Adi N.Viramani Iyer 31 Ayya enakkoru varam Adi K.S.Minakshisundaram Pillai 32 Bellapu matala Annamacharya 33 Bhajare manasa vrajabalam (sj) C/Rupakam H.Yoganarasimham 34 Bhaktikku idillai maname pazhani Adi A.P.Haran 35 Bhavinci chudare Annamacharya 36 Bhuvaneshvari pughal unadu padam Deshadi ?Papanasham Shivan 37 Binnavanika nannu pilachi brovave Rupaka Ogirala Viraraghava Sharma 38 Chachina sthalamu Annamacharya 39 Chaduvulone harini Annamacharya 40 Charana pankajam aladu tunaiye sarva jagadishvaran Adi Papanasham Shivan 41 Charanam sharanam ayyappa Ganapati Sachidananda 42 Charma shiladolage Dhruva Vadirajasvami 43 Chelulara chudare Annamacharya 44 Cheppidu viddai Adi Periasami Tooran 45 Cheta kasunnapude dana dharmamulu Adi Ogirala Viraraghava Sharma 46 Chintai en inidenna Rupaka Mayuram Vishvanatha Shastri 47 Chintanai seivaye Rupaka Nila Ramamurti 48 Chintayami santatam Rupaka G.Sampath 49 Chintayeham janaki kantam santatam chintitartha Rupaka Mysore Vasudevachar 50 Chuda chakkanayya ramayya ninne pujintaru Sriramachandra Murti Sistla 51 Dasharatha nandana Adi Mysore Vasudevachar 52 Datta datta datta datta Adi Ganapati Sachidananda 53 Datta deve deva deva Rupaka Ganapati Sachidananda 54 Datta guro datta guro Adi Ganapati Sachidananda 55 Deva deva kalayami te charanambuja Rupaka Svati Tirunal 56 Deva devesha Rupaka R.K.Suryanarayana 57 Deva devottama (lng) Triputa Govindacharya 58 Deva unnai atikalaiyil Adi Abraham Panditar 59 Devadi deva nannu kava samayamura Rupaka Mysore Sadashiva Rao 60 Devaravu nivu Annamacharya 61 Devi kamakshi parashiva dehartha Adi Ogirala Viraraghava Sharma 62 Devi maravar tirumaghal bhumi (tvm) Adi Nammazhvar 63 Devi shri tulasamma brochuta kide samayam Adi Tyagaraja 64 Dharalo na janmane Annamacharya 65 Dinamani vamsha dinajanavana T/Eka Muttiah Bhagavatar 66 Durari virula Sriramachandra Murti Sistla 67 Durga lakshmi sarasvati Adi Lalita Venkataraman 68 E mAya ninduku Annamacharya 69 E tiruga nanu daya juchedavo ina vamsha Adi Bhadrachalam Ramdas 70 ElAtani dureve Annamacharya 71 Eda nunda ni Annamacharya 72 EdanunDA nAsommu Annamacharya 73 Edarkko ivvudal eduttom unavai Rupaka T.Lakshmana Pillai 74 Ela nannu Annamacharya 75 Ela nannu dureve Annamacharya 76 Ella lile idella Adi Vadirajasvami 77 Emani ceppagavaccu Annamacharya 78 Emani pilitu ninnu nemani pilutunu Adi Adipudi Somanatha Rao 79 Emi neruganinadu Annamacharya 80 Enakkena yavum padaittida nalum ilaippodu (tp) Adi Arunagirinathar 81 Enakkum aruliniro en svami ninaikka ninaikka Adi Uttukadu Venkatasubbier 82 Enduku vichcheyanela Annamacharya 83 Engal acharyar ivare engum Triputa A.S.Lakshmi Ammal 84 Engal annaiye abhirami Rajalakshmi Parameshvaran 85 Entani pogadavaccu Annamacharya 86 Eru mayil azhaga erum vinai Adi K.Hariharan 87 Ettanai tan Chapu Vinai Krishnamacharya 88 Evvarinela tadavevIda Annamacharya 89 Gajavadana ninne gatiyani vediti (tv) Adi Rasipuram Venkatapati 90 Galigutiperigattu Annamacharya 91 Gananatha kazhal tozhuden adiye nan (sg) T/Eka K.Ponniah Pillai 92 Gananatha nin tiruvarul tarai (sg) C/Dhruva M.S.Subramania Iyer 93 Ganapatiye tunai purivai karunai nirai mata (sg) Rupaka Periasami Tooran 94 Guru malar padam tunaiye shri tyagaraja sadguru Adi T.R.Vaidishvaran 95 Gurumarutpuradhipa T/Adi Pallavur Mani Iyer 96 Gurunatha unai paninden Adi Abraham Panditar 97 Gurunatha varam ta Adi Abraham Panditar 98 Hara mrityunjaya ambika nayaka hari kamalasana Adi Muttiah Bhagavatar 99 Hari charanamuruduga niratamu darani saptatalas Vina Varadayya 100 Hari svatantra Dhruva Vadirajasvami 101 Hariya bittare gati illa maruti maradake sadhana Adi Purandaradasa 102 Heramban sodarane Adi N.Viramani Iyer 103 Huva taruvara manege hulla taruva Jhampa Purandaradasa 104 I vasuda ni vanti Madhyadi Mysore Sadashiva Rao 105 Idayam tirandu vendumpodu T/Eka B.M.Sundaram (Gurukrupa) 106 Illadadai virumbi kedugirai adu Adi Papanasham Shivan 107 Imaya nattam Adi Sharavanabhavananda 108 Inchuka yasa micchite Annamacharya 109 Inda paramukhama ezhaiyidam enamma ennai Rupaka Papanasham Shivan 110 Indarerigina pani Annamacharya 111 Inderigina pani Adi Annamacharya 112 Inka nentaga Annamacharya 113 Inkanela vattijoli Annamacharya 114 Innita ghanudu Annamacharya 115 Innita niveka Annamacharya 116 Innitiki brerakudu Annamacharya 117 Inta paraka niveduta nilichi balukutaku (p) Rupaka Anai Ayya 118 Itade yatadu Annamacharya 119 Itadu vaddanunndaga Annamacharya 120 Jaya jagadisha hare (ap 1) (Pralaya payodhi jale) Adi Jayadeva 121 Jaya jaya svamin jaya jaya (tar) Adi Narayana Tirtha 122 Kalai maghale arul purivai kalaiyavilum Rupaka Tamizhannaidasan 123 Kalangamil ulam taruvai Adi T.Lakshmana Pillai 124 Kalinarulaku ni mahima delusuna kamala nayana C/Triputa Mysore Vasudevachar 125 Kaliyuga metulaina Annamacharya 126 Kamakshim kamalakshim Rupaka R.K.Padmanabha 127 Kamini singarala Annamacharya 128 Kan munne varano Rupaka Nila Ramamurti 129 Kana kan ayiram Adi Nila Ramamurti 130 Kandadum kettadum (g) M/Triputa C.S.Natarajasundaram Pillai 131 Kanna nin manam kaniyado Adi C.S.Natarajasundaram Pillai 132 Kannittamizh penne enda kalattilum Adi Abhayambika 133 Kanumaru arulayenru Adi Nammazhvar 134 Kapali Adi ? 135 Karpaka vinayakane mana karpanaiyil Adi K.S.Rangachari 136 Karuna samudramu Adi Madurai G.S.Mani 137 Karunai pozhindiduvai kaumari amma K/Eka D.Pattammal 138 Kattu yanai (k) ? N.Viramani Iyer 139 Keduvalyan enbadu arighatan nenjam (tv) Adi Tiruvalluvar (VSG) 140 Kombu kolalanuduta Ata Shripadaraya 141 Kommala javvanamulu Annamacharya 142 Kori nipai dolli naku kopamunnada a riti ratu Triputa Annamacharya 143 Krpakari shankari karunakari kapalishvari Rupaka Rukmini Ramani 144 Kshira jaladhi niketana Adi Pallavur Mani Iyer 145 Kshira sagara shayana raksha shara nivasini C/Dhruva Jayachamaraja Odeyar 146 Kuchchitale nivaite Annamacharya 147 Kudikondava Rupaka Sharavanabhavananda 148 Kudittar ekkalittar ullam kalittar pallu padittar Gopalakrishna Bharati 149 Kutram poruttu arulayya unnai nidam Chapu Desiya Vinayakam Pillai 150 Ma paninta Annamacharya 151 Mahimaiyai ariya tarama rama en pizhai Adi Papanasham Shivan 152 Manam enum malaral archanai shei adu alavilamal Adi Papanasham Shivan 153 Manam irangada iraiva (un) (pon) Rupaka Svarna Venkatesha Dikshitar 154 Maname kavalaiyai Rupaka Muttukavirayar 155 Manasa vandipe Adi R.K.Padmanabha 156 Manchitanamu la Annamacharya 157 Mangala yazishai pongugave mayamalava Adi Shuddhananda Bharati 158 Mangalakara mahadevane Rupaka Shuddhananda Bharati 159 Mani osai Adi 160 Mantra svarupam Rupaka Bangalore S.Mukund 161 Maravadiru nenjame unakkidu irava Adi Muttu Tandavar 162 Marigemi neruganu Annamacharya 163 Mashil vinaiyum malai madiyamum Triputa Tirunavukkarashar 164 Mato ninkana Adi Annamacharya 165 Maya mohini maheshvari Adi Mangalam Ganapati 166 Mayam edo svami vadum shudum nanariyen (pv) Adi Papanasham Shivan 167 Mayamalavagaula (lng) T/Eka K.Ponniah Pillai 168 Mayamalavagaula ivvaghayai padi (tv) Adi Nerur Shrinivasachar 169 Mayatita svarupini nannu brovave maha Rupaka Ponniah 170 Mayavati Adi Bangalore S.Mukund 171 Maye maha mata T/Triputa Dokka Sriramamurti 172 Maye paradevate Adi N.S.Ramachandran 173 Meru samana dhira varada raghuvira jutamu rara Madhyadi Tyagaraja 174 Mitakshari Sriramachandra Murti Sistla 175 Muladhara kshetra sthite ? E.S.Shankaranarayana Iyer 176 Munniya kalaipporulum muvulagil (te) K/Chapu Sambandar 177 Mupputru shevi ketpatrupporu muchchu (tp) Adi Arunagirinathar 178 Murugan tirunamattai maname dinamum Adi Kovai Subri 179 Nama sumarshana jetu sadashiva Adi Ogirala Viraraghava Sharma 180 Namadi korudu Sriramachandra Murti Sistla 181 Namo namo Adi Purandaradasa 182 Namo namo ramadeva anjaneya Adi Premavithaladasa 183 Nan en sheyven sami ni arul sheyyavidil Adi Kotishvara Iyer 184 Nana varnamula Annamacharya 185 Nanda oru shedi sholvadai kel inda Adi Gopalakrishna Bharati 186 Nanda vilakke alattarkkariyai nara Adi Tirumangai Azhvar 187 Nandabalam bhajare nandabalam Eka Bhadrachalam Ramdas 188 Nanganallur sarva mangala rajarajeshvari
Recommended publications
  • The Music Academy, Madras 115-E, Mowbray’S Road

    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

    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.
  • USER MANUAL Artiste: M.S

    USER MANUAL Artiste: M.S

    248. Anu Dinamunu Artistes: M.S. Subbulakshmi & Radha Vishwanathan Composer: Ramanathapuram Srinivasa Iyengar 249. Naraveshabhushana Artiste: M.S. Subbulakshmi Lyricist: Traditional Music Director: Kadayanallur S. Venkataraman 250. Manju Nihar Artistes: M.S. Subbulakshmi & Radha Vishwanathan Composer: Annamalai Reddiar 251. Muzhudai Unarndavar USER MANUAL Artiste: M.S. Subbulakshmi Composer: Athma visit www.saregama.com/carvaanmini to download the entire songlist 44 239. Sirai Aarum Artistes: M.S. Subbulakshmi & Radha Vishwanathan Composer: Thirugnana Sambandar 240. Sada Saranga Nayane Artiste: M.S. Subbulakshmi Composer: Mysore H. Yoganarasimham 241. Vanajaakshi 1. Overview - Buttons and Ports 3 Artiste: M.S. Subbulakshmi Composer: Traditional 242. Tum Ho Jag Ke 2. Modes 5 Artiste: M.S. Subbulakshmi Lyricist: Ustad Mohd. Dilshad Khan Music Director: Kadayanallur S. Venkataraman 3. Playback Status Light 8 243. Ko Va Rago Vadito Artiste: M.S. Subbulakshmi Lyricist: Mysore H Yoganarasimham 4. Battery 8 Music Director: Gurunanak Shabad, P.S.Srinivasa Rao 244. Mere To Giridhar Artistes: M.S. Subbulakshmi & Gowri Ramanarayanan 5. Safety Handling 8 Composer: Meera 245. Varuga Varugave 6. Warranty Overview 10 Artistes: M.S. Subbulakshmi & Radha Vishwanathan Composer: Ambujam Krishna 246. Sai Charan Ma 7. Song List 18 Artiste: M.S. Subbulakshmi Lyricist: Suresh Dalal Music Director: Ashit Desai 247. Dinudanenu Devuduvu Nivu Artistes: M.S. Subbulakshmi & Radha Vishwanathan Composer: Annamacharya 2 43 231. Oru Thram Saravana Bhava Artiste: M.S. Subbulakshmi Overview - Buttons and Ports Lyricist: Traditional Music Director: Kadayanallur S. Venkataraman 232. Maanilathai Vaazha Vaika Artiste: M.S. Subbulakshmi Lyricist: Kalki R.Krishnamurthy Music Director: Kadayanallur S. Venkataraman 233. Nee Saati Daivamu Artistes: M.S. Subbulakshmi & Radha Vishwanathan Previous Composer: Muthuswami Dikshitar 234.
  • Fusion Without Confusion Raga Basics Indian

    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

    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.
  • The Secrets of Shiva

    The Secrets of Shiva

    Dr. Shuddhananda Bharati The Secrets of Shiva ASSA Editions Editor’s Notes The Secrets of Shiva A gorgeous presentation written by Shud - dhananda Bharati on Shiva, unquestioned deity of human knowledge. Lord Shiva has the gift and power to unite us to his spiritual strength, cleanse our past, to teach us and guide us in our evolu - tion and personal development. His creative and destructive energy of the ego leads us into the light. As the alchemist according to our progress, He heals our wounds, removes our worries and sows in us the joy and happiness of being, while leading us in our inner quest for the divine in us. He offers us the chance to find out. In this book, I would also like to introduce you to two great personalities of ancient India. Firstly, it is Muthuswamy Dikshitar, blessed by Lord Muruga, he was an ocean of music – a rare musician. He was the - 7- Natha Jyothi who got grace of Goddess Shakti and gave birth to innumerable godly songs. It is 178 years since Dikshitar breathed his last on a Diwali Day and mingled in Natha Jyothi. All Sangeetha Vidvans (musicians) must celebrate the Diwali fes - tival, especially Dikshitar Day; his keerthanas must be sung in every house - hold. I express our thanks to Yogi Shud - dhananda Bharati who wrote this small work on the history of Dikshitar. Secondly, it is Dayananda. In his small work titled Rishi Dayananda, the author speaks about the history of the Father of Navbarath Dayananda and the principles of Arya Samaj in brief.
  • 1 ; Mahatma Gandhi University B. A. Music Programme(Vocal

    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.
  • Carnatic Music (Melodic Instrumental) (Code No

    Carnatic Music (Melodic Instrumental) (Code No

    (B) CARNATIC MUSIC (MELODIC INSTRUMENTAL) (CODE NO. 032) CLASS–XI: (THEORY)(2019-20) One theory paper Total Marks: 100 2 Hours Marks : 30 Theory: A. History and Theory of Indian Music 1. (a) An outline knowledge of the following Lakshana Grandhas Silappadikaram, Natyasastra, Sangita Ratnakara and Chaturdandi Prakasika. (b) Short life sketch and contributions of the following:- Veena Dhanammal, flute Saraba Sastry, Rajamanikkam Pillai, Tirukkodi Kaval Krishna lyer (violin) Rajaratnam Pillai (Nagasvaram), Thyagaraja, Syamasastry, Muthuswamy Deekshitar, Veena Seshanna. (c) Brief study of the musical forms: Geetam and its varieties; Varnam – Padavarnam – Daruvarna Svarajati, Kriti/Kirtana and Padam 2. Definition and explanation of the following terms: Nada, Sruti, Svara, Vadi, Vivadi:, Samvadi, Anuvadi, Amsa & Nyasa, Jaati, Raga, Tala, Jati, Yati, Suladisapta talas, Nadai, Arohana, Avarohana. 3. Candidates should be able to write in notation the Varnam in the prescribed ragas. 4. Lakshanas of the ragas prescribed. 5. Talas Prescribed: Adi, Roopaka, Misra Chapu and Khanda Chapu. A brief study of Suladi Saptatalas. 6. A brief introduction to Manodhama Sangitam CLASS–XI (PRACTICAL) One Practical Paper Marks: 70 B. Practical Activities 1. Ragas Prescribed: Mayamalavagowla, Sankarabharana, Kharaharapriya, Kalyani, Kambhoji, Madhyamavati, Arabhi, Pantuvarali Kedaragaula, Vasanta, Anandabharavi, Kanada, Dhanyasi. 2. Varnams (atleast three) in Aditala in two degree of speed. 3. Kriti/Kirtana in each of the prescribed ragas, covering the main Talas Adi, Rupakam and Chapu. 4. Brief alapana of the ragas prescribed. 5. Technique of playing niraval and kalpana svaras in Adi, and Rupaka talas in two degrees of speed. 6. The candidate should be able to produce all the gamakas pertaining to the chosen instrument.
  • Bhoga-Bhaagya-Yogyata Lakshmi

    Bhoga-Bhaagya-Yogyata Lakshmi

    BHOGA-BHAAGYA-YOGYATA LAKSHMI ( FULFILLMENT AS ONE DESERVES) Edited, compiled, and translated by VDN Rao, Retd. General Manager, India Trade Promotion Organization, Ministry of Commerce, Govt. of India, Pragati Maidan, New Delhi, currently at Chennai 1 Other Scripts by the same Author: Essence of Puranas:-Maha Bhagavata, Vishnu Purana, Matsya Purana, Varaha Purana, Kurma Purana, Vamana Purana, Narada Purana, Padma Purana; Shiva Purana, Linga Purana, Skanda Purana, Markandeya Purana, Devi Bhagavata;Brahma Purana, Brahma Vaivarta Purana, Agni Purana, Bhavishya Purana, Nilamata Purana; Shri Kamakshi Vilasa Dwadasha Divya Sahasranaama: a) Devi Chaturvidha Sahasra naama: Lakshmi, Lalitha, Saraswati, Gayatri; b) Chaturvidha Shiva Sahasra naama-Linga-Shiva-Brahma Puranas and Maha Bhagavata; c) Trividha Vishnu and Yugala Radha-Krishna Sahasra naama-Padma-Skanda-Maha Bharata and Narada Purana. Stotra Kavacha- A Shield of Prayers Purana Saaraamsha; Select Stories from Puranas Essence of Dharma Sindhu Essence of Shiva Sahasra Lingarchana Essence of Paraashara Smtiti Essence of Pradhana Tirtha Mahima Dharma Bindu Essence of Upanishads : Brihadaranyaka , Katha, Tittiriya, Isha, Svetashwara of Yajur Veda- Chhandogya and Kena of Saama Veda-Atreya and Kausheetaki of Rig Veda-Mundaka, Mandukya and Prashna of Atharva Veda ; Also ‘Upanishad Saaraamsa’ (Quintessence of Upanishads) Essence of Virat Parva of Maha Bharata Essence of Bharat Yatra Smriti Essence of Brahma Sutras Essence of Sankhya Parijnaana- Also Essence of Knowledge of Numbers Essence of Narada Charitra; Essence Neeti Chandrika-Essence of Hindu Festivals and Austerities- Essence of Manu Smriti*- Quintessence of Manu Smriti* - *Essence of Pratyaksha Bhaskara- Essence of Maha Narayanopanishad*-Essence of Vidya-Vigjnaana-Vaak Devi* Note: All the above Scriptures already released on www.
  • Senior School Curriculum 2017-18

    Senior School Curriculum 2017-18

    SENIOR SCHOOL CURRICULUM 2017-18 VOLUME - III Music and Dance for Class XII Central Board of Secondary Education “Shiksha Sadan”, 17, Rouse Avenue, New Delhi – 110 002 / Telephone : +91-11-23237780 /Website : www.cbseacademic.in Downloaded from: www.cbseportal.com Courtesy : CBSE Senior School Curriculum 2017 - 18 Volume - III CBSE, Delhi – 110092 March, 2017 Copies: Price: ` This book or part thereof may not be reproduced by any person or Agency in any manner Published by: The Secretary, CBSE Printed by: Multi Graphics, 8A/101, WEA Karol Bagh, New Delhi – 110 005, Phone: 25783846 Printed by: II Downloaded from: www.cbseportal.com Courtesy : CBSE CONTENTS Page No. Music and Dance Syllabus (i) Carnatic Music 1 (a) Carnatic Music (Vocal) 2 (b) Carnatic Music (Melodic Instrument) 6 (c) Carnatic Music (Percussion Instrumental) 10 (ii) Hindustani Music 15 (a) Hindustani Music (Vocal) 16 (b) Hindustani Music (Melodic Instrument) 19 (c) Hindustani Music (Percussion Instrumental) 22 (iii) (a) Dances 25 (a) Kathak 27 (b) Bharatnatyam 32 (c) Kuchipudi 36 (d) Odissi 38 (e) Manipuri 42 (f) Kathakali 46 (g) Mohiniyattam 49 III Downloaded from: www.cbseportal.com Courtesy : CBSE SENIOR SCHOOL CURRICULUM 2017-18 VOLUME III (i) Carnatic Music Effective from the academic session 2017–2018 for Classes–XI and XII 1 Downloaded from: www.cbseportal.com Courtesy : CBSE (A) CARNATIC MUSIC (VOCAL): (CODE NO. 031) CLASS–XII (2017-18): (THEORY) One Theory Paper Total Marks: 100 3 Hours Marks: 30 72 Periods Theory: A. History and Theory of Indian Music 1. (a) Brief history of Carnatic music with special reference to Sangita Saramrita, Sangita Sampradaya Pradarsini, Svaramelakalanidhi, Raga Vibodham, Brihaddesi.
  • Poet Nightingale Bharathiyar to Us

    Poet Nightingale Bharathiyar to Us

    Dr. Shuddhananda Bharati Poet Nightingale Subramaniya Bharathiyar Life story of Bharathiyar ASSA Editions Editor’s Notes Subramaniya Bharathiyar was born on 11 th December 1882 in Ettayapuram, which is now part of Thoothukudi District. He died on 11 th September 1921. Bharathiar was educated at a local high school where his talents as a poet were recognized even at the age of 11. He had a voracious appetite for learning ancient and contemporary Tamil literature and had a gifted intellect to derive astonishing truths from ancient poems. He was also one of the prominent leaders of the Indian independence movement. His national integration songs earned him the title “Desiya Kavi” (National Poet). His patriotic songs emphasize national - ism, unity of India, equality of men and the greatness of the Tamil language. It is a real and great pleasure for me to present this nice treatise on Poet Nightin - gale Bharathiyar to you. Thank you, Dr. Shuddhananda Bharati for having - 7- transmitted Poet Nightingale Bharathiyar to us. The first edition of this book is dated 1955 in Tamil. Christian Piaget Poet Nightingale Bharathiyar Song of Unity Unite. Unite, Unite, Oh Souls Unite and play your roles Unite in mind, unite in heart Unite in whole, unite in part Like words and tunes and sense in song Let East and West unite and live long Trees are many; the grove is one Branches are many: tree is one Shores are many; sea is one Limbs are many; body is one Bodies are many; self is one Stars are many; sky is one Flowers are many; honey is one Pages are many;
  • ESSENCE of VAMANA PURANA Composed, Condensed And

    ESSENCE of VAMANA PURANA Composed, Condensed And

    ESSENCE OF VAMANA PURANA Composed, Condensed and Interpreted By V.D.N. Rao, Former General Manager, India Trade Promotion Organisation, Pragati Maidan, New Delhi, Union Ministry of Commerce, Govt. of India 1 ESSENCE OF VAMANA PURANA CONTENTS PAGE Invocation 3 Kapaali atones at Vaaranaasi for Brahma’s Pancha Mukha Hatya 3 Sati Devi’s self-sacrifice and destruction of Daksha Yagna (Nakshatras and Raashis in terms of Shiva’s body included) 4 Shiva Lingodbhava (Origin of Shiva Linga) and worship 6 Nara Narayana and Prahlada 7 Dharmopadesha to Daitya Sukeshi, his reformation, Surya’s action and reaction 9 Vishnu Puja on Shukla Ekadashi and Vishnu Panjara Stotra 14 Origin of Kurukshetra, King Kuru and Mahatmya of the Kshetra 15 Bali’s victory of Trilokas, Vamana’s Avatara and Bali’s charity of Three Feet (Stutis by Kashyapa, Aditi and Brahma & Virat Purusha Varnana) 17 Parvati’s weds Shiva, Devi Kaali transformed as Gauri & birth of Ganesha 24 Katyayani destroys Chanda-Munda, Raktabeeja and Shumbha-Nikumbha 28 Kartikeya’s birth and his killings of Taraka, Mahisha and Baanaasuras 30 Kedara Kshetra, Murasura Vadha, Shivaabhisheka and Oneness with Vishnu (Upadesha of Dwadasha Narayana Mantra included) 33 Andhakaasura’s obsession with Parvati and Prahlaad’s ‘Dharma Bodha’ 36 ‘Shivaaya Vishnu Rupaaya, Shiva Rupaaya Vishnavey’ 39 Andhakaasura’s extermination by Maha Deva and origin of Ashta Bhairavaas (Andhaka’s eulogies to Shiva and Gauri included) 40 Bhakta Prahlada’s Tirtha Yatras and legends related to the Tirthas 42 -Dundhu Daitya and Trivikrama