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Music Under Graduation – 3 Year Programme

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DRAFT TAMIL NADU STATE COUNCIL FOR HIGHER EDUCATION CHENNAI – 600 005. State Integrated Board of Studies Music Under Graduation – 3 Year Programme Tamilnadu State Council for Higher Education Index A Mandatory Areas I. Music Theory 1. Introduction to theory 2. Tamil Prosody and 3. Advanced Theory 4. History of Music II. Practical music 1. Foundation Exercises 2. Higher Level Musical Forms 3. Kirtanai-s 4. Advanced Musical Forms 5. Songs from Sangam and Bhakti Literature B Suggested Optional Areas 1. Subsidiary vocal / instrument 2. Music in Other Arts 3. Physics of Music 1 State Integrated Board of Studies – Music UG Mandatory Areas I. Music Theory 1. Introduction to Theory Greatness and Power of Music. Basic technical terms in music. Isai-Oli (Nada), Mandilam (Sthayi), Kovai (Svara), Kovai-nilai (Svarasthana), Alagu (Sruti), Inai, Kilai, Pagai, Natpu Names of Isai-kovai Distinctive features of South Indian Music. 72 mela scheme Classification of Raga-s - Pann (Sampurnam), Panniyam (Shadavam), Tiram (Audavam), Tirattiram (Svarantaram) Uriya- kovaippann(Upangam), Kalappu-Kovaipann(Bhashangam), Tara- irudippann (Nishadantya), Vilari-irudippann (Dhaivatantya), Ili- irudippann (Panchamantya) Kuraikkovaippann (Varja-raga-s) Pirazchikkovaippann (Vakra-raga-s) Pani (Tala), Technical terms – Mattirai (Matra), Ennikkai (Akshara), Ceykai (Kriya), Layam, Vattam (Avartha), Nadai (Gati), Eduppu (Graha), Seven Pani-s and Thirty-five Pani-s, Varieties of Saippu Pani, Aimmai alavu (Khanda-Capu), Ezumai alavu (Misra-Capu) Onpanmai-alavu (Sankirna-Capu), Desadi and Madhyadi tala-s Knowledge of the various Illakkanam-s underlying a Pann. Ilakkanam-s of the following Pann-s 1. Mohanam 2. Mayamalavagaula 3. Kalyani 4. Bilahari Method of writing Musical Notation. Nattupura Isai – Folk Music Nattupura Isai Karuvigal - Folk Instruments –Magudi, Ekthar, Tuntina, Nedunguzhal, Parai, Kombu, Tappu Palagai Classification of Musical Insturments 2 Tamilnadu State Council for Higher Education Knowledge of the construction and playing technique of 1. Vina 2. Flute 3. Tambura 4. Violin 5. Mridangam 6. Nagaswaram 7. Tavil Biography of the following Composers and their contribution to music – 1. Tanjai Nalvar 2. Papanasam Shivan 3. M.M.Dandapani Desigar 4. Periyasami Thuran 5. Bharatiyar 6. Bharathidasan 7. Kavimani Desiga Vinayakam Pillai In this Paper the student is introduced to the technical terms which are prevalent in South Indian Music, the 72 mela scheme, the raga classification and the techcnical terms in the tala system. Students will familiarize themselves with the grammar of ragas and also to write musical notation which is important for documentation purpose. Knowledge of instruments and their construction technique will help the students to understand how an instrument is made and also the theory of how to handle instruments. Later when they learn to perform on the instrument this knowledge will be helpful. Biographies of composers helps a student to know about the composers’ contribution to music and also the historical evolution of music in the present day context. 2. Tamiz Prosody Uruppiyal - Ezuttu, Asai, Cir, Talai, Ati, Totai, Ceyyuliyal - Varieties of Paa: Venpa, Asiriyappa, Kalippa, Vanjippa General Characteristics of the songs of Isaittamiz and their varieties. Vannappadalagal Cinduppadalgal Uruppatikal (Kirttanaigal) Edugai, Monai, Iyaibu, Mutugiyal and other characteristics in the songs of Isaitamizh The above theoretical and analytical grammar of Tamizh prosody will help the students to understand the nuances in Tamil Literature and Tamil Poetry. Later this will be helpful to learn the chandams of Thirupugazh, Tevaram, Tiruvacagam and others and also help them to present the compositions with the correct intonation nd pronunciation. 3 State Integrated Board of Studies – Music UG II. Practical music 1. Foundation Exercises Exercises in two speeds in the following – Alaguk Kovai-varisaikal Samam Mandila Kovai Varisaikal (Madhyasthayi – Sarali) Valivu Mandila Kovai Varisaikal (Mel-Sthayi) Melivu Mandila Varisaikal (Kizh-Sthayi) Irattai Kovai Varisaikal (Janta) Taandu Kovai Varisaikal (Daatu) Ezutala Adukkani (Saptatala alankara-s) to be rendered in two speeds. Tamil Gitam-s – Six Corkattuk Kovai (Jatisvaram) – composed by Tanjai Nalvar – One Kovai Chorkattu (Swarajati) - One simple Swarajathi Rendering the following exercises in ‘akara’ in two speeds by vocal students and suitably adapting the techinique by those who opt to play instrument. Alaguk Kovai-varisikal Samam Mandila Kovai Varisaikal (Madhyasthayi – Sarali) Valivu Mandila Kovai Varisaikal (Mel-Sthayi) Melive Mandila Varisaikal (Kizh-Sthayi) Irattai Kovai Varisaikal (Janta) Taandu Kovai Varisaikal (Daatu) Kovaic Corkattu (Svarajati) – composed by Tanjai Nalvar - One Pan-nirangal (Varnams) in Adi Talam - Two One kirttanai each in the following Raga-s : Mohanam Mayamalavagaula Kalyani Bilahari Identifying the 12 Kovai-nilai-s (svarasthana-s) when plain Kovai- nilai-s are sung in ‘akara’ form or played on Instruments Identifying the duration (kaarvai) of Kovai-s in a passage of Kovai-s sung to a tala. 4 Tamilnadu State Council for Higher Education Rendering Saman Mandila (Sarali) exercises in Mummai nadai (tisra gati) with 3 pulses to one unit of tala (3/1) Each student should discover their own abilty to perform. By diligently exercising his abilities the student by the end of Exercises should develop a fairly good sense of pitch (sruti) and rhythm (tala). By learning the akara exercises the student will become more strong in svarasthana-s. The svarajati helps the student to coordinate the svaras and sahitya syllable. The varnam-s are a stepping stone to kriti-s, raga lakshana and manodharma sangita. 2. Higher Level Musical Forms Advanced varisai-s to be rendered in three speeds Irattai kovai (Janta) - 1. ss, - rr, - gg - ss - rr - gg – mm 2. s, ss - r, rr - g, gg - m, mm 3. s, sss - r, rrr - g, ggg - m, mmm Tandu varisai (Datu) - 1. sgrm rmgp 2. gsrm mrgp Others - 1. s, rs s,,, - r, gr r,,, 2. sr sgrs - rg rmgr Rendering Ezhutala Adukkani(Alankaram) 1. to be rendered in three speeds and in Mummai nadai (3/1). 2. to be rendered in Raga Kalyani, Sriranjani and Mohanam Pan-niram (Varnam-s) : Ata talam -Two Note: These varnams should be rendered in one speed in Idaipatta kalam (medium speed) Ability to render in two speeds, the adi Tala varnams learnt Note: Varnam-s should be rendered as Kovai (Svara) corpakuti (Sahitya) and akara (for singers). Tamil kirttanai-s in the following ragas Sankarabharanam, Bhairavi, Dhanyasi, Saveri, Purvikalyani, Vasantha, Arabhi Rendering of the Iniya Kovai Vazakku-s (Ranjaka Prayoga) for the following Raga-s - Sankarabharanam, Kalyani, Anandabhairavi and Sahana 5 State Integrated Board of Studies – Music UG Rendering of Karpanaikkovai(Kalpana Svaram) in the first speed for kirttanai-s in the following Raga-s - Mohanam, Mayamalavagaula, Kalyani and Bilahari Learning to render in Kovai form ‘a-kara’ phrases sung in Raga-s prescribed for this paper. Rendering of musical phrases illustrating the following Nun-asaivu-s (gamaka-s) - Kampitam, Spuritam, Nokku, Ravai, Khandippu, Vali, Jaru, Odukkal, Orikai To render one tana-Panniram (tana-varnam) in Kovai (svara) and Cor- pakuti (sahitya) forms in three speeds (4/1, 8/1, 16/1) and in Mummai Nadai (12/1) (both). Two Tana-Pannirams (Tana-varnams) one in Adi Talam and one in Khanda Ata thalam. One Pada Panniram (Pada-varnam) of Ponnaiah Pillai and one Pancharatnam Tamiz Kirttanai-s in the following Raga-s - Kambhoji, Todi, Sriranjani, Sahana, Kedaragaulai and Anandabhairavi Tamiz Kirttanai-s in the following Raga-s - Begada, Kharaharapriya, Sama and Natakurinji Rendering of the Iniya Kovai Vazakku in the following Raga-s. Kambhoji, Todi, Begada, Saveri, Bhairavi and Purvikalyani Rendering of Karpanaikkovai for kirttanai-s in the following Raga-s. Kambhoji, Todi, Saveri, Bhairavi and Kedaragaula Learning to tune a Tambura. Reciting the following jati-syllables as makutams (rendered thrice) in Adi, Rupaka Ezumai-Saippu(Misra Capu) and Aimmai-Saippu(khanda Capu) tala-s and for different eduppu-s. 1. ta di ki na tom (5 units) 2. ta din, ki na tom (6 units) 3. ta, din, ki na tom (7 units) 6 Tamilnadu State Council for Higher Education Practising the varisai-s in different speeds is a good exercise for both vocalists and instrumentalists and a first step to learn about tala intricacies. Learning to practice the sapta tala alankara-s in different raga-s helps a student to learn the svarasthana-s of that particular raga and also in different tala. The ata tala varnam-s and the adi tala varnam-s play a significant role in learning various compositions. The lessons in kriti-s will help the student to sing raga by using the gamakas and also to render the karpanakovai and akara phrases. The singing of adi tala varnam-s and ata tala varnam-s in different speeds helps the student to get control over tala. The kritis in the above ragas cover the various svarasthana-s and gamaka-s which a student will become familiar with by practicing the above compositions. The compositions in various raga-s and tala-s paves the way for the student to develop the creative abilities of delineating raga alapana and other creative forms like tanam, niraval, kalapana svara and finally for the performance of Ragam, tanam and pallavi. Therefore continued practice of compositions helps the student to learn manodharma sangita which forms the basis for Indian Classical Karnatik Music. 3. Kirttanai-s 8 Kirttanai-s must be learnt in each of the
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  • Todi and Tyagaraja

    Todi and Tyagaraja

    VEDAVALLI SPEAKS Sangita Kalanidhi R. Vedavalli is not only one of the most accomplished of our vocalists, she is also among the foremost thinkers of Carnatic music today with a mind as insightful and uncluttered as her music. Sruti is delighted to share her thoughts on a variety of topics with its readers. Todi and Tyagaraja (Edited excerpts from a lecture- singers of the Divya Prabandham, the demonstration for the Saraswati Vaishnava hymns. Vaggeyakara Trust held at the Narada RAJAM S. Such is the mystery that surrounds Gana Sabha on 21 December 2003). the origin of Todi. Nevertheless, for n Carnatic classical music, Todi centuries, Todi has captivated the is a major raga with ample scope souls and imagination of generations for elaboration and extensive of musicians and composers by its creativity. Though the exact period sheer ocean-like depth and vastness. I It has spawned more than 20 janya of its origin is not known, it can surely be said that through the last raga-s. In practice, no other raga three or four centuries it has grown yields itself so generously to so much and developed so much that today improvisation as Todi does. Every it is one of the most prominent and part of its progression allows endless scope for elaboration. It is a common important raga-s of Carnatic music. practice to elaborate Todi with The evolution and establishment varja prayoga-s (skipping of notes). of Todi as a magnificent raga was This is especially popular among largely enabled by great musicians nagaswara vidwans. and vaggeyakara-s.
  • Carnatic Music in Tamil Literature

    Carnatic Music in Tamil Literature

    Carnatic Music in Tamil Literature Written by K.S.S.Raghavan. Published in Nadasurabhi Souvenir 2006 Two of the most important contributions of South India to the world body of knowledge are Carnatic Music and Tamil literature. Both these fields are ancient, rich and provide intellectual and emotional satisfaction to millions of people. It is interesting to note that Tamil literature (particularly Iyal, in Prose and poetry form) contains in itself vast amounts of knowledge on Music. Starting from the earliest Tamil Literature available to us today (around 200 BC*), it is possible to trace the various forms of music (Isai) that had existed in different periods and the way it has transformed into today’s Carnatic music, by absorbing techniques from other Indian forms of music. During the Sangam Age (500 BC to 200 AD*), there are enormous amounts of Tamil literature produced, most of which are available even today. They are mostly in Verse (Seyyul) form and concern with the rules of righteous living (Aram). There are, however many references of well developed music and musical instruments, even at that stage. The popular “Kuzhal Inidhu Yazh Inidhu” verse of Thiruvalluvar, besides establishing the popular use of the Flute and Veena (Yazh), also indicates that the Flute is an older instrument and the Yazh came later. There are also references to non-musical drums (Parai) that were in use at that time. The first detailed information on music, in Tamil literature can be found in Silappathikaaram (Middle of 5th Century AD*). This was written by a Jain Monk, Ilango Adigal.
  • Glossary of Carnatic Terms

    Glossary of Carnatic Terms

    karnATik glossary http://www.karnatik.com Glossary Of Carnatic Music Brought to you by karnATik http://www.karnatik.com created by rani Copyright rani. All rights reserved. 1 of 1 karnATik glossary http://www.karnatik.com Glossary: A aadi - a common taaLa, which is catusra jaati tripuTa taaLa. It has 8 beats, with a catusra laghu (beat and 3 finger counts = 4) and then two drutams (beat and wave times 2 = 4). It may be also performed with double the beats per cycle, giving 16 beats. aaditya - the 12th and last cakra, with melakartas that have M2, R3, and G3, comprising numbers 67-72 aahatam - a gamaka or decoration of a note which takes the form of 2 consecutive notes, such as SR RG GM MP ... aalaapanai - one of the manOdharma sangeetam forms, same as raaga (2) aananta - meaning "peace" or "ultimate happiness," this is the word used in singing of taanam aandOLam - a gamaka or decoration of a note which takes the form of going upand down in sequence, as in SRSG, SRSM, SRSP ... aarati - a song or ritual performed with a flame and/or turmeric to drive away evil spirits. Aarati songs are usually in mangaLa raagas aarOha - the ascending scale of a raga (S R G ...), consisting of 4, 5, 6, or 7 notes. aatta varnam - another name for a pada varnam aavartana - one cycle through the rhythm or taaLa. For example, in aadi tala, one aavartanam is 8 beats. Two aavartanas are 16, etc. abhyaasa gaanam - a type of music which is often used in practice or musical exercise.