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Carnatic Percussion Syllabus Levels 1-10

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IndianRagaIndianRaga Carnatic Percussion Curriculum CertificationCertification Carnatic Vocals and Instrumental Curriculum A IndianRaga Certification The new gold standard in Indian Classical Music IndianRaga’s new certification program is the first ever structured, coherent, fair assessment mechanism to certify performers of Indian Classical Music at various levels of training and performance. A. Basis for assessment B Assessment of candidates to be based on technical principles combined with the ability to perform. B. Panel of assessors Holistic assessment of each candidate by a panel of accomplished musicians. C. Standardized Testing Online video-based mechanism eliminates bias and delivers an unparalleled test-taking experience. C Advantages of getting certified What How 1. Recognition of Syllabus will test Levels 1 through musical skills . 2. Qualitative concepts of 10 to evaluate assessment of level of accomplishment Indian Classical progress at 3. Encouragement of commitment Music and ability various levels of towards music. 4. Presentation of training and credentials for musical or A B D C A. Levels 1, 2, 3 B. Levels 4,5,6 Understanding the different levels. - Initial levels of training - Ability to render ragas - Understanding of basic with easy We have grouped the concepts - Sufficient practice on - Ability to identify ragas levels into four groups: her/his own A, B, C and D. These - Exposure to live levels correspond to performances Beginner, Beginner +, C. Levels 7 & 8 D. Levels 9 & 10 Intermediate and Advanced. See to the - Daily riyaaz - Highest level of right for more details - Reasonable degree of proficiency proficiency in performance - Professional music - Ability to present solo abilities concert Glossary Akshara - Subdivisions per beat Eddum - Offset from sumum or the start of the tala Korvai - A dual-parted rhythmic composition that is repeated three times. The first part is referred to as the poorvangam and should have a clear logical (usually geometrical) progression. The second part is called the uttaraangam and should also have a logical progression. Maathra - Beat Mora - A particular type or rhythmic composition that precedes the final korvai in a taniavartanam. This final korvai is the cue to the musician to start the song. Nadai – Number of syllables per beat i.e. chaturasra nadai is 4 per beat, kandam, is 5 per beat, tisram is 6 per beat, misram is 7 per beat and sankeernam is 9 per beat Sollu/sollukaatu – Syllables used to describe the sounds of the mridangam Tala (or thalam) - The time or metric cycle visually displayed using your hands Level 1 Topics Recommended Learning Assessment Criteria Posture, configuration ! Compositions focused around the ! Precision of and introduction to the basic strokes: i.e. for mridangam: basic strokes four basic strokes or ! Posture sollus for the mridangam Tha, Thi, Thom and Num (respective basic strokes Tha . Tha . Tha Tha Tha for kanjira, ghatam, and Thi . Thi . Thi Thi Thi morsing) Thom . Thom . Thom Thom Thom Num. Num. Num Num Num ! Any combinations at the discretion of the teacher Introduction to three ! Compositions focused on basic farans ! Precision of other basic sollus (names and mora i.e.: stroke will vary across ! Posture schools/style): Tha ki ta ki ta tha ka ! Clarity Ta tha cha tha ki ta tha ka 2 single-sided (using only Thi ki ta ki ta tha ka one hand) and 1 Ta tha cha tha ki ta tha ka composite (using both Thom ki ta ki ta tha ka hands) Ta tha cha tha ki ta tha ka Num ki ta ki ta tha ka Chapu (pinky) Ta tha cha tha ki ta tha ka Ta (Pointer finger) Tham (Num + Thom) ! The above is just and sample, this will vary and the content will vary by school/style ! Recite the sollu katais (konnokol) while also putting tala Introduction to two other ! Compositions based on featuring ! Precision of sollus (names will vary sollukatais for improving fingering stroke across schools/style): accuracy of student: ! Posture ! Clarity 1 single-sided and 1 Num Dhin Dhin Num composite: Ki Ta Tha Ka Dhin Dhin Num Dhin (pitched stroke) Dhin . Ki Ta Tha Ka Dhin Num Dheem (Dhin + Thom) <insert school specific sollu kattai here> ! Teach a basic “thani” in adi tala ! Recite the sollu katais (konnokol) while also putting tala Theory Concepts ! Building blocks of tala: Basic theoretical ! Laghu: One clap and counting fingers knowledge ! Dhrutam: One clap and one wave (short verbal ! Anudhrutam: One clap answers and ! Adi talam: Consists of one laghu and 2 ability to present dhrutams answers without ! Kalas: 1st kala – 1 sollu per beat, 2nd any instrument kala – 2 sollus per beat, 3rd kala – 4 i.e. putting tala sollus per beat and and reciting ! Putting Adi Tala (8 beats) konnokol) ! Akshara: a beat ! Maathra: number of subdivisions per beat (the above two definitions are sometimes reversed between schools) Sample Question set: 1. How do you put adi tala? 2. What is an akshara and what is a maathra? 3. What are the building blocks that define tala structure? 4. Play a mora and korvai in adi tala 5. Play a short tani in adi tala Level 2 Topics Recommended Learning Assessment Criteria Level 1 Syllabus ! Posture/form ! Precision of ! Basic 9 sollus (strokes) and associated Stroke practice lessons ! Posture ! Basic knowledge of building blocks of ! Clarity and tala Speed Chaturasra nadai ! Different combinations of sollu ! Precision of compositions in Adi Tala practice specific to phrases Stroke commonly played in adi tala ! Posture ! Sollu build up beyond the introductory ! Clarity and lessons (more advanced to previous Speed “tani”) ! Korvais associated with those sollus and development of ideas ! Mora(s) and Korvai for adi tala ! Recite the sollu katais (konnokol) while putting tala Chaturasra Nadai ! Different combinations of sollu ! Precision of compositions in Rupaka practice specific to phrases Stroke Tala commonly played in rupaka tala ! Posture ! Sollu build up ! Clarity and ! Korvais associated with those sollus Speed ! Mora(s) and Korvai for rupaka tala ! Recite the sollu katais (konnokol) while putting tala ! Tala exercises for strengthening adi and rupaka tala (any uniform beat tala) Theory Concepts ! Putting Adi and Rupaka Tala Basic theoretical ! Introduction to chapu talas (misra knowledge chapu and kanda chapu) (short verbal ! Tala excercises answers and ! Jati - Denotes the number of aksharas ability to present in a laghu answers without ! 5 types of Jaathis: any instrument ! Chaturasra: 4 aksharas i.e. putting tala ! Tisra: 3 aksharas and and ! Khanda: 5 aksharas reciting ! Misra: 7 aksharas konnokol) ! Sankeerna: 9 aksharas Sample Question Set: 1. How do you put rupaka tala, misra chapu tala and kanda chapu tala? 2. What is a jaathi? How many jaathis are there and what are they? 3. Play a mora and korvai in Rupaka tala 4. Play a short tani in adi tala 5. Play a short tani in Rupaka tala Level 3 Topics Recommended Learning Assessment Criteria Level 1, 2 Syllabus ! Posture/form ! Precision of ! Basic 9 sollus (strokes) and associated Stroke practice lessons ! Posture ! Chaturasra Nadai compositions in Adi ! Clarity and tala with mora(s) and korvai(s) Speed ! Chaturasra Nadai compositions in Rupaka tala with mora(s) and korvai(s) Chaturasra Nadai ! Different combinations of sollu ! Precision of compositions in Misra practice specific to phrases Stroke Chapu Tala commonly played in Misra Chapu tala ! Posture ! Sollu build up ! Clarity and ! Korvais associated with those sollus Speed ! Mora(s) and Korvai for Misra Chapu tala ! Recite the sollu katais (konnokol) while putting tala Chaturasra Nadai ! Different combinations of sollu ! Precision of compositions in Kanda practice specific to phrases Stroke Chapu Tala commonly played in Kanda Chapu ! Posture tala ! Clarity and ! Sollu build up Speed ! Korvais associated with those sollus ! Mora(s) and Korvai(s) for Kanda Chapu tala ! Recite the sollu katais (konnokol) while putting tala ! Tala exercises for strengthening Misra Chapu and Kanda Chapu tala (non- uniform beat tala) Theory Concepts ! Introduction to nadais - Denotes the Basic theoretical number of maathras (subdivisions) in knowledge an aksharaa (beat) (short verbal ! 5 types of Nadais: answers and ! Chaturasra: 4 ability to present ! Tisra: 3 answers without ! Khanda: 5 any instrument ! Misra: 7 i.e. putting tala ! Sankeerna: 9 and and reciting) Sample Question Set: 1. What is a nadai? How many nadais are there and what are they? 2. Play a mora and korvai in kanda chapu tala 3. Play a mora and korvai in misra chapu tala 4. Play a short tani in misra chapu tala 5. Play a short tani in adi tala Level 4 Topics Recommended Learning Assessment Criteria Level 1,2,3 Syllabus ! Posture/form ! Precision of ! Basic 9 sollus (strokes) and Stroke associated practice lessons ! Posture ! Chaturasra Nadai compositions in ! Clarity and Adi tala with mora(s) and korvai(s) Speed ! Chaturasra Nadai compositions in Rupaka tala with mora(s) and korvai(s) ! Chaturasra Nadai compositions in Misra Chapu tala with mora(s) and korvai(s) ! Chaturasra Nadai compositions in Kanda Chapu tala with mora(s) and korvai(s) Tisra Nadai and Kanda ! Focus on nadai development in adi ! Precision of nadai compositions in tala Stroke Adi and Rupaka Tala ! Developing tisra nadai (across one ! Posture beat, two and more) ! Clarity and ! Sollu/idea build up in tisra nadai Speed ! Korvais associated with those sollus ! Kalapramaanam ! Recite the sollu katais (konnokol) (grip over tala while putting tala for tisra nadai and laya) developments ! Developing kanda nadai (across one beat, two and more)
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    Auspicious Sri Raagam A raga that is auspicious in name and bhava is Sri. Sri is a ghana raga, a heavy and noteworthy one that is melodic as well as regal. Sri is a janya of Kharaharapriya raga and is characterised by jagged traversals in the scale, the avarohana having interesting diversions from the usual linear path. The Arohana-Avarohana pattern of this raga is SRMPNS/SNPDNPMRGRS. In Tyagaraja’s works in this raga, the dhaivata prayoga (“PDNPM”) is not used, while in Dikshitar’s kritis, there is a sudden twist in the structure, with the prayoga featuring the dhaivata. This raga houses sadja, chatusruti rishabha, suddha madhyama, pancama, kaisiki nishada, chatusruti dhaivata and sadharana gandhara. The raga’s highlight is the exaggerated gamaka at the gandhara. Because it is a ghana raga, it is suitable for tanam. Askilled vainika (veenaartiste) can demonstrate the stately gait of the tanam in Sri. The classical pieces in Sri include Tyagaraja’s fervour-filled ‘Endaro Mahanubhavulu’, the fifth and famed pancharatna, which features torrential janta swaras and ‘Namakusumamula’. Dikshitar’s ‘Sri Kamalambike’ (the concluding Kamalamba navavarana), ‘Sri Varalakshmi’ (sung during the Varalakshmi vratha) and ‘Sri Abhayamba’ (the final kriti of the Abhayamba vibhakti kritis on the presiding goddess at Mayavaram) are most notable. Music lovers may recall M.S. Subbulakshmi’s rendition of Annamacharya’s ‘Vande Vasudevam’ in the raga. The kriti ‘Endaro’ featured in the Telugu film, Thyagayya. The same pancharatna found place in Shankarabharanam, where it was sung by S. P. Balasubrahmanyam. In film music, one of the finest pieces in this raga would be ‘Deviyar Iruvar’ from Kalaikovil, composed by M.S.
  • University of Kerala Ba Music Faculty of Fine Arts Choice

    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