ma music [ccss]

UNIVERSITY OF CALICUT

M.A.MUSIC

CHOICE - BASED CREDIT SEMESTER SYSTEM

SCHEME & SYLLABUS (AFFILIATED COLLEGES)

ELECTIVES

SEMESTER – III

Sl.No.

Course Code

Course Title Course Type

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MarksIntern

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al1 MU3EP01 Semi Classical

Musical Compositions

Practical 2 25% 75%

2 MU3EP02 Modern Composers Practical 2 25% 75%

3 MU3EP03 Rare Varnams Practical 2 25% 75%

4 MU3EP04 Pancha Linga Sthala Kritis

Practical 2 25% 75%

5 MU3EP05 Pre Trinity Composers

Practical 2 25% 75%

SEMESTER – IV

Sl.No.

Course Code


Cre-

dits

MarksIntern

alExtern

al1 MU4EP06 Compositions of

AnnamacharyaPractical 2 25% 75%

2 MU4EP07 Rare Tillanas Practical 2 25% 75%

3 MU4EP08 Compositions of Tyagaraja

Practical 2 25% 75%

4 MU4EP09 Post Trinity Composers

Practical 2 25% 75%

5 MU4EP10 Kerala Composers Practical 2 25% 75%

/tmp/CORE & ELECTIVE (CCSS) Affiliated Colleges.doc

ELECTIVES FOR STUDENTS FROM OTHER DEPARTMENTS

Sl.No.

Course Code


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MarksIntern

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1 MU4EP11 Ashtakas & Sthotras Practical 2 25% 75%

2 MU4EP12 Divyanamas of Thyagaraja

Practical 2 25% 75%

3 MU4EP13 Malayalam Poems Practical 2 25% 75%

4 MU4EP14 Nottuswaras of Muthuswami

Dikshitar

Practical 2 25% 75%



M.A.MUSIC



CORE

SEMESTER – I

Sl.No.

Course Code


Cre-

dits

MarksIntern

alExtern

al1 MU1CT0

1History of Music up

to Sangitaratnakara-

period

Theory-I 4 25% 75%

2 MU1CP02

Foundation course in Performance

Practical-I 4 25% 75%

3 MU1CP03

Varnams & Swarajathis

Practical-II 4 25% 75%

4 MU1CP04


Practical-III 4 25% 75%

SEMESTER – II

Sl.No.

Course Code


Cre-

dits

MarksIntern

alExtern

al5 MU2CT0

5History of Music of

the post-Sangitarathnakara

Period

Theory-II 4 25% 75%

6 MU2CP06

Group Compositions

Practical-IV 4 25% 75%

7 MU2CP07

Compositions of Swati Tirunal

Practical-V 4 25% 75%


8 MU2CP08

Manodharma Sangita - I

Practical-VI 4 25% 75%

SEMESTER – III

Sl.No.

Course Code


Cre-

dits

MarksIntern

alExtern

al9 MU3CT0

9History of the Music of Modern period

Theory-III 4 25% 75%

10 MU3CP10

Geyanatakam Practical-VI

4 25% 75%

11 MU3CP11

Vilambita Kala Compositions

Practical-VII

4 25% 75%

12 MU3CP12

Manodharma Sangita-II

Practical-VIII

4 25% 75%

SEMESTER – IV

Sl.No.

Course Code


Cre-

dits

MarksIntern

alExtern

al13 MU4CP1

3Ragam-Tanam-

PallaviPractical-

IX4 25% 75%

14 MU4CP14

Concert Practical-X 4 25% 75%

15 MU4CP15

Project 8 100%

16 MU4CP16

Comprehensive Viva 2 25% 75%



SEMESTER –IMU1CT01- THEORY –I

HISTORY OF THE PRE-SANGITA RATNAKARA PERIOD

1. Different periods of Musical History-Ancient, Medieval, and Modern.

2. Sama Gana & its characteristics – Scale of Samagana, Swara ornamentation- Swaras and symbols used in Samagana, Method of Singing, Notation- Sama Hastha- Instruments used in Samagana.

3. Gandharva System: a. Swara system of ancient Gandharva Music System, Murchana

and Jathi. b. Post-Gandharva developments in Murchana and Jathi. c. Musical forms- Outline study of Gitaka, Nirgita. d. Post-Gandharva Musical forms- Jati Gita, Kapala Gana and

Kampala Gana.

4. Ancient Tamil Music System – References to Music in Chilappatikaram – Classification of Musical Scales, Musical Instruments (Yazh)- Origin, Decline and varieties- Sacred Musical Forms of the Ancient Tamils – Tevaram, Tiruvachakam, Nalayira Divyaprabantham, Tiruppavai, Tiruvempavai, Tiruppugazh and Kavadichindu.

5. Sudha Vikritha Swaras – Development up to and including treatment in Sangita Ratnakara of Saranga Deva.

6. Vadi, Samvadi, Anuvadi & Vivadi Swara systems.

7. System of Raga Classification: a. Marga Ragas- Desi Ragas. b. Marga – Grama Raga, Uparaga, Bhasha, Vibhasha & Antara

Bhasha. c. Desi – Raganga, Bhashanga, Kriyanga & Upanga. d. Sudha-Chayalaga & Sankirna Ragas.

8. Association of Kala (Time) with Ragas- Raga classification based on Time-Theory, Association of Rasa with ragas.

9. Music of the Kudumiyanmalai Inscriptions.

10. Musical form of the medieval period – Gita, Vadya & Nritha Prabanthas.

11. Tala – Marga & Desi Talas – Detailed study of Taladasapranas.

SEMESTER – I

MU1CP02 PRACTICAL -1

FOUNDATION COURSE IN PERFORMANCE

1. Rendering of Alankaras in 35 Talas with Gamakas in the Melakarta Ragas- Todi, Mayamalavagowla, Kiravani, Kharaharapriya, Charukesi, Harikambhoji, Sankarabharanam, Subhapantuvarali, Kamavardhini, Shanmukhapriya, Simhendramadhyamam, Latangi, Vachaspati & Mechakalyani.

2. Laya Exercises – Rendering of Tisra, Chaturasra, Khanda & Misra Sollus with the shifting of Eduppus in different Kalams in the Talas – Adi, Khandachapu & Misrachapu.

3. Ability to render Simple Korvais in Adi, Rupaka & Misrachapu Talas.

4. Ability to translate to Swara syllables, the complex passages from Kritis.

SEMESTER – I

MU1CP03 – PRACTICAL II

VARNAMS & SWARAJATIS

1. Ability to render any 2 Adi Tala Varnams in different Kalams and Nadais -(5 Kalams)

2. Ata Tala Varnams – Bhairavi, Kalyani, Todi & Nattakurinji.

3. Swarajatis of Syamasastri – Bhairavi, Todi & Yadukulakambhoji.

SEMESTER I

MU1CP04 – PRACTICAL III

MUSICAL COMPOSITIONS

One Kriti each in the following Melakata Ragas:

Dhenuka, Kiravani, Gowrimanohari, Charukesi, Harikambhoji, Vagadheeswari, Shanmukhapriya, Lathangi, Hemavathi, Subhapantuvarali, Vachaspathi & Simhendramadhyamam.

One Kriti each in the following Janya Ragas:

Hindolam, Mukhari, Dhanyasi, Begada, Anandabhairavi, Nattakurinji, Surutti, Kedaragowla, Ritigowla, Arabhi & Devagandhari.

Compositions in the following Minor Ragas:

Hidusthani Kapi, Hindusthan Behag, Hamsanandi, Malayamarutham & Ranjini.

SEMESTER – II

MU2CT05 – THEORY II

HISTORY OF THE POST-SANGITA RATNAKARA PERIOD

1. Sudha Vikrita Swaras – Development in the post-Sangita Ratnakara Period.

2. Mela-Raga Systems of Raga Classification & its development up to Modern Times.

3. Different Mela Systems of Post-72 Mela Padhathi – 144 Melas, 108 Melas & 5184 Melas.

4. Classification of Ragas – Ghana, Naya & Desya, Vakra Ragas & its varieties, Uthama, Madhyama & Adhama Ragas.

5. Devathamaya Rupa of Ragas.

6. Raga-Ragini-Parivara System.

7. Lakshanas of Vaggeyakaras & Classification.

8. Gamakas, Sthayas & Alankaras in Music.

9. Modal Shift of Tonic.

10. Tala- Development of the 35 Tala System, Chapu Talas, Desadi & Madhyadi Talas.

11. Manodharma Variety – Alapana, Thaya, Thanam Niraval & Kalpanaswaram. Exposition of Pallavi – Ability to notate a Pallavi in Thrikalam.

12. Evolution of Notation in South Indian Music.

13. Landmarks in the history of Music.

14. Madhura Bhakthi in Music with reference to Compositions of various Composers on this theme.

SEMESTER – II

MU2CP06 – PRACTICAL – IV

GROUP COMPOSITIONS

One Composition each from the following Group Kritis:

1. Navagraha Kriti of Muthuswami Dikshithar.

2. Kamalamba Navavaranam of Muthuswami Dikshithar.

3. Navaratnamalika of Syama Sastri.

4. All the five Ghanaraga Pancharatnas of Tyagaraja.

SEMESTER – II

MU2CP07 – PRACTICAL – V

COMPOSITIONS OF MAHARAJA SWATI TIRUNAL

1. Pancharaga Swarajati.

2. Padavarnam – Todi or Sudha Kapi.

3. Navarathri Kriti – 1

4. Navaratnamalika (Navavidhabhakthi) – 1

5. Utsavaprabantha – 1

6. Kuchelopakhyanam – 1

7. Ajamilopakhyanam – 1

8. One Ragamalika from the following:-

Bhavayami, Pannagendrasayana, Kamalajasya.

9. Javali

10. Thillana

11. Hindustan Bhajan

Compositions in the following Ragas:

Mohanakalyani, Lalithapanchamam, Kannada, Bhavapriya, Bhushavali, Nayaki & Hamirkalyani.

SEMESTER – II

MU2CP08 – PRACTICAL – VI

MANODHARMA SANGITA – I

Ability to render Raga Alapana in the following Ragas:

Kiravani, Charukesi, Shanmukhapriya, Lathangi, Hindolam, Mukhari, Vachaspati, Simhendramadhyamam, Madhyamavati, Poorvikalyani, Dhanyasi, Begada, Anandabhairavi, Nattakurinji, Surutti, Kedaragowla, Ritigowla, Arabhi, Devagandhari, Hindustan Kapi, Hindustan Behag, Hamsanandi, Malayamarutham & Ranjini.

Ability to render Kalpana Swaras in the following Ragas:

Kiravani, Charukesi, Shanmukhapriya, Hemavati, Latangi, Vachaspati, Simhendramadhyamam, Madyana, Hindolam, Begada, Anandabhairavi, Nattakurinji, Kedaragowla, Ritigowla, Arabhi, Hamsanandi & Malayamarutham.

SEMESTER – III

MU2CT09 – THEORY – III

HISTORY OF THE MODERN PERIOD

1. Music of Kerala:-

Origin, Evolution & Development of Sopana Sangita, its characteristics, points of difference between Sopana Sangita & Karnataka Sangita.

Kathakali Music – Instruments used in Kathakali Music, Ragas used in Kathakali Music.

Folk Music of Kerala – Different Classifications of Folk Music based on worship, occupation, festivals & entertainment.

Instruments used in Kerala Folk Music

Kerala Talas – Tala Ensembles – Panchavadya & Thayambaka.

Laya Vadyas & Sangita Vadyas used in Kerala Temples.

2. Western Music:-

Outline knowledge of Staff Notation, Swaras & Symbols used in Staff Notation, Ability to reproduce in Staff Notation simple melodies – Gita & Adi Tala Varna.

3. Musical Instruments:-

Different systems of Classification of Musical Instruments.

Different stages in the development of Veena.

4. Mathematical Applications in Music.

5. Srutis, Swaras & Swarasthanams occurring in Carnatic Music.

6. Musical Prosody – Analytical study of a Musical Composition with reference to Raga, Tala & various aspects of ‘Sabdalankaras’.

7. Trends & Developments of Music in the 20th Century- With reference to Musical Instruments, Compositions, Concerts, Music Education, Books, Journals & Magazines, other communication media.

SEMESTER – III

MU3CP10 – PRACTICAL – VII

GEYANATAKAM

Rendering of the Darus & Verses from ‘Nowkacharithramu’ of Tyagaraja:-

Discussion on:

a. Philosophical Content.

b. Literary aspect.

c. Raga & Rasa aspects.

SEMESTER – III

MU3CP11 – PRACTICAL – VIII

VILAMBITA KALA COMPOSITIONS

Vilabita Kala Kriti in each of the following Ragas:-

Todi, Mayamalavagowla, Kharaharapriya, Sankarabharanam, Pantuvarali, Mechakalyani, Mohanam, Madhyamavati, Poorvikalyani, Kambhoji, Bhairavi & Saveri.

SEMESTER – III

MU3CP12 – PRACTICAL – IX

MANODHARMA SANGITA – II

Ability to render Vilambita Kala Kriti with detailed Alapana, Niraval & Kalpnaswaras:-

Todi, Sankarabharanam, Kalyani, Saveri, Bhairavi, Kambhoji, Mohanam & Kharaharapriya.

SEMESTER – IV

MU4CP13 – PRACTICAL – X

RAGAM- TANAM- PALLAVI

1. Raga Alapana, Tanam, Pallavi, learning a pallavi in any one of these ragas selected from the following Ragas:-

Sankarabharanam, Kalyani, Todi, Bhairavi, Kharaharapriya, Kambhoji, Shanmukhapriya & Saveri.

1. a) Pallavi should be set to Chatushkala.

b) Pallavi should be rendered with detailed Alapana, Tanam, Anuloma, Pratiloma, Tisram & Kalpanaswara, Ragamalika swaras in any three Ragas.

c) Students should be able to grasp & render a simple Pallavi given by the Examiner with Niraval & Kalpana Swaras.

SEMESTER – IV

MU4CP14 – PRACTICAL – XI

MUSIC CONCERT

Each student should present a Musical recital/Concert for duration of one hour.

The following should be the pattern of the Concert:-

1. An Ata Tala Varna in 2 degrees of speed & Tisram2. One or two compositions of Janaka or Janya variety with Raga

Alapana & Kalpana Swara.3. The main item of the Concert shall be a Vilambita Kala Kriti with

Raga Alapana, Niraval & Kalpna Swaras.4. Other items representing different Musical forms like Padam, Javali,

Thillana, Bhajan, etc.5. A Ragamalika Slokam (at least in 3 Ragas)6. The Concert should conclude with a ‘Mangalam’.

SEMESTER – IV

MU4 PR – 15

PROJECT & VIVA-VOCE

Students should select a topic in consultation with a Supervising Faculty member & give a Lecture Demonstration in not less than 45 minutes. They should also submit a written document of the topic selected, before presentation. The evaluation of the project will be jointly done by the External Examiner & the Supervising Teacher.

The presentation will be followed by a Viva-Voce Examination.

SEMESTER – IV

MU4V – 16

COMPREHENSIVE VIVA-VOCE


M.A.MUSIC



ELECTIVE

Sl.No.

Code Course Title Course Type

Cre-

dits

MarksIntern

alExtern

al1 MU3EP0

1Semi-Classical


Practical

2 25% 75%

Ashtapadi of Jayadeva, Devarnama of Purandara Dasa, Javali, Tiruppugazh, Tarangam of Narayana Tirtha, Bhajans, Abhang Kavadichindu, Padam.

Sl.No.


Cre-

dits

MarksIntern

alExtern

al2 MU3EP0

2Modern Composers Practic

al2 25% 75%

Compositions of following composers: - 10 Nos.Papanasam Sivan, Muthaih Bhagavathar, G.N. Balasubramanyam,

Mysore Vasudevacharya, T. Lakshmana Pillai, M.D. Ramanadhan and Neelakanta Sivan.

Sl.No.


Cre-

dits

MarksIntern

alExtern

al3 MU3EP0

3Rare Varnams Practic

al2 25% 75%

Varnams of Modern Composers in the ragas:Hindustan Behag, Kadana Kutuhalam, Charukesi, Saraswati,

Valachi and Kalyana Vasantam.

Sl.No.


Cre-

dits

MarksIntern

alExternal

4 MU3EP0 Pancha Linga Sthala Practic 2 25% 75%

4 Kritis al

All 5 kritis of the Panchalinga sthala kritis of Muthuswami Dikshitar.

Contd…2

- 2 -

Sl.No.


Cre-

dits

MarksIntern

alExternal

5 MU3EP05

Pre Trinity Composers

Practical

2 25% 75%

Any 10 Compositions from the following Composers:

Uttukkad, Venkita Kavi, Bhadrachalam Ramadas, Sadasiva Brahmendra, Kshetrajna, Moovar Thevaram, Arunachala Kavirayar.

Sl.No.


Cre-

dits

MarksIntern

alExternal

6 MU4EP06

Compositions of Annamacharya

Practical

2 25% 75%

Compositions of Annamacharya in the following Raga-s:Peelu, Yamankalyani, Sudhadhanyasi, Revathy, Mukhari,

Hindusthani Kapi, Hindolam, Natta, Khamas, Bouly, Kurinji, Abhogi, Mohanam, Sudhadhanyasi, Shanmukhapriya.

Sl.No.


Cre-

dits

MarksIntern

alExternal

7 MU4EP07

Rare Tillanas Practical

2 25% 75%

Thillana-s:Mand, Misra Pahadi, Ragesree, Brindavanasaranga, Revathy,

Mohana Kalyani.

Sl.No.


Cre-

MarksIntern External

dits al8 MU4EP0

8Compositions of

ThyagarajaPractic

al2 25% 75%

10 Compositions of Tyagaraja in selected Raga-s.

Contd…3

- 3 -

Sl.No.


Cre-

dits

MarksIntern

alExternal

9 MU4EP09

Post Trinity Composers

Practical

2 25% 75%

Compositions of the following Post-Trinity Composers: (One Composition Each)

Gopalakrishna Bharathi, Pattanam Subramanya Iyyer, Ramanathapuram- Srinivasa Iyyengar, Ramaswami Sivan, Mahavaidyanatha Iyyer, Mysore Sadasiva Rao, Jayachamaraja Wodeyar, Kavi Kunjara Bharati, Subramanya Bharati, Subharaya Sastri.

Sl.No.


Cre-

dits

MarksIntern

alExternal

10 MU4EP10

Kerala Composers Practical

2 25% 75%

Compositions of the following Kerala Composers: (One Composition Each)

Iryimman Thampi, Kuttikunju Thankachchi, K.C.Kesava Pillai, Mahakavi P.Kuttamath, Thulaseevanam, Puthukod Krishnamoorthi, Ennappadam Venkitta Ramana Bhagavathar.

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ma music [ccss]