...

-

by user

on
Category: Documents
1

views

Report

Comments

Description

Transcript

-
.
,"t rg
TINIVERSITY OF CALICUT
Syllabus and scheme of examination for Music B.A' Degree
(To be implemented from 2004 admissions)
B.A. Ist year
B.A.
-
3 hows duration
-
100 marks
-
Paper I
-
Paper II
-
Paper Itr
-
3 hours duration
Practical Paper I
-
45 minutes- 100 marks
Practical paper II
-
45 minutes
Theory of Music
2nd year
Theory of Music
-
-
3 hours duration
100 marks
B.A. 3'd year
Theory of Music
Practical
-
Paper IV
-
Paper V
Paper
-
VI
- Practical
Subsidiary
- [-
Subsidiary
- II -
paper
III
-
-
60 minutes
-
100 marks
100 marks (75 + 25 marks for record)
-
100 marks (75 + 25 marks for concert)
(vocal, Veena, violin, Mridangam)
Musicology
-
3 hours duration
-
-
100 marks.
100 marks'
,t*t\
t
a
Svllabus
I
2
3
4
5
6
7
8
9
-
Paoer I
-
Theorv of music
Place of Music in life
Distinctive featr.res of lndian Music
The cultural intellectual and spirituat value of Indian Music
Detailed knowledge of Notation used in South Indian Music
Swara nomenclature, Musical Terms and their meanings-Nada, Swara, Sruthy,
Vadi, Samvadi, Vivadi, Sthayi, Graha, Nyasa, and Amsa
Raga Lakshana in detait -Trayodasa Lakshana
The scheme of Seventy two Melakarthas, Application of Kadapayadi Fonrrula,
and
Bhuta Sankhya
Raga classification-Janaka Janya, Valffa" Varjq Upanga, Bhashanga, UpangaGhana; Naya, Desya-Nishadantya, Dhaivatantya, Panchamfrtya, Gana kala of
ragas
l0
Tala systems of Camatic Music Sapta Talas, Scheme of 35 Talas, 175 Talas,
Chapu Tala and its varieties-Shadanga Shodasa anga
11 Musical instnrments and their classifications in detail. Knowledge of the
constnrction and technique of play of Tampura and Veena
12 Musical forms and their classification-Lakshna of the formsGita, Jatiswara, and
Swarajati
13 Biographies and contributions of the following composers
Muthuswami Dikshidar, Syamasastri, Purandara dasa
l4Principal seats of Music during 17fl', 18th, 19th centuries-Madras, Tanjore,
Trivandrum, Mysore, Thirupathy
14 An outline knowledge of the Lakshna of the following Ragas
Mayamalavagoula, Mohanam, Sankarabharanam, Hamsadwani, Bilahad Kalyani,
Pantuvarali.
1 Tyagaraja,
IIndB.A
Theory of Music-Paper-2
l.Lakshana of the following Ragas
Dhanyasi, Bowli, Saveri Vasantha Bhairavi, Kedaragoula" Kamboji, Kamas,
Arabhi, Kedaram, Chalaavakam, Kharaharapriya, Madyarnavaty, Sri Raga,
Nattakurinji.
2.Gamakas-Pancha dasa gamakas, Dasavita gamakas
3.Modal shift of Tonic
4.Taladasa Prana
5.Lakshana of the following Musical forms-Keerthana, Krithy Padam Javali
Tillana and Ragamalika
6.Construction and playing technique of the following Musical instrumentsViolin, Gottuvadyam, Flute, Nagaswaram, Tavil, Mrudangam, and Chenda.
T.Development of musical scales
8.Anoutline knowledge of Folk Music, its characteristics and its classifications.
The ragas and talas and prominent instruments figuring in folk music.
g.Biographies and contributions of the following composers
Ramaswamydikshitar Govinda marar Anrnachalakavirayar, Gopalakrishna
Bharaty Mahavaidyanata Iyer, Raamanad srinivasa Iyengar, Pattanam
Subrahmonya lyer, T.Lakshmana Pillai, Neelakanta Sivan, Papanasam Sivan
Irayimman Thampy M.D.Ramanathan, Vina Dhanammal
lg.Concerts: -Varities of concerts. Different types of concerts and the types of
performers frguring in them. Knowledge of music concerts, dance concerts,
i<uan*uUt rt.pu*, Bhajana, Minimum number of performers constituting the
different types of concerts. Stringed, wind and percussion instruments used as
accompaniments in different types of concerts.
B.AIIITd
Theory of Music -PaPer 3
classification in ancient Music.
Z. Vtanoaharma Sangita Padhati -Raga alapana,Niraval and Kalpana swara
3. Group krities of Trinity, SwathyTirunal and Vina Kuppaiyer
4. Contemporary Music
5.An outline knowledgeof the contents of the following Lakshna Granthas'
Natyasastra of Bharata, (musical chapters only), Sangeetha ratnakara of Saranga
Deva, Swaramelakalanidhi of Rarnamatya, Ragavibodha of Somanadha,
Chaturdanti prakasika of Venkitamakti Brihadesi of Matanga, Sangitaparijatha
of Ahobala, Sangrahachutamani of Govinda Dikshitar'
6.Cycle of fourth and fifth
T.Atoustics. :-Pitch, Intensity Timbre , Production and transmission of sound,
Resonance Echo Harmonics and upper partials, Physiological acousticsLarynx, Ear.
8.Biographies and Musical contributions the following Musicians and composers
layaaeva Narayanateertha, Bhadrachalam Ramadas, Kshetrajna
g.Ability to reproduce in Notation musical compositions leamt in the following
, gur;-1s6i,bhanyasi, Mayamalavagoula ,Saveri, Bhairavi, I(haraharapriya,
M-adhyamavaty, Mohana, Kamboji, Sankarabharanam, Arabhi, Hamsadwani
Bilahari, Kalyani, Pantuvarali.
l0.Raga lakshana of the following Ragas:-Yadukula Kamboji, Asaveri ,Suru]i
Daibar, Ritigoula, Kanada, Mr*han ,Sahana, Begada,Atana, Nilambari, Purvi
Kalyani, Shanmulftapriya, Nata, Goula, Varali , Todi'
1. Raga
Practical-Paper-1
Gita-3
Lakshana gita-l
Adi tala varna-6
Ata tala vama-4
Swarajatiof syama sastri
One composition each in the raga -prescribed in theory paper for raga Lakshna.
Practical Paper-II
Pada-2-one of which
will
be a Kadakali pada.
Javali-2
Tillana -1
Ragamalika-1
Pancharatna kriti-1
Navagraha kriti -1
Navaratri keertana-l
Navaratna malika-l
The students should submit a record containing the notations of the compositions
learnt under practical paper 1,2, 3 at the end of the third year. The examiners for
the practical examinations do the valuation of the record. The marks allotted for
the record work is -25.
Practical paper-Ill
Ragalapana of the following ragas
Todi, S ankarabharanam, Kamboj i, Kalyani, Bhairavi,
S averi, Mohanam,
Anandabairavi, Bilahari,Dhanyasi, Atana, Struty, Kedaragaula,Nattakurinji,
Purvikalyani, Hamsadwani, Ritigaula.
Niraval in the following ragas
Kalyani,Kamboj i, Sankarabaranarn, Saveri Bhairavi
Kalpanaswaras in the following ragas
Mayamalavagaula,Todi, Kamboji, Bhairavi,Sankarabaranam,Kalyani, Saveri
Simple pallavis-2
THE STUDENTS HAVE TO PERFORM IN THE PATTERN OF A MINI CONCERT
FOR A DURATION OF 30 MINUTES WITHOUT ACCOMPANIMENTS:.
The following pattern is designed for the mini concert
1. An Adi tala varna in two degrees of speed
2. Madyamakala kriti
3. Main kriti of the concert with ragalapana ,niraval and kalpana swara
4. Swati Tirunal padam
5. Javali or tillana
6. Mangalam
SUBSIDIARY.I
Alankaras in degrees of speeds in any for:r ragas other than Mayamalavagaula ,out of the
following ragas Kalyani, Sankarabaranam, Pantuvarali,Mohanam, Hamsadwani,
Harikamboji, Abhogi,Gita-3, Jatiswara-L, Ati tala varfit -3, Ata tala varna-l, Kritis-3,
Chitta tana.
SUBSIDIARY.II
l.Outline knowledge of Kadhakali Music-Ragas and talas used in Kadhakali Music
lnstruments used in Kadhakali Music.
2.Detailed Study of Maharaja Sree Swathy Tirunal with referance to his musical and
literary contributions to the development of music in Kerala.
3.Ritualistic music of Kerala
,.,
ll
II
4.Panchavadyam
s.Study of l0Thats in Hindustani music .The varieties of swaras used Hindustani music
6.Study of corresponding ragas in Hindustani music for the following ragas
Madyamavaty, Monanam, Punrikalyani, Saveri, Hindolam, Sudha saveri
T.Description of the following North Indian Musical forms-
-
Drupad, Kayal, Tumri,Tarana, Tappa, Sargam, Ragamala, Dadra, Horidamar,Gazal.
?
t
a
Fly UP