ma music [ccss]
TRANSCRIPT
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
Cre-
dits
MarksIntern
alExtern
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
Course Title Course Type
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
Course Title Course Type
Cre-
dits
MarksIntern
alExtern
al
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%
/tmp/CORE & ELECTIVE (CCSS) Affiliated Colleges.doc
UNIVERSITY OF CALICUT
M.A.MUSIC
CHOICE - BASED CREDIT SEMESTER SYSTEM
SCHEME & SYLLABUS (AFFILIATED COLLEGES)
CORE
SEMESTER – I
Sl.No.
Course Code
Course Title Course Type
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
Musical Compositions
Practical-III 4 25% 75%
SEMESTER – II
Sl.No.
Course Code
Course Title Course Type
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%
/tmp/CORE & ELECTIVE (CCSS) Affiliated Colleges.doc
8 MU2CP08
Manodharma Sangita - I
Practical-VI 4 25% 75%
SEMESTER – III
Sl.No.
Course Code
Course Title Course Type
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
Course Title Course Type
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%
/tmp/CORE & ELECTIVE (CCSS) Affiliated Colleges.doc
/tmp/CORE & ELECTIVE (CCSS) Affiliated Colleges.doc
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
UNIVERSITY OF CALICUT
M.A.MUSIC
CHOICE - BASED CREDIT SEMESTER SYSTEM
SCHEME & SYLLABUS (AFFILIATED COLLEGES)
ELECTIVE
Sl.No.
Code Course Title Course Type
Cre-
dits
MarksIntern
alExtern
al1 MU3EP0
1Semi-Classical
Musical Compositions
Practical
2 25% 75%
Ashtapadi of Jayadeva, Devarnama of Purandara Dasa, Javali, Tiruppugazh, Tarangam of Narayana Tirtha, Bhajans, Abhang Kavadichindu, Padam.
Sl.No.
Code Course Title Course Type
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.
Code Course Title Course Type
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.
Code Course Title Course Type
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.
Code Course Title Course Type
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.
Code Course Title Course Type
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.
Code Course Title Course Type
Cre-
dits
MarksIntern
alExternal
7 MU4EP07
Rare Tillanas Practical
2 25% 75%
Thillana-s:Mand, Misra Pahadi, Ragesree, Brindavanasaranga, Revathy,
Mohana Kalyani.
Sl.No.
Code Course Title Course Type
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.
Code Course Title Course Type
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.
Code Course Title Course Type
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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