UNIVERSITY OF CALICUT M.A.MUSIC CHOICE - BASED CREDIT SEMESTER SYSTEM SCHEME & SYLLABUS (AFFILIATED COLLEGES) ELECTIVES

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1 UNIVERSITY OF CALICUT MAMUSIC CHOICE - BASED CREDIT SEMESTER SYSTEM SCHEME & SYLLABUS (AFFILIATED COLLEGES) SEMESTER III Sl No Course Code ELECTIVES Course Title 1 MU3EP01 Semi Classic Music Compositions Course Cre Marks Type - Extern Practic 2 25% 75% 2 MU3EP02 Modern Composers Practic 2 25% 75% 3 MU3EP03 Rare Varnams Practic 2 25% 75% 4 MU3EP04 Pancha Linga Stha Kritis 5 MU3EP05 Pre Trinity Composers Practic 2 25% 75% Practic 2 25% 75% SEMESTER IV Sl Course Course Title Course Cre Marks No Code Type - Extern 1 MU4EP06 Compositions of Practic 2 25% 75% Annamacharya 2 MU4EP07 Rare Tillanas Practic 2 25% 75% 3 MU4EP08 Compositions of Practic 2 25% 75% Tyagaraja 4 MU4EP09 Post Trinity Practic 2 25% 75% Composers 5 MU4EP10 Kera Composers Practic 2 25% 75% /tmp/core & ELECTIVE (CCSS) Affiliated Collegesdoc

2 ELECTIVES FOR STUDENTS FROM OTHER DEPARTMENTS Sl No Course Code Course Title Course Type Cre - Marks Extern 1 MU4EP11 Ashtakas & Sthotras Practic 2 25% 75% 2 MU4EP12 Divyanamas of Thyagaraja Practic 2 25% 75% 3 MU4EP13 Mayam Poems Practic 2 25% 75% 4 MU4EP14 Nottuswaras of Muthuswami Dikshitar Practic 2 25% 75% /tmp/core & ELECTIVE (CCSS) Affiliated Collegesdoc

3 UNIVERSITY OF CALICUT MAMUSIC CHOICE - BASED CREDIT SEMESTER SYSTEM SCHEME & SYLLABUS (AFFILIATED COLLEGES) SEMESTER I CORE Sl No Course Code 1 MU1CT0 1 2 MU1CP0 2 3 MU1CP0 3 4 MU1CP0 4 Course Title History of Music up to Sangitaratnakaraperiod Foundation course in Performance Varnams & Swarajathis Music Compositions Course Cre Marks Type - Extern Theory-I 4 25% 75% Practic-I 4 25% 75% Practic-II 4 25% 75% Practic-III 4 25% 75% SEMESTER II Sl No Course Code 5 MU2CT0 5 6 MU2CP0 6 7 MU2CP0 7 Course Title History of Music of the post- Sangitarathnakara Period Group Compositions Compositions of Swati Tirun Course Cre Marks Type - Extern Theory-II 4 25% 75% Practic-IV 4 25% 75% Practic-V 4 25% 75% /tmp/core & ELECTIVE (CCSS) Affiliated Collegesdoc

4 8 MU2CP0 8 Manodharma Sangita - I Practic-VI 4 25% 75% SEMESTER III Sl No Course Code 9 MU3CT MU3CP MU3CP MU3CP1 2 Course Title History of the Music of Modern period Geyanatakam Vilambita Ka Compositions Manodharma Sangita-II Course Cre Marks Type - Extern Theory-III 4 25% 75% Practic- VI Practic- VII Practic- VIII 4 25% 75% 4 25% 75% 4 25% 75% SEMESTER IV Sl No Course Code 13 MU4CP MU4CP MU4CP MU4CP1 6 Course Title Course Type Cre Marks - Extern 4 25% 75% Ragam-Tanam- Practic- Plavi IX Concert Practic-X 4 25% 75% Project 8 100% Comprehensive Viva 2 25% 75% /tmp/core & ELECTIVE (CCSS) Affiliated Collegesdoc

5 /tmp/core & ELECTIVE (CCSS) Affiliated Collegesdoc

6 SEMESTER I MU1CT01- THEORY I HISTORY OF THE PRE-SANGITA RATNAKARA PERIOD 1 Different periods of Music History-Ancient, Mediev, and Modern 2 Sama Gana & its characteristics Sce 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 Music forms- Outline study of Gitaka, Nirgita d Post-Gandharva Music forms- Jati Gita, Kapa Gana and Kampa Gana 4 Ancient Tamil Music System References to Music in Chilappatikaram Classification of Music Sces, Music Instruments (Yazh)- Origin, Decline and varieties- Sacred Music Forms of the Ancient Tamils Tevaram, Tiruvachakam, Nayira 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-Chayaga & Sankirna Ragas 8 Association of Ka (Time) with Ragas- Raga classification based on Time-Theory, Association of Rasa with ragas 9 Music of the Kudumiyanmai Inscriptions

7 10 Music form of the mediev period Gita, Vadya & Nritha Prabanthas 11 Ta Marga & Desi Tas Detailed study of Tadasapranas SEMESTER I MU1CP02 PRACTICAL -1 FOUNDATION COURSE IN PERFORMANCE 1 Rendering of Alankaras in 35 Tas with Gamakas in the Melakarta Ragas- Todi, Mayamavagowla, Kiravani, Kharaharapriya, Charukesi, Harikambhoji, Sankarabharanam, Subhapantuvari, Kamavardhini, Shanmukhapriya, Simhendramadhyamam, Latangi, Vachaspati & Mechakyani 2 Laya Exercises Rendering of Tisra, Chaturasra, Khanda & Misra Sollus with the shifting of Eduppus in different Kams in the Tas Adi, Khandachapu & Misrachapu 3 Ability to render Simple Korvais in Adi, Rupaka & Misrachapu Tas 4 Ability to translate to Swara syllables, the complex passages from Kritis

8 SEMESTER I MU1CP03 PRACTICAL II VARNAMS & SWARAJATIS 1 Ability to render any 2 Adi Ta Varnams in different Kams and Nadais - (5 Kams) 2 Ata Ta Varnams Bhairavi, Kyani, Todi & Nattakurinji 3 Swarajatis of Syamasastri Bhairavi, Todi & Yadukulakambhoji

9 SEMESTER I MU1CP04 PRACTICAL III MUSICAL COMPOSITIONS One Kriti each in the following Melakata Ragas: Dhenuka, Kiravani, Gowrimanohari, Charukesi, Harikambhoji, Vagadheeswari, Shanmukhapriya, Lathangi, Hemavathi, Subhapantuvari, 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, Mayamarutham & Ranjini

10 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 Mod Shift of Tonic 10 Ta- Development of the 35 Ta System, Chapu Tas, Desadi & Madhyadi Tas 11 Manodharma Variety Alapana, Thaya, Thanam Nirav & Kpanaswaram Exposition of Plavi Ability to notate a Plavi in Thrikam 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

11 SEMESTER II MU2CP06 PRACTICAL IV GROUP COMPOSITIONS One Composition each from the following Group Kritis: 1 Navagraha Kriti of Muthuswami Dikshithar 2 Kamamba Navavaranam of Muthuswami Dikshithar 3 Navaratnamika of Syama Sastri 4 All the five Ghanaraga Pancharatnas of Tyagaraja

12 SEMESTER II MU2CP07 PRACTICAL V COMPOSITIONS OF MAHARAJA SWATI TIRUNAL 1 Pancharaga Swarajati 2 Padavarnam Todi or Sudha Kapi 3 Navarathri Kriti 1 4 Navaratnamika (Navavidhabhakthi) 1 5 Utsavaprabantha 1 6 Kuchelopakhyanam 1 7 Ajamilopakhyanam 1 8 One Ragamika from the following:- Bhavayami, Pannagendrasayana, Kamajasya 9 Javi 10 Thillana 11 Hindustan Bhajan Compositions in the following Ragas: Mohanakyani, Lithapanchamam, Kannada, Bhavapriya, Bhushavi, Nayaki & Hamirkyani

13 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, Poorvikyani, Dhanyasi, Begada, Anandabhairavi, Nattakurinji, Surutti, Kedaragowla, Ritigowla, Arabhi, Devagandhari, Hindustan Kapi, Hindustan Behag, Hamsanandi, Mayamarutham & Ranjini Ability to render Kpana Swaras in the following Ragas: Kiravani, Charukesi, Shanmukhapriya, Hemavati, Latangi, Vachaspati, Simhendramadhyamam, Madyana, Hindolam, Begada, Anandabhairavi, Nattakurinji, Kedaragowla, Ritigowla, Arabhi, Hamsanandi & Mayamarutham SEMESTER III

14 MU2CT09 THEORY III HISTORY OF THE MODERN PERIOD 1 Music of Kera:- Origin, Evolution & Development of Sopana Sangita, its characteristics, points of difference between Sopana Sangita & Karnataka Sangita Kathaki Music Instruments used in Kathaki Music, Ragas used in Kathaki Music Folk Music of Kera Different Classifications of Folk Music based on worship, occupation, festivs & entertainment Instruments used in Kera Folk Music Kera Tas Ta Ensembles Panchavadya & Thayambaka Laya Vadyas & Sangita Vadyas used in Kera 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 Ta Varna 3 Music Instruments:- Different systems of Classification of Music Instruments Different stages in the development of Veena 4 Mathematic Applications in Music 5 Srutis, Swaras & Swarasthanams occurring in Carnatic Music 6 Music Prosody Anytic study of a Music Composition with reference to Raga, Ta & various aspects of Sabdankaras 7 Trends & Developments of Music in the 20 th Century- With reference to Music Instruments, Compositions, Concerts, Music Education, Books, Journs & Magazines, other communication media

15 SEMESTER III MU3CP10 PRACTICAL VII GEYANATAKAM Rendering of the Darus & Verses from Nowkacharithramu of Tyagaraja:- Discussion on: a Philosophic Content b Literary aspect c Raga & Rasa aspects

16 SEMESTER III MU3CP11 PRACTICAL VIII VILAMBITA KALA COMPOSITIONS Vilabita Ka Kriti in each of the following Ragas:- Todi, Mayamavagowla, Kharaharapriya, Sankarabharanam, Pantuvari, Mechakyani, Mohanam, Madhyamavati, Poorvikyani, Kambhoji, Bhairavi & Saveri

17 SEMESTER III MU3CP12 PRACTICAL IX MANODHARMA SANGITA II Ability to render Vilambita Ka Kriti with detailed Alapana, Nirav & Kpnaswaras:- Todi, Sankarabharanam, Kyani, Saveri, Bhairavi, Kambhoji, Mohanam & Kharaharapriya SEMESTER IV

18 MU4CP13 PRACTICAL X RAGAM- TANAM- PALLAVI 1 Raga Alapana, Tanam, Plavi, learning a plavi in any one of these ragas selected from the following Ragas:- Sankarabharanam, Kyani, Todi, Bhairavi, Kharaharapriya, Kambhoji, Shanmukhapriya & Saveri 1 a) Plavi should be set to Chatushka b) Plavi should be rendered with detailed Alapana, Tanam, Anuloma, Pratiloma, Tisram & Kpanaswara, Ragamika swaras in any three Ragas c) Students should be able to grasp & render a simple Plavi given by the Examiner with Nirav & Kpana Swaras SEMESTER IV

19 MU4CP14 PRACTICAL XI MUSIC CONCERT Each student should present a Music recit/concert for duration of one hour The following should be the pattern of the Concert:- 1 An Ata Ta Varna in 2 degrees of speed & Tisram 2 One or two compositions of Janaka or Janya variety with Raga Alapana & Kpana Swara 3 The main item of the Concert shl be a Vilambita Ka Kriti with Raga Alapana, Nirav & Kpna Swaras 4 Other items representing different Music forms like Padam, Javi, Thillana, Bhajan, etc 5 A Ragamika Slokam (at least in 3 Ragas) 6 The Concert should conclude with a Mangam SEMESTER IV MU4 PR 15

20 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 so submit a written document of the topic selected, before presentation The evuation of the project will be jointly done by the Extern Examiner & the Supervising Teacher The presentation will be followed by a Viva-Voce Examination SEMESTER IV MU4V 16

21 COMPREHENSIVE VIVA-VOCE

22 UNIVERSITY OF CALICUT MAMUSIC CHOICE - BASED CREDIT SEMESTER SYSTEM SCHEME & SYLLABUS (AFFILIATED COLLEGES) ELECTIVE SlNo 1 MU3EP0 1 Code Course Title Course Type Semi-Classic Music Compositions Practic Cre Marks - Extern 2 25% 75% Ashtapadi of Jayadeva, Devarnama of Purandara Dasa, Javi, Tiruppugazh, Tarangam of Narayana Tirtha, Bhajans, Abhang Kavadichindu, Padam SlNo 2 MU3EP0 2 Code Course Title Course Type Modern Composers Practic Cre Marks - Extern 2 25% 75% Compositions of following composers: - 10 Nos Papanasam Sivan, Muthaih Bhagavathar, GN Basubramanyam, Mysore Vasudevacharya, T Lakshmana Pillai, MD Ramanadhan and Neelakanta Sivan SlNo 3 MU3EP0 3 Code Course Title Course Type Rare Varnams Practic Cre Marks - Extern 2 25% 75% Varnams of Modern Composers in the ragas: Hindustan Behag, Kadana Kutuham, Charukesi, Saraswati, Vachi and Kyana Vasantam SlNo Code Course Title Course Cre Marks Type - Extern 4 MU3EP0 Pancha Linga Stha Practic 2 25% 75%

23 4 Kritis All 5 kritis of the Panchinga stha kritis of Muthuswami Dikshitar Contd 2 SlNo 5 MU3EP0 5 Code Course Title Course Type Pre Trinity Composers Practic Cre Marks - Extern 2 25% 75% Any 10 Compositions from the following Composers: Uttukkad, Venkita Kavi, Bhadracham Ramadas, Sadasiva Brahmendra, Kshetrajna, Moovar Thevaram, Arunacha Kavirayar SlNo 6 MU4EP0 6 Code Course Title Course Type Compositions of Annamacharya Practic Cre Marks - Extern 2 25% 75% Compositions of Annamacharya in the following Raga-s: Peelu, Yamankyani, Sudhadhanyasi, Revathy, Mukhari, Hindusthani Kapi, Hindolam, Natta, Khamas, Bouly, Kurinji, Abhogi, Mohanam, Sudhadhanyasi, Shanmukhapriya SlNo 7 MU4EP0 7 Code Course Title Course Type Rare Tillanas Practic Cre Marks - Extern 2 25% 75% Thillana-s: Mand, Misra Pahadi, Ragesree, Brindavanasaranga, Revathy, Mohana Kyani SlNo Code Course Title Course Type Cre - Marks Extern

24 8 MU4EP0 8 Compositions of Thyagaraja Practic 2 25% 75% 10 Compositions of Tyagaraja in selected Raga-s Contd SlNo 9 MU4EP0 9 Code Course Title Course Type Post Trinity Composers Practic Cre Marks - Extern 2 25% 75% Compositions of the following Post-Trinity Composers: (One Composition Each) Gopakrishna Bharathi, Pattanam Subramanya Iyyer, Ramanathapuram- Srinivasa Iyyengar, Ramaswami Sivan, Mahavaidyanatha Iyyer, Mysore Sadasiva Rao, Jayachamaraja Wodeyar, Kavi Kunjara Bharati, Subramanya Bharati, Subharaya Sastri SlNo 10 MU4EP1 0 Code Course Title Course Type Kera Composers Practic Cre Marks - Extern 2 25% 75% Compositions of the following Kera Composers: (One Composition Each) Iryimman Thampi, Kuttikunju Thankachchi, KCKesava Pillai, Mahakavi PKuttamath, Thulaseevanam, Puthukod Krishnamoorthi, Ennappadam Venkitta Ramana Bhagavathar

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