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MAHATMA GANDHI UNIVERSITY

COURSE– CREDIT AND SEMESTER (C.C.S) SYSTEM

B. A. MUSIC Programme (VEENA)

Sl. No.	SEM	Alpha numerical code	Course	Course Title	Course Type	Hrs/ Week	Credits	Duration of exam Practical 30 mts Theory 3 hrs	% of Marks	Total Credits
1.	I		Common course -1			5	4	3hrs		20
2.			Common course -2			4	4	3hrs
3.			Common course -3			4	4	3hrs
4.		I MUSCOR VINA 101	Core course-1	Fundamental lessons 1	Practical 1	7	4	30min
5.		I MUSCOM VINA 102	1^st Complimentary -1	Preliminary svara Exercises 1	Practical (vocal)	3	2	30min
6.		I MUSCOM 103	2^nd Complimentary -1	Musicology	Theory	2	2	3hrs
7.	II		Common Course - 4			5	4	3hrs		20
8.			Common Course - 5			4	4	3hrs
9.			Common Course – 6			4	4	3hrs
10.		II MUSCORVINA 201	Core Course-2	Fundamental lessons II	Practical 2	7	4	30min
11.		II MUSCOMVINA 202	1^st Complimentary - 2	Preliminary Exercises 2	Practical (vocal)	3	2	30min
12.		II MUS COM 203	2^nd Complimentary – 2	Musicology	Theory	2	2	3hrs
13.	III		Common Course – 7			5	4	3hrs		20
14.			Common Course – 8			5	4	3hrs
15.		III MUSCOR 301	Core Course – 3	Theory of Music	Theory	3	3	3hrs
16.		III MUSCORVINA 302	Core Course – 4	Fundamental lessons 3	Practical 3	7	4	30min
17.		III MUSCOMVINA 303	1^st Complimentary – 3	Varnams	Practical (vocal)	3	3	30min
18.		III MUSCOM 304	2^nd Complimentary – 3	Musicology	Theory	2	2	3hrs

MAHATMA GANDHI UNIVERSITY

COURSE – CREDIT AND SEMESTER (C.C.S) SYSTEM

B. A. – MUSIC – PROGRAMME – (VEENA)

19.	IV		Common Course – 9			5	4	3hrs	20
20.			Common Course – 10			5	4	3hrs
21.		IV MUSCOR 401	Core Course – 5	Theory of Music	Theory	3	3	3hrs
22.		IV MUSCORVINA 402	Core Course – 6	Varnams & Simple Kritis	Practical 4	7	4	30min
23.		IV MUSCOMVIO 403	1^st Complimentary – 4	Varnam & simple kritis	Practical (vocal)	3	3	30min
24.		IV MUSCOM 404	2^nd Complimentary – 4	Musicology	Theory	2	2	3hrs
25.	V	V MUSCOR VINA501	Core Course – 7	Theory of Music	Theory	4	4	3hrs	20
26.		V MUSCOR VINA502	Core Course – 8	Fundamental lessons IV	Practical 5	6	4	30min
27.		V MUSCORVINA 503	Core Course -9	varnams & ghanaraga pancharatnam	Practical 6	5	4	30min
28.		V MUSCOR VINA504	Core Course – 10	Manodharma sangeetam	Practical 7	5	4	30min
29.		V MUSOPCVINA 505	Open Course – 1	1*	Practical	3	2	30 mts
30.		V MUSCW/P VINA 506	Course Work/Project 1	-	-	2	2	-
31.	VI	VI MUSCOR 601	Core Course – 11	Theory of Music	Theory	4	4	3hrs	20
32.		VI MUSCORVINA 602	Core Course – 12	Adv svara exercises &musical forms	Practical 8	6	4	30min
33.		VI MUSCORVINA 603	Core Course – 13	Manodharma sangeetam	Practical 9	5	4	30min
34.		VI MUSCORVINA 604	Core Course – 14	Veena concert	Practical 10	5	4	30min
35.		VI MUSOPCVINA 605	Open Course – 2	2*	Practical	3	2	30 mts
36.		VI MUSCW/P VINA 606	Course Work/ Project 2	-		2	2

1* Open Course – 1 2* Open Course – 2

Optional Optional

Svara exercises 1. Ragam tanam and pallavi
Alankaras and geethams 2. Prominent Musicologists
Fingering and bowing techniques 3. Different systems of music education.

MAHATMA GANDHI UNIVERSITY

COURSE – CREDIT AND SEMESTER (C.C.S) SYSTEM

B. A. – MUSIC – PROGRAMME – (VEENA)

Reference Books recommended for the Course:

Dakshinendyan Sangeetham by Vidwan A.K.Ravindranath ( Malayalam) (Vol 1 & 2)
South Indian Music by Prof.P.Sambamoorthy (Vol I to VI)
The Dictionary of South Indian Music by Prof.P.Sambamoorthy (A to F, G to K, L to N and P to S)
The Splendour of South Indian Music by Prof.Chelladurai
Sangeetha Kalpadrumam by Dr.L.Muthiah Bhagavatar (Malayalam)
Sangeetha Sastra Pravesika by Shri.Venkatasubbayyar (Malayalam)
Karnataka Sangeetha Charitram by Shri.Ravindranath (Malayalam)

MAHATMA GANDHI UNIVERSITY

B. A. MUSIC PROGRAMME (VEENA)

COURSE DETAILS

Sem	Course Title	Hrs/ Week	Credit	Exam Hrs practical 30/60 mts Theory 3 hrs	Total Credit
I	Common Course – 1	5	4	3 hrs	20
	Common Course – 2	4	4	3 hrs
	Common Course – 3	4	4	3 hrs
	Core Course – 1 (Practical)	7	4	30 mts
	1^st Complementary – 1 (Instrumental)	3	2	30 mts
	2^nd Complementary – 1 (Theory)	2	2	3 hrs
II	Common Course – 4	5	4	3 hrs	20
	Common Course – 5	4	4	3 hrs
	Common Course – 6	4	4	3 hrs
	Core Course – 2 (Practical)	7	4	30 mts
	1^st Complementary – 2 (Instrumental)	3	2	30 mts
	2^nd Complementary – 2 (Theory)	2	2	3 hrs
III	Common Course – 7	5	4	3 hrs	20
	Common Course – 8	5	4	3 hrs
	Core Course – 3 (Theory)	3	3	3 hrs
	Core Course – 4 (Practical)	7	4	30 mts
	1^st Complementary – 3 (Instrumental)	3	3	30 mts
	2^nd Complementary – 3 (Theory)	2	2	3 hrs
IV	Common Course – 9	5	4	3 hrs	20
	Common Course – 10	5	4	3 hrs
	Core Course – 5 (Theory)	3	3	3 hrs
	Core Course – 6 (Practical)	7	4	30 mts
	1^st Complementary – 4 (Instrumental)	3	3	30 mts
	2^nd Complementary – 4 (Theory)	2	2	3 hrs
V	Core Course – 7 (Theory)	4	4	3 hrs	20
	Core Course – 8 (Practical)	6	4	60 mts
	Core Course – 9 (Practical)	5	4	30 mts
	Core Course – 10 (Practical)	5	4	30 mts
	Open Course – 1 (Practical)	3	2	30 mts
	Course Work/ Project Work – 1	2	2
VI	Core Course – 11 (Theory)	4	4	3 hrs	20
	Core Course – 12 (Practical)	6	4	30 mts
	Core Course – 13 (Practical)	5	4	30 mts
	Core Course – 14 (Practical)	5	4	30 mts
	Open Course – 2 (Practical)	3	2	30 mts
	Course Work/ Project Work – 2	2	2
	Total	150	120		120
			Course	Credits
	TOTAL COMMON COURSES		10	40
	TOTAL CORE COURSE (10Pr. + 4Th.)		14	40+16=56
	TOTAL COMPLIMENTARY COURSES		8	16
	TOTAL OPEN COURSES		2	4
	TOTAL COURSE WORK/ PROJECT WORK		2	4

	TOTAL		36	120

MAHATMA GANDHI UNIVERSITY

B. A. VEENA

1^ST SEMESTER

CORE COURSE – I

I MUSCOR VINA 101

PRACTICAL – I – FUNDAMENTAL LESSONS – I

1. Sadhaka varisas – Sarali, Jhanta and Dhatu varisas, Swara pallavi, Tarasthayi varisas – all in three degrees of speed.

2. Sapta tala alankaras – in 2 degrees of speed in the ragas 15, 21, 22, 29, 65, mohanam, hamsadvani and Sudhasaveri.

1^ST COMPLIMENTARY – 1 (VOCAL)

I MUSCOM VINA 102

PRELIMINARY SVARA EXERCISES – 1

1. Ability to render preliminary svara exercises

a. Sarali varisas

b. Janta varisas

c. Madhya stayi varisas

2^ND COMPLEMENTARY – I

I MUSCOM 103

MUSICOLOGY (THEORY)

1. Distinctive features of Indian music

2. Cultural,Intellectual,Emotional,Spiritual values of music

3. Technical terms and their explanations.

a. Nadam

b. Sruti

c. Svaram – Svara nomenclature

d. Sthayi

e. Graha

f. Nyasa

g. Amsa

h. Tala –Sapta talas and their angas, shadangas.

4. Life sketch and contributions of the following vaggeyakaras

a. Purandaradasa and

b.Trinity (Thyagaraja,Muthuswamy Dikshitar,Syama Sastri)

2^ND SEMESTER

CORE COURSE – II

II MUSCOR VINA 201

PRACTICAL – II – FUNDAMENTAL LESSONS – II

1. Sadhaka varisas – trisvara prastara

2. Alankaras in – Sudhadhanyasi, Madhyamavathi, Abhogi, Pantuvarali, Vachaspathi and Lathangi.

3. Geetham – Sudhasaveri, Mohanam, Malahari and any other 3.

4. Jathiswaram – Any 2.

5. Swarajathi – Any 1

6. Adi tala varnam – Mohanam and Hamsadhvani

1^ST COMPLIMENTARY – II

II MUSCOM VINA 202

PRELIMINARY SVARA EXERCISES – II (VOCAL)

1. Sapta tala alankaras in Mayamalavagaula and any other 3 ragas

2. Geethams – 1

a. Malahari or

b. Mohanam

2^nd – COMPLEMENTARY – II

II MUSCOM 203

MUSICOLOGY (THEORY)

Musical Instruments and their classification in general (in detail)
Detailed knowledge of the notation used in South Indian Music
Principal seats of Music

a.Tanjore

b.Thiruvananthapuram

4. Folk music – out line knowledge of folk music in general, their characteristics, and its varieties

5.Ability to write in notation

a.Sapta tala alankaras

b. Geetams (as prescribed in practical paper)

3^RD SEMESTER

CORE COUSE – III

III MUSCOR 301

THEORY OF MUSIC (THEORY)

1.The characteristic features of a Janaka Mela

a. Scheme of 72 melas

b. Application of Kadapayadi formula

c. Application of Bhutasankhya

2. Explanation of the technical terms – Vadi, Samvadi, Vivadi and Anuvadi

3. Raga classification in detail

a. Janaka-Janya

b. Upanga-Bhashanga

c. Varjya-Vakra

d. Nishadantya, Dhaivatantya and Panchamantya

e. Ghana, Naya, Desya

f. Karnataka, desya

g. Sudha, Chayalaga, Sankeerna

h. Classification based on Kampita svaras

i. Mitra ragas

j Ganakala niyama

4. The scheme of 35 talas, 175 talas and Chapu talas

5. Raga lakshana in detail of the following ragas

a. Mohanam

b. Hamsadhvani

c. Sankarabharanam

CORE COURSE – IV

III MUSCOR VINA 302

PRACTICAL – III – FUNDAMENTAL LESSONS –III

1. Sadhakavarisas with alankaras in various ragas – chathu swara prastharam

2. Swarajathi – Any 2

3. Adi tala varnams – Sri, Valachi and Sahana

4. Ata tala varnam – Kamboji

1^ST COMPLIMENTARY – III-(VOCAL PRACTICAL)

III MUSCOM VINA 303

GITAMS, SVARAJATIS AND VARNAMS

1. Two Gitams in any of the following ragas

a.Kalyani or

b.Suddha Saveri

c. Saveri

2. One Jatisvaram or Svarajati

2^nd– COMPLEMENTARY – III

III MUSCOM 304

MUSICOLOGY(THEORY)

1. Musical Forms and their classification

a. Gita

b. Jatisvaram

c. Svarajati

d. Varnas

2. Construction and playing technique of the following instruments:

a. Tambura

b. Veena

3. Life sketch and Contributions of the Pre-trinity composers:

a. Jayadeva

b. Narayana Thirtha

c.Kshetrajna

4. Raga lakshana in detail of the following ragas

. a. Mayamalavagaula

b. Bilahari

c. Kanada

4^TH SEMESTER

CORE COURSE – V

IV MUSCOR 401

THEORY OF MUSIC (THEORY)

1. Gamakas – Dasavidha gamakas and Panchadasa gamakas - Model shift of tonic

2. Musical forms:

a. Kriti b. Kirtana c. Ragamaliga d. Padam e. Javali f. Tillana

3. Mudras and its varieties figuring in Musical compositions.

4. Ragalakshana of the following ragas with sancharas:

1. Bhairavi 2. Anandabhairavi 3. Sahana 4. Begada 5. Arabhi 6. Saveri

7. Surutti 8. Nattakurinji 9. Khamas

5. Ability to write in notation the following:

1. Adi tala varba 2. Ata tala varna

CORE COURSE – VI

IV MUSCOR VINA 402

PRACTICAL – IV - VARNAMS AND SIMPLE KRITIS

1. Sadhaka varisas with alankaras in various ragas – chatusvara prastara

2. Adi tala varnam – Saveri, Begada and Kedaragaula

3. Ata tala varnam – Kanada and Sankarabharanam

4. Ghanaraga pancharatnam – Arabhi

5. Simple Kritis with alapana and kalpana svaras in the ragas – Chakravakam, Arabhi,

Mayamalavagaula, Abhogi and Nata

1^ST COMPLIMENTARY – IV(VOCAL PRACTICAL)

IV MUSCOM VINA 403

VARNAM AND SIMPLE KRITI

1. One Adi tala varna – (Mohanam, Hamsadwani or Abhogi)

2. One Simple Kriti

2^nd – COMPLEMENTARY 4

IV MUSCOM 404

MUSICOLOGY (THEORY)

1. Kathakali music – ragas and talas figuring in kathakali music

2. Prominent musical instruments of Kerala

a. Chenda

b. Maddalam

c. Idakka

d. Ilathalam

e. Thimila

f. Chengila

g. Kombu

h. Kuzhal

3. Panchavadyam – Kriyanga and Sevanga panchavadyas

4. Composers of Kerala

a. Swathithirunal

b. Iravivarman thampi

c. K. C. Kesava pillai

5. Ritualistic Music of Kerala – Folk rituals Temple rituals

a. Thiruvathirakali a. Kalamezhuthupattu

b. Thaiyyam b. Bhadrakalipattu

c. Padayani c. Teeyattu

5^TH SEMESTER

CORE COURSE – VII

V MUSCOR VINA 501

THEORY OF MUSIC (THEORY)

HISTORICAL PERSPECTIVES IN VEENA PLAYING

1. Veena though the ages

2. Different schools of Veena vadana

Regional varieties of Veena at Mysore, Andhra, Tanjore and Thiruvananthapuram

3. Biographical studies of eminent performers on Veena

a. Veena Seshanna

b. Veena Dhanammal

4. Different kinds of ‘Meetu’ in Veena, in various schools of Veena vadana

5. Construction, maintenance and fretting of Veena (Veena Melam)

6. Role of Veena in various music platforms

7. Application of Gamakas in Veena

8. Short notes on Rudra Veena, Mohana Veena and Gottuvadyam

9. Notation of any kriti learnt in the practical paper

CORE COURSE – VIII

V MUSCOR VINA 502

PRACTICAL – V – FUNDAMENTAL LESSONS – IV

1. Sadhaka varisas with alankaras in various ragas

2. Adi tala varnam – Navaragamalika, Vasanta and Kalyani

CORE COURSE – IX

V MUSCOR VINA 503

PRACTICAL – VI – VARNAMS AND GHANA RAGA PANCHARATNAM

1. Ata tala varnam - Ritigaula

2. Ghanaraga pancharatnam – Nata or Sreeraga

CORE COURSE – X

V MUSCOR VINA 504

PRACTICAL – VII - MANODHARMA SANGEETHAM – I

1. Kritis from prescribed ragas – Any 10 with outline knowledge of the raga alapana and kalpana svaras

2. Chittatanam in the ragas – Sankarabharanam, Mechakalyani, Pantuvarali, Kharaharapriya,

Simhendramadhyamam, Shanmukhapriya, Lathangi, Thodi, Keeravani and Bhairavi

OPEN COURSE – I

V MUSOPC VINA 505

COURSE – 1

1. Awareness of veena mechanism and fingering technique

2. Tuning of veena in sama sruti and madhyama sruti

3. Playing popular tunes in veena

COURSE – II

1. Fundamental lessons sarali varisas and jhanta varisas.

2. Sapta tala alankara in varied ragas.

3. Note svara sahityas of Muthusvami Dikshitar

COURSE – III

1. Sarali varisas and jhanta varisas in madhyama sruti.

2. Alankaras in Pantuvarali and Chakravakam.

3. Malahari and Mohanam Geethams.

COURSE WORK/PROJECT

V MUSCW/P VINA 506

Lecture demonstration of any topic from the course

6^TH SEMESTER

CORE COURSE – XI

VI MUSCOR 601

THEORY OF MUSIC (THEORY)

1. Acoustics

a. Production and transmission of sound

b. Laws of vibration of strings

c. Pitch

d. Intensity

e. Timbre

f. Loudness

g. Echo

h. Resonance

2. Group kritis of Trinity and Swathithirunal

3. Lakshanas of the following ragas

a. Ritigaula

b. Khamas

c. Nattakurinji

d. Todi

e. Charukesi

f. Vachaspati

g. Kapi

h. Anandabhairavi

i. Saveri

j. Mukhari

CORE COURSE – XII

VI MUSCOR VINA 602

PRACTICAL – VIII – ADVANCED SVARA EXERCISES AND MUSICAL FORMS

1. Sadhaka varisas with alankara in various ragas

2. Adi tala varnam – Pantuvarali, Abhogi, Sudhadhanysi

3. Ata tala varnam – Bhairavi

4. Syama sastri swarajathi – 1

5. Ragamalika – 1

6. Padam/Jawali – 1

7. Thillana – 1

CORE COURSE – XIII

VI MUSCOR VINA 603

PRACTICAL – IX – MANODHARMA SANGEETHAM – II

Detailed raga alapana with tanam and kalpana svaras along with kritis in major and minor ragas.

CORE COURSE – XIV

VI MUSCOR VINA 604

PRACTICAL – X – VEENA CONCERT

Veena concert of 30 minutes duration – including a varnam (2 speeds), a kriti with raga alapana tanam and kalpana svaras, padam/jawali, thillana and mangalam.

OPEN COURSE – II

VI MUSOPC 605

COURSE – I

1. Navagraha kriti of Muthuswami Dikshitar – 1

2. Navaratri kriti of Swathithirunal – 1

3. Utsava sampradaya kriti of Tyagaraja – 1

COURSE – II

1. Swarajathi/ jathiswaram not learned in the core course – 1

2. Thanam in Ghana ragas

3. Composition of Annamacharya – 2

COURSE – III

1. Thillana of Lalgudi Jayaraman/ Balamuralikrishna – 1

2. Kshetrjna padam – 1

3. Music compositions more apt for instrumental music only – 2

COURSE WORK/PROJECT

VI MUSCW/P 606

Submission of a record with the notation of all compositions learnt in the core course

MODEL QUESTION PAPER FOR CORE COURSE – VII

I. Choose the correct answers Weights: 1

1. Name of Narada’s Veena

(Kachapi, Parivadini, Mahati)

2. Veena of Goddess Saraswathi

( Mahati, Kachapi, Parivadini)

3. A great exponent of thillanas among Vainikas

(Veena Seshanna, Veena Narasayya, Veena Venkataramanadas)

4. A Vainika who used to play Veena keeping in vertical position

(Veena Dhanammal, Veena Kuppayyar, Karaikudi Sambasivs Iyer)

5. The Veenas used for studying sruthi intervals

(Pradarsana Veena, Satatantri Veena, Dhruva Veena – Chala Veena)

6. The Actual name of the modern Veena

(Raghunathamela Veena, Madhyamamela Veena, Eka ragamela Veena)

7. The name of the Veena made of single piece of wood

(Sarva ragamela Veena, Eka danda Veena, Eka ragamela Veena)

8. Name of the Veena string at the farthest end of the Veena player

(Sarani, Mandram, Anumandram)

II. Write short notes on any four of the following Weights: 1

1. Tanjore Veena

2. Tharjani meettu

3. Mysore bani

4. Veyi sadhakam

5. Vali

III. Write short essays on any two of the following Weights: 2

1. Veena melam

2. Dasavidha gamakas

3. Gottuvadyam

IV. Write an essay on any one of the following Weights: 4

1. Narrate in brief the evolution of Veena from the Vedic age to the present day

2. Discuss the characteristics of different schools of Veena