MAHATMA GANDHI UNIVERSITY

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

B.A. MUSIC PROGRAMME – (VOCAL)

Page 1

Sl. No.	SEM	Alpha numerical code	Course	Course Title	Course Type	Hrs/ week	Credits	Duration of exam practical 30mts 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 101	Core course-1	Basics of Indian Music	Practical 1	7	4	30min
5.		I MUSCOM 102	1^st Complimentary -1	Preliminary Exercises 1	Instrument	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 MUSCOR 201	Core Course-2	Musical form 1	Practical 2	7	4	30min
11.		II MUSCOM 202	1^st Complimentary - 2	Preliminary Exercises 2	Instrument	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 MUSCOR 302	Core Course – 4	Musical forms 2	Practical 3	7	4	30min
17.		III MUSCOM 303	1^st Complimentary – 3	Gitams, Swarajatis & Varnams	Instrument	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 – (VOCAL) Page 2

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 MUSCOR 402	Core Course – 6	Musical form 3	Practical 4	7	4	30min
23.		IV MUSCOM 403	1^st Complimentary – 4	Varnam & Kriti	Instrument	3	3	30min
24.		IV MUSCOM 404	2^nd Complimentary – 4	Musicology	Theory	2	2	3hrs
25.	V	V MUSCOR 501	Core Course – 7	Theory of Music	Theory	4	4	3hrs	20
26.		V MUSCOR 502	Core Course – 8	Musical form 4	Practical 5	6	4	30min
27.		V MUSCOR 503	Core Course -9	Musical form 5	Practical 6	5	4	30min
28.		V MUSCOR 504	Core Course – 10	Musical form 6	Practical 7	5	4	30min
29.		V MUSOPC 505	Open Course – 1	1*	Practical/ Theory	3	2	30 min 3 hrs
30.		V MUSCW/P 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 MUSCOR 602	Core Course – 12	Musical form 7	Practical 8	6	4	30min
33.		VI MUSCOR 603	Core Course – 13	Manodharma Sangita	Practical 9	5	4	30min
34.		VI MUSCOR 604	Core Course – 14	Concert	practical 10	5	4	30min
35.		VI MUSOPC 605	Open Course – 2	2*	Pracrical/ Theory	3	2	30 mins 3 hrs
36.		VI MUSCW/P 606	Course Work/ Project 2	-		2	2

1* Open Course – 1

Optional

Popular music

Light classical compositions
An introduction to music

2* Open Course – 2

Optional

Foundation for performance
Review literature
Semi-classical musical forms.

MAHATMA GANDHI UNIVERSITY

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

B. A. – MUSIC – PROGRAMME – (VOCAL) Page 3

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(VOCAL)

COURSE DETAILS

Sem	Course Title	Hrs/ Week	Credit	Exam Hrs. Practical 30 mts Theory 3 hrs.	Total Credit
I	Common Course – 1	5	4	3	20
	Common Course – 2	4	4	3
	Common Course – 3	4	4	3
	Core Course – 1 (Practical)	7	4	30 mts
	1^st Complementary – 1 (Instrument)	3	2	Practical 30 mts
	2^nd Complementary – 1 (Theory)	2	2	3
II	Common Course – 4	5	4	3	20
	Common Course – 5	4	4	3
	Common Course – 6	4	4	3
	Core Course – 2 (Practical)	7	4	30 mts
	1^st Complementary – 2 (Instrument)	3	2	Practical 30 mts
	2^nd Complementary – 2 (Theory)	2	2	3
III	Common Course – 7	5	4	3	20
	Common Course – 8	5	4	3
	Core Course – 3 (Theory)	3	3	3
	Core Course – 4 (Practical)	7	4	30 mts
	1^st Complementary – 3 (Instrument)	3	3	Practical 30 mts
	2^nd Complementary – 3 (Theory)	2	2	3
IV	Common Course – 9	5	4	3	20
	Common Course – 10	5	4	3
	Core Course – 5 (Theory)	3	3	3
	Core Course – 6 (Practical)	7	4	30 mts
	1^st Complementary – 4 (Instrument)	3	3	Practical 30 mts
	2^nd Complementary – 4 (Theory)	2	2	3
V	Core Course – 7 (Theory)	4	4	3	20
	Core Course – 8 (Practical)	6	4	30 mts
	Core Course – 9 (Practical)	5	4	30 mts
	Core Course – 10 (Practical)	5	4	30 mts
	Open Course – 1 (Practical/Theory)	3	2	Practical 30 mts Theory 3 hrs
	Course Work/ Project Work – 1	2	2
VI	Core Course – 11 (Theory)	4	4	3	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/Theory)	3	2	Practical 30 mts Theory 3 hrs
	Course Work/ Project Work – 2	2	2
	Total	150	120		120

MAHATMA GANDHI UNIVERSITY

B. A. MUSIC PROGRAMME(VOCAL)

COURSE DETAILS

	Course	Credits
TOTAL COMMON COURSES	10	40
TOTAL CORE COURSE (10Pr. + 4^Th.)	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. MUSIC(VOCAL)

1^ST SEMESTER

I MUSCOR 101 CORE COURSE – I

PRACTICAL – I – BASICS OF INDIAN MUSIC

1. Saptasvaras, Sarali varisas, Janta varisas, Dhatu varisas, Mandrasthayi varisas, Madhyasthayi varisas,

Tarasthayi varisas with Akara sadhakam in 3 degrees of speed in Mayamalavagaula raga as described

in the Dakshinendyan Sangitam of Shri.A.K.Ravindranath – Page Nos. 279 to 288.

2. Sapta tala alankaras with Akara sadhakam in 3 degrees of speed in the following 6 ragas

a. Sankarabharanam

b. Kalyani

c. Mohanam

d. Hamsadhvani

e Pantuvarali

f mayamalavagaula

3. Three Gitams in any of the following 6 ragas

a. Malahari

b.Mohanam

c. Kalyani

d. Saveri

e. Sudha Saveri

d. Arabhi

e. Geetham – 3

4. Simple Jathiswaram – 1

1^st – COMPLEMENTARY – I INSTRUMENTAL (VEENA)

I MUSCOM 102

PRELIMINARY EXERCISES – I

1. Ability to play preliminary svara exercises

a. Sarali varisas

b. Janta varisas

c. Madhyasthayi 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 201

PRACTICAL 2 –MUSICAL FORM 1

1.Simple Swarajathi – 1

2. Adi tala varnam – 3 ( in any 3 of the following ragas)

a. Mohanam b.Sankarabharanam c.Abhogi d. Hamsadwani e. Pantuvarali f. Vasanta

3. Simple kritis in any two of the following ragas

a. Hamsadhvani

b. Mohanam

c. Mayamalavagaula

d. Sankarabharanam

4. Tarangam or any simple Divyanama Sankirtanam of Saint Thyagaraja-1

5. An outline knowledge of raga alapana of the following ragas.

a. Mohanam

b.Sankarabharanam

1^st– COMPLEMENTARY – II INSTRUMENT (VEENA)

II MUSCOM 202

PRILIMINARY EXERCISES – II

1. Sapta tala alankaras in the following ragas in two degrees of speeds.

a. Mayamalavaguala

b.Mohanam

c Pantuvarali

d. Hamsadwani

2.Any One Simple Gita in the following ragas

a.Mohanam or

b. Malahari

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 COURSE – 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 302

MUSICAL FORM 2 (PRACTICAL 3)

1. One Lakshana Gitam 1 no.

2. Adi tala varnam in any of the following ragas – (2 nos)

a. Kalyani

b. Navaragamalika varna

c. Kedaragaula

3. One Ata tala varna – Kamboji (compulsory)

4. Kritis in the following ragas

a. Kalyani

b. Kamboji

c. Bilahari

d.Mohanam

e. Vasantha

f. Pantuvarali

g. Sankarabharanam

h. Hindolam

5. An outline knowledge of the raga alapana of the following ragas

a. Kalyani

b. Hindolam

c. Pantuvarali

d. Bilahari

6. Ability to render Small avartana Kalpana svaras in any two of the following ragas.

a. Mayamalavagaula

b. Hamsadwani

c. Kalyani

d. Mohanam

1^st – COMPLEMENTARY 3 INSTRUMENTAL (VEENA)

III MUSCOM 303

GITAMS, SVARAJATIS

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 3

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

IV 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 402

MUSICAL FORM 3 (PRACTICAL 4)

1. One Ata tala varna - Bhairavi

2. Any two chowka kala kritis in any one of the following ragas:

a. Kalyani

b. Sankarabharanam

c. Madhyamavati

3. An outline knowledge of Raga Alapana

a. Sankarabharanam

b. Madhyamavati

4. Ability to render Kalpana svaras

a. Mayamalavagowla

b. Hamsadwani

c. Mohanam

d. Sankarabharanam

e. Saveri

1^st – COMPLEMENTARY 4 INSTRUMENTAL– (VEENA)

IV MUSCOM 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 501

THEORY OF MUSIC (THEORY)

1. Manodharma Sangita paddhati in detail – Raga alapana, Tanam, Pallavi, Niraval, Kalpanasvara

2. Lakshana Grandhas

a. Natya Sastram

b. Sangita ratnakaram

c. Chaturdhandi prakasika

3. Ancient Raga Classification – Grama murchana Jathi System, Shadjagrama, Madhyamagrama, Gandharagrama and raga ragini parivara system

4. Application of 22 Srutis in the ragas popularly used in the present day.

5. Ragalakshana with sancharas

a. Begada

b. Kedaragoula

c. Kanada

d. Poorvikalyani

e. Kharaharapriya

f. Atana

CORE COURSE – VIII

V MUSCOR 502

MUSICAL FORM 4 (PRACTICAL 5)

GROUP KRITIS

1. Pancharatna kriti of Thyagaraja – Arabhi or Natta

2. Swarajathi of Syama Sastri – Bhairavi

3. Navarathri Kriti of Swati Tirunal

4. Navaratnamalika of Syama Sastri

5. Navagraha kriti – Nattakurinji, Surutti or Shanmughapriya

CORE COURSE – IX

V MUSCOR 503

MUSICAL FORM 5 (PRACTICAL 6)

1. One each from the following musical forms:

Padam, Jawali, Tillana, Ragamalika and Kathakali padam

CORE COURSE – X

VMUSCOR 504

MUSICAL FORM 6 (PRACTICAL 7)

1. Kritis in the following ragas.

a. Arabhi

b. Kharaharapriya

c. Begada

d. Kedaragowla

e. Sahana

f. Purvikalyani

g. Kanada

OPEN COURSE – I

V MUSOPC 505

COURSE – 1 – POPULAR SONGS

1. Patriotic songs - 2

2. Varieties of Folk melodies – Mappila pattu

3. Study of film songs of any 6 music directors

4. Light classical songs – 2

COURSE II LIGHT CLASSICAL COMPOSITIONS

1. Compositions of Malayalam composers - 2

2. Compositions of Annamacharya or Purandaradasar - 2

3. Note svara sahityam of Dikshitar – 1

4. Compositions in Kuchelo Pakhyanam - 2

5. Simple raga parichayam on film based songs

a. Kharaharapriya

b. Ananthabhairavi

c. Hamsadhvani

d. Mohanam

e. Kalyani

f. Kambhoji

COURSE – III – INTRODUCTION TO MUSIC

1. Place of music in life

2. Music as an applied art in the field of advertisement and play-back.

3. Yoga, Music Therapy and Voice culture.

4. Computer and Music – Scope and utility in the field of recording, preservation and propagation.

COURSE WORK/ PROJECT – I

V MUSCW/P 506

Presentation of a record containing the notations of the following compositions

1. Varnam – Adi tala - 1

2. Kriti – Adi tala – 1 – 1kala

3. Kriti – Rupaka tala – 1

4. Kriti – Misra capu tala – 1

5. Kriti –Adi tala – 1 – 2kala

6. Notate a simple Pallavi in Adi tala.

7. List of a Concert.

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 602

MUSICAL FORM 7 (PRACTICAL 8)

1. Kritis in the ragas prescribed for Ragalakshana as under:

a. Ritigaula

b. Khamas

c. Nattakurinji

d. Todi

e. Charukesi

f. Vachaspati

g. Kapi

h. Anandabhairavi

i. Saveri

j. Mukhari

CORE COURSE – XIII

VI MUSCOR 603

MANODHARMA SANGITA (PRACTICAL 9)

1. Detailed Raga Alapana in the following ragas

a. Kamboji

b. Todi

c. Saveri

d. Charukesi

e. Kharaharapriya

f. Bhairavi

g. Purvikalyani

2. Brief Raga Alapana in the following ragas

a. Anandabhairavi

b. Kanada

c. Arabhi

d. Madhyamavati

e. Begada

3. Niraval and Kalpanasvaras in the following ragas:

a. Mayamalavagowla

b. Sankarabharanam

c. Bhairavi

d. Kalyani

e. Kamboji

f. Purvikalyani

CORE COURSE – XIV

VI MUSCOR 604

CONCERT (PRACTICAL 10)

1. Mini Concert of 30 minutes duration following the pattern as under:

a. Adi tala varna in 2 degrees of speed

b. Ganesa Stuthi or Saraswathi stuthi

c. Rendering of Main Kriti with Raga Alapana, Niraval and Kalpana svaras (time limit 10 to 15 minutes)

d. Padam, Javali or Tillana

e. Mangalam

OPEN COURSE – II

VI MUSOPC 605

I. Course – I – FOUNDATTON FOR PERFORMANCE

1. Reckoning of tala for a simple taniavartanam

2. Reckoning of One Adi tala in tisra gati (Mohanam or Abhogi)

3. Ability to render sapta svara in Adi tala with shift of various grahas – Atitam (1/2 eduppu) Anagata eduppu (3/4 eduppu)

II. Course – II – ART REVIEW

1. Review of selected chapters of Book-III and Book IV of Prof.P.Sambamoorthy (not less than 10 pages)

2. Analytical study of the kritis compsed by Trinity based on specific incidents (not less than 10 pages)

3. A review of the contributions of any one of the following musicians (not less than 10 pages)

a. Shri. Chembai Vaidyanatha Bhagavatar

b. Shri. Semmangudi Srinivasa Iyengar

c. Shri. Palakkad Mani Iyer

d. Dr. L.Muthiah Bhagavatar

e. Shri. G.N.Balasubramaniam

f. Shri. Lalgudi Jayaraman

III. Course – III – DEVOTIONAL COMPOSITIONS

1. Bhajanas – 2

2. Utsavaprabandhas – 2

3. Tarangam – 2

4. Slokam – 2

5. Ashtapadi – 2

6. Mangalam

COURSE WORK/PROJECT

VI MUSCW/P 606

2. A review of at least 3 music concerts recently heard in not less than 10 pages with photographic proof and audio CD

MAHATMA GANDHI UNIVERSITY

MODEL QUESTION PAPERS

1^ST SEMESTER

I MUSCOM 103

MUSICOLOGY – I 2^ND COMPLEMENTARY

I. Choose the correct answer from the following Weights: 1

1. The nada which can be heard only by the Yogis

(a.Ahata b. Anahata c. Sukshma)

2. The Rishabha used in Mayamalavagaula raga

(a. Sudharishabha b. Chathusruti rishabha c. Shatsruthi rishabha)

3. The number of svarasthanas used in Carnatic music

(a. 7 b. 12 c. 16)

4. A dot placed above a note indicates that it belongs to

(a.Tarasthayi b.Atitarasthayi c.Mandrasthayi)

5. Starting note of a raga or a composition

(a.Graha b.Nyasa c.Amsa)

6. The mode of reckoning the Anga – Anudrutam

(a. a beat b. a beat and a wave c. a beat and finger counts)

7. Carnataka Sangita Pitamaha

(a. Thyagaraja b. Purandaradasa c.Muthuswami Dikshitar)

8. The Mudra used by Muthuswami Dikshitar

(a.Guhadasan b.Guruguha c. Venkatesa)

II. Answer any four from the following Weights:1

1. Define Nada

2. Name the Saptatalas

3. Shadangas

4. The two varieties of Gandhara and Nishada

5. Sthayi

III. Answer any two of the following questions Weights:2

1. What is the cultural value of music

2. Group kritis of Thyagaraja

3. Explain the Angas of the Saptatalas

IV. Answer any one of the following Weights:4

1. Explain the distinctive features of Indian Music

2. Sketch the life and contributions of Purandaradasa

2^ND SEMESTER

2^nd– COMPLIMENTARY – 2

II MUSCOM 203

MUSICOLOGY (THEORY)

I. Choose the right answer Weights:1

1. Another name for Tata vadya

(a. Stringed b. Wind c. Percussion)

2. Symbol for the anga guru

(+, 8, 0)

3. An example for dvimukha vadya

(a. Ganjira b. Tabla c. Mridangam)

4. Sassabda kriya

(a. beat and finger counts b. beat and wave c. beat only)

5. Thyagaraja festival conducted at

(a. Tiruvarur b. Tanjore c. Thiruvaiyar)

6. single bar ‘│’ indicates

(a. beginning of an avarta b. ending of an avarta c. middle of an avarta)

7. The Ottu is a

(a. folk instrument b. plucked instrument c. bowed instrument)

8. The name of a plucked instrument

(a. Violin b. Veena c. Sarangi)

II. Answer any four of the following Weights:1

1. Define Wind instrument or Sushira vadyas

2. Define Notation

3. Define Folk music

4. Define monophonous instrument

5. Define Shadangas

III. Answer any two of the following Weights:2

1. Differentiate Classical music and Folk music

2. Name the different Folk musical instruments

3. Prominent composers of Tanjore

IV. Answer any one of the following Weights:4

1. Describe briefly the classification of musical instruments

2. Notate a Gitam explaining the Svarasthanas

3^RD SEMESTER

CORE COURSE 3

III MUSCOR 301

THEORY OF MUSIC (THEORY)

I. Choose the correct answer Weights: 1

1. Symbol used to denote an anya svara

(; * ,)

2. Sudha madhyama raga of pantuvarali

(Kalyani, Sankarabharanam, Mayamalavagaula)

3. A wind instrument

(Flute, Gottuvadyam, Violin)

4. A Ghana raga

(Natta, Todi, Shanmukhapriya)

5. A bhashanga raga

(Hamsadhvani, Bilahari, Kalyani)

6. Misra chapu tala will have

(a. 12 aksharakalas b. 7 aksharakalas c. 5 aksharakalas)

7. The 3^rd Mela in the 3^rd Chakra

(a. Kalyani b. Kharaharapriya c. Mayamalavagaula)

8. Janaka raga of Arabhi

(a. Kalayani b. Todi c. Sankarabharanam)

II. Write short answers on any four Weights:1

1. Define Bhashanga raga

2. Define Samvadi

3. Define Mitra ragas

4. Arohana, Avarohana and Svarasthanas of the raga - Hamsadwani

5. Name the 6 ragas in the 3^rd chakra

III. Write short essay on any two Weights:2

1. Explain the characteristic features of a Janaka Raga

2. Explain Bhutha Sankhya

3. Explain Sudha chayalaga and Sankirna ragas

IV. Write any one of the following Weights:4

1. Explain the scheme of 72 melas

2. Describe how the Sapta talas are expanded into 35 talas

3^RD SEMESTER

2^nd – COMPLIMENTARY – 3

III MUSCOM 304

MUSICOLOGY (THEORY)

I. Choose the correct answer Weights: 1

1. Musical form used both as Abhasaganam and Sabhaganam

(a. kriti b. kirtanam c. varnam)

2. The Charana of a varna is called

(a. ettugada pallavi b. anupallavi c. charanam)

3. The composer who has composed the maximum number of Gitas

(a. Purandaradasa b. Paidala gurumurthi sastri c. Syama sastri)

4. The musical form to be studied next to Gita is

(a. varnam b. svarajathi c. jathisvaram)

5. The 3^rd string of a Tambura in the plucking order is

(a. mantram b. sarani c. anusarani)

6. The compositions of Jayadeva are called

(a. tarangam b. devarnamas c. ashtapathi)

7. The place of Samadhi of Narayana Tirtha

(a. Tiruvaiyar b. Tiruppunthuruthi c. Thanjavur)

8. The father of the musical form – padam

(a. Jayadeva b. Thyagaraja c. Kshetrajna)

II. Write short answers on any four Weights:1

1. Define Gita

2. Define Varna

3. Define Jeevali

4. Name the strings of Veena

5. Define Ashtapati

III. Write short essay on any two Weights: 2

1. Varieties of Gita

2. Differentiate svarajathi and jathisvaram

3. Tuning of Tambura

IV. Answer any one question Weights: 4

1. Describe the construction and technique of playing Veena

2. Give an account of the contributions of Kshetrajna to Carnatic music

IV SEMESTER

CORE COURSE-V

IV MUSCOR 401

THEORY OF MUSIC (THEORY)

I. Choose the correct answer Weights: 1

1. Vakra Sampurna Janya raga is

a. Sahana b. Nattakurinji c. Ritigaula

2. ‘Sphuritam’ denotes:

a. single b. double c. triplets

3. Equivalent musical form of Tillana

a. dhrupad b. tarana c. tappa

4. Sarvasvaramurchanakaraka Janya raga is

a. bilahari b. saranga c. mohanam

5. Trianyasvara bhashanga raga is

a. kamboji b. begada c. anandabhairavi

6. An audava sampurna raga, which is the janya of the 15^th mela

a. bilahari b. abheri c. saveri

7. Bahunama mudra is used by

a. Swatitirunal b. Thyagaraja c. Purandaradasa

8. Musician who earned name and fame through Begada raga

a. Maha Vaidyanatha Iyer b. Pattanam Subramania Iyer c. Veena Kuppier

II. Write short notes on any four Weights: 1

1. Javali

2. Define ragamalika and name two famous ragamalikas of Swatitirunal

3. Name the Arohana, Avarohana and Swarasthanas of Khamas raga and Anandabhairavi raga

4. Name the Panchadasa gamakas with examples

5. Define Mudra and name the different varieties of mudras

III. Write any two of the following Weights: 2

1. Explain model shift of tonic with suitable examples

2. Differentiate kriti and kirtana

3. Write the Visesha prayogas and Sancharas for the ragas – Saveri and Bhairavi

IV. Answer any one of the following Weights: 4

1. Notate any Ata tala varna with symbols

2. Explain the musical form ‘Ragamalika’ with suitable examples.

IVTH SEMESTER

2^ndCOMPLIMENTARY – IV

IV MUSCOM 404

MUSICOLOGY (THEORY)

I. Choose the correct answer Weights: 1

1. An hour glass shaped drum used in Panchavadyam

a. Maddalam b. Timila c. Udukku

2. A raga commonly used in the commencement of Kathakali

a. Mohanam b. Surutti c. Kedaragaula

3. An Attakatha composed by Irayamman Thampi

a. Nalacharitam b. Kuchelavritham c. Uttaraswayamvaram

4. Name of Kamboji in Kathakali music

a. Yadukulakamboji b. Kamodari c. Kedaragaula

5. A composer who has composed both Kathakali padam and Padam

A, Swatitirunal b. Irayimman Thampi c. K.C.Kesava Pillai

6. The folk ritual Thaiyyam belongs to the area

a. North Kerala b. South Kerala c. Middle Kerala

7. An equivalent name for Adi tala in Kathakali Music

a. Adanta b. Panchari c. Chempada

8. An instrument used both in Kathakali and Panchavadyam

a. Mridangam b. Chenda c. Timila

II. Write short notes on any four Weights: 1

1. Sevanga panchavadyam

2. Sarpa pattu

3. Ila talam

4. Talas used in Kathakali music

5. Padayani

III. Write short essays on any two Weights: 2

1. Write about Thiruvathirakali with suitable examples

2. Define Panchavadyam and Name the musical instruments used in Panchavadyam

3. Teeyattu

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

1. Ragas and talas used in Kathakali Music

2. Write the contributions of Irayimman Thampi

5^TH SEMESTER

CORE COURSE –VII

V MUSCOR 501

THEORY OF MUSIC (THEORY)V

I. Choose the correct answer Weights: 1

1. A branch of Manodharma sangita paddhati

a. chittasvaram b. kalpanasvaram c. solkettusvaram

2. Principal tala instrument in a concert

a. ganjira b. ghatam c. mridangam

3. Another name for Tanam

a. chowkakalam b. madhyamakalam c. trikalam

4. Composer of the Lakshana Grandha – Chaturdandiprakasika

a. Govinda Dikshitar b. Venkitamakhi c. Subbaraya Sastri

5. Tivra kakali nishada is used in the raga

a. Kurinji b. Nattakurinji c. Megharagakurinji

6. Purvikalyani is the janya of

a. 51^st mela b. 65^th mela c. 53^rd mela

7. Gandhara is a weak note in the raga

a. Devagandhari b. Darbar c. Arabhi

8. Samagana is similar to the modern raga

a. Ramapriya b. Shanmughapriya c. Kharaharapriya

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

1. Write the Arohana, Avarohana, Svarasthanas and Sancharas of the ragas – Begada and Kanada

2. Tanam

3. Explain Grama

4. Name the varieties of Pallavi

5. Musical aspects of Sangita ratnakara

III. Write short essays on any two Weights: 2

1. Raga ragini parivara system

2. The ragalakshana of Purvikalyani and Arabhi

3. Name the 22 srutis

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

1. The different stages of raga alapana paddhati in detail

2. Explain the Lakshana grandha - Natyasastra

6^TH SEMESTER

CORE COURSE - XI

VI MUSCOR 601

THEORY OF MUSIC (THEORY)

I. Choose the correct answer Weights: 1

1. Composer of Panchalingasthala kritis

a. Panchapakesa Sastri b. Papanasam Sivan c. Muthuswamy Dikshitar

2. Resonance is

a. the reinforcement of sound b. echo of sound c. vibration of sound

3. When the tension of the string of a musical instrument is increased:

a. pitch increases b. pitch decreases c. pitch remains still

4. Itaranama mudra used by Vinakuppier is

a. chidambaresa b. venkatesa c. muthukumara

5. Akshiptika is called

a. introductory part of raga alapana b. middle part of raga alapana

c. concluding part of raga alapana

6. Raga name prefixed to Sitarama Iyer

a. Saveri b. Kalyani c. Todi

7. Kapi is a

a. dvi anyasvara bhashanga raga b. eka anyasvara bhashanga raga

c. tri anyasvara bhashanga raga

8. Chandram bhajamanasa is a

a. Navarathri kriti b. Navagraha kriti c. Navavaranakriti

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

1. Intensity

2. Resonance

3. Arohana, Avarohana and Svarasthanas of the raga Charukesi and Kapi

4. Define Navaratnamalika and give examples

5. Echo

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

1. Pancharatnakritis of Thyagaraja

2. Laws of vibration of strings

3. Acoustics

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

1. Group kritis of Muthuswami Dikshitar

2. Group kritis of Swatitirunal