B.A. Music syllabus for Vishwakarma University, Pune · SEMESTER I / Practical 1 - North Indian...

B.A. Music syllabus

for Vishwakarma University, Pune

Semester I English 1 [2] Sanskrit 1 [2] Indian Music Theory 1 [4] North Indian Music Practical (Vocal) 1 [4] South Indian Music Practical (Vocal) 1 [4] AECC: Environmental Science [2] Working for Lakshminarayana Global Music Festival [2] Special assignment decided by Lakshminarayana Global Centre of Excellence [2] Semester II English 2 [2] Sanskrit 2 [2] Indian Music Theory 2 [4] North Indian Music Practical (Vocal) 2 [4] South Indian Music Practical (Vocal) 2 [4] AECC: Communicational English [2] Semester III Sanskrit 3 [2] Foreign Language (German/French/Spanish) 1 [2] Western Music Theory 1 [4] Western Music Practical 1 [4] North Indian Music Practical (Vocal) 3 [4] SEC: North Indian Percussion (Tabla) [2] Working for Lakshminarayana Global Music Festival [2] Special assignment decided by Lakshminarayana Global Centre of Excellence [2] Semester IV Sanskrit 4 [2] Foreign Language (German/French/Spanish) 2 [2] Western Music Theory 2 [4] Western Music Practical 2 [4] South Indian Music Practical (Vocal) 3 [4] SEC: South Indian Percussion (Khanjira) [2] Semester V Global Rhythmic Concepts 1 [4] GE: Audio Engineering / Foreign Language (German/French/Spanish) 3 [4] DSE 1: Digital Marketing / Music Notation [4] DSE 2: Ensemble Playing / Music History [4] PRAC 1: LGMF [4] PRAC 2: Western Music Practical 3 [2] SEC: African Percussion (Djembe) [2] Working for Lakshminarayana Global Music Festival [2]

Special assignment decided by Lakshminarayana Global Centre of Excellence [2] Semester VI Global Rhythmic Concepts 2 [4] GE: Video Engineering / Foreign Language (German/French/Spanish) 4 [4] DSE 1: Digital Marketing / Music Notation [4] DSE 2: Ensemble Playing / Music History [4] PRAC 1: Thesis/Project [4] PRAC 2: Western Music Practical 4 [2] SEC: South American Percussion (Cajon) [2]

SEMESTER I / Indian Music Theory 1 Hindustani Music Theory 30 hours Module 1 – 4 hours Introduction to Hindustani Notation Application of Hindustani Notation: Listening and notating Module 2 – 6 hours Historical overview of Indian Music with focus on Hindustani music Module 3 – 6 hours (Tabla) Introduction to rhythmic concept; basic talas of Hindustani music like Dadra, Rupak, Keherwa, Jhaptaal, Ektaal, Ada Chautaal, and Teentaal. Module 4 – 8 hours Introduction to Thaats 1.Kalyan, 2. Bilawal, 3. Khamaj, 4. Kafi, 5.Asawari, 6. Bhairav,

7.Marwa, 8. Poorvi, 9. Todi, 10. Bhairavi

Module 5 – 6 hours Introduction to gharanas in Hindustani tradition 1. Agra Gharana 2. Banaras Gharana 3. Bhendi Bazar Gharana 4. Delhi Gharana 5. Gwalior Gharana 6. Indore Gharana 7. Jaipur Gharana 8. Kirana Gharana 9. Mewati Gharana 10. Patiala Gharana 11. Rampur Shaswan Gharana Internal Assessment Attendance, Assignments on Listening Sessions of yesteryear musicians, Aural tests, Performances, test and preparatory

Carnatic Music Theory 30 hours Module 1 – 4 hours Introduction to Carnatic Notation Application of Carnatic Notation: Listening and notating Module 2 – 8 hours Historical overview of Indian Music with focus on Carnatic music History of music divided into four periods: Ancient, Medieval, Modern, Post-independence Module 3 – 6 hours (Vocal/Mridangam) Introduction to rhythmic concept; 7 basic talas; 35 suladi talas; Module 4 – 6 hours Introduction to Melakarta ragas Module 5 – 6 hours Musical Trinity Thyagaraja, Shyama Shastri and Muthuswami Dikshitar Internal Assessment Attendance, Assignments on Listening Sessions of yesteryear musicians, Aural tests, Performances, test and preparatory References • Classical Music of India by Dr. L Subramaniam and Viji Subramaniam, Tranquebar, Bangalore, 2018 • Sambamoorthy. P; South Indian Music Book I-III, The Indian Music Publishing House, Twelfth Edition, Chennai, 2001 • Srinivasan. R; Facets of Indian Culture, Bharatiya Vidya Bhavan, Bombay, 1990 • The Spiritual Heritage of Thyagaraja, Sri Ramakrishna Math • Sambamoorthy.P – A Dictionary Of South Indian Music and Musicians, Volumes 1- 6, The Indian Music Publishing House, Chennai • Sambamoorthy P Music Dictionaries Vol I - VI- Journals, Madras Music Academy, Chennai

SEMESTER I / Practical 1 - North Indian Music (Vocal)

60 hours Module 1 – 4 hours Introduction of Swara– shuddha, komal, teevra- practicing the Swaras

Swaras are the notes used in Indian music viz. Sa, Re, Ga, ma, Pa, Dha,

Ni. (ma=komal/shuddha, MA=teevra)These notes in their natural positions in

the octave are called shuddha Swaras. Within these notes, four notes- Re, Ga, Dha, Ni can be lowered from their natural position and are called

komal Swaras when lowered. Ma can be raised from its natural position and

is called teevra Ma when raised. Sa and Pa are always in their natural

position and hence are called Achal Swaras. This section would comprise of

introduction of all these Swaras to the students, helping them identify

these Swaras using a harmonium or Tanpura and making the students practice

these Swaras. It is very essential to build this foundation for any further training in Indian music.

Module 2 – 6 hours Introduction of Alankars, Aaroha, Avroha and their practice in shuddha

swaras

Alankars are the various permutations and combinations of Swaras, which

are taught for better recognition of the Swaras and to enable the learner

to create melodic phrases which are essential to the elaboration in Indian

music genres. These Alankars have to be practiced in class as well as on

their own by the students. Aaroha and Avroha are the ascending and

descending order of notes in the scale. Some examples of Alankars in Aaroha and Avroha could be-

1.Aaroha- SaRe, ReGa, Gama, maPa, PaDha, DhaNi, NiSa’

Avroha- Sa’Ni, NiDha,DhaPa,Pama,maGa,GaRe,ReSa

2. Aaroha- SaReSa,ReGaRe,GamaGa,maPaMa,PaDhaPa,DhaNiDha,NiSa’Ni, Sa’Re’Sa’

Avroha- Sa’Re’Sa’, NiSa’Ni,DhaNiDha,PaDhaPa,MaPaMa,GaMaGa,ReGaRe,SaReSa

3. Aaroha- SaReGa,ReGama,GamaPa,maPaDha,PaDhaNi,DhaNiSa’

Avroha- Sa’NiDha,NiDhaPa,DhaPama,PamaGa,maGaRe,GaReSa

4.Aaroha- SaReGaRe,ReGamaGa,GamaPama,maPaDhaPa, PaDhaNiDha,DhaNiSa’Ni,NiSa’Re’Sa’

Avroha-

NiSa’Re’Sa’,DhaNiSa’Ni,PaDhaNiDha,maPaDhaPa,GamaPama,ReGaMaGa,SaReGaRe,’NiSaReSa

Module 3 – 12 hours Introduction of Thaat, creating and practicing Alankars in all the Thaats

Thaat is a group of notes which is a combination of shuddha and komal Swaras, which serves as a family tree to the many Ragas created out of it.

Alankars would be created across the 10 Thaats in Indian music and taught

to the students, which would help them in the understanding of shuddha-

komal Swara combinations. Students are required to practice these in class as well as on their own. The 10 Thaats in Hindustani music are

(ma= komal, MA=teevra)

1.Kalyan- Sa Re Ga MA Pa Dha Ni Sa’

2. Bilawal- Sa Re Ga ma Pa Dha Ni Sa’

3. Khamaj- Sa Re Ga ma Pa Dha ni Sa’

4. Kafi- Sa Re ga ma Pa Dha ni Sa’

5.Asawari- Sa Re ga ma Pa dha ni Sa’

6. Bhairav- Sa re Ga ma Pa dha Ni Sa’

7.Marwa- Sa re Ga MA Pa Dha Ni Sa’

8. Poorvi- Sa re Ga MA Pa dha Ni Sa’

9. Todi- Sa re ga MA Pa dha Ni Sa’

10. Bhairavi- Sa re ga ma Pa dha ni Sa’

Module 4 – 14 hours Voice application and modulation techniques in Hindustani music

• Introduction and training of vowel and consonant sounds for vocal music viz. A, E, I, O, U vowel sounds and consonant sounds of the Swaras Sa Re Ga Ma Pa Dha Ni which are called Sargam - 4 hours

• Introduction and training of traditional vocal techniques like Meend(gliding over 2 or more notes), Gamak (pushing the notes in a typical way to create melodic phrases), Taan (fast melodic passages) and helping the students practice them in shuddha and komal Swaras- 6 hours

• Creating Palta-s(large melodic structures which incorporate Alankars as well as the above mentioned techniques) in Thaats and helping the students practice them in class as well as on their own - 4 hours

Module 5 – 10 hours Introduction of Raga concept and a few Ragas in Hindustani music

This section includes introducing the Raga (melodic entity with an

ascribed structure) and its concept and significance in Hindustani

music, which is most fundamental to understanding Hindustani music.

Elements within the Raga like Vadi, Samvadi, Nyaas etc would be taught

to the students. A few primary Ragas like Bilawal could be introduced

and the process of creating melodic phrases within the Raga structure

would be explained. A few compositions in these Ragas would be taught

where all the vocal techniques learnt would be demonstrated and

incorporated within the Raga phrasing. The Aaroha and Avroha of Bilawal are illustrated below-

1. Bilawal- Bilawal Thaat

Aaroha- Sa Re Ga ma Pa Dha Ni Sa’

Avroha- Sa Ni Dha Pa ma Ga Re Sa

Module 6 – 14 hours Introduction of Tala concept in Hindustani music (Tabla)

This section includes introducing the Tala (rhythmic cycle) and its

scope and significance in Hindustani music. 8 fundamental Talas viz.

Teentala, Ektala, Jhaptala, Chautala, Jhoomra, Rupak, Dadra and Keherva

would be taught to the students and their internal structure of

syllables would be demonstrated. The concept of Laya (tempo) would be

taught and students would be trained in a few Laya exercises, which

would be essential to understanding Tala. The compositions taught in a

few Ragas would be taught in the Talas ascribed to them and Paltas, Alankars etc would be practiced in some of the above Talas.

The theka (internal syllable structure) for these Talas would be-

X= first beat, o= unaccented beat

1. Teentala (16 beats-4 divisions) Dha Dhin Dhin Dha -Dha Dhin Dhin Dha -Dha Tin Tin Ta -Ta Dhin Dhin Dha

x 2 o 3

2. Ektala (12 beats- 6 divisions) Dhin Dhin -DhaGe Tirakita -Tu Na -Kat Ta -Dhage Tirakita -Dhin Na

x o 2 o 3 4

3. Jhaptala (10 beats – 4 divisions)

Dhin Na - Dhin Dhin Na - Tin Na - Dhin Dhin Na

x 2 o 3

4. Chautala (12 beats- 6 divisions)

Dha Dha - Dhin Ta - Kita Dha - Dhin Ta - Tita Kata - Gadi Gena

x o 2 o 3 4

5. Jhoomra (14 beats – 4 divisions)

Dhin Dha Tirakita - Dhin Dhin Dhage Tirakita - Tin Ta Tirakita - Dhin Dhin

x 2 o 3

Dhage Tirakita

6. Rupak (7 beats – 3 divisions)

Tin Tin Na - Dhin Na - Dhin Na

x 2 3

7. Dadra (6 beats – 2 divisions)

Dha Dhi Na - Dha Ti Na

x o

8. Keherva (8 beats – 2 divisions)

Dha Ge Na Ti - Na Ka Dhi Na

x o

Internal Assessment Attendance, Assignments on Listening Sessions of yesteryear musicians, Aural tests, Performances, test and preparatory

SEMESTER I / Practical 2 - South Indian Music (Vocal)

60 hours Module 1 – 6 hours Basic exercises (Set 1) in Raga Shankarabharanam 1. Saralai varisai 1 S R G M | P D | N Ṡ || Ṡ N D P | M G | R S || 2 S R S R | S R | G M || S R G M | P D | N Ṡ || Ṡ N Ṡ N | Ṡ N | D P || Ṡ N D P | M G | R S || 3 S R G S | R G | S R || S R G M | P D | N Ṡ || Ṡ N D Ṡ | N D | Ṡ N || Ṡ N D P | M G | R S || 4 S R G M | S R | G M || S R G M | P D | N Ṡ || Ṡ N D P | Ṡ N | D P || Ṡ N D P | M G | R S || 5 S R G M | P , | S R || S R G M | P D | N Ṡ || Ṡ N D P | M , | Ṡ N || Ṡ N D P | M G | R S || 6 S R G M | P D | S R || S R G M | P D | N Ṡ || Ṡ N D P | M G | Ṡ N || Ṡ N D P | M G | R S || 7 S R G M | P D | N , || S R G M | P D | N Ṡ || Ṡ N D P | M G | R , || Ṡ N D P | M G | R S || 2. Janti varisai (Swaras and Akaara) 1 SS RR GG MM | PP DD | NN ṠṠ || ṠṠ NN DD PP | MM GG | RR SS || 2 SS RR GG MM | RR GG | MM PP || GG MM PP DD | MM PP | DD NN || PP DD NN ṠṠ | ṠṠ NN | DD PP || NN DD PP MM | DD PP | MM GG || PP MM GG RR | MM GG | RR SS || 3 SS RR GG RR | SS RR | GG MM || RR GG MM GG | RR GG | MM PP || GG MM PP MM | GG MM | PP DD || MM PP DD PP | MM PP | DD NN || PP DD NN DD | PP DD | NN ṠṠ || ṠṠ NN DD NN | ṠṠ NN | DD PP || NN DD PP DD | NN DD | PP MM || DD PP MM PP | DD PP | MM GG || PP MM GG MM | PP MM | GG RR || MM GG RR GG | MM GG | RR SS ||

4 SSRRG SRG | SS RR | GG MM || RRGGM RGM | RR GG | MM PP || GGMMP GMP | GG MM | PP DD || MMPPD MPD | MM PP | DD NN || PPDDN PDN | PP DD | NN ṠṠ || ṠṠNND ṠND | ṠṠ NN | DD PP || NNDDP NDP | NN DD | PP MM || DDPPM DPM | DD PP | MM GG || PPMMG PMG | PP MM | GG RR || MMGGR MGR | MM GG | RR SS || 3. Tara-sthayi varisai S R G M | P D | N S || S , , , | , , | , , || D N S R | G M | G R || S R S N | D P | M P || D N S R | G R | S R || S R S N | D P | M P || D N S R | S S | R S || S R S N | D P | M P || D N S R | S N | D P || S N D P | M G | R S || Module 2 – 6 hours Basic exercises (Set 2) in Raga Shankarabharanam 1. Alankaras in seven basic talas 1 Chaturashra Jati Dhruva Tala 4 + 2 + 4 + 4 = 14 beats SRGM | GR | SRGR | SRGM || RGMP | MG | RGMG | RGMP || GMPD | PM | GMPM | GMPD || MPDN | DP | MPDP | MPDN || PDNṠ | ND | PDND | PDNṠ || ṠNDP | DN | ṠNDN | ṠNDP || NDPM | PD | NDPD | NDPM || DPMG | MP | DPMP | DPMG || PMGR | GM | PMGM | PMGR || MGRS | RG | MGRG | MGRS || 2 Chaturashra Jati Matya Tala 4 + 2 + 4 = 10 beats SRGR | SR | SRGM || RGMG | RG | RGMP || GMPM | GM | GMPD || MPDP | MP | MPDN || PDND | PD | PDNṠ || ṠNDN | ṠN | ṠNDP || NDPD | ND | NDPM || DPMP | DP | DPMG || PMGM | PM | PMGR || MGRG | MG | MGRS || 3 Chaturashra Jati Rupaka Tala 2 + 4 = 6 beats

SR | SRGM || RG | RGMP || GM | GMPD || MP | MPDN || PD | PDNṠ || ṠN | ṠNDP || ND | NDPM || DP | DPMG || PM | PMGR || MG | MGRS || 4 Mishra Jati Jhampe Tala 7 + 1 + 2 = 10 beats SRGSRSR | G | M, || RGMRGRG | M | P, || GMPGMGM | P | D, || MPDMPMP | D | N, || PDNPDPD | N | Ṡ, || ṠNDṠNṠN | D | P, || NDPNDND | P | M, || DPMDPDP | M | G, || PMGPMPM | G | R, || MGRMGMG | R | S, || 5 Tishra Jati Triputa Tala 3 + 2 + 2 = 7 beats SRG | SR | GM || RGM | RG | MP || GMP | GM | PD || MPD | MP | DN || PDN | PD | NṠ || ṠND | ṠN | DP || NDP | ND | PM || DPM | DP | MG || PMG | PM | GR || MGR | MG | RS || 6 Shyama Shastry (1762-1827) Kanda Jati Atta Tala 5 + 5 + 2 + 2 = 14 beats SR,G, | S,RG, | M, | M, || RG,M, | R,GM, | P, | P, || GM,P, | G,MP, | D, | D, || MP,D, | M,PD, | N, | N, || PD,N, | P,DN, | Ṡ, | Ṡ, || ṠN,D, | Ṡ,ND, | P, | P, ||

ND,P, | N,DP, | M, | M, || DP,M, | D,PM, | G, | G, || PM,G, | P,MG, | R, | R, || MG,R, | M,GR, | S, | S, || 7 Chaturashra Jati Eka Tala 4 beats SRGM || RGMP || GMPD || MPDN || PDNṠ || ṠNDP || NDPM || DPMG || PMGR || MGRS || Module 3 – 14 hours Voice Culture exercises Technical exercises in Raga Shankarabharanam (2 speeds) 1 S,RSS, | R,GRR, | G,MGG, | M,PMM, | P,DPP, | D,NDD, | N,ṠNN, | Ṡ,ṘṠṠ, | Ṡ,ṘṠṠ, | N,ṠNN, | D,NDD, | P,DPP, | M,PMM, | G,MGG, | R,GRR, | S,RSS, | 2 S,RSSṆ | R,GRRS | G,MGGR | M,PMMG | P,DPPM | D,NDDP | N,ṠNND | Ṡ,ṘṠṠN | Ṡ,ṘṠṠN | N,ṠNND | D,NDDP | P,DPPM | M,PMMG | G,MGGR | R,GRRS | S,RSSṆ | 3 S,RSSṆṆ, | R,GRRSS, | G,MGGRR, | M,PMMGG, | P,DPPMM, | D,NDDPP, | N,ṠNNDD, | Ṡ,ṘṠṠNN, | Ṡ,ṘṠṠNN, | N,ṠNNDD, | D,NDDPP, | P,DPPMM, | M,PMMGG, | G,MGGRR, | R,GRRSS, | S,RSSṆṆ, | 4 (Tisra Nadai) SRS | RGR | GMG | MPM | PDP | DND | NṠN | ṠṘṠ | ṠṘṠ | NṠN | DND | PDP | MPM | GMG | RGR | SRS | 5 (Tisra Nadai) SGR | RMG | GPM | MDP | PND | DṠN | NṘṠ | ṠGṘ | ṠGṘ | NṘṠ | DṠN | PND | MDP | GPM | RMG | SGR | ṆRS | 6. (Kanda Nadai) (2+3) SR GRS | RG MGR | GM PMG | MP DPM | PD NDP | DN ṠND | NṠ ṘṠN | ṠṘ GṘṠ | ṠṘ GṘṠ | NṠ ṘṠN | DN ṠND | PD NDP | MP DPM | GM PMG | RG MGR | SR GRS | ṆS RSṆ |

1. Shakti Sahita Ganapatim - Shankarabharana - Adi G , G G M G R S R S , , | Sha kti Sa hi ta Ga na pa tim Ṇ , S R , Ṇ | S , R G , S || Shan ka ra di Se vi tam Vi G , G G M G R S R S R G | ra kta Sa ka la Mu ni va ra Su ra M , G R G S | P S Ṇ S , , || ra ja Vi nu ta Gu ru gu ham R , , Ṇ , P S , G R , , | Bha kta di Po sha kam R G R Ṇ , P | S , G R , , || Bha va su tam Vi na ya kam P D P M P M G M G R , , | Bha kti mu kti pra dam Bhu shi tan gam S R S Ṇ S Ṇ | Ḍ Ṇ Ḍ S , , || Ra kta Pa dam bu jam Bha va ya mi 2. Shyamale Meenakshi – Shankarabharana - Adi S , , R G , M , P , , , P , , , | Shya ma le mee naa kshi D , , N Ṡ , N D | P , M , G , , , || Sun da re shvara sa kshi M , D , M , R , G , P , G , S , | Shan ka ri Gu ru gu ha Sa R , M , R , Ṇ , | S , , , S , , , || mu dbha ve Shi ve va P , , , P , P , M , , , M , M , | Paa ma ra mo cha ni G , , , G , G , | R , , , R , R , || Pan ka ja lo cha ni P , , , P , D P M , , , M , P M | Pa dmaa sa na Vaa ni Hari

G , , , G , M G | R , , , R , G R || La kshmi Vinu te Sham bha vi S , , R G , M , P , , , P , , , Shya ma le mee naa kshi Module 6 – 14 hours Gitams 1. Sri gananatha - Malahari - Rupaka - Purandaradasa M P | D Ṡ Ṡ Ṙ || Ṙ Ṡ | D P M P || Sri Ga na na tha Sin dhu ra var na R M | P D M P || D P | M G R S || Ka ru na sa ga ra Ka ri va da na S , | R M G R || S R | G R S , || Lam bo da ra La ku mi ka ra R M | P D M P || D P | M G R S || Am ba Su ta A ma ra Vi nu ta S , | R M G R || S R | G R S , || Lam bo da ra La ku mi ka ra M P | D Ṡ Ṡ Ṙ || Ṙ Ṡ | D P M P || Si ddha cha ra na Ga na Se vi ta R M | P D M P || D P | M G R S || Si ddhi Vi na ya ka Te Na mo Na mo S , | R M G R || S R | G R S , || Lam bo da ra La ku mi ka ra R M | P D M P || D P | M G R S || Am ba Su ta A ma ra Vi nu ta S , | R M G R || S R | G R S , || Lam bo da ra La ku mi ka ra M P | D Ṡ Ṡ Ṙ || Ṙ Ṡ | D P M P || Sa ka la Vi dya A di Pu ji ta R M | P D M P || D P | M G R S || Sa r vo tta ma Te Na mo Na mo S , | R M G R || S R | G R S , || Lam bo da ra La ku mi ka ra

R M | P D M P || D P | M G R S || Am ba Su ta A ma ra Vi nu ta S , | R M G R || S R | G R S , || Lam bo da ra La ku mi ka ra 2. Vara vina - Mohana - Rupaka - Appayya Dikshitar G G | P , P , || D P | Ṡ , Ṡ , || Va ra Vi na Mr du Pa ni Ṙ Ṡ | D D P , || D P | G G R , || Va na ru ha Lo cha na Ra ni G P | D Ṡ D , || D P | G G R , || Su ru chi ra Bam ba ra Ve ni G G | D P G , || P G | G R S , || Su ra nu ta Kal ya ni G G | G G R G || P G | P , P , || Ni ru pa ma Shu bha gu na lo la G G | D P D , || D P | Ṡ , Ṡ , || Ni ra ta Ja ya pra da Shi la D G | Ṙ Ṙ Ṡ Ṡ || D Ṡ | D D D P || Va ra da pri ya Ran ga na ya ki G P | D Ṡ D P || D P | G G R S || Van chi ta pha la da ya ki S R | G , G , || G R | P G R , || Sa ra si ja sa na Ja na ni S R | S G R S || Ja ya ja ya ja ya Swarajati 1. Ra ra venu – Bilahari – Adi Pallavi S , , R G , P , D , Ṡ , N , D , | Ra Ra Ve nu Go pa ba la | P , D P M G R S | R S Ṇ Ḍ S , , , || Ra ji ta Sad gu na | Ja ya Shi la ||

Anupallavi S , , R G , P , M , , G P , D , | Sa ra sa ksha Ne ra me mi | Ṙ , , Ṡ N , , D | P , , M G , , R || Ma ru ba ri | ko rva le ra || Charanams 1. G P D Ṙ Ṡ Ṡ Ṡ , G G G , Ṙ Ṙ Ṙ , | Na na vi lu tu ni Ga rva Madan chi Sada P P P , M G G , R S S , R S Ṇ Ḍ || Nanu Ni yadapai Daya to Podukura 2. S , , R G , G , G , , , , , R G | Nan da go pa la Ne | P , , P P , P , | P , , , , , D P || nen du po ja | la ni || Ṡ , , Ṡ Ṡ , Ṡ , G Ṙ Ṡ N N D P , | vin du ra ra sa da ma la ma di to | P D P M G G R , | G P M G R S R G || mudamularagana | keduruga gatiyara || 3. P P P , R R R , G P M G G , , , | Paluma runuga ravamuna nin | G P M G M G R S R G R S S , , , || Dalachina palukavu naluguku ra || R S Ṇ Ḍ S , , , M G R G P , , , | Ka ri va ra da ma ri ma ri na | D P D Ṙ Ṡ , , , Ṙ Ṡ N D P M G R || Yadharamu kro larakani karamuga || 4. P , , , M G R G D , , , M G R G | Ra nagadara ra murahara| P , , , M G R G P , P , P , , , || Ra bha va ha ra ra ve ra || G , , , Ṙ Ṡ N D Ṙ , , , Ṙ Ṡ N D | I maguvanu I lalalanu | Ṡ , , , Ṙ Ṡ N D Ṡ , Ṡ , Ṡ , , , ||

I so ga si ni chai ko ra || G , Ṙ Ṡ Ṙ , Ṙ , Ṙ , , , Ṙ , Ṡ N | Ko ri ka lim pon da den da mu | D , D , D , , , P , M G G , G , || Ni yan da je re nu ni chen || G , , , S R G D P , , , Ṙ Ṡ Ṙ G | Da maruvaku ra karamula| Ṡ , , , G Ṙ Ṡ N D P M G R S R G || Che mari mari ninusharananedara || Internal Assessment Attendance, Assignments on Listening Sessions of yesteryear musicians, Aural tests, Performances, test and preparatory

Working for the Lakshminarayana Global Music Festival

Organising and coordinating on a grass root level. This will give

introductory experience in sound management, light management, stage

management and artist management (which includes coordinating their

travel, helping them with transportion and to assist the artist as

directed by the Lakshminarayana Global Music Festival)

Special assignment decided by Lakshminarayana Global Centre of

Excellence

This assignment will require little research and study to explore

things related to music

SEMESTER II / Indian Music Theory 2 Carnatic Music Theory - 2 30 hours Module 1 – 6 hours 72 melakartas Module 2 – 6 hours Derived scales: varjya, vakra, upanga, bhashanga; Type 1, Type 2, Type 3 Sampurna, audava, shadava, and combinations Module 3 – 6 hours Expansion of 35 basic talas to 175 tala system Module 4 – 2 hours Chapu talas Module 5 – 4 hours Nadai concept Module 6 – 6 hours Basic Konnakol Internal Assessment Attendance, Assignments, Unit tests, Preparatory Hindustani Music Theory - 2 30 hours Module 1 – 10 hours Thaats Module 2 – 10 hours Melodic concepts Module 3 – 10 hours Rhythmic concepts Internal Assessment Attendance, Assignments, Unit tests, Preparatory

3 (Kanda Nadai) (2+3) SR GRS | RG PGR | GP DPG | PD ṠDP | DṠ ṘṠD | DṠ ṘṠD | PD ṠDP | GP DPG | RG PGR | SR GRS | 4 (Mishra Nadai) (2+2+3 or 3+2+2) S, R, GRS | RGP G, R, | GP GP DPG | P, D, ṠDP | DṠṘ Ṡ, D, | DṠ DṠ ṘṠD | P, D, ṠDP | GPD P, G, | RG RG PGR | S, R, GRS | Module 3 – 12 hours Bhajana seyave – Kalyani – Rupaka – Tyagaraja Pallavi G, M, P, D,,, N, || Ṡ,,,,, ND PM GR || bha ja na se ya ve ma na sa G, M, P, D,,, GṘ || Ṡ,,,,, ND PM GR || bha ja na se ya ve ma na sa Ṇ, S, R, GMP, P, || PMG, GMPD NDPM || pa ra ma bhak ti to G, M, P, D,,, GṘ || Ṡ,,,,, ND PM GR || Bha ja na se ya ve ma na sa Ṇ, S, R, G,,M G,,D P, || PMG, GMPD NDPM || pa ra ma bhak ti to G, M, P, D,,, GṘ || ṘṠṠ,,, ,, ,, ,, || Bha ja na se ya ve Anupallavi ṠN D, P,,M GMPD || N, D, P,,, ,,,, || A ja ru dra du la ku ṠN D, P,,M GMPD || N, D, P, PMG, R, || A ja ru dra du la ku bhu su RRGG MM DD NN ṘṘ || GGṘṘ ṠN NDPM GR || ra du la ka ru dai na ra ma Charanam P, M G M P M, D, P M || N, D N, P P, M G R, || na da pra na va sa pta sva ra ve da va rna sha stra pu ra R, S G R, G, G P M R || GD M G R S R,,,,,|| na di ca tu sha sti ka la la bhe da mu ka li ge

S,,, ,,,, ,,,, || ,,,, ,,,, ,,,, || - MP M G R S R, S G, R || M, G D, P Ṡ N N D P M || mo da ka ra sha ri ra me tti mu kti ma rga mu nu de li ya ni ṠND, P, PMG, M, || P,,, ,,,, DNDṘ || va da ta rka me la ṠND, P, PMG, M, || ṠND, P, PMG, R, || va da ta rka me la shai ma RRGG MM DDNN ṘṘ || GGṘṘ ṠN ND PM GR || dha di tya ga ra ja nu tu ni Module 4 – 12 hours

Module 5 – 12 hours Maha Ganapathim Composer: Muttuswami Dikshitar Aro: S R3 G3 M1 P N3 S Ava: S N3 P M1 R3 S Pallavi

1. M , P , , , M , G , M , R , , , || Ma ha Ga na pa thim S , n , S , , , S , R , , , G , || Ma na sa Sma ra mi

2. M , P , , , M , G , M , R , , , || Ma ha Ga na pa thim R R S n S , , , N N P M R S R G || Ma na sa Sma ra mi M , P , , , M , G , M , R , , , || Ma ha Ga na pa thim s S , N P , M N P M R S n S R G ||(Maha) Vashista va maDe va di Van dita Charanam

1. R M , P N P S , , , N , S , S , || Ma ha de va su tham , , R R S , R R S , N , S , , , || Gu ru gu ha nu tham

2. R M , P N P S , , , N , S , S , || Ma ha de va su tham , , R R S , R R S N S R R , , , || Gu ru gu ha nu tham

1. G , , , M , R , , , S , , , S N || Ma ra ko ti Pra P , , , M , , , M G PMM, R , , , || ka sham Shan tam

2. G , , , PMM,R , , , S , , , S N || Ma ra ko ti Pra P , , , M , , , N P P M R , , , || ka sham Shan tam (Madhyama Kala) S P , M , P M R S R , G , M P , || Maha Kav yaNa taka di Priyam

N P M P S N P N R R S N , P M , || Moo shikaVa hana Mo daka Priyam R M P N S R M R S N P M R , , , || Ma ha Ga na pa thim S , n , S , , , S , R , , , G , || (Maha) Ma na sa Sma ra mi Internal Assessment Assignments on Listening Sessions of yesteryear musicians, Aural, Performances, test and preparatory

SEMESTER II / North Indian Music Practical (Vocal) 2

60 hours Module 1 – 6 hours Simple composition in Raga Bilawal Module 2 – 10 hours Introduction of Alankars , Aaroha, Avroha and their practice in Yaman and Bhairav thaats

Alankars are the various permutations and combinations of Swaras, which

are taught for better recognition of the Swaras and to enable the learner

to create melodic phrases which are essential to the elaboration in Indian

music genres. These Alankars have to be practiced in class as well as on

their own by the students. Aaroha and Avroha are the ascending and

descending order of notes in the scale. Some examples of Alankars in Aaroha and Avroha could be-

1.Aaroha- SaRe, ReGa, Gama, maPa, PaDha, DhaNi, NiSa’

Avroha- Sa’Ni, NiDha,DhaPa,Pama,maGa,GaRe,ReSa

2. Aaroha- SaReSa,ReGaRe,GamaGa,maPaMa,PaDhaPa,DhaNiDha,NiSa’Ni, Sa’Re’Sa’

Avroha- Sa’Re’Sa’, NiSa’Ni,DhaNiDha,PaDhaPa,MaPaMa,GaMaGa,ReGaRe,SaReSa

3. Aaroha- SaReGa,ReGama,GamaPa,maPaDha,PaDhaNi,DhaNiSa’

Avroha- Sa’NiDha,NiDhaPa,DhaPama,PamaGa,maGaRe,GaReSa

4.Aaroha- SaReGaRe,ReGamaGa,GamaPama,maPaDhaPa, PaDhaNiDha,DhaNiSa’Ni,NiSa’Re’Sa’

Avroha-

NiSa’Re’Sa’,DhaNiSa’Ni,PaDhaNiDha,maPaDhaPa,GamaPama,ReGaMaGa,SaReGaRe,’NiSaReSa

5. Tisra Nadai

Aaroha – SaGaRe, RemaGa,GaPama,maDhaPa,PaNiDha,DhaSa’Ni,NiRe’Sa’

Avroha – NiRe’Sa’,DhaSa’Ni,PaNiDha,maDhaPa,GaPama,RemaGa,SaGaRe, ‘NiReSa

6. Kanda Nadai

Aaroha- SaReGaReSa,ReGamaGaRe,GamaPamaGa,maPaDhaPama,PaDhaNiDhaPa,

DhaNiSa’NiDha,NiSa’Re’Sa’Ni, Sa’Re’Ga’Re’Sa’

Avroha- Sa’Re’Ga’Re’Sa’, NiSa’Re’Sa’Ni,

DhaNiSa’NiDha,PaDhaNiDhaPa,maPaDhaPama,GamaPamaGa,ReGamaGaRe,SaReGaReSa

7. Mishra Nadai

Aaroha- SaReSaReGaReSa, ReGaReGamaGaRe, GamaGamaPamaGa, maPamaPaDhaPama,

PaDhaPaDhaNiDhaPa, DhaNiDhaNi Sa’NiDha, NiSa’NiSa’Re’Sa’Ni, Sa’Re’Sa’Re’Ga’Re’Sa’

Avroha- Sa’Re’Sa’Re’Ga’Re’Sa’, NiSa’NiSa’Re’Sa’Ni,

DhaNiDhaNiSa’NiDha,PaDhaPaDhaNiDhaPa,maPamaPaDhaPama,

GamaGamaPamaGa,ReGaReGamaGaRe,SaReSaReGaReSa

8. Kanda Nadai

Aaroha-SaReGaSaReGaRe,ReGamaReGamaGa,GamaPaGamaPama,maPaDhamaPaDhaPa,

PaDhaNiPaDhaNiDha,DhaNiSa’DhaNiSa’Ni,NiSa’Re’NiSa’Re’Sa’

Avroha- NiSa’Re’NiSa’Re’Sa’,DhaNiSa’DhaNiSa’Ni, PaDhaNiPaDhaNiDha, maPaDhamaPaDhaPa,

GamaPaGamaPama, ReGamaReGamaGa, SaReGaSaReGaRe, ‘NiSaRe’NiSaReSa

9. Sankirna Nadai

Aaroha- SaReGaReSaReGaReSa, ReGamaGaReGamaGaRe,GamaPamaGamaPamaGa,

maPaDhaPamaPaDhaPama, PaDhaNiDhaPaDhaNiDhaPa, DhaNiSa’NiDhaNiSa’NiDha,

NiSa’Re’Sa’NiSa’Re’Sa’Ni, Sa’Re’Ga’Re’Sa’Re’Ga’Re’Sa’

Avroha- Sa’Re’Ga’Re’Sa’Re’Ga’Re’Sa’, NiSa’Re’Sa’NiSa’Re’Sa’Ni, DhaNiSa’NiDhaNiSa’NiDha,

PaDhaNiDhaPaDhaNiDhaPa, maPaDhaPamaPaDhaPama, GamaPamaGamaPamaGa,

ReGamaGaReGamaGaRe, SaReGaReSaReGaReSa

10. Sankirna Nadai

Aaroha- SaReGaReSaSaReGaRe, ReGamaGaReReGamaGa,

GamaPamaGaGamaPama,maPaDhaPamamaPaDhaPa,PaDhaNiDhaPaPaDhaNiDha,DhaNiSa’NiDhaDh

aNiSa’Ni,NiSa’Re’Sa’NiNiSa’Re’Sa’

Avroha- NiSa’Re’Sa’NiNiSa’Re’Sa’, Dh aNiSa’NiDhaDhaNiSa’Ni, PaDhaNiDhaPaPaDhaNiDha,

maPaDhaPamamaPaDhaPa, GamaPamaGaGamaPama, ReGamaGaReReGamaGa,

SaReGaReSaSaReGaRe, ‘NiSaReSa’Ni’NiSaReSa

11. Tisra Nadai

Aaroha- SaGaDhaPamaGa, RemaNiDhaPama,GaPaSa’NiDhaPa, maDhaRe’Sa’NiDha, PaNiGa’Re’Sa’Ni,

DhaSa’ma’Ga’Re’Sa’

Avroha- DhaSa’ma’Ga’Re’Sa’, PaNiGa’Re’Sa’Ni, maDhaRe’Sa’NiDha, GaPaSa’NiDhaPa,

RemaNiDhaPama, SaGaDhaPamaGa

12. Chaturashra Nadai

Aaroha- SaSa’NiDhaPamaGaRe, ReRe’Sa’NiDhaPamaGa,GaGa’Re’Sa’NiDhaPama,

mama’Ga’Re’Sa’NiDhaPa, PaPa’ma’Ga’Re’Sa’NiDhaPamaGaReSa

Module 3 – 10 hours Introduction of Thaat, creating and practicing Alankars in all the Thaats in two speeds

Thaat is a group of notes which is a combination of shuddha and komal

Swaras, which serves as a family tree to the many Ragas created out of it.

Alankars would be created across the 10 Thaats in Indian music and taught to the students, which would help them in the understanding of shuddha-

komal Swara combinations. Students are required to practice these in class

as well as on their own. The 10 Thaats in Hindustani music are

(ma= komal, MA=teevra)

1.Kalyan- Sa Re Ga MA Pa Dha Ni Sa’

2. Bilawal- Sa Re Ga ma Pa Dha Ni Sa’

3. Khamaj- Sa Re Ga ma Pa Dha ni Sa’

4. Kafi- Sa Re ga ma Pa Dha ni Sa’

5.Asawari- Sa Re ga ma Pa dha ni Sa’

6. Bhairav- Sa re Ga ma Pa dha Ni Sa’

7.Marwa- Sa re Ga MA Pa Dha Ni Sa’

8. Poorvi- Sa re Ga MA Pa dha Ni Sa’

9. Todi- Sa re ga MA Pa dha Ni Sa’

10. Bhairavi- Sa re ga ma Pa dha ni Sa’

Module 4 – 16 hours Composition in Raga Yaman Module 5 – 18 hours Composition in Raga Bhairav

Internal Assessment Attendance, Assignments on Listening Sessions of yesteryear musicians, Aural tests, Performances, test and preparatory

B.A. Music syllabus for Vishwakarma University, Pune · SEMESTER I / Practical 1 - North Indian...

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