B. Mus: Bharatnatyam

Part I

Practical

I. Items to be taught
a) Allaripu Misram, b) One Jatiswaram, c) One Shabdam, d) One Tillana
II. Ability to recite Allaripu and Korvais from Jatiswaram and Tillana with clapping.
III. Practice of basic technique of Tattukazi in all the three speeds of all adavus.
IV. Subsidiary Karnatak Vocal Music / Mridangam/ Violin/ Kathak.

B. Mus Part I

Theory
Paper I
I. Brief study of Origin, history and development:
a) Bharatnatyam, b) Kathak, c) Gharanas:
i) Lucknow, ii) Jaipur, iii) Pandanallur, iv) Tanjore

II. Compositional pattern and brief study of the following:
a) Compositional pattern of Allaripu, Jatiswaram and Shabdam, b) Brief study of main accompanying instruments:
Mridangam, Karnatic Veena, Violin and Flute
III. Contribution of important personalities and their life sketches:
a) V. Ramaiya Pillai, b) Muthukumar Pillai, c) Uday Shankar
IV. Write in notation:
a) Allaripu, b) Jatiswaram, c) Tillana
V. Short notes:
a) Adavu, b) Teermanam, c) Korvai, d) Nattuvangam
B. Mus Part I
Common for BharatNatyam and Kathak

Theory
Paper II
I. Study of Natyashastra:
a) Origin of Natya (Chapter I), b) Prekshagriha (Chapter II), c) Poorva Ranga (Chapter III)
II. History of Indian Dance:
a) Stone age, b) Indus Valley Civilization, c) Vedic period
III. Dances of Shiva, Vishnu, Krishna:
a) Stories of different Tandavas, b) Concept of Nataraj, c) Vishnu as Mohini, d) Krishna the dancer with special reference to Kaliya mardan, e) Concept of Natavar
IV. Shlokas from Abhinaya Darpan
a) Asamyuta hastas and their usages from Patak to Alapadma, b) Natya Krama
V. a) Arrangement of stage for a dance performance and improvisation of stage properties for dance dramas, b) Short notes:
i) Sangeet, ii) Nritta, iii) Nritya, iv) Natya, v) Anga, vi) Pratyanga, vii) Upanga

B. Mus Part II

Bharat Natyam Practical
I. New items to be taught apart from practicing those of previous year
a) Pushpanjali / Kautuvam, b) One Padam / Javali, c) One Keertanam /Ashtapadi, d) One Tillana
II. Ability to recite all the items learnt in previous year as well try to sing all the lines of Abhinaya items and Tillana of IInd year with clapping.
III. Practice of using Tattukazi with concert items viz. Allaripu, Jatiswaram and Tillana with other candidates.
IV. Subsidiary Karnatak Vocal Music / Mridangam / Violin/ Kathak.
V. All items learnt in previous year.

B. Mus Part II

Theory
Paper I
I. Bhakti movement and its impact on Bharatnatyam with reference to Muttu Swami Dikshitar, Shyama Shashtri and Tyagaraja – The Trinity.
II. a) Contribution in the revival of Bharatnatyam:
i) Rukmini Devi Arundale, ii) E. Krishna Iyer, iii) Tanjore Quartette
b) Compositional pattern: Javali, Keertanam, Padam
III. Contents of: a) Abhinaya Darpan, b) Natyashastra
IV. Brief knowledge of Tala South Indian and North Indian
a) Teental, Jhapatal, Roopak, Ektal, b) Adi, Jhampa, Chapu, Rupakam,
V. Short notes:
a) Mudra, b) Natyashatra, c) Sabha Lakshan, d) Sabha Rachana

B. Mus Part II
Common for BharatNatyam and Kathak

Theory
Paper II

I. Study of Nava Rasa:
a) Rasas according to VI chapter of Natya Shastra, b) Bhava, Vibhava, Anubhava and Sanchari Bhava
II. Following shlokas from Abhinaya Darpan
a) Usages of Asamyuta hastas from Chatura to Trishul, b) Usages of Samyuta hastas from Anjali to Bherunda
III. Reference to dance in literature:
a) Ramayana, b) Mahabharat, c) Dasham Skandha of Shrimat Bhagvat Purana
IV. a) Folk dances of North and Eastern India: Bhangara, Giddha, Bihu, Santhal, Dhamal (Hariyana), Ghoomar (Rajasthan) Ras, Karma, b) According to Abhinaya Darpan: Patra Lakshana, Kinkini Lakshana, Good and bad qualities of Patra
V. a) Contribution of the following in the field of Nritya Natika: Rabindra Nath Tagore, Rukmini Devi Arundale, Madam Menaka, Uday Shankar, b)Classical dance of India: Mohiniattam and Kuchipudi

B. Mus Part III
Bharat Natyam Practical

I. New items to be taught apart from practicing those of previous year
a) Allaripu Khanda Jati, b) Varnam / Swarjati, c) One Padam / Javali, d) Two Slokas
II. Ability to recite Allaripu and Teermanams from Varnam / Swarjati and singing of Padam / Javali with clapping.
III. Basic technique of playing talam in all three speeds of all the Adavus.
IV. Subsidiary Karnatak Vocal Music / Mridangam/ Violin/ Kathak.
V. All items learnt in previous year.

B. Mus Part III
Theory
Paper I

I. Transformation and continuity of traditions:
a) Bharatnatyam from temple (Tanjore, Brihadeeshwara) to court in Pallav, Pandya and Chola period, b) After independence Institutions, patronage, performing techniques. Concert platform in the 20th century AD.
II. a) Write in notation:
i) Khanda Allaripu, ii) Teermanams of Varnam / Swarajati
b) Compositional patterns: Varnam / Swarajati
III. Life sketches of:
a) S. Kamala, b) U. S. Krishna Rao and Chandrabhaga Devi, c) Yamini Krishnamurthi
IV. Traditional Folklore Theatre:
a) Yakshagana, b) Bhavai, c) Tamasha, d) Nautanki
V. a) Tala Dasha Prana in detail, b) Short notes: Desi, Margi, Lasya

B. Mus Part III

Common for Bharat Natyam and Kathak
Theory
Paper II
I. Brief study of Abhinaya:
a) Angika b) Vachika c) Aharya d) Satwika
II. Study of Ballet : Origin, history and development
a) Italian Ballet, b) Ballet of France, c) Russian Ballet
III. Detailed study of: a) Nayak Bheda b) Nayika Bheda
IV. a) Study of Folk dances of western and southern India:
Garba (Dandiya, Manjeera, Garbi), Teraha Tali, Ghoomar, Kalbeliya Nritya, Kummi, Kolattm.
b) Study of Shiro, Drishti, Greeva Bheda and their usages from Abhinaya Darpan
V. a) Classical dances of India:
i) Odissi, ii) Kathakali, iii) Manipuri
b) Short notes: i) Pushpanjali, ii) Rangadhidevata Stuti