BA (HONS) KARNATAK MUSIC

BA (HONS) KARNATAK MUSIC

T h eo ry of Indian Music (General)
1 . G e n e ra l e x p la n a tio n o f th e fo llow in g terms :
N a d a, S h ru ti, Sw a ra, V ad i, S am v ad i, V iv ad i, A nuvadi,
S th a y a , G am a k a , A lan k a ra , K a k u .
2. R a g a lak sh an a in g en eral ; R a g a c la s s ific a tio n in d etail.
3. T h e sch eme of 7 2 Melakartas.
4. T h e ta la sys tem- th e sch em e o f 3 5 ta la s ; C h am p u ta la
and its varieties; Shad ang as and Shodasangas; the Tala
D a sap ran a s.
5 . A c o u stics, ph ysical b asis of sou nd , v ib ra tion, p itch,
n te n sity, timb re just in tonation, eq ui-tem p e ram e n t,
reso n an ce , h armon ics, symp a the tic vibratio n, bea ts, fo rced a n d
fre e v ibratio n , p roductio n an d transmissio n of sound, ear and
la ryn x , refle ction of sounds echo, the laws of transv erse
v ib ration, accustics in concert halls gramophones an d rad io .
6. R udiments of staff notation, me lody, polyphony, h a rmony.
7. L i f e a n d c o n tr ib u t io n o f th e K a rn a ta k M u s i c T r in i ty .
8. T h ree leading instruments of the Classical 'Music.

P ractica l. & Compositions
S im p le V a rn am a s (in tw o d eg rees o f sp e ed ): 6 K ritis o f
T y a g a r a j a , 3 K r i t is o f M u tk u sw am i D ik s h i ta r ( in c lu d in g
one N avagraha K riti), 2 Kritis o f Sh yam a Sas tri, Subbaraya
S a s tri a n d 2 K ritis o f o th e r com p o se rs like Sw a ti T iru n a l,
P a tn am Subramania Iye r, R am n a d S rin iva sa A iyan g a r e tc .
o n e Ta rang am .

M u sic Histo ry
1 . H is to ric a l s tu d y o f th e fo llow in g mu sic a l te rm s :
G ram a , M u rcch ana, Jati, Tan a , G a n d h a rv a , M a rg a ,
D e s i, A n ib a d d h a , N ib ad d ha, P ra b a nd h a, A lap a , A la p ti.
2 . R a g a Classification s throug h ages.
3 . P a tronag e o f mu s ic .
4 . B iographies of the follow in g musicians- a n d composers:
G opal N aik , A nnamach arya, Pu randaradasa, K sh e tran ja ,
B a d ra c h a la R am ad as, A ru n ach ala K av iraya r, P a ch im
iriy am Adiyappa, V eena K uppaiyar, P a id o la G urum
o o rth y Sa stri, C h en g alavaraya Sa stri, K a v ik u n ja ra
B h a r a t i, G o p a lak r ish na B h a ra t i, Sw a ti T i ru n a l ,
P a ram e sw a ra Bhagavathar, K unnakkudi K rish n a Aiyar,
G h a n am Krishna A iya r, P a tn am Subramaniaya A iya r,
M a h a Vaid yan atha A iyar, Ten jo re Krish na Bh agayatar,
V eena Dhanammal, M yso re Vasudesachar, Ka ra ik kudi
S am b a s iv a A iya r a n d also V ishn u D ig amb ar P a lu sk a r,
an d V.N. B ha tkh an de .

Theory o f Indian Music- Applied
1 R ag a lakshnana-- d etailed study with sancharas in notation o f
ra g a s m en tioned b elow :
2 S a n k a ra b h a ra n am a, K a lyan i, K am bhoji, T o d i, B h a irav i,
K h a ra h a ra p riy a, M ukhari, S av e ri, A n anda bhairavi,
K e d a ra g a u la, D h a n y a s i, B ila h a ri M o h an am , P o o rv i
K a lyaani, Pan tuvarali, Sh anmukhapriya, Sim h endram
a d h y am am , K ceravani, N a ta, G au la, A rab ih i, Srirag a ,
V a ra li, S riran jan i, V a san th a, A bhogi, M adhyamavati,
H am s a d h a v a n i, N a ta k u ra n ji, K an ad a, S o ur a sh tram,
D e v a g a n d h a r i, N i lam b a r i, S u ra t i, A th a n a, S a h a n a ,
A sa v e ri, Y adukula K ambhoji, N ad an amak riya.
3 W riting th e notation of K ritis and sancha ra s in th e raga s
p re sc rib ed u n der Raga lakshnana.
4 M u s ical fo rm s and their lakshanas:- fo rm s figuring in art
m u s ic , S a c red m u s ic , d a n ce m u s ic an d o p e ra (m u s ic a l
(d ram a )

M u sic al pro sod y
5 Critical study of one composition each of Tyagaraja,
Mutbuswamy Diktfhitar and Shyama Sastrj.
6 Use and description of concert musical instruments; Tambura,
Veena, Violin, Gottuvaadyam, Naagaswaram, Flute; Mridangam,
Tavil, Kanjira, Ghatam and Morsing.
7 Theory of Raga Alapana, Tana, Niraval, Kalpana, Swara, and
Pallavi exposition.
8 Gayaka guna doshas; katcheri dharma.

Music History II
1. Sources of Music History.
2. Vedic music, Rig Veda, Sama Veda, Stobhakshara
Gramageya Gana, Aranya geya gana, Poorvaarchika,
Uttararchika, and varieties of Saman.
3. Musical references in Ramayana, Mahabharata and
Puranas.
4. Music in Silappadikaram.
5. Music in Kudumiyamalai inscription.
6. Music in iconograpbical and epigraphical records.
7. General review of the work of the following authors:
Bharata and Abinavagupta, Battila, Matanga, Narada of
Sangita Makaranda, Parsvadeva, Samgadeva, Nanya-deva,
Puadarika Vitthala, Ramamatya, Somanatha, Venkatamakhi,
Locfhana, Ahobala, Tulaja, Govinda, Dikshitar, Captain Oey,
K.D. Banerjee S.M. Tagore, Subbarama Dikabitar, E. Clements,
Fox Strangways; also Jayadeva, Narayana Tirtha, Swami
Haridas, Tanson.
8. Important landmarks in Western Music History.
Practical Demonstration
Fu nd amentals of Hin d u stani M u sic