APPENDIX 3 (R) UNIVERSITY OF MADRAS MASTER OF MUSIC (M.MUS.)

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1 1. CONDITIONS FOR ADMISSION : APPENDIX 3 (R) UNIVERSITY OF MADRAS MASTER OF MUSIC (M.MUS.) (CHOICE BASED CREDIT SYSTEM) REVISED REGULATION (w.e.f ) A CANDIDATE WHO HAS PASSED ONE OF THE EXAMINATIONS MENTIONED BELOW SHALL BE PERMITTED TO APPEAR AND QUALIFY FOR THE M.MUSIC DEGREE EXAMINATION OF THIS UNIVERSITY AFTER A COURSE OF TWO ACADEMIC YEARS IN AN AFFILIATED COLLEGE / DEPARTMENT OF THIS UNIVERSITY. a] B. Music Degree or the B.A. Degree [Indian Music] Examination of this University or an Examination of some other University accepted by this Syndicate as equivalent thereto. b] B.A. with any subject as the main, B.Sc. or any other Degree accepted as equivalent thereto by the Syndicate, and one of the following qualifications in music- 1. A pass in the 6 month certificate course conducted by the Department of Indian Music, University of Madras under the UICIC programme. 2. Diploma or Sangita-Siromani examination of Madras University 3. Ezisai-Mani title Examination of Bharatidasan University. 4. Sangitavisarada Examination of S.V. University, Tirupati 5. Sangita-Siromani Examination in Karnataka music of Delhi University 6. Sangita-vidvan or Isaikkalaimani Title examination of the Tamil Nadu Government 7. Higher Grade Examination of the Government Examinations, Chennai 8. Ganabhooshanam of Kerala Government 9. Diploma Examination of Andhra Pradesh Government 10. Senior Examination of the Karnataka Government 11. Diploma courses in Karnatic Music offered in Foreign Institutions recognized and approved by the University of Madras 12. Vocalists or performers of melodic instruments, of classical music, auditioned by the All India Radio and placed under "B" Grade or under Grades Higher than that 13. A pass in all the papers of the Main subject of the core course offered in the Third year of the B.A. Degree in Indian Music or the B.Music Degree course of the institute of Correspondence Education, University of Madras, under the Credit System [Scheme-II] of the Open University Stream. 1

2 14. A pass in all the papers of the A] Main subject of the core course offered in the Third year of the B.A. Degree in Indian Music [or] b] Main subject of the Core Course offered in the Third year of the B Music Degree course [or] c] Core course offered in the fifth and the sixth semester of the semester system based B.Mus. Degree course of the Institute of Distance Education, University of Madras, under the Credit System (Scheme-II) of the open University Stream. 15. Seven year Certificate / Diploma study in Karnatic Music (Vocal instrumental, Mridangam) offered by the Academy of Fine Arts (London) along with graduation in any discipline be recognized to pursue a Post-graduate degree in Music in the Regular Stream / Distance Education mode of University of Madras. 16. Graduation with three years P.G. Diploma Course offered by the Singapore Fine Arts Society recognized for admission into M.A. Degree Course in Indian Music /Master of Music (M. Music) in the Regular Stream/ Distance Education mode of University of Madras. NOTE : In case of applicants with qualifications in any other Diploma course of recognized institutions not included in the above list, syllabus may be sought from the applicant and referred to the Chairman, Board of Studies in Indian Music, University of Madras, for recommendation. 1. Those who are employed in one of the following categories will be eligible for private Study. A] Teachers in Schools, Colleges and University Departments B] Music artists in All India Radio and Doordarshan [Prasar Bharati] C] Staff engaged in Music related work in Registered Music organizations 2. Students enrolled for Private Study should compulsorily attend each semester theory classes for a minimum of 7 days to be conducted in the institution where they are enrolled. 2. ELIGIBILITY FOR THE AWARD OF DEGREE : A candidate shall be eligible for the award of the degree only if he/she has undergone the prescribed course of study in a college affiliated to the University for a period of not less than two academic years, passed the examination of all the four semesters prescribed earning 91 credits and fulfilled such condition as have been prescribed therefore. 2

3 3. DURATION OF THE COURSE : The duration of the course is for two academic years consisting of four semesters. 4. EXAMINATION : There shall be four semester examinations, first semester examination at the middle of the first academic year and the second semester examination at the end of the first academic year. Similarly the third and fourth semester examinations will be held at the middle and the end of the second academic year respectively. A candidate who does not pass the examination in any subject (or) subjects in one semester will be permitted to appear in such failed subject (or) subjects along with the papers of the following semesters. 5. COURSE OF STUDY AND SCHEME OF EXAMINATION : In order to qualify for two years Masters Degree a student must acquire a minimum of 91 credits 60 credits from core, 21 credits from elective and a minimum of 10 credits from soft skills and internship (8 credits from soft skills, 2 from internship) FIRST SEMESTER S.NO. COURSE COMPONENTS NAME OF COURSE SEMESTER INST. HOURS CREDITS Exam Duration HRS MAX MARKS CIA EXTERNA L 1 CORE PAPER I History of Music Ancient Tamil Music (Theory ) I 6 HRS CORE PAPER II Foundation Course in Performance- I (Practical) I 6 HRS CORE PAPER III Musical Compositions in Six Raga-s - I (Practical) I 6 HRS CORE PAPER IV Alapana in Six Raga-s - I (Practical) I 6 HRS Elective I Film and Fine Arts - (Theory) I 6 HRS SOFT SKILL

4 SECOND SEMESTER S.NO. COURSE COMPONENTS NAME OF COURSE SEMESTER INST. HOURS CREDITS Exam Duration HRS CIA MAX MARKS EXTERNAL 7 CORE PAPER V History of Music Sanskrit Tradition - (Theory) II 6 HRS CORE PAPER VI Niraval, Tanam and Kalpanasvaram (Practical) II 6 HRS CORE PAPER VII Musical Compositions in Six Raga-s II (Practical) II 6 HRS CORE PAPER VIII Alapana in Six Raga-s -II (Practical) II 6 HRS ELECTIVE II Patriotic Songs - (Practical) II 6 HRS EXTRA DISCIPLINARY-I Folk Theatre and Music (Practical) II 6 HRS SOFT SKILL II INTERNSHIP II 2 4

5 THIRD SEMESTER COURSE COMPONENTS NAME OF COURSE SEMESTER INST. HOURS CREDITS Exam Duration HRS MAX MARKS CIA EXTERNAL CORE PAPER IX Advanced Theory (Theory) III 6 HRS CORE PAPER X Foundation Course in Performance- II (Practical) III 6 HRS CORE PAPER XI Alapana, Tanam and Pallavi-I (Practical) III 6 HRS ELECTIVE III Compositions of Muttusvami Dikshitar (Practical) III 6 HRS EXTRA DISCIPLINARY- II Devotional Music- Multilingual Songs (Practical) III 6 HRS SOFT SKILL III ** Internship will be carried out during the summer vacation of the first year and marks should be sent to the University by the College and the same will be included in the Third Semester Marks Statement. 5

6 FOURTH SEMESTER COURSE COMPONENTS NAME OF COURSE SEMESTER INST. HOURS CREDITS Exam Duration HRS MAX MARKS CIA EXTERNAL CORE PAPER XII CORE PAPER XIII ELECTIVE-IV ELECTIVE V Research Methodology (Theory) Alapana, Tanam and Pallavi-II (Practical) Compositions of Kotisvara Iyer (Practical) Devotional Music Regional Forms of South India (Practical) IV 6 HRS IV 6 HRS IV 6 HRS IV 6 HRS SOFT SKILL IV PROJECT PLUS IV =100 VIVA VOCE * Project: Internal - 20 Marks 2 out of 3 presentations - 20 marks Viva - 20 marks Project Report - 60 marks 6

7 6. REQUIREMENTS FOR PROCEEDING TO SUBSEQUENT SEMESTER : i. Candidates shall register their name for the First Semester Examination after the admission in the P.G. courses. ii. iii. Candidates shall be permitted to proceed from the First Semester up to Final Semester irrespective of their failure in any of the Semester examinations subject to the condition that the candidates should register for all the arrear subjects of earlier semesters along with current (subsequent) semester subjects. Candidates shall be eligible to go to subsequent semester, only if they earn, sufficient attendance as prescribed therefore by the Syndicate from time to time. Provided in the case of candidate earning less than 50% of attendance in any one of the semesters due to any extraordinary circumstance such as medical grounds, such candidates who shall produce Medical Certificate issued by the Authorised Medical Attendant (AMA), duly certified by the Principal of the College, shall be permitted to proceed to the next semester and to complete the course of study. Such candidate shall have to repeat the missed semester by rejoining after completion of final semester of the course, after paying the fee for the break of study as prescribed by the University from time to time. 7. PASSING MINIMUM: a) There shall be no Passing Minimum for Internal. b) For External Examination, Passing Minimum shall be of 50%(Fifty Percentage) of the maximum marks prescribed for the paper. c) In the aggregate (External + Internal) the passing minimum shall be of 50% for each Paper/Practical/Project and Viva-voce. d) Grading shall be based on overall marks obtained (internal + external). 8. CLASSIFICATION OF SUCCESSFUL CANDIDATES : Candidates who secured not less than 60% of aggregate marks (CIA + External) in the whole examination shall be declared to have passed the examination in the First Class. All other successful candidates shall be declared to have passed in Second Class. Candidates who obtain 75% of the marks in the aggregate (CIA + External) shall be deemed to have passed the examination in First Class with Distinction, provided they pass all the examinations (theory papers, practicals, project and viva-voce) prescribed for the course in the First appearance. 7

8 9. GRADING SYSTEM : Passing Minimum is 50% of the ESE and also 50% of the maximum of that paper/course. 1. Minimum Credits to be earned: For TWO year Programme: Best 90 Credits (Part A (80 Credits) : Core, Elective, Non-major Electives and Extra Disciplinary and Part B (10 Credits) : Soft skills and Internship) For THREE year Programme: Best 135 Credits. (Part A (120 Credits) : Core, Elective, Non-major Electives and Extra Disciplinary and Part B (15 Credits) : Soft skills and Internship) 2. Marks and Grades: The following table gives the marks, grade points, letter grades and classification to indicate the performance of the candidate. Conversion of Marks to Grade Points and Letter Grade (Performance in a Paper /Course) RANGE MARKS OF GRADE POINTS LETTER GRADE DESCRIPTION O Outstanding D+ Excellent D Distinction A+ Very Good A Good B Average U Re-appear ABSENT 0.0 AAA ABSENT Ci = Credits earned for course i in any semester. Gi = Grade Point obtained for course i in any semester. 8

9 n refers to the semester in which such courses were credited. For a Semester : GRADE POINT AVERAGE [GPA] = i Ci Gi / i Ci Sum of the multiplication of grade points by the credits of the courses GPA = Sum of the credits of the courses in a semester For the entire programme: CUMULATIVE GRADE POINT AVERAGE [CGPA] = n i CniGni / n i Cni Sum of the multiplication of grade points by the credits of the entire programme CGPA= Sum of the credits of the courses of the entire programme CGPA GRADE CLASSIFICATION OF FINAL RESULT O+ First Class - Exemplary * 9.0 and above but below 9.5 O 8.5 and above but below 9.0 D++ First Class with Distinction * 8.0 and above but below 8.5 D+ 7.5 and above but below 8.0 D 7.0 and above but below 7.5 A and above but below 7.0 A+ First Class 6.0 and above but below 6.5 A 5.5 and above but below 6.0 B+ Second Class 5.0 and above but below 5.5 B 0.0 and above but below 5.0 U Re-appear 9

10 * The candidates who have passed in the first appearance and within the prescribed semester of the PG Programme ( Core, Elective, Non-major Electives and Extra-Disciplinary courses alone) are eligible. 10. RANKING : Candidates who pass all the examinations prescribed for the course in the first appearance itself alone are eligible for Ranking / Distinction. Provided in the case of candidates who pass all the examinations prescribed for the course with a break in the First Appearance due to the reasons as furnished in the Regulations under "Requirements for Proceeding to subsequent Semester" are only eligible for Classification. 11. PATTERN OF QUESTION PAPER : PART A (50 words):answer 10 out of 12 Questions 10 x 1 = 10 marks PART B (200 words):answer 5 out of 7 Questions 5 x 5 = 25 marks PART C (500 words):answer 4 out of 6 Questions 4 x 10 = 40 marks TESTING PATTERN PRACTICAL PAPERS To be framed by the Examiner for practical Examination. [Note : Each student to be examined individually] 12. APPEARANCE FOR IMPROVEMENT : Candidates who have passed in a theory paper / papers are allowed to appear again for theory paper / papers only once in order to improve his/her marks, by paying the fee prescribed from time to time. Such candidates are allowed to improve within a maximum period of 10 semesters counting from his/her first semester of his/her admission. If candidate improve his marks, then his improved marks will be taken into consideration for the award of Classification only. Such improved marks will not be counted for the award of Prizes / Medals, Rank and Distinction. If the candidate does not show improvement in the marks, his previous marks will be taken into consideration. No candidate will be allowed to improve marks in the Practicals, Project, Viva-voce, Field work. 13. TRANSITORY PROVISION : Candidates who have undergone the course of study prior to the academic year will be permitted to appear for the examinations under those Regulations for a period of three years i.e., upto and inclusive of April/May 2013 Examinations. Thereafter, they will be permitted to appear for the examination only under the Regulations then in force. *************** 10

11 APPENDIX 3(S) UNIVERSITY OF MADRAS MASTER OF MUSIC (M.MUS.) (CHOICE BASED CREDIT SYSTEM) REVISED SYLLABUS (w.e.f ) FIRST SEMESTER CORE PAPER I - HISTORY OF MUSIC- ANCIENT TAMIL MUSIC (THEORY) ANCIENT TAMIZ MUSIC IN 1) Silappadikaram and its commentaries. 2) Pancamarabu. UNIT - 2 Detailed study of Palai and pan system of ancient tamiz music and the views of modern scholars.3 Types of Alatti Tala terms - 1) Pani 2) Kottu 3) Asai 4) Tukku 5) Alavu Study of 108 talas and tala concepts mentioned in the following works. 1) Pancamarapu 2) Talasamuttiram 3) Caccaputavenba 4) Candams of Tiruppugazh. 11

12 Musical instruments in Ancient Tamil music.terms associated with Instrumental technique. References to Music in 1) Tolkappiyam 2) Ettuttogai 3) Pattupattu 4) Kalladam 5) Pingalanigandu 6) Divakaram 7) Panniru-tirumurai 8) Nalayira Divyaprabandham Outline knowledge of the details of music in the following works : 1) Bharatachattiram 2) Bharatasenapatiyam 3) Mahabharata Chudamani Study of the musical aspects of Tevaram Pan Kattalai Edugai - Monai - Iyaibu Poetic forms CORE PAPER II - FOUNDATION COURSE IN PERFORMANCE 1 (PRACTICAL) VOICE CULTURE (1) Choosing the right pitch (2) Vowel exercises (3) Production of voice (4) Sustaining on the seven notes UNIT - 2 Singing Plain Notes and with Gamaka 12

13 Rendition of Sarali varisai and alankaram in raga-s like Mayamalava gowla, Sankarabaranam, Kalyani, Kharaharapriya, Todi and Harikhambhoji Ability to render an Adi-tala varnam in 1st and 2nd Kalam and Tisram 1. Developing the ability to tune the Tambura 2. Maintaining Kalapramana in Caturasram, tisram, khandam and misram in one and two kalai-s. 3. Raga Sanchara-s to equip oneself in Raga, Alapana, Niraval and Kalpanasvara-s. 4. Ability to write and understand notation. CORE PAPER III - MUSICAL COMPOSITIONS IN SIX RAGA-S I (PRACTICAL) One Vilambakala krti in each of the following six raga-s, of Sirgazhi Muvar and Tiruvarur Muvar (1) Sankarabharanam (2) Bhairavi (3) Saveri (4) Kambhoji (5) Todi (6) Purvikalyani UNIT - 2 Ability to write notation in each of the six raga-s. Ability to analyse notation and phrases in each of the six raga-s. Ability to learn from an audio-tape recording. Study of the sanchara-s of the raga-s as revealed in the krti-s. 13

14 CORE PAPER IV - ALAPANA IN SIX RAGAS 1 (PRACTICAL) Ability to render alapana in each of the following raga-s. (1) Sankarabharanam (2) Bhairavi (3) Saveri (4) Kambhoji (5) Todi (6) Purvikalyani IUNIT - 2 Ability to isolate characteristic phrases of raga-s from compositions and employ them in alapana. Notating of alapana renderings in the above ragas-s selected from audio tape recordings. Ability to make a general analysis of the alapana rendering of some well known artists. Study of the sanchara-s of the raga-s as revealed in the Alapana. ELECTIVE I - FILM AND FINE ARTS (THEORY) History of Indian Cinema History of World Cinema UNIT - 2 Theatre and Cinema Role of Music Role of Dance Musical Instruments 14

15 Cinematography and Direction UNIT - 2 SECOND SEMESTER CORE PAPER V - HISTORY OF MUSIC - SANSKRIT TRADITION (THEORY) Historical development of the Twelve svarasthana-s and the sixteen names of the present day. Raga Mela-Janyaraga system of Raga classification and its development up to modern times. Classification of Raga-s into Ghana, Naya and Desya. Development of Raga-lakshana; Emergence of the concept of Arohana-avarohana as a lakshana of raga and its influence on the Raga-classification. Tala Development of the Thirty-five tala system; Chapu tala-s; Desadi tala-s; Historical study of the Tala-dasa-prana-s Musical Forms -- Historical development Manodharma variety - Alapana, Tanam, Niraval, Kalpanasvaram Musical Forms -- Historical development - Kalpita variety - Gitam, Svarajati, Varnam, Krti CORE PAPER VI - NIRAVAL, TANAM AND KALPANASVARAM (PRACTICAL) Ability to render in the following raga-s. 1) Sankarabharanam 15

16 2) Bhairavi 3) Saveri 4) Kambhoji 5) Todi 6) Purvakalyani UNIT - 2 Ability to render for themes set in the following raga-s. 1) Sankarabharanam 2) Bhairavi 3) Saveri 4) Kambhoji 5) Todi 6) Purvakalyani Ability isolate characteristic phrases of raga-s from compositions and employ them in Niraval, Tanam and Kalpanasvaram. Ability to make a general analysis of Niraval, Tanam and kalpanasvara rendering of some well known artists. NOTE : The tala-s underlying the themes (for kalpana-svaram) should be taken in the following order. 1) Adi (oru-kalai); rupaka (short); Misra capu; Khanda-capu -- sama eduppu. 2) Adi (oru-kalai); rupaka (short); Misra capu; Khanda-capu -- vishama eduppu. 3) Adi (rendu-kalai); Jhampa; Triputa; Ata Notating of Niraval, Tanam and kalpanasvara renderings in the above ragas-s selected from audio tape recordings. 16

17 Study of the sanchara-s of the raga-s as revealed in Niraval, Tanam and kalpanasvaram CORE PAPER VII - MUSICAL COMPOSITIONS IN SIX RAGAS II (PRACTICAL) One Vilambakala krti in each of the following raga-s 1) Kharaharapriya 2) Kalyani 3) Shanmukhapriya 4) Kiravani 5) Begada 6) Dhanyasi Unit - 2 Ability to write notation of krti-s in each of the six raga-s. Ability to analyse notation and phrases in each of the six raga-s. Ability to learn from an audio-tape recording. Study of the sanchara-s of the raga-s as revealed in the krti-s. CORE PAPER VIII - ALAPANA IN SIX RAGAS II (PRACTICAL) Ability to render elaborate Alapana in each of the following ragas. 1) Kharaharapriya 2) Kalyani 3) Shanmukhapriya 4) Kiravani 5) Begada 6) Dhanyasi 17

18 UNIT - 2 Ability isolate characteristic phrases of raga-s from compositions and employ them in alapana. Notating of alapana renderings in the above ragas-s selected from audio tape recordings. Ability to make a general analysis of the alapana rendering of some well known artists. Study of the sanchara-s of the raga-s as revealed in the alapana. ELECTIVE II - PATRIOTIC SONGS (PRACTICAL) Compositions of Subramania Bharathiar,- one each UNIT - 2 Compositions of Rabindranath Tagore- one each Compositions of Namakkal Ramalingam Pillai- one each Compositions of Bharathidasan- one each Songs in other Indian languages- one each EXTRA-DISCIPLINARY - I FOLK THEATRE AND MUSIC (PRACTICAL) Folk Songs - Thaalattu, Themmangu, 2. UNIT - 2 Folk Songs - Laali, Nalangu, Oonjal Nadavu, Aka cuvai songs 18

19 Kummi Kavadi Cindu and Siddhar Padal THIRD SEMESTER CORE PAPER IX - ADVANCED THEORY (THEORY) 1) Advanced study of the Lakshana-s of Raga 2) Comparative study of lakshana-s of raga-s : 1) Kambhoji, Yadukulakambhoji 2) Sriraga, Madhyamavati 3) Darbar, Nayaki 4) Kedaragaula, Surati 5) Anandabhairavi, Ritigaula 6) Devagandhari, Saurashtram 3) Modal shift of tonic UNIT 2 Musical Prosody with examples from various compositions. Concept of Art Music, Folk Music, Popular Music and Temple Music. The comparative study of the structure of musical forms 19

20 Kriti, Ragamalika, Padam, Javali, Svarajati, Padavarna, Tanavarna and Jatisvara Brief account of the styles of the Vaggeyakara-s who composed in these musical forms Advanced study of the role of tala and its elements in present day musical forms. 1) (i) Eduppu (ii) Five Nadai-s (iii) Analysis of Tani Avartanam 2) Classification of Musical Instruments. 3) Study of the following musical instruments, regarding manufacture, tuining and playing technique. (i) Tambura, (ii) Vina, (iii) Violin, (iv) Gotuvadyam, (v) Flute, (vi) Nagasvaram, (vii) Mrdangam, (viii) Tavil, (ix) Kanjira, (x) Ghatam CORE PAPER X - FOUNDATION COURSE IN PERFORMANCE II (PRACTICAL) UNIT - 1 Ability to render an ata tala varnam in three kalam-s and in tisra nadai (12/1) UNIT - 2 Aditala varnam-s in Begada, Saveri and Surutti Atatala varnam-s in Bhairavi, Todi, Kambhoji and Kalyani Tyagaraja's Ghanaraga-pancaratnam -- all five. Svarajati-s of Syama Sastri - all three. CORE PAPER XI - ALAPANA, TANAM & PALLAVI I (PRACTICAL) Learning a Pallavi theme in each of the three raga-s (to be selected out of the following eight) 1) Sankarabharanam 2) Kharaharapriya 3) Bhairavi 20

21 4) Kalyanii 5) Kambhoji 6) Todi 7) Purvakalyani 8) Shanmukhapriya The themes should be set to a tala in a rendu-kalai. Detailed alapana and tanam based on each of the three raga-s. Neraval and kalpanasvaram for the themes selected UNIT - 2 Ability to render the pallavi themes in different kalam-s Ability to render the pallavi themes in different nadai-s Ability to render kuraippu and simple makutam patterns. Theoretical study of Pallavi exposition. ELECTIVE III - COMPOSITIONS OF MUTTUSVAMI DIKSHITAR (PRACTICAL) Three songs representative of different types of krti format. UNIT - 2 Three songs representative of the raga-s handled by Dikshitar. Three songs representative of the tala-s handled by Dikshitar. One krti each from the Navagraha, Navavarana and Panchalingasthala groups. Discussion of the compositional style of Dikshitar with respect to dhatu, tala, matu and form and the influence on later composers. 21

22 EXTRA-DISCIPLINARY II DEVOTIONAL MUSIC - MULTILINGUAL SONGS(PRACTICAL) UNIT - 2 Tamil Compositions- one each Sanskrit Compositions- one each Telugu Compositions- one each Kannada Compositions- one each Malayalam Compositions- one each UNIT 1 Choosing a topic UNIT - 2 Thesis Writing CORE PAPER XII RESEARCH METHODOLOGY (THEORY) UNIT -3 UNIT-4 Source cards; Reference cards Organisation of material and Analysis UNIT -5 The structure of a dissertation (i) Preface (ii) Acknowledgement (iii) Introduction (iv) Chapterisation ( v) Notes, Foot notes (vi) Charts (vii) Appendix (viii) Bibliography (ix) Audio-references (x) Video-references (xi) Photo plates. CORE PAPER XIII - ALAPANA, TANAM & PALLAVI II (PRACTICAL) Learning a Pallavi theme in each of the three raga-s (to be selected out of the following eight) 1) Kharaharapriya 2) Kalyani 3) Shanmukhapriya 4) Kiravani 22

23 UNIT - 2 5) Sankarabharanam 6) Bhairavi 7) Kambhoji 8) Todi Two pallavi-s should be set to tala-s in Nalu-kalai and one in Tisra-nadai. Detailed alapana and tanam based on each of the three raga-s and neraval and kalpanasvaram for the themes selected. Ability to render the pallavi themes in different kalam-s Ability to render the pallavi themes in different nadai-s Ability to render kuraippu and complex makutam patterns. ELECTIVE IV - COMPOSITIONS OF KOTISVARA IYER (PRACTICAL) Selected krtis- in Suddha Madhyama Vivadi Melas UNIT - 2 Selected krtis in Prati Madhyama Vivadi Melas Selected krti-s in Janya raga-s Varnam and Kannigal Analytical study of his compositions ELECTIVE V - DEVOTIONAL MUSIC-REGIONAL FORMS OF SOUTH INDIA (PRACTICAL) Tamil Nadu - Devotional songs in Tamil- 2 each 23

24 UNIT - 2 Abhang-s and Hindi Bhajans 2 each Andhra Pradesh - Devotional songs in Telugu- 2 each Karnataka - Devotional songs in Kannada- 2 each Kerala - Devotional songs in Malayalam 2 each PROJECT PLUS VIVA-VOCE - PAPER 19 Students will be required to select, in consultation with a faculty advisor, a subject for conducting a project work. A typed document should be submitted presenting the methodology, data and the findings. Before the submission, a seminar will have to be presented on the subject. Recommended Texts : Professor P. Sambamoorthy, 1931, "Catalogue of the Musical Instruments Exhibited in the Government Museum", The Indian Music Publishing House, Madras. Professor P. Sambamoorthy, 1969, "South Indian Music", Book 1, Latest Edition 1992, The Indian Music Publishing House, Madras. Professor P. Sambamoorthy, 1969, "South Indian Music", Book 2, Latest Edition 1992, The Indian Music Publishing House, Madras. Professor P. Sambamoorthy, 1969, "South Indian Music", Book 3, Latest Edition 1992, The Indian Music Publishing House, Madras. Professor P. Sambamoorthy, 1969, "South Indian Music", Book 4, Latest Edition 1992, The Indian Music Publishing House, Madras. Professor P. Sambamoorthy, 1969, "South Indian Music", Book 5, Latest Edition 1992, The Indian Music Publishing House, Madras. Professor P. Sambamoorthy, 1969, "South Indian Music", Book 6, Latest Edition 1992, The Indian Music Publishing House, Madras. REFERENCE BOOKS : P. Sambamoorthy, 1959, "A Dictionary of South Indian Music and Musicians" - Vol. I, II and III, The Indian Music publishing House, Madras. 24

25 S. Seetha, 1981, "Tanjore as a Seat of Music",, University of Madras, Madras. M.B. Vedavalli, "Mysore as a Seat of Music", M.B. Vedavalli, "Ragam, Tanam and Pallavi", Premeela Gurumoorthy, 1994, "Kathakalakshepa - A Study", International Society for the Investigation of ancient Civilization, Chennai N. Rajagopalan, 1990, "A Garland", Bharatiya Vidya Bhavan, Bombay. R.K. Shringy Prem Lata Sharma, 1978, "Sangita Ratnakara of Sarangadeva", Vol. 1, Motilal Banarsidas, Delhi. R.K. Shringy Prem Lata Sharma, 1989, "Sangita Ratnakara of Sarangadeva", Vol. 2, Motilal Banarsidas, Delhi. Venkatamakhi, 1938, "Chaturdandi Prakasika", The Music Academy, Madras. Hema Ramanathan, 2004, "Sangita Ratnakaram" Website, e-learning resources : At lease 2 subject related websites and names of 2 e-resource centers ************************ 25

26 M.MUSIC, CBCS, REVISED REGULATION (w.e.f ) REFERENCE BOOKS FIRST SEMESTER CORE PAPER I-HISTORY OF MUSIC-ANCIENT TAMIL MUSIC-(THEORY) SVAMINATHA AYYAR U.V. -CILAPPATIKARA MULAMUM ARUMPADA URAIYUM ADIYARKUNALLAR URAIYUM SUNDARAM V.P.K. - ARIVANARIN PANCA MARABU ARUNACHALAM M. - TAMIL ILAKKIYA VARALARU ARUNACHALAM M. - TAMIL ILAKKANA VARALARU UNIT 2 MARGARET BASTIN- INNISAI YAZH MARGARET BASTIN- INNISAI SILAMBU YAZH NUL- VIPULANANDA ADIGAL PANCAMARABU OF ARIVANAR DEYVASIKAMANI GOUNDAR TALA SAMUTTIRAM -VASUDEVA SASTRI K. (ED.) CACCAPUTA VENBA-DANDAPANI DESIKAR ANGAYARKANNI E. -TIRUPPUGAZ PADALGALIL CANDAKKOORUGAL ANGAYARKANNI E DR -TIRUPPUGALISAI UNIT 3 SUNDARAM V.P.K. -TAMIZHISAI KALAI-K-KALANJIYAM ( PART 1-4) SAMBAMURTHI P. -SOUTH INDIAN MUSIC (BK 2 & 3 ) UNIT 4 TOLKAPPIAM - RAMALINGAM M. & BHAGIRATHAN ETTUTOGAI MULAMUM URAIYUM PATTUPAATTU MULAMUM URAIYUM KALLADAM PINGALA NIGANDU - PINGALA MUNIVAR DIVAKARAM PANNIRU TIRUMURAI PERUNTIRATTU- BHAKTAVATSALAM M. NALAYIRADIVYA PRABHANDAM -VENKATASAMI REDDI (ED.) MAHABARATA CUDAMANI 1ST THREE CHAPTERS-SWAMINATHA IYER.U.V MAHABHARATA CUDAMANI (CHAP 4) -VENKATARAMA AYYAR MUDIKONDAN VISVANATHA AYYAR R. (ED.) UNIT 5 YAAPILAKKANAM PULAVAR KUZHANDAI ELECTIVE 1 FILM AND FINE ARTS (THEORY) TIRAI ISAI ALAIGAL PART 1-4-VAMANAN 26

27 SECOND SEMESTER CORE PAPER V-HISTORY OF MUSIC-SANSKRIT TRADITION (THEORY) MUSIC THROUGH THE AGES-PREMALATHA V.DR SOUTH INDIAN MUSIC- SAMBAMURTHI P. UNIT 2 SOUTH INDIAN MUSIC (BK 2,3,4 ) -SAMBAMURTHI P. - RAGA LAKSHANA SANGRAHA-HEMA RAMANATHAN RAGAS WHICH EVOLVED DURING THE POST TRINITY PERIOD- DR.M.B.VEDAVALLI UNIT 3 SOUTH INDIAN MUSIC- SAMBAMURTHI P. (BOOK 2,3) UNIT 4 MUSICAL FORMS IN SANGITA RATNAKARA-DR.N.RAMANATHAN SOUTH INDIAN MUSIC- SAMBAMURTHI P. (BOOK 3,4 ) UNIT 5 TANJORE AS A SEAT OF MUSIC - SEETHA S. DR. SOUTH INDIAN MUSIC- SAMBAMURTHI P. (BOOK 3,4 ) THIRD SEMESTER CORE PAPER 9- ADVANCED THEORY JANAKIRAMAN S.R. RAGA LAKSHNANGAL (PT 1) RAGA LAKSHANA SANGRAHA-HEMA RAMANATHAN SOUTH INDIAN MUSIC- SAMBAMURTHI P. (BOOK 3,4 ) UNIT 2 SOUTH INDIAN MUSIC- SAMBAMURTHI P. YAAPILAKKANAM PULAVAR KUZHANDAI UNIT 3 ASHOK RANADE. D. ESSAYS IN ETHNOMUSICOLOGY SOUTH INDIAN MUSIC- SAMBAMURTHI P. (BOOK 5,6 ) SAMBAMURTHI P.& DR.M.B.VEDAVALLI- DICTIONARY OF SOUTH INDIAN MUSIC & MUSICIANS, A (VOL 1-5 ) UNIT 4 MUSICAL FORMS IN SANGITA RATNAKARA-DR.N.RAMANATHAN TANJORE AS A SEAT OF MUSIC - SEETHA S. DR. 27

28 UNIT 5 TENNAGA ISAIYIYAL-DR.P.T.CHELLADURAI THE SPLENDOUR OF SOUTH INDIAN MUSIC- DR.P.T.CHELLADURAI CORE PAPER XII- RESEARCH METHODOLOGY (THEORY) THESIS AND PROJECT WORK- C.J.PARSON NIGAZH KALAIKALUKAANA AAYVU MURAIYIYAL KAIYEDU-DR.MARGARET BASTIN ^^^^^^^^^^^^^^^^^^ 28