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SCHOOL OF DISTANCE EDUCATIN – ANDHRA UNIVERSITY
1st YEAR DIPLOMA IN (MUSIC)

SYLLABUS
(BOS approved and modified syllabus to be implemented from the admitted Batch 2012-13)
Theory 100 Marks

Paper I : Technical aspects of South Indian Classical Music
1. Technical Terms:
a) Nada b) Sruti c) Swaras d) Swarasthanas e) Sathayi
2. Tala System: Sapta Talas, 35 Talas, Tala Dasa Prans, Chapu Tala Varieties
Desadi and Madhyadi Talas
3. Musical Forms and their Lakshnas: Gitam, Varnam, Kritis, Kirtana, Padam,
Ragamalika, Jasti Swaram, Swarajati, Tillana and Javali.
4. Lakshanas and Sancharas of the following Ragas:
A a) Todi, b) Mayamalavagoula, c) Bhairavi, d) Kambhoji, e) Sankarabharanam

f) Kalyani, g) Kharaharapriya, h) Mohana, i) Madhyamavathi j) Bilahari
B. a) Dhanyasi, b) Saveri e)Vasanta d) HIndola e) Ananda Bhairavi f) Mukhari

g) Kanada h) Khamas i) Begada j) Poorikalyani
Paper II : Theoretical Aspects of South Indian Classical Music 100 Marks

1. Raaga and raga Lakshanam:
a) Definition and Classification of ragas.
b) Study of 13 Lakshanas c) ragalapana Padhathi
2. Musical Instruments and their classification

3. Special study of Tambura, Veena, Violin, Flute, Nagaswaram and Mridangam.
4. Characteristics of a composer.
5. Short biographical sketches of the following:
a) Jayadeva b) Annamayya, c) Purandhara Dasa d) Narayana Tirtha
e) Ramadasa f) Kshetrayya.
Practical (First year) 100 Marks
Paper III (Practical I) Fundamentals of Classical Music
1. a. Saraliswaras 6
b. Janta swaras 8
c. Alankaras 7
2. Gitas - 7
(Two Pillari Gitas, Two Ghanaraga Gitas, one Dhruva and one
Lakshana gitam)
3. One Swarapallavi and one Swarajati
4. Five Adi Tala Varnas.
Paper IV (Practical II): Kritis and other compositions 100 Marks
1. 15 Kritis
2. One Tarangam
3. Two Divyanama Kirtanas
4. Two Annamacharya Sankeertanas
5. Alapana and Swarakalpana – Sankarabharanam, Kalyani, Kambhoji, Kharaharapriya

and Mohana.
***
SCHOOL OF DISTANCE EDUCATIN – ANDHRA UNIVERSITY
2nd YEAR DIPLOMA IN (MUSIC
SYLLABUS
(BOS approved and modified syllabus to be implemented from the admitted Batch 2012-13)
Theory 100 Marks

Paper – I : Technical and theoretical aspects of South Indian Music
1. Knowledge of South Indian notation and notating a Kriti

2. 22 Srutis
3. Grama – Murchana –Jati System
4. Contemporary music
5. Raga Lakshanas :
A. 1. Yadukula Kambhoji 2. Athana 3. Kedaragoula 4. Saranga 5. ritigoula
6. Darbar 7. Natakuranji 8. Sriranjani 9. Chakravakam 10. Pantuvarali
B. 1. Asaveri 2. Goula 3. Sri 4. Harikambhoji 5. Devagandhari 6 Hamsadhvani
7. Kedara 8. Nata 9. Sahana 10. Surati
Paper – II : Scientific and theoretical aspects of South Indian Music 100 Marks
1. Acoustics:
a. Vibration of strings
b. Sympathetic vibration
c. Upper partials
d. Pitch
e. Resonance
2. Scheme of 72 Melakathas
3. Folk Music
4. Musical Prosody and rules of musical compositions
5. Life Histories :
a) Tyagaraja, b) Dikshitar, c) Syamasastry, d) Swati Tirunal,
e) Patnam Subrahmanya Iyer, f) Muttayya Bhagavatar.
Practical - 100 Marks
Paper-III: (Practical 1): Compositions and Manodharma Sangitam
1. Syama Sastry Swarajathi in Bhairavi

2. Two Ata Tala Varnams and one Jhampe Tala Varnam
a. Kambhoji Ata Tala Varnam
b. Kalyani Ata Tala Varnam
c. Kedaragoula Jhampe Tala Varnam
3. 10 compositions as mentioned in paper 1 a

a. Ritigoula – Raga Ratna malikache
b. Athala – Narada Ganalola
c. Saranga – Mamava Raghurama
d. Kedaragoula – Venuganaloluni
e. Natakuranji – Paraakali Saraswati
f. Pantuvarali – Appa Ramabhkti
g. Yadukula Kambhoji – Hetcharikaga
h. Darbar – Aparadamula
i. Sriranjani – Brochevarevare
j. Kedara – Samayamide
4. Alapana and Swarakalpana of

a. Sriranjani – Brotche Varevaru
b.Saveri – Enta Nerchina
c.Hindola – Samaja varagamana
d.Saranga – Mamava Raghurama
e.Ritigoula – Raga Ratnamalika
f.Bilahari – Paridanamu
5. One Kshetraya Padam – Bowli – Kodi kusi
6. Javali – Kamaas – Apudu Manasu
Paper IV : (Practical II): Advanced compositions and Manodharma Sangitam 100 Marks
1. Ghana raga Pancharatna Kritis of Tyagaraja (Arabhi and Sri)

a. Aarabhi – Sadinchene
b. Sriragam – Endaro Mahanubyhavulu
2. 10 compositions mentioned in theory paper 1 b

a. Goula - Pranamamyham
b. Sahana – Rama ika nanu
c. Devagandhari – Koluvai yunnade
d. Hamsadvani – Vaathapi Ganapathim
e. Naata – Maha Ganapathim
f. Chakravakam – Sugunamule
g. Asaveri – Dasaradha Nandana
h. Surati – Ramachandra
i. Hari Kambhoji – Undedi Ramudu
j. Sri Ragam – Sri Varalakshmi
3. Alapana, Neraval and Swarakalpana of

a. Sankarabharanam - Ee varaku Juechinadi – Alap, Niraval & Swaram
b. Todi –Ama Naadu Vinnapamu - Alap, Niraval & Swaram
c. Pantuvarali - Appa Ramabhakti - Alap, Niraval & Swaram
d. Kambhoji – Maa Janaki - Alap, Niraval & Swaram
e. Kalayani – Vaasudeva Yani - Alap, Niraval & Swaram
f. Kharaharapriya – Chitra Ratnamaya - Alap, Niraval & Swaram
g. Purikalyani – Gnanamosagaraaga - Alap, Niraval & Swaram
4. One Ragamalika – Poorna Chandrabimba – Shat Raga malika
5. Two Tillanas
a. Poorna Chandrika
b. Kamaas
6. One Adhyatma Ramayana Keertana – Surati – Cheri Vinave
***

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SCHOOL OF DISTANCE EDUCATIN – ANDHRA UNIVERSITY

1st YEAR DIPLOMA IN (MUSIC)

Theory 100 Marks

4. Lakshanas and Sancharas of the following Ragas:

A a) Todi, b) Mayamalavagoula, c) Bhairavi, d) Kambhoji, e) Sankarabharanam

B. a) Dhanyasi, b) Saveri e)Vasanta d) HIndola e) Ananda Bhairavi f) Mukhari

Paper II : Theoretical Aspects of South Indian Classical Music 100 Marks

2. Musical Instruments and their classification

Paper IV (Practical II): Kritis and other compositions 100 Marks

3. Two Divyanama Kirtanas

4. Two Annamacharya Sankeertanas

5. Alapana and Swarakalpana – Sankarabharanam, Kalyani, Kambhoji, Kharaharapriya

Theory 100 Marks

1. Knowledge of South Indian notation and notating a Kriti

4. Musical Prosody and rules of musical compositions

1. Syama Sastry Swarajathi in Bhairavi

3. 10 compositions as mentioned in paper 1 a

4. Alapana and Swarakalpana of

1. Ghana raga Pancharatna Kritis of Tyagaraja (Arabhi and Sri)

2. 10 compositions mentioned in theory paper 1 b

3. Alapana, Neraval and Swarakalpana of

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