Diploma in Music
Scheme and Syllabus
School of Distance Education
Andhra University, Visakhapatnam, Andhra Pradesh
1
2 YEAR DIPLOMA IN MUSIC
FIRST YEAR
Program objectives :
This is an excellent course, proposed to the Students who are passionate to learn music and to
pass on the remote areas where the teachers are not available and also no sources of learning
music. This course has successfully been running Continuously for the last 25 years without
any gap. In this course, the 4 Practical papers are recorded in Audio mode ( in teaching learning
process) and prodding the students in Audio CDs and Theory paper are in self explanatory mode
and providing the as reading material. The dept. of Music & Dance is succeeded by introducing
the traditional art like Music through School of Distance Education. Many students from
Villages and remote areas (including Abroad ) are
PAPER : I THEORY : TECHNICAL ASPECTS OF SOUTH INDIAN CLASSICAL MUSIC
Course Outcomes :
1. Music is not only an art but also considered as a science. This utilizes this opportunity
and thus fulfills the motto of introducing the course.paper r gives knowledge to the
students of the very basic technical terms of Music, in both traditional way and also in
scientific way.
2. This chapter is regarding the very basics of classical music. This is regarding the ‘
musical Sound’ , notes, svara sthaanaa-s etc.
3. Students learn technical terms like Naada, Sruti, svara, etc… Theoretically.
4. This chapter is regarding the very basics of the taala aspect which is very important for
classical music.
5. Students learn the technical terms like what is Taala, Jati, and how they formed as 35
tala-s and Chaapu talas and the Desaadi and Madhyaadi tala- s in South Indian Classical
music Theoretically.
6. This chapter is regarding the musical forms. They are Music oriented and the lyrical
oriented classical oriented songs will be taught theoretically ,to the students.
7. Students can understand the classical type of songs with heavy music and Sahitya type
of songs with simple music . The parts and other aspects of alankaras-s which give
beauty to the compositions etc.
8. This chapter is regarding the Raga lakshana-s. The characteristics of 10 raga-s are given
and each raga is given in detail with svara prastara-s. .
9. Students learn the technical aspects and theoretical aspects of raga-s with sanchara-s
which are very important in classical music. In this chapter , they learn 7 major raga –s
like Mayamalavagowla , Todi, kharaharapriya, Sankarabharanam and kjalyani &
middle type raga-s like Mohana, Madhyamavati ragas, in theoretical aspect.
2
SYLLABUS
Unit-I
Technical Terms:
a) Nada
b) Sruti
c) Swaras
d) Swarasthanas
e) Sathayi
Unit-II
Tala System: Sapta Talas; 35 Talas, Tala Dasa Prans, Chapu Tala Varities, Desadi and
Madhyadi Talas
Unit-III
Musical Forms and their Lakshnas; Gitam, Varnam, Kritis, Kirtana, Padam,
Ragamalika, Jasti Swaram , Swarajati, Tillana and Javali.
Unit-IV
Lakshana-s and Sanchara-s 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, c) Vasanta, d) Hindola, e) Ananda Bhairavi, f) Mukhari
g) Kanada h)Khamas, i) Begada j) Poorikalyani
PAPER : II THEORY : THEORETICAL ASPECTS OF SOUTH INDIAN CLASSICAL
MUSIC
Course Outcomes :
1. In this paper, students learn about what is raga, and its classifications, Musical
instruments, and the classifications made by several lakshanakara-s, about Vaggeyakaara
, biographies of eminent composers of ancient times are given .
3
2. This is an interesting lesson to the students. In this chapter the student learns the
definition of raga, several classifications of raga, mentioned by several Ancient
Musicologists, Traditional raga (Trayodasa) lakshana-s. in this, the way of Raga
Alapana paddhati in Manodharma Sangita is explained in detail,
3. Students learn the definition of raga, the 13 characteristics of raga Theoretically and it
helps the students to study and helps him/her put into practice..
4. This chapter is about musical instruments. The traditional classifications of instruments
mentioned by Bharata (2nd century ), Narada (9th century) etc Ancient musicologists are
also given in detail.
5. This is an interesting lesson to the students . They can easily understand what musical
instruments are and the 4 types, viz., Stringed type or Metallic type etc .. In another
way, plucked type, percussion type instruments etc.. I can also study in this lesson.
6. This chapter is about musical instruments. The traditional musical instruments and their
manufacturing s, the varieties of Thambura-s, Veena-s, violin-s, and Nagaswaram-s etc.
and the tonal significances of the instruments, in detail.
7. This is also an interesting lesson to the students . They easily can understand the sizes
of musical instruments, and melodic aspects of each musical of different types of
instruments .
8. This chapter is about the Vaaggeyakaar-s . The characteristics of a Traditional
Vaggeyakara-s. Definition of a Composer, and the characteristics are also given detail.
9. This is also an interesting lesson to the students . They easily can assess a vidwan, who
is a composer or who is an expert according to the characteristics.
10. In this chapter there are 6 Vaageyakara-s who are very popular and very ancient
composers.
11. This is also an interesting lesson to the students. students can study- the good & bad
situations, the experiences faced by the composers, their reactions, and impact on their
compositions, the situational songs are interesting topics to study.
SYLLABUS
Unit-I
Raaga and raga Lakshanam:
a) Definition and Classification of ragas
b) Study of 13 Lakshanas c) Ragalapana Padhathi.
Unit - II
Musical Instruments and their classification
Unit III
4
Special Study of Tambura, Veena, Violin, Flute, Nagaswaram and Mridangam.
Unit IV
Characteristics of a composite or vaaggeyakaara lakshana-s
Unit V
Short biographical sketches of the following:
a) Jayadeva b) Annamayya c) Purandhara Dasa d) Narayana Tirtha
e) Ramadasa f) Kshetrayya
PAPER : III (PRACTICAL) : FUNDAMENTALS OF CLASSICAL MUSIC.
Course Outcomes :
1. As this is practical papers students are very much interested to learn. Because, Music is a
practical oriented course. In this paper, students will learn the fundamentals of Practical
music. Many students show interest in practical music rather than theory of music. But,
when these types of traditional courses are introduced in academics , it is essential to
know the science (Theory) of music also.
2. The very basic practical lessons are introduced in this paper . These are known as
Abhyasa gana rachanalu. These are the basic swara exercises which help the students
swara rendering and also to improve to get Tala balance,.. these are intended mainly for
the biginners in learning Musis.
3. From this paper onwards the students will learn how to start music singing. The basic
note practice will be given to the student in the traditional mela raga Mayamalavagowla.
This is very interesting to the students to learn. Practicing 3 and 4 speeds of these
exercises will give the student a lot of swara perfection and swara gnjana which is very
important to the student.
4. The basic practical music songs (Gita-s) are taught in this paper. There are 7 different
types of gita-s that are taught in this practical paper.
5. From this paper onwards the students will learn how to sing composition, Gitam in 3
speeds with dhaathu and maathu. This practice will give the student a lot of
knowledge. To learn further complicated musical forms.
5
6. The basic practical music forms (swarajati & swrapallavi) will be taught in this paper.
There are 2 different types of musical compositions that will be taught to the students ,
in this practical paper.
7. The basic practical music forms Swarajati – with Swaram and Sahityam & Swrapallavi
with only Sahityam will be taught in this paper. These 2 types of musical forms, one
with sahityam and another with no sahityam are interesting to the students.
8. Varna-s are the essential compositions for students to learn, because Varna-s are known
as the encyclopedia of raga-s. The basic raga sanchara-s can be understood by vigorous
practice of Varna-s. Practicing Varna-s in 2 speeds gives students a vast Knowledge and
also gives a good voice practice also.
9. There are 5 Aditaala varnas given for students to learn in this paper.. They are in
Mohana, Sanakarabharana, Malayamarutam, Kalyani and in Hamsadhwani ragas. These
are very popular and also very difficult to learn for students.
SYLLABUS
Unit –I
a) Saraliswaras – 6; b) Janta Swaras - 8; c) Alankaras -7
Unit-II
Gitas -7 (Two Pillari Gitas, Two Ghanaraga Gitas, One Dhruva, One Mathya tala
and one Lakshana gitam)
Unit-III
One Swarapallavi and one Swarajati
Unit IV
Five Adi Tala Varnam-s.
PAPER IV: (PRACTICAL) : KRITI-S AND OTHER COMPOSITIONS
Course Outcomes :
1. This is also an interesting paper to the students. In this paper 15kriti-s and Different
varieties of musical forms will be taught . All these are the Concert compositions.
Students are very interested to learn these songs. Students show interest to learn the
popular songs like Taranga-s Divyanama keetana-s and Annamacharya saneertana-s in
6
this paper. For the first time the difficult part, Manodharma sangeetham is also
introduced in this practical paper.
2. The basic practical music forms Swarajati – with Swram and Sahityam & Swrapallavi
with only Sahityam will be taught in this paper. These 2 types of musical forms one
with sahityam and another with no sahityam is interesting to the students
3. Kriti-s play the main role in the concert program. They are known as the Sabhaa Gaana
rachana-s. These are very interesting compositions (songs) for the students to learn. For
the first time students will learn this type of kriti-s in this course, mentioned in 15 raga-
s.
4. Several raga-s are introduced to the students, by teaching the kriti-s . In these raga-s,
many Melakarta (Janaka) rag-s , Janya raga-s , Upaanga and Bhashanga Raga-sare
introduced to the students by teaching songs in the raga-s
5. Tarangams are the songs taken from a Sanskrit opera Sri Krishna leela tarangini ,
Written by Sri Narayana tirtha. These are very attractive songs, generally sung in
traditional group songs or bhajana sampradaya rachanalu, known as Gosthi gaana
rachanalu. These songs are Simple With Music , Sangati-S In Simple Tala-S.
6. Students are very fond of these songs; they are devotional oriented with simple music
and easy to learn. Though they are in Sanskrit language, students like to learn the songs.
7. Divyanama Kirtana-s written by A popular Composer Sri Tyagaraja. These are the songs
with simplest music in attractive raga-s.
8. Students are very much interested in learning these songs. These songs are with simple
music and simple tala-s and are easy to learn.
9. Annamacharya Sankeertana- s are popuala songs in South Indian Music. Annamayya
was known as “ Toli Telugu Vaaggeyakaarudu”, it means he was our first Telugu
composer written songs on Lord Sri Venkateswara. . These are very popular and
interesting songs and students show interest in learning these songs.
10. Students are very much interested in learning these songs. These songs are with simple
music and simple tala-s and are easy to learn.
11. This topic is related to Manodharma sangeetam which is very difficult to perform for the
students .Students cannot perform unless they have less practice. In this Unit, Major
7
Raga-s like Sankarabharna, Kharahapriya 6 raga-s are mentioned for alapana,
swrakalpana..
12. Manodharma sangeetam plays a key role in Conert . i.e. Sabha ganam . It belongs to
creative music. It is very difficult to teach the teachers and also difficult to teach the
students also.
SYLLABUS
Unit - I
Kriti-s 15
Unit – II
One Tarangam
Unit – III
Two Divyanama Kirtana-S
Unit – IV
Two Annamacharya Sankeertana-S
Unit-V
Alapana and Swarakalpana - Sankarabharanam, Kalyani, Kambhoji, Kharaharapriya
and Mohana
8
2 YEAR DIPLOMA IN MUSIC
SECOND YEAR
Program Objectives :
Diploma in Music is a very interesting and can be said that very difficult also. As this is a
traditional art, Music should be learnt in a traditional way, that is why this art is to be learnt
directly from a Guru or a teacher is more and more preferable. But, herein the Distance of
Education, this course is introduced and also meant for the aspirant students who come from
remote areas, no availability of teachers to learn music and also those who can not put effort
money to learn music. No doubt, the motto of introducing the course and the response in these
25 years (Approx..) is really good. Conducting Contact classes are very useful for the students to
learn the lessons directly from the teacher (but not practice , but just learning once is possible), to
clear their doubts. Thus, the students of Diploma Music are feeling happy and expressing their
satisfaction, with the Audio CDs and reading materials providing by the SDE, AU. All the
lessons prepared for the course are in self explanatory mode, and the practical lesson are taught
in CDs is teaching – learning mode. It is happy to know that some students from abroad are
also attending the regular classes and giving examinations also .
PAPER : I. THEORY : TECHNICAL ASPECTS OF SOUTH INDIAN
CLASSICAL MUSIC
Course Outcomes:
1. Writing Notation is an important aspect in learning music. Student will get an idea of
Notating a song. Student can understand the format of writing,. This helps the students’
Swara Gnaana, Taala Gnaana and also the Gamaka-s of the Swara-s. He will get idea
about the number of Kriya-s and Jaati-s to the Taala , and Swara-s allotted to each kriya
etc . He will be improved a lot by Writing Notation.
2. The Ancient system of 22 Sruti-s and the values calculated on the basis of frequency of
the sound, names of the 22 Sruti-s and where do they occur in an Octave and different
opinions of the musicologists will be taught in this lesson.
3. Ancient system of Grama-s, Murchana-s, Jati-s are discussed in this chapter. Definition
of ‘Grama’ in musical aspect, and Shadja & Madhyama gramas, 14 Murchana-s and 18
Jati-s are explained. How these are paved a way to the modern system of theoretical and
practical aspects of music .
9
4. Several Aspects are discussed in this chapter. In this, different aspects viz Teaching and
learning, patronization of music by Kings and Zamindar-s, and Awards & Honors in past
days and the same in modern days (mainly by Govt., ), students encouragement in
olden days, and concert presentations in ancient ties and modern times etc., are
elaborately discussed in this chapter.
5. In this chapter there are 20 raga-s are mentioned for studying Ragalakshana-s. the
Swara sanchara-s, its’ parental raga-s, Raga Cchaayaa proayoga-s, Swara sanchara-s and
important raga prayoga-s etc are discussed, for each raga elaborately.
SYLLABUS
Unit – I
Knowledge of South Indian notation and notating a Kriti
Unit – II
22 Srutis
Unit – III
Grama - Murchana - Jati System
Unit – IV
Contemporary music
Unit – V
Raga Lakshanas:
A) 1) Yadukula Kambhoji, 2) Athana, 3) Kedaragoula, 4) Saranga, 5) Ritigoula
6) Darbar, 7) Natakuranji, 8) Sriranjani, 9) Chakravakam, 10) Panturavali
B) 1) Asaveri, 2) Goula, 3) Sri, 4)Harikambhoji, 5) Devagandhri, 6) Hamsadhvani
7) Khedara, 8) Nata, 9) Sahana, 10) Surati
PAPER : II : SCIENTIFIC AND THEORETICAL ASPECTS OF SOUTH
INDIAN CLASSICAL MUSIC
Course Outcomes:
1. This chapter is related to Physical Science, mainly to the Sound theory. Vibration of
strings, the upper partioals, the Sympathetic vibrations, pitch and the resonance etc. are
discussed.
2. This is an interesting topic students because, the schematic aspects of formation of 72
mela raga-s and how they are study in a systematic way, the 12 Chakra-s , 6 raga-s in
10
each chakra, and mnemonics like ra – ga, ra – gi , ra – gu , etc are very interesting to the
students.
3. What is Folk music, And several varieties of classifications in folk music are discussed
elaborately viz., Crop songs, Rain songs, Lullabies, Fishermen songs etc.
4. In every song in Classical music, has a Lyrical part. The Vaaggeyakaara-s like
Annamacharya, St Tyagaraja, Dikshitar etc composers have given importance to
Sahityam also. And they followed the Prasa, Yati, Yati prasa, Prasa yati, Antyaprasa
like literary rules are also merged in their lyrics. Some composers like Dishitar are
composed Srotovaha yati, Gopuccha yati and Dhamaru yati like swara and sahitya
patterns give beauty to the songs . .
5. Life histories of eminent composers have been given in this chapter. The Musical Trinity
Viz, Tyagaraja, Muttuswamy Dikshitar and Symasastry , SwatiTirunal Maharaj etc
given.
SYLLABUS
Unit – I
Acoustics: a) Vibration of Strings b) Sympathetic vibration, c) Upper partials d) Pitch
e) Resonance
Unit – II
Scheme of 72 Melakathas
Unit – III
Flok Music
Unit – IV
Musical Prosody and rules of musical compositions
Unit – V
Life Histories
i) Tyagaraja ii) Dikshitar iii) Syamasastry iv) Swati Tirunal v) Patnam Subramanya
vi) Muttayya Bhagavatar
PAPER : III (PRACTICAL - I) : COMPOSITIONS AND MANODHARMA
SANGEETAM
11
Course Objectives:
In this paper many of the compositions are very difficult.
1. The Bhairavi raga Swarajati of Syamasastry is a very difficult one, composed in a
difficult raga Bhairavi. If the students have a regular practice ,they happily can enjoy the
beauty of the raga and the speciality of the swarajati and interestingly can learn this song.
Or otherwise it is very difficult to perform.
2. This item is also very difficult to the ordinary students to perform . Because, Ata Taala
Vanam itself is a big composition and also very Difficult to learn and to perform wit
perfection. In This Unit, There 2 Ata Taala Varna-S And One Jhampe Taala Varna is
Mentioned, all the 3 compositions are very difficult to learn also.
3. In this Unit 10 compositions in 10 Raga-s are given to learn. This is little easier
comparatively the other two units in this paper. All the 10 raga-s are very popular and
the songs are also popular. Students show interest to learn these songs.
4. This Topic relates to Manodharma sangeetam. 6 Janya raga-s have been given for
Alapana and Swarakalpana. This is also difficult o the ordinary students to learn and to
perform. If they practice well they can present easily.
5. This a song composed by Kshetrayya of 17th century . His songs are known as Pada-s.
the bowli raga padam is mentioned here in this paper. It should d be sung in very slow
tempo. This is a little bit difficult to maintain the balance to an ordinary student.
6. This is an interesting easy song to learn. It contains Swara-s , Sahityam and Jati-s are
also. This Javali is in Khamas raga – Apudu manasu is a beautiful composition and very
easy to learn and also to perform.
SYLLABUS
Unit – I
Syama Sastry Swarajathi in Bhairavi
Unit – II
Two Ata Tala Varnams and one Jhampe Tala Varnam
a) Khamboji Ata Tala Varnam b) Kalyani Ata Tala Varnam c) Kedaragoula
Thampe Tala Varnam
Unit - III
10 compositions as mentioned in paper 1 a
a) Ritigoula Raga Ratna Malikache
12
b) Athala Narada Ganalola
c) Saranga Mamava Raghurama
d) Kedaragoula Venugonalokuni
e) Natakuranji Paraakali Saraswathi
f) Pantuvarali S-Appa Ramabhkti
g) Yadukula Kambhoji Hetcharikaga
h) Darbar Aparadamula
i) Sriranjani Brochevarevare
j) Kedara Samayamide
Unit – IV
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
Unit – V
One Kshetraya Padam Bowli - Kodi Kusi
Unit – VI
Javali-Kamaas-Apudu Manasu
PAPER : IV (PRACTICAL - II) : COMPOSITIONS AND MANODHARMA
SANGEETAM
Course Objectives:
1. Tyagaraja Ghanaraga Pancharatna Kritis are known as 5 Gem kriti-s. of these 5, two
Kritis have been mentioned for this Unit..I are, Arabhi raga and Sri raga. This Unit is very
13
interesting to the students because the songs are very popular and little easier
comparatively with Manodharma sangeetam.
2. 10 kiti-s are mentioned in 10 raga. This topic is also an interesting one and easier
to the students to learn.
3. This is the most difficult topic in the entire Pratcical Units of all papers, because this
topic belongs to Manodhraa sangitam. Alapana, Swra kalpana and Niraval singing is very
difficult to an ordinary student. They need lot of practice to sing or perfrm individually.
4. Ragamalika in Purna chandika is a eay composition and students show interest to learn
such type of songs.
5. Two Tillana-s in Poornachandrika and khamas raga are also easy songs to learn and also
to perform. Because these are the beautiful and popular songs.
6. Adhytma Ramayana keetana in Surati raga is beautiful and interesting song . Students
easily can learn and sing the composition.
SYLLABUS
Unit – I
Ghana raga Pancharatna Kritis of Tyagaraja (Arabhi and Sri)
a) Aarabhi Sadinchene
b) Srirangam Endaro Mahanubyhavulu
Unit – II
10 Compositions mentioned in theory 1b
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
14
h) Surati - Ramachandra
1) Hari Kambhoji - Undedi Ramudu
1) Sri Ragam - Sri Varalakshmi
Unit – III
Alapana, Neraval and Swarakalpana of a
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 - Vasudeva Yani - Alap, Niraval & Swaram
f) Kharabharapriya - Chitra Ratnamaya - Alap, Niraval & Swaram
g) Purikalyani Gnanamosagaraaga - Alap, Niraval & Swaram
Unit – IV
One RAgamalika - Poorna Chandrabimba - Shat Raga malika
Unit – V
Two Tillanas
a) Poorna Chandrika
b) Kamaas
Unit – VI
One Adhyatma Ramayana Keertana - Surati -Cheri Vinave
15
