B.A. Music – Best Deemed University in Chennai
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Program Educational Objectives(PEO)

PROGRAM EDUCATIONAL OBJECTIVES(PEO)
  • PEO1: Learn the fundamentals of the performance aspect of Indian Classical Karnatic Music from the basics to an advanced level in a traditional manner. 
  • PEO2: Present and perform compositions of the great composers and develop aspects of Manodharma sangita.  
  • PEO3: Understand theoretical concepts and evolution of Karnatic music through time from Tamil and Sanskrit works. 
  • PEO4: Develop an inquisitive mind to pursue further higher study and research in the field of Classical Art and publish research findings and innovations in seminars and journals.
  • PEO5: Develop analytical, critical and innovative thinking skills, leadership qualities, and good attitude well prepared for lifelong learning and service to Indian Culture and Heritage. 

Program Outcome (PO)

PROGRAM OUTCOME (PO)
PO1: Understanding essentials of a performing art: Learning the rudiments of a Classical art and the various elements that go into the presentation of such an art.

PO2: Developing theoretical knowledge: Learning the theory that goes behind the practice of a performing art supplements the learner to become a holistic practioner.

PO3: Learning Indian History and Culture: The contribution and patronage of various establishments, the background and evolution of Art in the Indian subcontinent.

PO4: Allied Art forms: An overview of allied fields of art and exposure to the North Indian and folk arts.

PO5: Modern trends: Understanding the modern trends in Classical Arts and the contribution of revolutionaries of this century.

PO6: Contribution to society: Applying knowledge learnt to teach students of future generations in a traditional mode.
Research and Further study: Encouraging further study and research into the field of Classical Art with focus on interdisciplinary study impacting society at large.

Programme Specific Outcome (PSO)

PROGRAMME SPECIFIC OUTCOME (PSO)

PSO1: Be competent in performance of Karnatic Music equipped with rich traditional repertoire.

PSO2: Be proficient in the theoretical aspects of Karnatic music which will supplement the knowledge of the performer

PSO3: Be familiar with the historical aspects of Karnatic Music with specific reference to Indian history, patronage and musical treatises

PSO4: Be familiar with allied areas of study like Western music, Media and Art, Notation and Hindustani Music.

PSO5: Be competent to pursue postgraduate and research studies in Karnatic Music and contribute to society by teaching students and establishing schools of learning.

Board Of Studies

BOARD OF STUDIES

 

S. No NAME AFFILIATION ROLE
1. Dr. Premeela Gurumurthy Dean, School Of Music And Fine Arts Chairperson
2. Dr. Rajshri Sripathy Asst. Prof and Head i/c, Dept. of Indian Music, University of Madras Member (Karnatic Music)
3. Dr. R. Abhiramasundari Associate Professor, Dept. of Muisc, Queen Mary’s College, Chennai Member (Karnatic Music)
4. Dr. Rajkumar Bharathi Musician and Music Composer Member (Karnatic Music)
5. Dr. Lakshmi Ramaswamy Guest Faculty, Dept. of Indian Music, University of Music Member (Bharatanatyam)

List of Discipline Specific Elective (DSE)

List of Discipline Specific Elective (DSE)

Subject code                 Title of the Paper

DSE 1                                  Devotional Music
DSE 2                                  Notation
DSE 3                                  Media and Arts
DSE 4                                  Dance Music

List of Generic Elective (GE)

List of Generic Elective (GE)

Subject Code                  Title of the Paper

GE 1                                      Appreciation of Karnatic Music
GE 2                                     Introduction to Indian Philosophy
GE 3                                     Congregational Music (Multilingual)

List Of Languages

List Of Languages

Subject Code                     Title of the Paper

18LEN001                              Foundation Course English I
18LTA001                              Foundation Course Language I
18LHN001                             Hindi Paper – I
18LFR001                              French Paper – I
18LEN002                             Foundation Course English II
18LTA002                             Foundation Course Language II
18LHN002                            Hindi Paper – II
18LFR002                             French Paper – II
18LTA003                             Foundation Course Language III
18LHN003                            Hindi Paper – III
18LFR003                             French Paper – III
18LTA004                             Foundation Course Language IV
18LHN004                            Hindi Paper – IV
18LFR004                             French Paper – IV

List of Skill Enhancement Course (SEC)

List of Skill Enhancement Course (SEC)

Subject Code           Title of the Paper

SEC-1                            Soft Skill -I
SEC-2                           Soft Skill – II
SEC-3                           Personality Development
SEC-4                           National Service Scheme (NSS).
SEC-5                           Ethics.
Quantitative Aptitude

List of Ability Enhancement Compulsory Course(AECC)

List of Ability Enhancement Compulsory Course(AECC)

AECC1                              Environmental Science

Basic Concepts – Theory

BASIC CONCEPTS – THEORY 4 0 0 4

COURSE OBJECTIVE:
To understand the outline knowledge in Raga, Tamil, Tamil Devotional Music and Musical Instruments

UNIT 1                                 12
Technical Terms – Sruti,Svara, Nada,Raga,Tala,Aksharakala,Sthayi,Datu-Matu,Arohana-Avarohana.
UNIT 2                                12
Raga Classification – Audava,Shadava, Sampurna,Grama,Murchana,Jati
UNIT 3                                12
Sapta Talas, 35 Talas, 175 Talas
UNIT 4                               12
PanniruThirumurai, DivyaPrabandam,Thirupugazh
UNIT 5                               12
Classification of Instruments – Wind, Stringed and Percussion
Total: 60h

COURSE OUTCOME:
At the end of this course the students will be able to,
CO-1: Have a comprehensive knowledge with regard to Technical Terms
CO-2: Understand the evolution of the term raga and the system of classification of ragas
CO-3: Understand the concept of Tala and the classification of talas
CO-4: Have a basic understanding of Panniru Thirumurai, Divya Prabandam and Candams of Tiruppugazh
CO-5: Have a basic understanding about the Classification of Instruments

TEXT BOOKS:
South Indian Music Book 1,Prof P. Sambamoorthy,The Indian Music Publishing House, 2005(18th Edition)
South Indian Music Book 2,Prof P. Sambamoorthy,The Indian Music Publishing House, 2005 (15th Edition)
South Indian Music Book 3,Prof P. Sambamoorthy,The Indian Music Publishing House, 1998

REFERENCE BOOKS:
Tamizhan Isai -Dr. A.N. Perumal, International Institute of Tamil Studies,1983
Catalogue of the Musical Instruments Exhibited in the Government Museum, Madras,Superintendent, Government Press, 1931

Basic Concepts – Practical

BASIC CONCEPTS – PRACTICAL 0 0 4 4

COURSE OBJECTIVE:
This course will focus to give a firm foundation on graded practicals from svaras to compositons

UNIT 1                                      10
Svaravali, Janta Varisai
UNIT 2                                     10
Datu Varisai, Alankarams
UNIT 3                                     10
Gitams and Jatisvarams
UNIT 4                                     10
Subramanya Bharatiyar and Bharatidasan Songs
UNIT 5                                     10
Tamil Thai Vazhtu and National Anthem

Total:                                           50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Develop a solid foundation by practicing basics of Music
CO-2: Sing Svaravali and Janta Varisai in two speeds and akaram
CO-3: Sing Datu varisai and Alankaram in three speeds and akaram
CO-4: Sing Gitams and Jatisvaram
CO-5: Sing and perform Subramanya Bharati and Bharatidasan songs

TEXT BOOK:
Ganamrutha Bodhini,A.S. PanchapakesaIyer,Ganamrutha Prachuram,1997
A Practical Course in Karnatic Music -1 by P.Sambamurthy, Indian Music Publishing House, 1960
Bharatiyar Kavidaigal, Giri Trading Agency, 2000
Bharatidasan Kavidaigal, Sri Indu Publications, 2003

Introduction To Western Music

INTRODUCTION TO WESTERN MUSIC 4 0 0 4

COURSE OBJECTIVE:
In comparison to Karnatic Music, an outline of Western Music regarding notes, scales, notations and composers will widen the knowledge of the student.

UNIT 1                       12
Solfa Notes
UNIT 2                       12
Major Scales
UNIT 3                       12
Minor Scales
UNIT 4                      12
Notation system
UNIT 5                      12
Trinity and their works
Total: 60h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Know the names of the solfa notes and Placement of the solfa notes
CO-2: Understand the major scales
CO-3: Understand minor scales
CO-4: Understand the notation system used in Western music
CO-5: Appreciate the Trinity and their work

TEXT BOOK:
Elements of Western Music, Prof P. Sambamoorthy,The Indian Music Publishing House, 1993
The Influence of Exotic music on the development of South Indian Music Prof P. Sambamoorthy,The Indian Music Publishing House, 1963

Western Music – Practical

WESTERN MUSIC – PRACTICAL 0 0 4 4

COURSE OBJECTIVE:
Whatever was learnt as theory will be demonstrated in practical to offer a listening and feel for the notes in various instruments.

UNIT 1                                               10
Outline Knowledge – Keyboard
UNIT 2                                              10
Outline Knowledge – Violin
UNIT 3                                              10
Outline Knowledge – Piano
UNIT 4                                              10
Outline Knowledge – Percussion
UNIT 5                                              10
Ear training and Listening to Music
Total:                                                    50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Understand the basics of Keyboard and Play solfa notes on Keyboard
CO-2: Understand the basics of Violin and Play solfa notes on Violin
CO-3: Understand the basics of Piano and Play solfa notes on Piano
CO-4: Understand the basics of percussion
CO-5: Appreciate Western music by ear training.

TEXT BOOK:
Elements of Western Music, Prof P. Sambamoorthy, The Indian Music Publishing House, 1993

Theory Of Music – 1

THEORY OF MUSIC – 1 4 0 0 4

COURSE OBJECTIVE:
In this course, a detailed study of the Melas, Composers and Chapters of Music from Natya Sastra will be taught for wholesome knowledge.

UNIT 1                          12
72 Melas.
UNIT 2                          12
Raga lakshanam of Mayamalavagowla, Hamsadhvani, Sankharabharanam, Vasantha and Mohanam
UNIT 3                         12
Contribution of Purandara Dasa, Arunagirinadar, Annamacharya, Thyagaraja
UNIT 4                         12
Construction and Playing Techniques of Veena, Violin, Tambura and Mrdangam.
UNIT 5                         12
Introduction to the Music Chapters of Bharata’s Natyasastra
Total:                              60h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Understand the concept of the mela system and katapayadi sankhya
CO-2: Comprehend the lakshanas of ragas Mayamalavagaula, Hamsadhvani, Shankarabharanam, Vasanta and Mohanam
CO-3: Understand the contribution of Purandara Dasa, Arunagirinadar, Annamacharya and Tyagaraja.
CO-4: Elucidate the construction and playing technique of Veena, Violin, Tambura and Mridangam
CO-5: Get an overview on the chapters on Music in Natyasastra

TEXT BOOK:

South Indian Music Book 3,Prof P. Sambamoorthy,The Indian Music Publishing House, 1998
Natya Sastra edited by Manmohan Ghosh
Essentials of Musicology in South Indian Music, Prof S.R.Janakiraman, The Indian Music Publishing House, 2008
Raga Lakshana Part 1, Prof S.R.Janakiraman, The Music Academy, Madras, 1995
Raga Lakshana Part 2, Prof S.R.Janakiraman, The Music Academy, Madras, 1996
Raga Lakshana Part 3, Prof S.R.Janakiraman, The Music Academy, Madras, 1997

Practical – 1 Compositions

PRACTICAL – 1 COMPOSITIONS 0 0 4 4

COURSE OBJECTIVE:
After the basic, gradually from simple to advanced compositions will be taught for a grip over Raga and Tala.

UNIT 1                        10
Svarajati
UNIT 2                       10
Adi Tala Varnams in Mohanam, Sankarabharanam, Abhogi
UNIT 3                       10
Krtis in Hamsadhvani, Sankarabharanam and Vasanta
UNIT 4                      10
Compositions of Purandara Dasa, Annamacharya, Thiruppugazh and Kavadichindu.
UNIT 5                      10
Divyanama, Utsava sampradaya Kirtanas

Total:                           50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Sing a svarajati
CO-2: Sing and present Adi tala Varnams in Mohanam, Shankarabharanam and Abhogi
CO-3: Sing and present simple kirtanas in Hamsadhvani, Shankarabharanam and Vasanta
CO-4: Sing one composition each of Purandara Dasa, Annamacharya, Tiruppugazh and Kavadicindu
CO-5: Sing a Divyanama and Utsava Sampradaya kirtana.

TEXT BOOK:
Compositions of Tyagaraja by T.K. Govinda Rao, Ganamandir Publications, 1999
GanamruthaBodhini,A.S. PanchapakesaIyer,Ganamrutha Prachuram,1997
GanamrutaVarnamalika, A.S. PanchapakesaIyer, GanamruthaPrachuram, 1953
A Practical Course in Karnatic Music Book -2, Prof P. Sambamoorthy, The Indian Music Publishing House, 1958
A Practical Course in Karnatic Music Book -3, Prof P. Sambamoorthy, The Indian Music Publishing House, 1958

History Of Music – 1

HISTORY OF MUSIC – 1 4 0 0 4

COURSE OBJECTIVE:
The ancient Palai- Pan system is taught to give the student a chronological survey of the Tamil Music Tradition along with composers, instruments and musical forms.

UNIT 1                                  12
Palai and Pan
UNIT 2                                  12
Syama Sastri and Muttusvami Dikshitar – Life and Contribution
UNIT 3                                  12
Flute, Nagasvaram, Kanjira and Ghatam
UNIT 4                                  12
Musical Forms (Gitam, Svarajati, Jatisvaram)
UNIT 5                                  12
Pancamarabu and Silappadigaram- Outline

Total:                                        60h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Understand the Pan and Palai system
CO-2: Understand the biography and contribution of Syama Sastri and Muttusvami Dikshitar
CO-3: Elucidate the construction and playing technique of Flute, Nagasvaram, Khanjira and Ghatam
CO-4: Understand musical forms Gitam, Jatisvaram and Svarajati
CO-5: Get an idea about Pancamarabu and Silappadigaram

TEXT BOOK:

South Indian Music Book- 4,Prof P. Sambamoorthy, The Indian Music Publishing House,1994
A History of South Indian Music from Vedic Times to the Present by Rangaramanuja Iyengar , 1972
History of Indian Music, Prof P. Sambamoorthy, The Indian Music Publishing House,
Great Composers Book 1, Prof P. Sambamoorthy, The Indian Music Publishing House,1994
Panchamarabu by Arivanar
Silappadigaram and the commentaries by U.Ve. SwaminthaIyer
Catalogue of the Musical Instruments Exhibited in the Government Museum, Madras,Superintendent, Government Press, 1931

Practical – 2 Manodharma Sangita

PRACTICAL – 2 MANODHARMA SANGITA 0 0 4 4

COURSE OBJECTIVE:
Creative singing, which is the backbone of Karnatik Music will be taught step by step.

UNIT 1                                 10
Raga Alapana – Hamsadhvani, Shankarabharanam, Vasanta, Abhogi
UNIT 2                                10
Kalpana Svara – Hamsadhvani, Shankarabharanam, Vasanta, Abhogi
UNIT 3                                10
Niraval – Hamsadhvani, Shankarabharanam, Vasanta, Abhogi
UNIT 4                                10
Listening of recordings
UNIT 5                                10
Analysis of phrases from Compositions

Total:                                      50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Sing Raga alapana in Hamsadhvani, Shankarabharanam, Vasanta and Abhogi
CO-2: Sing Kalpana svara in Hamsadhvani, Shankarabharanam, Vasanta and Abhogi
CO-3: Sing Niraval in Hamsadhvani, Shankarabharanam, Vasanta and Abhogi
CO-4: Appreciate Basic elements of Manodharma Sangita by listening to recordings
CO-5: Analyze and extract phrases from compositions in Hamsadhvani, Shankarabharanam, Vasanta and Abhogi to use in Manodharma sangita

REFERENCE BOOKs:

Compositions of Tyagaraja by T.K. Govinda Rao, Ganamandir Publications, 1999
Compositions of MuddusvamiDikshitar by T.K. Govinda Rao, Ganamandir Publications, 2003
Compositions of SyamaSastri, SubbarayaSastri and Annasami Sastri by T.K. Govinda Rao, Ganamandir Publications, 1997

Theory Of Music – 2

THEORY OF MUSIC – 2 4 0 0 4

COURSE OBJECTIVE:
The objective of this Theory of Music course is to teach some aspects of Raga Classification, Lakshana, Srutis along with selected musical forms.

UNIT 1                          12
Raga Classification – Varja, Vakra, Upanga, Bhashanga
UNIT 2                         12
Musical Forms 2 (Varnam Kriti, Ragamalika)
UNIT 3                         12
Raga Lakshana – Kalyani, Sriranjani, Shanmukhapriya, Ananda Bhairavi
UNIT 4                         12
22 Srutis
UNIT 5                         12
Mudras and Mnemonics

Total:                              60h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Understand Classification of ragas as Varja, Vakra, Upanga and Bhashanga ragas.
CO-2: Appreciate musical forms like Varnam, Kriti and Ragamalika.
CO-3: Understand Raga Lakshanas of Kalyani, Sriranjani, Shanmukhapriya and Ananda Bhairavi
CO-4: Comprehend the concept of 22 srutis
CO-5: Understand the various Mudras and Mnemonics

TEXT BOOK:

South Indian Music Book 3,Prof P. Sambamoorthy,The Indian Music Publishing House, 1998
South Indian Music Book 4,Prof P. Sambamoorthy,The Indian Music Publishing House, 1994
South Indian Music Book 5,Prof P. Sambamoorthy,The Indian Music Publishing House, 1994
Essentials of Musicology in South Indian Music, Prof S.R.Janakiraman, The Indian Music Publishing House, 2008
Raga Lakshana Part 1, Prof S.R.Janakiraman, The Music Academy, Madras, 1995
Raga Lakshana Part 2, Prof S.R.Janakiraman, The Music Academy, Madras, 1996
Raga Lakshana Part 3, Prof S.R.Janakiraman, The Music Academy, Madras, 1997

Practical – 3 Compositions

PRACTICAL – 3 COMPOSITIONS 0 0 4 4

COURSE OBJECTIVE:
This course will expose the students to contours of a raga through the study of Varnams along with other Devotional forms.
UNIT 1                              10
Ata Tala Varnam
UNIT 2                             10
Tamil Varnam
UNIT 3                             10
Pada Varnam
UNIT 4                             10
Ashtapadi, Tarangam
UNIT 5                             10
Bhajans – 3

Total:                                  50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Present and render an Ata Tala Varnam
CO-2: Present and render a Tamil Varnam
CO-3: Present and render a Pada Varnam
CO-4: Present a Ashtapadi and Tarangam
CO-5: Present three devotional bhajans.

TEXT BOOK:

Varnasagaram by T.K. Govinda Rao, Ganamandir Publications, 2006
Sri Ravi Varma Samskritha Grandhavali (Ashtapadi) No.1,2,3,4,K. Achyutha Poduval,The Sanskrit College Committee,Tripunithura,1962
Hari Hara Bhajanamrutam,A.K.Gopalan,A.K.Gopalan Publishers,1982

Practical – 4 Manodharma Sangita

PRACTICAL – 4 MANODHARMA SANGITA 0 0 4 4

COURSE OBJECTIVE:
This course will expose the student to manodharma sangita in more advanced ragas.
UNIT 1                               10
Raga Alapana – Kalyani, Sriranjani, Shanmukhapriya, Ananda Bhairavi
UNIT 2                              10
Kalpana Svara – Kalyani, Sriranjani, Shanmukhapriya, Ananda Bhairavi
UNIT 3                              10
Niraval – Kalyani, Sriranjani, Shanmukhapriya, Ananda Bhairavi
UNIT 4                             10
Listening of recordings
UNIT 5                             10
Analysis of phrases from Compositions

Total:                                   50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Sing Raga alapana in Kalyani, Sriranjani, Shanmukhapriya and Ananda Bhairavi
CO-2: Sing Kalpana svara in Kalyani, Sriranjani, Shanmukhapriya and Ananda Bhairavi
CO-3: Sing Niraval in Kalyani, Sriranjani, Shanmukhapriya and Ananda Bhairavi
CO-4: Appreciate Basic elements of Manodharma Sangita by listening to recordings
CO-5: Analyze and extract phrases from compositions in Kalyani, Sriranjani, Shanmukhapriya and Ananda Bhairavi to use in Manodharma sangita

REFERENCE BOOKS:
Compositions of Tyagaraja by T.K. Govinda Rao, Ganamandir Publications, 1999
Compositions of Muddusvami Dikshitar by T.K. Govinda Rao, Ganamandir Publications, 2003
Compositions of SyamaSastri, SubbarayaSastri and AnnasamiSastri by T.K. Govinda Rao, Ganamandir Publications, 1997

History Of Music – 2

HISTORY OF MUSIC – 2 4 0 0 4

COURSE OBJECTIVE:
After the Tamil treatises, the outline of the chapters of the medieval music treatises will be taken up along with how Royal patronage created seats of music.
UNIT 1                             12
Outline Knowledge of Sangita Ratnakara
UNIT 2                            12
Outline Knowledge of Caturdandi Prakashika
UNIT 3                            12
Opera – Rama Natakam
UNIT 4                            12
Royal Patronage – Chola Kings
UNIT 5                            12
Seats of Music- Tanjore

Total: 60h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Get outline knowledge on the musical treatise Sangita Ratnakara
CO-2: Get outline knowledge on the musical treatise Caturdandi Prakashika
CO-3: Get outline of the Musical opera Rama Natakam
CO-4: Appreciate the patronage of the Chola kings and their contribution to Karnatic Music
CO-5: Understand the importance of Tanjore as a Seat of Music.

TEXT BOOK:
Tanjore as a Seat of Music (During the 17,18, 19th centuries) by Dr. S. Seetha, University of Music, 1981
Ramanatakam of Arunchala Kavirayar
Sarngadeva’s Sangita Ratnakara Vol 1 to Vol.4, Subhadra Chaudhary,Radha Publications, New Delhi, 2000
Sangeeta Ratnakaram – A study,R.Rangaramanuja Ayyangar,Wilco Publishing House, Bombay,1978
The Chaturdandi Prakasika of Venkatamakhin, The Music Academy Madras, 1986
Chozhargal Book-1 by Dr. K.A. NilakantaSastri, 2013

Devotional Music

DEVOTIONAL MUSIC 2 0 2 4

COURSE OBJECTIVE:
Along with Classical Music, Devotional music is taken up to study the songs figuring in Bhajana Sampradaya.

UNIT 1                          10
Tevaram
UNIT 2                         10
Divya Prabandam
UNIT 3                         10
Sadashiva Brahmendra
UNIT 4                        10
Tiruvasagam
UNIT 5                        10
Siddar Padal

Total:                             50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Perform a Tevaram and understand the meaning of the lyric
CO-2: Perform a Divya Prabandam and understand the meaning of the lyric
CO-3: Perform a composition of Sadashiva Brahmendra and understand the meaning of the lyric
CO-4: Perform a Tiruvasagam and understand the meaning of the lyric
CO-5: Perform a Siddar Padal and understand the meaning of the lyric

TEXT BOOK:

Nalayira Divya Prabandam, K. Santana Reddiar, 1980
Muvar Tirumurai Padalgal, Tamizh Palkalai Kazhagam, Tanjore, 1988
SadashivaBrahmendra,SemmangudiSrinivasaIyer,SemmangudiSrinivasier Golden Jubilee Trust Publication,1979
SiddarPadalgal, By Aru Ramanathan , Na Devanathan,Prema Pirasuram, 2012
Tiruvasagam by Manikkavacakar

Appreciation of Karnatic Music

APPRECIATION OF KARNATIC MUSIC 2 0 0 2

COURSE OBJECTIVE:
To get an idea of what Karnatic Music is with regard to Terms used, Musical Instruments an outline of Hindustani Music, composers and personalities along with an ability to play 6Mela Ragas in Ascent and Descent in the Keyboard. This GE is designed and offered to the students belonging to other disciplines, for a better understanding and appreciation of our South Indian Classical Music.

UNIT I                                           8
The following Technical terms in Karnatic Music will be defined and explained.
1. Raga 2.Tala 3.Sruti 4.Svara 5.Harmony 6.Melody
UNIT II                                         8
The following Musical Instruments will be explained with regard to their construction and basic techniques.
1. Vina 2.Flute 3.Mridangam 4.Tabla 5.Violin 6. Pakhawaj 7.Sarangi 8.Sarod 9.Nagaswaram. 10. Tavil .
UNIT III                                        8
The Hindustani Classical Music may also need to be introduced to the students with regard to the above mentioned instruments such as Pakhawaj, Sarangi and Sarod and also the Thats corresponding to our Ragas.
1. Yaman 2.Bhairav 3. Kafi 4.Bhairavi 5.Bilawal 6.Poorvi 7.Asaveri 8.Thodi
UNIT IV                                         8
As a practical demonstration for the students to get a feel of the sound of the svaras, they will be taught to play the notes of the following 6 Melas
Keyboard, or Veena Arohanam and Avarohanam of Mayamalavagaula, Kharaharapriya, Harikambhoji, Shankarabharanam, Kalayani
UNIT V                                           8
Basic outline of the life and contribution of The Trinity namely Tyagaraja, Muttusvami Dikshitar and Syama Sastri will be taught along with a brief introduction to the following musicians of the 20th century.
1. G.N.Balasubramaniam 2. M.S.Subbalakshmi 3. M,L.Vasanthakumari
4. D.K.Pattamal 5. Semmangudi Sreenivasa Iyer 6. T.N.Rajaratnam Pillai
7. Palakkad Mani 8. S.Balachander 9.T.R.Mahalingam 10. Lalgudi Jayaraman

Total:                                             40h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Understand terms such as Sruti, Svara, Harmony and Melody
CO-2: Understand what Raga and Tala means
CO-3: Classify musical instruments and explain how each instrument functions
CO-4: Give an outline about Hindustani music
CO-5: Understand the contribution of great composers and musicians of Karnatic Music

TEXT BOOK:
South Indian Music Book 1,Prof P. Sambamoorthy,The Indian Music Publishing House, 2005(18th Edition)
Catalogue of the Musical Instruments Exhibited in the Government Museum, Madras,Superintendent, Government Press, 1931

Theory Of Music – 3

THEORY OF MUSIC – 3 4 0 0 4

COURSE OBJECTIVE:
To expose the student to more aspects of music theory like Raga Classification, Musical Forms and Raga Lakshana.

UNIT 1                       12
Raga Classification – Panchamantya, Dhaivatantya, Nishadantya
UNIT 2                       12
Musical Forms (Padam, Javali and Tillana)
UNIT 3                       12
Raga Lakshana – Kambhoji, Begada, Madhyamavati, Suddha Saveri
UNIT 4                       12
Modal Shift of Tonic
UNIT 5                       12
Tala Dasa Pranas

Total:                            60h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Understand classification of ragas as Pancamantya, Dhaivatantya and Nishadantya ragas
CO-2: Comprehending the structure and mode of Musical Forms Padam, Javali and Tillana
CO-3: Appreciate the lakshanas of ragas Kambhoji, Begada, Madhymavati and Suddha Saveri
CO-4: Understand the concept of Graha bhedam or modal shift of tonic
CO-5: Understand the concept of Tala dasa pranas.

TEXT BOOK:

South Indian Music Book 1,Prof P. Sambamoorthy, The Indian Music Publishing House, 2005(18th Edition)
South Indian Music Book 2,Prof P. Sambamoorthy, The Indian Music Publishing House, 2005 (15th Edition)
South Indian Music Book 3,Prof P. Sambamoorthy, The Indian Music Publishing House, 1998
Raga Lakshana Part 1, Prof S.R.Janakiraman, The Music Academy, Madras, 1995
Raga Lakshana Part 2, Prof S.R.Janakiraman, The Music Academy, Madras, 1996
Raga Lakshana Part 3, Prof S.R.Janakiraman, The Music Academy, Madras, 1997
Essentials of Musicology in South Indian Music, Prof S.R.Janakiraman, The Indian Music Publishing House, 2008

Practical – 5 group Kritis I

PRACTICAL – 5 GROUP KRITIS I 0 0 4 4

COURSE OBJECTIVE:
Apart from general compositions, Group kritis in Telugu and Tamil are taught to widen repertoire.

UNIT 1                                      10
Svarajati – Syama Sastri
UNIT 2                                     10
Navagraha Krti – 1
UNIT 3                                     10
Muthu Thandavar -1
UNIT 4                                     10
Gopalakrishna Bharati – 1
UNIT 5                                     10
Tyagaraja Pancharatnam– 1

Total:                                           50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Present and perform Svarajati of Syama Sastri
CO-2: Present and perform a Navagraha kirtana of Muttusvami Dikshitar
CO-3: Present and perform a kirtana of Muthu Thandavar
CO-4: Present and perform a kirtana of Gopalakrishna Bharati
CO-5: Present and perform a Pancaratna of Tyagaraja.

TEXT BOOK:

Compositions of Tyagaraja by T.K. Govinda Rao, Ganamandir Publications, 1999
Compositions of Muddusvami Dikshitar by T.K. Govinda Rao, Ganamandir Publications, 2003
Compositions of SyamaSastri, Subbaraya Sastri and Annasami Sastri by T.K. Govinda Rao, Ganamandir Publications, 1997
Ghana Raga Pancaratnas of Sri Tyagaraja, Dr.Premeela Gurumurthy, SunaadaTrsut, 2004
Gopalakrishna Bharatiyar Padalgal,V.S.Gomati Sankara Iyer,Annamalai University, Isai Tamil Series,1944

Practical – 6 RTP

PRACTICAL – 6 RTP 0 0 4 4

COURSE OBJECTIVE:
Simple Pallavis are taught as a first step for a better grip and understanding of Talas.

UNIT 1                                  12
1 kalai Pallavi – Rupakam
UNIT 2                                 12
2 kalai Pallavi – Adi
UNIT 3                                 12
Niraval
UNIT 4                                 12
Tanam
UNIT 5                                 12
Ragamalika Svaram

Total:                                      60h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Perform and present a simple Pallavi theme set in Rupaka tala – 1 kalai
CO-2: Perform and present a simple Pallavi theme set in Adi two kalai
CO-3: Perform Niraval for the above themes
CO-4: Perform Tanam for the Pallavis
CO-5: Perform Ragamalika Svaram for the Pallavis

REFERENCE BOOKs:

Ragam,Tanam, Pallavi- Their Evolution,Structure and Exposition,Dr.M.B.Vedavalli,M.R.J.Publications, Bangalore,1995

History Of Music – 3

HISTORY OF MUSIC – 3 4 0 0 4

COURSE OBJECTIVE:
The medieval treatises along with a study of Opera and Nayak kings patronage will be taught.

UNIT 1                             12
Outline Knowledge of Raga Vibodha
UNIT 2                             12
Outline Knowledge of Svaramelakalanidhi
UNIT 3                            12
Opera – Nandanar Charitram
UNIT 4                            12
Royal Patronage – Nayak Kings
UNIT 5                            12
Seats of Music- Mysore

Total:                                  60h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Get an outline knowledge of the treatise Raga Vibodha
CO-2: Get an outline knowledge of the treatise Svaramelakalanidhi
CO-3: Appreciate the Opera Nandanar Charitram
CO-4: Understand the contribution and patronage of the Nayak Kings to Karnatic Music
CO-5: Understand the importance of Mysore as a Seat of Music.

TEXT BOOK:

Nandanar Charitra Keertanai, Dr.S.Ramanathan, Trinity Music publishers, Madras
Mysore as a Seat of Music, Dr.M.B. Vedavalli, 2009
Tanjore as a Seat of Music (During the 17,18, 19th centuries) by Dr. S. Seetha, University of Music, 1981

Notation

NOTATION 2 0 2 4

COURSE OBJECTIVE:
The students will learn the Notation system which is an important part to preserve the songs in the written format.

UNIT 1                             10
Symbols
UNIT 2                             10
Outline of Sangita Sampradaya Pradarshini Symbols
UNIT 3                             10
Writing Notation for a composition
UNIT 4                             10
Kudimiyamalai Inscription
UNIT 5                             10
Tala and Aksharakala counting

Total:                                  50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Understand the symbols used in writing Notation
CO-2: Understand an outline of the symbols used for notation in Sangita Sampradaya Pradarsini
CO-3: Write simple notation for a composition
CO-4: Understand the history of notation writing as seen in Kudimiyamalai Inscription
CO-5: Understand the concept of Tala and Aksharakala counting in notation writing.

TEXT BOOK:

Sangita Sampradaya Pradarshini, Subbarama Dikshitar, Vidia Vilasini Press,1904
South Indian Music Book 3,Prof P. Sambamoorthy,The Indian Music Publishing House, 1998
South Indian Music Book 4,Prof P. Sambamoorthy,The Indian Music Publishing House, 1994
History of Indian Music,Prof P. Sambamoorthy,The Indian Music Publishing House

Theory Of Music – 4

THEORY OF MUSIC – 4 4 0 0 4

COURSE OBJECTIVE:
Further Raga classification and the Post trinity composers will make the student understand the growth of music during the 19th century.

UNIT 1                              12
Raga Classification – Ghana, Naya, Desiya
UNIT 2                             12
Life History and Contribution of Svati Tirunal, Patnam Subramanya Iyer, Gopalakrishna Bharati, Arunachala Kavirayar.
UNIT 3                             12
Raga Lakshana – Mayamalavagaula, Todi, Kharaharapriya, Kedaragaula
UNIT 4                             12
Instruments – Vina, Violin, Mridangam, Tavil
UNIT 5                             12
Bhajana Sampradaya

Total:                                  60h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Understand classification of ragas as Ghana, Naya and Desiya
CO-2: Comprehend the contribution and biography of Maharaja Swati Tirunal, Patnam Subramanya Iyer, Gopalakrishna Bharati and Arunachala Kavirayar
CO-3: Appreciate the lakshanas of ragas Mayamalavagaula, Todi, Kharaharapriya and Kedaragaula
CO-4: Understand the construction and playing technique of Vina, Violin, Mridangam and Tavil
CO-5: Understand Bhajana Sampradaya

TEXT BOOK:

  • Essentials of Musicology in South Indian Music, Prof S.R.Janakiraman, The Indian Music Publishing House, 2008
  • Raga Lakshana Part 1, Prof S.R.Janakiraman, The Music Academy, Madras, 1995
  • Raga Lakshana Part 2, Prof S.R.Janakiraman, The Music Academy, Madras, 1996
  • Raga Lakshana Part 3, Prof S.R.Janakiraman, The Music Academy, Madras, 1997
  • Catalogue of the Musical Instruments Exhibited in the Government Museum, Madras,Superintendent, Government Press, 1931
  • A Dictionary of South Indian Music and Musicians Vol 1 Prof P. Sambamoorthy,The Indian Music Publishing House, 2011
  • A Dictionary of South Indian Music and Musicians Vol 2Prof P. Sambamoorthy,The Indian Music Publishing House, 1984
  • A Dictionary of South Indian Music and Musicians Vol 3Prof P. Sambamoorthy,The Indian Music Publishing House, 1971
  • A Dictionary of South Indian Music and Musicians Vol 4Prof P. Sambamoorthy,The Indian Music Publishing House, 2007
  • A Dictionary of South Indian Music and Musicians Vol 5 Prof P. Sambamoorthy,The Indian Music Publishing House, 2010

Practical – 7 Group Kritis II

PRACTICAL – 7 GROUP KRITIS II 0 0 4 4

COURSE OBJECTIVE:
A few more group kritis will be dealt with to give a practical idea of what was learnt in theory.

UNIT 1                                                  10
Songs from Nandanar Charitram
UNIT 2                                                 10
Navagraha Krti – 1
UNIT 3                                                 10
Navavarana Krti-1
UNIT 4                                                10
Ragamalika- 1
UNIT 5                                                10
Tyagaraja Pancharatnam – 1

Total:                                                       50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Present and perform a kirtana of Gopalakrishna Bharati from Nandanar Charitram
CO-2: Present and perform a Navagraha kirtana of Muttusvami Dikshitar
CO-3: Present and perform a Navavarana krti of Muttusvami Dikshitar
CO-4: Present and perform a Ragamalika
CO-5: Present and perform a Pancaratna of Tyagaraja.

TEXT BOOK:

Nandanar Charitra Keertanai, Dr.S.Ramanathan, Trinity Music publishers, Madras
Compositions of Tyagaraja by T.K. Govinda Rao, Ganamandir Publications, 1999
Compositions of MuddusvamiDikshitar by T.K. Govinda Rao, Ganamandir Publications, 2003
Ghana Raga Pancaratnas of Sri Tyagaraja, Dr.PremeelaGurumurthy, SunaadaTrsut, 2004

Practical – 8 Niraval

PRACTICAL – 8 NIRAVAL 0 0 4 4

COURSE OBJECTIVE:
Niraval is one of the important limbs of Manodharma Sangita. Niraval singing for kritis and RTP will be taught individually to develop deeper creativity.
UNIT 1                 10
Rupakam
UNIT 2                10
Adi 1 Kalai
UNIT 3                10
Misra Chapu
UNIT 4                10
Adi 2 Kalai
UNIT 5                10
RTP

Total:                     50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Present Niraval in two speeds for a rupaka tala kirtana
CO-2: Present Niraval in two speeds for a Adi tala kirtana
CO-3: Present Niraval in two speeds for kirtana in Misra Capu tala
CO-4: Present Niraval in two speeds for a Adi 2 kalai kirtana
CO-5: Present Niraval in two speeds for a Ragam- Tanam- Pallavi

Media And Arts

MEDIA AND ARTS 4 0 0 4

COURSE OBJECTIVE:
Media plays an important role and that will be critically analysed.
UNIT I                         10
All India Radio
UNIT II                       10
Television
UNIT III                     10
Reviews
UNIT IV                      10
Computer and Music
UNIT V                        10
Music Festivals

Total:                              50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Understand the role of Radio in promoting Classical arts with specific reference to All India Radio
CO-2: Appreciate the role to Television in promoting Classical arts
CO-3: Understand the importance of reviews of a performance by critics and the masses
CO-4: Comprehend the importance of technology and the influence of the internet in performing arts
CO-5: Appreciate the significance of Music and Dance Festivals in India and abroad

TEXT BOOK:

The Golden Age of Radio, Denis Gifford
Radio Communication, DC Green, Longman Pulication,2000
Radio Production, Robert McLeish, Focal Press, 2005

Dance Music

DANCE MUSIC 2 0 2 4

COURSE OBJECTIVE:
This elective is specially created to give training for students in Dance music which can be developed into a special study to sing for Bharatanatyam concerts.

UNIT 1                                10
KshetrajnaPadam – 1
UNIT 2                               10
Tamil Padam – 1
UNIT 3                               10
Javali – 1
UNIT 4                               10
Tillana – 1
UNIT 5                              10
Slokam – 1

Total:                                   50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Sing a Kshetrajna padam
CO-2: Perform and present a Tamil Padam
CO-3: Perform and present a Javali
CO-4: Perform and present a Tillana
CO-5: Perform and present a Slokam

TEXT BOOK:

Notes and Notations provided by the faculty

Intrduction To Philosophy

INTRODUCTION TO INDIAN PHILOSOPHY 2 0 0 2

COURSE OBJECTIVE:
To get an idea of our various systems of Indian Philosophy to under our Culture and Heritage. In Fine Arts, whether Music or Dance, the composers have understood and assimilated the tenets of philosophical concepts to pour out these doctrines in their compositions in various languages. Studying this elective will enable the students to get an idea of the great saints of our country, which will also benefit in understanding the various schools of Indian Philosophy in a nutshell to broaden their horizon of knowledge and also in building a better personality for the mental well-being and thirst for deeper knowledge regarding Bharatiya Cultural Heritage.

UNIT I                                              8
The meaning and scope of Indian Philosophy, The various schools of Indian Philosophy
UNIT II                                            8
Authority &Reasoning & Development of Indian Systems
UNIT III                                          8
Common Characteristics: Space and Time
UNIT IV                                          8
Brief Sketch of the following systems
(a) Carvaka (b) Jaina (c) Bauddha (d) Nyaya (e) Vaisesika (f) Sankhya (g) Yoga (h) Mimamsa
UNIT V                                            8
(a) Schools of Vedanta, Advaita, Vishistadvaita, Dvaita and Saiva Siddhanta (b) Slokas – Sankara’sBhaja Govindam selected verses- Dasara Padas & Pasurams of Azhwars, Panniru Tirumurai

Total:                                                   40h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Understand the scope and meaning of Indian Philosophy
CO-2: Grasp the Development of the Indian Systems
CO-3: Understand the concepts of Space and Time
CO-4: Get an overview of various systems of philosophy
CO-5: Get an overview of the schools of Vedanta, Advaita, Vishistadvaita and Dvaita

TEXT BOOK:

Introduction to Indian Philosophy, Satishchandra Chatterjee and Dhirendramohan Datta.Rupa&Co, 2010

Theory Of Music – 5

THEORY OF MUSIC – 5 4 0 0 4

COURSE OBJECTIVE:
An outline of Hindustani Music, Composers, Raga Lakshana, Instruments and story telling will give a wide spectrum.

UNIT 1                         12
Raga Classification – Hindustani That System
UNIT 2                        12
Life History and Contribution of Muthu Thandavar, Marimutha Pillai, Annamalai Reddiyar, Kshetrajna
UNIT 3                        12
Raga Lakshana – Bhairavi, Harikambhoji, Simhendramadhyamam, Vacaspati
UNIT 4                       12
Instruments – Gottuvadyam, Ghatam, Folk Instruments
UNIT 5                       12
Kathakalakshepa

Total:                            60h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Understand classification of ragas in Hindustani Music
CO-2: Comprehend the contribution and biography of Muthu Thandavar, Marimutha Pillai, Annamalai Reddiyar, Kshetrajna
CO-3: Appreciate the lakshanas of ragas – Bhairavi, Harikambhoji, Simhendramadhyamam and Vacaspati
CO-4: Understand the construction and playing technique of Gottuvadyam, Ghatam, Folk Instruments
CO-5: Understand Kathakalakshepa

TEXT BOOK:

  • South Indian Music Book 6,Prof P. Sambamoorthy,The Indian Music Publishing House, 1994
  • Kathakalakshepa- A Study, Dr.PremeelaGurumurthy, International Society for the Investigation of Ancient Civilization,1994
  • Essentials of Musicology in South Indian Music, Prof S.R.Janakiraman, The Indian Music Publishing House, 2008
  • Raga Lakshana Part 1, Prof S.R.Janakiraman, The Music Academy, Madras, 1995
  • Raga Lakshana Part 2, Prof S.R.Janakiraman, The Music Academy, Madras, 1996
  • Raga Lakshana Part 3, Prof S.R.Janakiraman, The Music Academy, Madras, 1997
  • A Dictionary of South Indian Music and Musicians Vol 1 Prof P. Sambamoorthy,The Indian Music Publishing House, 2011
  • A Dictionary of South Indian Music and Musicians Vol 2Prof P. Sambamoorthy,The Indian Music Publishing House, 1984
  • A Dictionary of South Indian Music and Musicians Vol 3Prof P. Sambamoorthy,The Indian Music Publishing House, 1971
  • A Dictionary of South Indian Music and Musicians Vol 4Prof P. Sambamoorthy,The Indian Music Publishing House, 2007
  • A Dictionary of South Indian Music and Musicians Vol 5 Prof P. Sambamoorthy,The Indian Music Publishing House, 2010

Practical – 9 Group Kritis III

PRACTICAL – 9 GROUP KRITIS III 0 0 4 4

COURSE OBJECTIVE:
A few other opera and group kritis along with Virutham singing will be taught.

UNIT 1                                               10
Songs from Nauka Charitram
UNIT 2                                              10
Syama Sastri Navaratnamalika – 1
UNIT 3                                              10
Guruguha Vibhakti Krti – 1
UNIT 4                                             10
Virutham- 1
UNIT 5                                             10
Tyagaraja Pancharatnam – 1

Total: 50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Sing and present songs from Tyagaraja’s Nauka Charitram
CO-2: Perform and present a kirtana from the Navaratnamalika group of kirtanas by Syama Sastri
CO-3: Perform and present a Guruguha Vibhakti kirtana of Muttusvami Dikshitar
CO-4: Present a Virutham
CO-5: Present a Pancaratna kirtana of Tyagaraja

REFERENCE BOOKs:

Compositions of Tyagaraja by T.K. Govinda Rao, Ganamandir Publications, 1999
Compositions of Muddusvami Dikshitar by T.K. Govinda Rao, Ganamandir Publications, 2003
Ghana Raga Pancaratnas of Sri Tyagaraja, Dr.Premeela Gurumurthy, SunaadaTrsut, 2004
Compositions of Syama Sastri, Subbaraya Sastri and Annasami Sastri by T.K. Govinda Rao, Ganamandir Publications, 1997

Practical – 10 Kalpana Svara

PRACTICAL – 10 KALPANA SVARA 0 0 4 4

COURSE OBJECTIVE:
Kalpanasvara is another important aspect of creative singing that needs to be taught systematically.

UNIT 1          10
Rupakam
UNIT 2         10
Adi 1 Kalai
UNIT 3         10
Misra Chapu
UNIT 4         10
Adi 2 Kalai
UNIT 5         10
RTP

Total:             50h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Present Kalpana svara in two speeds for a rupaka tala kirtana
CO-2: Present Kalpana svara in two speeds for a Adi tala kirtana
CO-3: Present Kalpana svara in two speeds for kirtana in Misra Capu tala
CO-4: Present Kalpana svara in two speeds for a Adi 2 kalai kirtana
CO-5: Present Kalpana svara in two speeds for a Ragam- Tanam- Pallavi

Practical – 11 Concert -1 Hour

PRACTICAL – 11 CONCERT – 1 HOUR 0 0 4 4

COURSE OBJECTIVE:
Concert singing is an integral part of the course study which will be taught regarding planning, practice and performance.

UNIT 1                           10
Planning the items
UNIT 2                          10
Kalpita Sangita
UNIT 3                          10
Manodharma
UNIT 4                          10
Madhyamakala Kritis
UNIT 5                          10
Tukkada

Total:                               50 h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Plan the items to perform a recital for one hour
CO-2: Present and Perform a traditional compositions
CO-3: Present and Perform a Manodharma for these compositions
CO-4: Present and Perform madhyamakala kirtanas.
CO-5: Present and Perform lighter items to conclude the concert

Congregational Music (Multilinguigal)

CONGREGATIONAL MUSIC (MULTILINGUAL) 0 0 2 2

COURSE OBJECTIVE:
To get an idea of our various Devotional songs composed by various composers in Sanskrit, Tamil, Telugu, Kannada and Hindi to enable the students to sing as a group giving them and the listeners a sense of relaxation coupled with bhakti.

UNIT I                                     8
Tevaram, Tiruppugazh
UNIT II                                   8
Namavalis, Abhangas
UNIT III                                 8
Bhajans in Praise of Ganesha
UNIT IV                                 8
Bhajans in praise of Shiva, Parvati, Shiridi Sai and Anjaneya
UNIT V                                   8
Dasara Padas, Annamacharya

Total:                                         40h

COURSE OUTCOME:

At the end of this course the students will be able to,
CO-1: Render devotional songs in Tamil
CO-2: Present Namavalis and Abhangs
CO-3: Sing bhajans in praise of various deities
CO-4: Render padas by Dasas of Karnataka
CO-5: Present famous telugu kirtanas of Annamacharya

TEXT BOOKS:

Hari Hara Bhajanamrutam,A.K.Gopalan, A.K.Gopalan Publishers,1982

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