Miruthangam - OFAAL

A. Practical and oral demonstrations of the following lessons:

1. Eight (8) types of Tha Thi Thom Num lessons

2. Four (4) types of Tha,; Ki,da, Lessons

3. Four (4) type of Tha,; Tharikida Lessons

4. Four (4) types of Tha,; Tharikida Tha,; Ki,da, Lessons

5. Aathi Thaalam 8 Akshara Purattal

6. Aathi Thaalam 16 Akshara Purattal

7. Rupaka Thaalam 12 Akshara Purattal

8. Rupaka Thaalam 24 Akshara Purattal

B. Theory (To be tested in the practical examination):

1. Names of the Panja (5) Jaathi

2. Names of the Thriangam (Three Angams)

The following must be known in addition to the Grade One syllabus.

A. Practical and oral demonstrations of the following lessons:

1. 2 Aavarthanam Lessons including the following:

a. Thakajenu

b. Thalangku

c. Tharikida

2. 4 Aavarthanam Lessons including the following:

a. Thakajenu

b. Thalangku

c. Tharikida

3. Play and render orally Aathi Thani Aavarthanam (solo) for at least 3 minutes including the following:

a. Korvai

b. Sarvalaghu

c. Siriya Purattal

d. Periyamora

e. Periya Theermanam

4. Aathi Thaalam 32 Akshara Purattal

5. Aathi Thaalam 72 Akshara Purattal

B. Theory (To be tested in the practical examination):

1. Knowledge of the following:

a. Saptha (7) Thaalam

b. Panja (5) Jaathi

c. Thriangam (Three Angams)

The following must be known in addition to the Grade One to Two syllabuses.

A. Practical and oral demonstrations of the following lessons:

1. Kanda Chaapu Thaalam 10 Akshara Purattal

2. Kanda Chaapu Thaalam 20 Akshara Purattal

3. Mishra Chaapu Thaalam 14 Akshara Purattal

4. Mishra Chaapu Thaalam 28 Akshara Purattal

5. Play and render orally Rupaka Thaalam Thani Aavarthanam (solo) for at least 3 minutes including the following:

a. Korvai

b. Sarvalaghu

c. Siriya Purattal

d. Periyamora

e. Periya Theermanam

6. Ability to orally recite the Saptha Thaala Alangkara Jathi with the corresponding Thaalam

B. Theory (Written paper):

1. Formation and detail of the 35 Thaalam

2. Brief description of the definition and origin (including history) of Thaalam

3. Brief knowledge of the following:

a. Shruthi

b. Natham

c. Swaram

d. Swarasthanam

e. Layam

f. Angam

g. Aksharam

h. Aavarthanam

i. Thani Aavarthanam

The following must be known in addition to the Grade One to Three syllabuses.

A. Practical and oral demonstrations of the following lessons:

1. Play and render orally Thani Aavarthanam (solo) for at least 5 minutes in the following Thaalam:

a. Mishra Chaapu Thaalam

b. Kanda Chaapu Thaalam

2. Play and render orally Panja Jaathi (Five types of) Thathingkinathom in Sama Eduppu for the following Thaalam:

a. Aathi Thaalam

b. Rupaka Thaalam

c. Mishra Chaapu Thaalam

d. Kanda Chaapu Thaalam

B. Theory (Written paper):

1. Knowledge of the detailed structure of the Miruthangam and the ability to draw a detailed diagram of all the relevant parts

2. Detailed description of the formation of the 175 Thaalam

3. Knowledge of the following:

a. Jathi

b. Jaathi

c. Gathi

d. Sarvalaghu

e. Maathirai

f. Issai

g. Kaalam

The following must be known in addition to the Grade One to Four syllabuses.

A. Practical and oral demonstrations of the following lessons:

1. Play and render orally Thani Aavarthanam (solo) and Panja Jaathi (Five types of) Thathingkinathom for the following Thaalam:

a. Aathi Thaalam Arai (½) Iddam

b. Aathi Thaalam Ondarai (1½) Iddam

c. Rupaka Thaalam Arai (½) Iddam

d. Rupaka Thaalam Athitha (2 Maathiras before beat) Iddam

e. Mishra Chaapu Thaalam Irendu Mathirai Thalli Eduppu (2 Mathirai off beat from Samam)

f. Mishra Chaapu Thaalam Naangku Mathirai Thalli Eduppu (4 Mathirai off beat from Samam)

g. Kanda Chaapu Thaalam Irendu Mathirai Thalli Eduppu (2 Mathirai off beat from Samam)

B. Theory (Written paper):

1. Knowledge of musical notations with examples e.g. such as the following:

a. , - one Maathirai duration

b. ; - two Maathirai duration

c. _ - second speed

d. = - third speed

e. / - end of an Angkam

f. // - end of a Thaalam or lesson

2. Detailed knowledge of Eduppu (Graham) with examples.

3. Ability to write with signs & symbols used in Carnatic music at least two Korvai in the following Thaalam:

a. Aathi Thaalam

b. Rupaka Thaalam

4. Life history and the contribution to Carnatic music of the following Vithwans.

a. Miruthangam maestro Palgat T. S. Mani Iyer

b. Thavil maestro Alavetti Thadshanamoorthy

5. Knowledge of the Shadangam (Six Angams) with their symbols.

The following must be known in addition to the Grade One to Five syllabuses.

A. Practical and oral demonstrations of the following lessons:

1. Play and render orally Thani Aavarthanam (solo) and Panja Jaathi (Five types of) Thathingkinathom for the following Thaalam:

a. Kanda Jaathi Thiruputai Thaalam

b. Mishra Jaathi Thiruputai Thaalam

c. Aathi Thaalam Ireddai Kalai (Double beat) Sama Iddam

d. Aathi Thaalam Ireddai Kalai (Double beat) Kaal (1/4) Iddam

e. Aathi Thaalam Ireddai Kalai (Double beat) Arai (1/2) Iddam

B. Theory (Written paper):

1. Ability to write Thani Aavarthanam lessons in Samma Eduppu with signs & symbols used in Carnatic music for following Thaalam:

a. Aathi Thaalam

b. Rupaka Thaalam

2. Ability to identify the Thaalam of a piece given the Eduppu, and the ability to identify the Eduppu for a piece given the Thaalam.

3. Ability to write Panja Jaathi (Five types of) Thathingkinathom lessons in Sama Eduppu with signs & symbols used in Carnatic music for the following Thaalam:

a. Aathi Thaalam

b. Rupaka Thaalam

c. Misra Chaapu Thaalam

d. Kanda Chaapu Thaalam

4. Detailed knowledge of the divisions of Musical instruments with diagrams (e.g. strings, wind, percussion instruments etc.).

5. Knowledge of the detailed structure and the ability to draw a detailed diagram with all the relevant parts for the following instruments:

a. Veenai

b. Thambura

c. Flute

d. Violin

6. Life history and the contribution to Carnatic music of the following Vithwans.

a. Miruthangam maestro Palani Subramaniya Pillai

b. Miruthangam maestro Inuvil K. Sangarasivam

The following must be known in addition to the Grade One to Six syllabuses.

A. Practical and oral demonstrations of the following lessons:

1. Play and render orally Thani Aavarthanam (solo) and Panja Jaathi (Five types of) Thathingkinathom for the following Thaalam:

a. Aathi Thaalam Ireddai Kalai (Double beat) Mukkaal (3/4) Iddam

b. Aathi Thaalam Ireddai Kalai (Double beat) Sunduviral (Little finger) Samam

2. Ability to play Thani Aavarthanam (solo) for a given song of a given Eduppu.

3. Ability to compose, sing, and play a Pallavi in Aathi Thaalam or Rupaka Thaalam in Thrikaalam (Three speeds)

4. Ability to play lessons in any three Nadai including Chathushra Nadai.

B. Theory (Written paper):

1. Knowledge of the detailed structure and the ability to draw a detailed diagram with all the relevant parts, similarities and differences between the following instruments:

a. Miruthangam

b. Kanjira

c. Ghatam

d. Thavil

e. Morsing

f. Dolak

g. Tabla

2. Ability to write any lesson in Thrikaalam (Three speeds) with signs & symbols used in Carnatic music.

3. Detailed knowledge of sub-accompanying percussion instruments in a Carnatic concert (e.g. Kanjira, Ghatam, and Morsing).

4. Knowledge of Carnatic pitch scales and comparisons to the western pitch scales (e.g. Moondu Kaddai (Pitch 3) is equivalent to ‘E’ in western scales).

The following must be known in addition to the Grade One to Seven syllabuses.

A. Practical and oral demonstrations of the following lessons:

1. To be able to accompany a full music performance

2. To play a Pallavi in three speeds and Tishra Nadai in Mishra Chaapu, Kanda Chaapu, or Kanda Jaathi Thirupudai Thaalam

3. To be able to sing any one of the following pieces to Thaalam

a. Geetham

b. Varnam

c. Keerthanam

4. Knowledge of playing for folk music

5. To be able to play lessons in 4 different Nadais

6. To be able to tune a Miruthangam for Sadjama sruthi, and alternatively to Panchama Sruthi (e.g. if the Sadjama sruthi is ‘5’ or ‘G’ then the corresponding Panchama Sruthi will be ‘2’ or ‘D’)

7. To be able to conduct a Miruthangam lessor for a given time

B. Theory (Written paper):

1. Explanation of Thaalam This (Ten) Pranankal

2. Knowledge of Shoda Sangam

3. Brief knowledge of western rhythmic instruments

4. Comparison between western and eastern musical instruments

5. General knowledge of carnatic music concerts

Students who successfully complete this examination will be bestowed with a title “Miruthanga Kala Ratna”

The following must be known in addition to the Grade One to diploma syllabuses.

A. Practical and oral demonstrations of the following lessons:

1. To be able to accompany carnatic music concerts (Vocal and Instrumental)

2. Composing Mora and Korvai for a given Thaalam in 35 Thaalam

3. ‘Konnakol’ demonstration to any lesson given by the examiner

B. Written Report:

Candidates must submit their dissertation together with the Application Form in preparation for the VIVA part of the examination, (please use bamini font for Tamil letter presentation.)

Once the written dissertation is approved the candidate is expected to bind the article in a presentable booklet form and submit three copies to the examination board.

The Post-Diploma candidate is expected to summarise and present to the board and audience the dissertation using PowerPoint slides emphasising the salient points of the dissertation subject. This will be an interactive question and answer session involving the examination panel and questions and the invited audience, duration 60 minutes.

1. A comparative study of the evolution of Thani Aavarthanam in a Carnatic concert and analyse the role of Thani Aavarthanam in a concert, making reference to present and past Miruthangam vidwans.

2. Detailed analysis of Miruthanga vidwans and their playing style (Bhaani).

3. Provide a detailed commentary and critique of a given concert, focusing your analysis on Miruthanga Vidwan’s performance. (Audio CD will be provided by OFAAL).

4. Analyse the role of Miruthangam and sub-accompanying instruments in a Tala-Vadya

concert. Consideration should be given to the characteristics of the individual intruments

and how they complement each other.

5. Impact of “FUSION”

i.e. Carnatic and Hindustani or Carnatic and Western

Discuss and analyse the key features of a successful “FUSION” piece.