Diploma imp questions paper 2

 Diploma imp paper 2

1QWhat is Nada

1. Musical Sound 
2. Pleasant
3. Produced by periodic , regular rythms
4. Nadha gives rise to shruthi , shruthi gives rise to swaras and swaras give rise to ragams
5. Two types Ahatha and Anahatha:
6. Properties
1. Plain or Graced utterance
2. Pitch or Frequency
3. Intensity or Loudness
4. Quality or timbre
5. Duration or length

2QWhat is Shruthi?

1. Nadham is the basis for shruthi
2. It is a reference swara from which rest of the swaras can be set.
3. Shruthi matha laya pitha
4. It is one of the most essential part of music
5. Also called pitch
6. 22 Shruthis
7. They are called dhwavimsathi shruthi
8. It is like the base note of an entire scale
9. Musicologists defined shruthi as "Sruyanthi ithi shruthyaha"
10. Means shruthi is the special note which attracts human ear

3QWhat is Swaram.

1. Also called notes
2. Swaram is one of the smallest constituents of music
3. Nadham produces Shruthi, shruthi produces Swaram
4. There are 7 swarams 
5. Write names of swaras
6. Sa- Peacock
7. Ri-Bull
8. Ga- Goat
9. M- Heron
10. Pa- Cuckoo
11. Da- Horse
12. Ni-Elephant

Q4Sthayi

1. Also known as scale
2. Series of swars from Sa to Ni
3. 5 Scales
4. Anumandhra
5. madhra
6. Madhya 
7. Thara 
8. Athi thara
9. Write their representation

Nadha Ghanamu ( Intensity or loudness)

1. depends on the amplitude of the vibration
2. write example of veena plucking string
3. and flute sound based on amount of air u fill in
4. pitch remains constant
5. factors on which it depends:
1. distance
2. if any absorbers or vibrators are present
3. amplitude of vibration
4. density of air
5. direction of air current

Nadha gunamu:

same note produced differently 

Nadha vistharnamu:

sound boxes in musical instruments

resonance box in veena 

hollow tube in a flute

rectangular shape - harmonium

trapezoid - santhoor

Barrel shaped - mridhangam

Prathi dhwani : Eco

Tanthreeka Sidhantham:

Laws of Vibration string

Lenght thickness inversly 

tension square root

Sahanamu kupanamu

Vibration of other  string 

occurs string and air coloumns

Swayam Bhodhvanulu:

note produced by vibration of whole length.

prime tone over tone upper partial tone

Harmonics in raga vibhodha called as harmonics

Nadha:

chest - mandhra

throat - madhya

head- thara

Sarreraja 

Nakhaja

charmaja

Vayuja 

lohaja

dhanurja

Nadha 3 types

Prani  sambhaja

Aprani

Ubhaya

5QRole of gramophone, television, radio

1. media acts as a medium for communication and the spread of music
2. The sources of music before media was spread and preserved in the form of manuscripts, engraves, paintings, inscriptions, pillars
3. Electronic media is a boon for music
4. Area in which electronic media used
1. Audio
1. Pre-recorded audio
2. radio
2. Audiovisual
1. Direct telecast
2. Videocassette

Gramophone

Also called tin foil phonograph

1. Remote audio discrete integrated oscillations.
2. Communication is done through radio waves
3. audio signals is sent through air as radio waves  from transmitter to reciever.
4. Two types
5. AM and FM
6. AM-Amplitude modulation'-540 to 1600
7. FM-Frequency modulation 81 - 100 hz
8. One of the oldest and even now its evident
9. Fm is better than
10. AIR 1936
11. Akashwani 1957
12. 1900-1930 "Golden era for Radio"

TV

Delhi doordharshan was the first to telecast in 1956.

Q6Popular seats of Music

TTTMMPEVB

T-Tanjavur

T-Tirupathi

T-Thirvankoor

M-Madras

M-Mysore

P-Pittapuram

E-Ettiyapuram

V-Vijayanagaram

B-Bobbili

Thanjavur:

1. Trinity was born in thiruvarur
2. During reign of Maharaj Tuljaji Pachimiriyyam Adi papaya was the court musician 
3. Tyagaraja and syama sastry would regularly come there to meet Pachimiryam adiappaya to clarify their doubts
4. They would discuss and compose
5. some of the court musicians are:Sonti Venkata ramayya,Pachimiriyam adi papaya,Trinity,Venkatamakhi,Narayan Theerthar,Maha Vaidhyanath Iyer are some of the court muscians.
6. Every year Tyagaraja aradhanaotsva happens in thiruvayyur.

Yattipuram:

1. 3 kings
2. Encouraged music
3. Names Jagadheeswara ramkumar ettapa
4. Muthu swamy Ettapa
5. Jagadheshwar Rama Venkateshwara Ettapa
6. Honoured Muthuswamy Dikshithair
7. His adopted son subbrammaya Dheekshithulu.
8. Sangeetha sampradhaya pradharshini

Thiruvankoor/Travancore:

Swathi Thirunal

Write his composition 

Prince Rama Varma

Navarathri Mandapam

Vadivelu lived here

He also wrote the Harikatha Kutchelphakyanamu

Madras:

1. Patnam SubramanyaIyer,Veena kuppayar his father Singaracharyulu lived there
2. write about how Patnam came to madras to teach papa and radha
3. Madras also called chennai
4. Nadhaswaram vidhwans were honoured by subbaram deekhsithulu
5. Infact Chinnaya Modaliar on of the patreons of music encouraged balaswamy deekshithulu to learn violin
6. First Magazine was also released in Tamilnadu Sangeetha saath sampradhyaya
7. Chinnaswamy with the help of tyagarajas disciples released a book called Oriental music in European.

Mysore:

1. It was one of those places of rich music
2. Alot of top-performers wih=shed to perform there
3. It was not an easy task
4. First they had to impress the court musicians if they were happy with it then they would get a chance
5. Apart from costly gifts they would also get annual grants for lifetime
6. The vadiyars encouraged music a lot apart from themselves being musicians they also encourage court muscians
7. Some of the notable ones who visited mysore are Patnam Subramanyam Iyer,Veena Kuppayar,MahaVaidhyanath iYer,
8. Mysore Sadashiva Rao was the disciple of Valajipet Venkata ramanna bhagavathar

Tirupathi:

1. Piligrimage
2. Thyagaraja Composed theera theeyagga here
3. Subbaraya sastry composed - Venkateshshiala Vihara in ameer kalyani
4. Annamayya lost keerhtans were found here
5. Annamayya composed a lot of songs here
6. Tallapakas decesndants still sing here
7. Subbalakshmi statue
8. Music flourished here and hence it gained popularity
9. Nadhaneerajanam

Pittapurma

            

VijayaNagaram:

1. Vidhyala Nagaram
2. Pasupati Narayan Gajapati- Encouraged musical study
3. Anandha Gajapathi Raju- Vidhyala Bhojudu also Veena exponets
4. He was the one worked extensively for the growth of the kind=gdom
5. Sri Viyayarmaa Ghana Patashala was established by son of Anandha Gajapathi raju
6. Harikatha exponents
7. Veena exponets Dwara venkata swmi naidu

Bobbili

Tygarajs contemprory

Bhooo loka chapachutthighanakesari bobbiili keshava lived here

veena is made her

Bobbili even ais very famous

Bobbili had many Asthana Vidwnas and instrument player

even th ekings encouraged music there

1. 
   

Q7Ear

1. Ear is one of the sense organ which senses sound
2. Also called Sravanendriyam
3. Three parts 
4. Outer ear senses sound
5. Middle ear is where sound is transmitted through the auditory canal and the auditory nerve senses it in the inner ear
6. Tell all theparts separate;y 
7. Frequency of human ear 20hz to 20khz

Q8Brihadeshi 

1. was written  by  mathanga muni
2. Briha + desi = music of different regions
3. This acted as a bridge between marga and dhesi music
4. Brihadeshi also carried forward the tradition of Sangeetha ratnakara and Dhaithalam
5. It is said that alot of the chapters are lost
6. Next chapter was supposed to be music instruments
7. According lot of people who read this next chapter was to understand about musical instruments
8. Talks initially about Geetham
9. He  has also written about the three art forms
10. Geetham(s0ng)
11. Vadhyam
12. Nrythum
13. Nadham
14. Two grams shdja gram and madhyama grama
15. shruthi 
16. mentions about 7 types geetha existed during his time
17. types of moorchana
18. He dedicated an entire chapter to jathis
19. there is an another chapter dedicated to ragas

Q7Chathurdhandi Prakasika

1. was written by venkatamakhi
2. Original name: Venkateshwara dheekshithul
3. Parents Name: Father Govindha Dheekshithulu and mother Nagamba , has written Sangeetha Sudha,and Minister of Nayak king at Thanjavur
4. He had immense respect towards hi parents and elder brother Yajnarayan Deekshitha
5. He also mentions that his brother taught him Tarka(logic) vyakarnam ( grammar) and even music
6. Composed 24 Ashtapdhis on Lord Tyagaraja the deity of thiruvarur
7. His book Chathurdhandi Prakasika had 10 chapters:
1. Veena
2. Shruthi
3. Swara
4. Mela
5. Raga
6. Aalpa
7. Thaya
8. Gita
9. Prabhanda
10. Thala
8. VEENA:
1. In this he talked about the different type of veena
2. One with movable frets and another which cannot be moved
3. And he talked about sarva raga mela veena which could play all the ragas without moving the frets
4. whereas eka raga mela veena which need the frets to be changed in position for every raga
9. SHRUTHI:
1. Shruthi is the basis of music,from which swaras are formed and hence ragas
2. Venkatamakhi talked about shruthi as  silent intervals between swaras     
3. He discussed about the 22shruthis and its formation and division from 7 swaras 
4. Explain about Vikruthi and prakruthi swaras
5. He even mentioned the calculations in his book
10. SWARA:
1. Swara is the fundamental unit of sound 
2. There are 7 swaras
3. He explains the Shudha and Vikruthi swaras
4. He tries to explain the swaras with mukhari raga where S M and P have 4 shruthis gap and G and M have 2 shruthis gap and R and D have 3 shruthis gap
5. He feels that there are only 5 vikruthi swaras not 7 or 12 
6. they are anthara gandhara,sadharana Gandhara,Varaali Madhyamam,Kakali Nishadham Kaisiki Nishadham
7. He also describes about Vaashi and samvadhi swaras
11. Mela:
1. Venkatamakhi is honoured for designing the melakartha system 
2. He tried to make different permutations and combinations of swaras to create 72 melakrthas
3. But he could only identify 19 of them
4. 53 were left unidenfied
5. This laid the foundation for a structured melakartha system
6. He left gaps for the other Melakartha ragam to be identified
7. Vekanta makhi recognised a raga as meal if all the swaras occurred in it.
8. A system hashing was also created later for identifying the names of the raga called kattapayadhi sutra
12. Raga :
1. Here he mentioned the 10 characteristics of a raga
2. They are:
1. Graha
2. amsa
3. nyasa
4. Apanyasa
5. Mandhra
6. Thara
7. Alpatva
8. Bahuthva
9. Shadava
10. Audava
13. ALAPA Prakarna
1. Talks about various stages of developing a raga
14. Thaya
1. also called sthayi
2. concept used in raga alapana
3. where one note is taken and different phrases are built based on it and it ends in the note which was previously taken
15. Gita Prakarna:
1. Gita means song
2. He talks about Shudha sudha and salaga sudha
3. Salaga sudha is concentrated here
4. He describes 6 forms of Salaga Sudha:
1. Dhruva 
2. Matta
3. Prathi matta
4. Nishruka 
5. atta thala
6. ekakali
16. Prabhandha:
1. diff angas of prabhandha
2. 6 are there
1. Swara 
2. padha
3. birudhu
4. tena
5. thala
6. pata
3. there are 4 dhatuss
1. udgraha 
2. mealapaka
3. Dhruva 
4. abhoga
4. He talks about different types of prabhandhas based on angas no and no of dhatus
17. Thala Prakarnika : NOt available now

Q 8Sangeetha Sampradhya pradharshini

1. written by Subbrammmaya Dhikshithar
2. He was the last successors of Muthuswamy Dikshithar
3. Born in the year 1839 after 4 years of death of Muthuswamy
4. He was the grandson of Balaswamy Dheeskshithar
5. Book contained two volumes
6. It was published in 1902
7. In it he has written all the biographies of composers and eminent musicologists from Saranga Dheva to himself
8. This book contained 1700 pages
9. Apart from biographies he also has written about the 72 melakrthas
10. their Janya ragas and moorchans in a tabular form
11. He has also given detailed raga Lakshan and Sancharas for each raga
12. He also included Venkatamakhis Lakshana Geethams
13. Also mentioned a good number of Tyagaraja and Shyama Sastry compositions
14. Apart from that he has specially mentioned 229 kruthis of Muthuswami Dikhthair
15. He also included Varnams and swarajathis whose count is about a 100
16. He also included Dharus Padam and Prabhandhas
17. He also introduced symbols for the 15 Gamakas from his discussion with Chinna swamy Dhikshithair
18. He also introduced Pratham Pusthakam for Beginnners
19. Thus Sangeetha Smapradhaya Pradharshini is the single most valuable book for muscians
20. And even more valuable if you want to learn about Musthuswami Dhikithair Style of composition.

QDhathillam.

1. Written by Dhatthilacharya
2. who was one of the shatha putras of Bharatha
3. He along with kohla have written Dhathila Kohleeyamu
4. The 5 sons of Bharath are:
1. Nadhikeshvar
2. Dhathila 
3. Kohela
4. Bharatha 
5. Mathanga
5. This is a shorter text when compared to others
6. Contains 244 verses
7. It was written as a bridge between Sama Gana (for Yagnas and Poojas) and Gandharava ganam
8. Gandhara ganam is what we learn which has taken soo many transformations from the time this book was written
9. He says Gandharava ganam is produced with conscious use of swara sahithy and thala aspects
10. his saying"Padha thatha swara Sangathaha thalena sumathas thatha,Prayuktha savadhena Gandharvam Abhijayathe"
11. It was written in around 2nd century and one of the books written after Natya sastra
12. In his initial text i.e 5-6 verses, he writes about Shruthi ,swara,raga and sthana
13. He also writes about musical instruments
14. Githam and Vadhyam together
15. from 22-24 he writes about moorchana , Gram - Moorchana
16. He says the from Shadja Grama moorchana 7 Moorchans can be derived and from Madhyama Grama moorchan 7 moorchans can be derived and a total of 14 adding the above two
17. He mentions the sapta swaras as well
18. There are 4 type of swaras Vadhi Samvadhi anuvadhi Vivadhi
19. He also mentions Moorchana and Jaathi Variations
20. Verse 55 mentions the 10 characteristics of the raga
21. Conclusion it is one of the oldest references of music and it is fundamental Lakshana Grantha

Indian music among world music

1. Indian system of music takes two main things  Shruthi matha and laya pitha 
2. It is very important for a performer to sing in shruthi hence a comprehensive system of scales and thalams have been devised
3. ans.Indian music has gifted the world with the genius of raga system
4. Indian music styled the raga sangitha and  European music styled the samvadha sangitha
5. Also the we have Manodharma sangeetham
6. wherein the performer also uses his own creativity and perform spontaneously on spot.
7. Indian music has a well structured system
8. Indian boulders of Indian music new the principles of Harmony
9. Write about the Thala system
10. 35 thalas - formed by using laghus and dhruthams
11. whereas 108 thalas are made using shodasha angas.
12. Gamakas
13. Vadhyaprabhandhas
14. Very old system before Ramayana
15. some books also exit from the 2nd century 
16. Hindhusthani and carnatic
17. How music existed in the form of bhajansetc
18. Indian music has the most difficult thalam structure
19. The world kinds of music thalam system combined together will just be  a fraction of the thala system

QNowka charithram

1. Thyagaraja 
2. mostly in telugu
3. write boat story
4. one act
5. write a story of how he went on to compose nouka charithram
6. 
   
   
   

Chalu chalu nee yukthulaku nadavadu sarasaksha Shri krishna-Saveri -aadhi

Evaru manaku samanamilao  Dhevagandharam-Addhi

Gandhamu puyyarugu-Punnaga varali - aadhi

Odanu Jaripe- Saranga-aadhai

Q Prahladha Bhakthi vijayam

1. 5 acts 45 krithis 28 ragas 138 verses
2. Sri Jankai Manohara opening
3. Vandhanamu Raghu nandhana sung by prahaladha
4. infact here is no mention in the entire thing that narsimha is the savior
5. Sri Ganapathini sevimpa rare-Sourashtra-aadhi
6. Vasudhevayya vedalina-kalyani-adhi
7. Naradhamuni vedalina- Panthuvaral trisna nadai aadhi thalam
8. eti janmamidhi - varali - misrachapu
9. enati nomu phalamu-bhairavi aadhi
10. anandha maanandha-nadhaswaram
11. Rara maintidhaka- asaaveri-aadhi
12. ni nama rupamulaku-sourashtra

QSwaramelakalanidhi.

1. Ramamatya
2. Grandson of kallinatha
3. Muscian in the  court of Vijayanagar king
4. Brother of the king sadhashiva rao asked him to write this book
5. the date of this text is Sravan Sudha
6. fitting introduction to post sangeetha ratnakara
7. two types of music Lakshana pradhan(Gandharava) and Lakshya pradhana(Dhesiya Snageetham)
8. Chapter 1-2 Dexxribes various veenas usedswayabhu swaram
9. Other swaras derived through samvadhi relationship are calledswayambhu swaras
10. 
    

Upodgatha

Swara prakarna

veena prakarna

Mela prakarana

raga prakarna