Nowhere else in the world can the interweaving of language, psychology and western music be found. This combination provides a solid foundation into career paths that value interdisciplinary links already established within the graduate degree holders. Understandings of western culture, history, psychology, and philosophy are bridged within all three overlapping disciplines whilst simultaneously developing a solid musical platform from which one can express themselves artistically and creatively.

A large pool of customization remains within the course structure. Students can elect to specialise as a music teacher or choral director / conductor within the music programme. They can elect to study film, short story or teaching from the English programme; and specialise in French, Hindi, Kannada, Sanskrit or Tamil languages.

Literature is an important cultural product of a society or a nation. Hence, the study of literature offers insights into the worldviews of different societies. This course begins with traditional British literature to the present. The course also introduces students to other literatures namely American world, postcolonial and the Indian literature in translation. The course also introduces students to interdisciplinary studies in culture and gender helping them to gain insights from other disciplines like history, anthropology, sociology etc.

Programme Outcome/Programme Learning Goals/Programme Learning Outcome:

PO2: Emotional Self-Regulation: Demonstrate empathy by listening with respect for others.

PO3: Communication Skills: Demonstrate creative thinking using verbal and non-verbal skills.

PO4: Co-Creation: Demonstrate consultative decision-making using analytical thinking and assertiveness.

PO5: Entrepreneurship: Demonstrate leadership and team-building skills through facilitation.

PO6: Research Skills: Demonstrate a global perspective using critical thinking and knowledge application.

PO7: Cultural Competency: Demonstrate respecting diversity with cross-cultural understanding and humility.

PO8: Autonomy: Demonstrate adaptability through self-awareness and continuous learning.

Programme Specific Outcome:

PSO2: Empathy The ability to recognise emotions and needs in others and to understand other people?s perspectives on a situation. Listening The ability to decode and interpret musical structure, verbal messages and nonverbal cues such as tone of voice, facial expressions and physical posture. Cohesion The ability to develop reciprocal loyalty and solidarity through social relations and shared values to develop a sense of belonging and trust among individuals in society.

PSO3: Creativity The ability to think about a task or problem in a new or different way, or the ability to use the imagination to generate new ideas. Storytelling The ability to captivate an audience, interactively using words and actions to reveal the elements and images of a story while encouraging the use of imagination. Expression The ability to speak, conduct, sing or play with a personal response to music and words; making appropriate use of dynamics, phrasing, timbre and articulation to bring the content to life in an impactful way.

PSO4: Interpretation The ability to synthesise multiple contexts to attribute meaning to a work of art. Musical Analysis The ability to decypher the relationships present within a piece of music relative to the emotional underpinnings adopted within a particular style and historical period. Stage Presence The ability to connect with an audience and hold their attention using charisma, appeal, appearance, demeanour, confidence and energy whilst performing on stage.

PSO5: Create atmospheres that encourage community building drawing upon personality, attitude and project development.

PSO6: Philosophical Inquiry The ability to think and reason using conceptual clarification, analysis of arguments and problems related to ontology, epistemology and ethics. Critical Thought The ability to objectively analyse and evaluate an issue in order to form a judgement. Research Methodology The ability to use digital and techonolgocial tools to identify and design appropriate procedures whilst understanding the limitations and scope of investigating an idea.

PSO7: Contextualisation The ability to make learning and assessment of what has been learned relevant to current or anticipated experience. Sociocultural History The ability to decypher social and cultural structures and the interaction of different groups in society. Ritual and Celebration The ability to conform to cultural rites which are sacred, customary ways of celebrating multiple religions or cultures.

PSO8: Adaptability The ability of being able to adjust to new conditions or modify previously established methods for a new use or purpose. Embodied Knowledge The ability to engage with sensory knowledge structures grounded in bodily experience. Practice The ability to deliberately act upon a process aimed at improving a skill or ability for mastery.

Programme Educational Objective:

PEO1: Professional Skills: Demonstrate personal integrity with domain expertise and practical skills.

PEO2: Emotional Self-Regulation: Demonstrate empathy by listening with respect for others.

PEO3: Communication Skills: Demonstrate creative thinking using verbal and non-verbal skills.

PEO4: Co-Creation: Demonstrate consultative decision-making using analytical thinking and assertiveness.

PEO5: Entrepreneurship: Demonstrate leadership and team-building skills through facilitation.

PEO6: Research Skills: Demonstrate a global perspective using critical thinking and knowledge application.

As music is the universal language, we approach its education in a similar way: as a language of intersubjective experience. Although this classification makes it easier to relate to on a surface level, when we peer deeper into what this language actually comprises, it begins to take on a different shape and nature to what we generally understand as a traditional language. This global language requires sensitivity to all elements of expression and thus we approach its teaching and learning from an ontological perspective. We accept that every student will approach their learning individually, and in relation to their previous experiences, and as such adopt a learner-centred pedagogical design. Our pedagogy is underpinned by the philosophical dialogues that branch from phenomenological thought, as our students are beings-in-the-world which actively participate within their environments to build upon their experiences as they learn.

By looking at what aspects of music interact with the experience one has of interacting with and in it, pedagogic layers across the entire spectrum of being emerge. As such we can approach teaching and learning musical skills through domains such as “speaking” the language through performance and articulating clearly through elocution; reading, interpreting and writing western notation;  listening deeply using aural mechanics and close examination of interpretation; and comprehension (harmony); this language also requires a deep sensitivity to other contextualising areas across interpersonal and intercultural domains such as phenomenology, autonomous thinking, practice approaches, performance anxiety, emotional connection, interpretation, leadership, pedagogy, history, sociology, effective citizenship, cultural values and culturally sustainable practices. 

Generally, teaching and learning music uses multiple learning models in tandem to assess each learner individually. Using a combination of Bloom's Revised Taxonomy of Cognitive Development (2001); Krathwohl's Taxonomy of Affective Development (1964); and Harrow's Taxonomy of Psychomotor Development (1972), can grant tremendous insight into the multitudes of ways learners compose themselves. These taxonomies are used to evaluate how students think, feel and act when they engage with music using different intelligences or sensibilities. Such sensibilities, thoughts, skill sets, and feelings are part of the pedagogic dialogue. Tasks can be geared to allow for educators to learn and engage with how individuals emotionally respond to their individual learning style and the musical phenomenon. 

The skills of articulating emotions through both word and musical practices are important components of artistic expression. The typical music educator finds such emotional discipline common knowledge as it is safe to assume most have experienced empathy. To a performer, emotional understanding becomes the vehicle that modulates their own theory- and practice-based skills. For instance, if a difficult musical passage is encountered and not fully known whilst practicing, it often becomes a point of anxiety during a performance. However, once the passage has been mastered, it becomes fun to perform as one gains control over the movements required of the passage. To engage in effective pedagogical dialogue, a music educator should see each learner as an individual, as each student brings different experiences to the classroom. The learning outcome for the music program is to empower each student by showing them the multiplicities of ways they (a) learn, (b) relate with and to music, and (c) use music as a vehicle of self-expression. Such an approach assists individual students to navigate through the jungle of finding meaning within their own experiences. With such a mode of thought, it can be said that everything we do is a combination of thinking, feeling, and moving.

Since these actions occur throughout all activities undertaken, these taxonomies are used as the underpinning scaffolds that contextualise assessment criteria. Throughout the duration of the course, neurological connections of these three domains are unpacked and applied to aspects of musical performance. When students understand which parts of the brain are working for what means, a framework for critical self-reflection can be assessed. Such assessments taking an experiential-reflective approach use English and Psychology to understand Music (and vice-versa) to determine individual emotional growth of each student. Practical courses within the department take such knowledge and focus on their physical applications throughout the skill sets. Such an approach links all three taxonomies underpinning both theoretical and practical aspects of English, Psychology and Western Music. It is with these thoughts in mind that the department of music creates and aligns each and every assessment criterion within our courses.

The Additional English course is offered as a second language course and seeks to introduce the students to the nuances of English literature in its varied forms and genres. The students who choose Additional English are generally proficient in the English language. Hence, instead of focusing on introducing them to language, challenging texts in terms of ideas, form, and technique are chosen. Additional English as a course is designed for students in place of a regional language. Non-Resident Indians (NRIs), foreign nationals and students who have not taken Hindi, Kannada, Tamil or French at the Plus 2 or Class XII levels are eligible to choose Additional English. The course is taught for students from different streams, namely, BA, BSc, BCom, and BBA in the first year and for BA, BSc and BCom (Regular) in the second year.

The first year syllabus is an attempt by the Department of English, Christ University to recognize and bring together the polyphonic Indian and Indian sub-continental voices in English in English translation for the Additional English students of the first year. This effort aims to familiarize the students with regional literatures in translation, Indian Writing in English (IWE) and literatures from Pakistan, Nepal and Srilanka, thereby, enabling the students to learn more about Indian culture and ethos through writings from different regions of the country. We have tried to represent in some way or the other the corners of India and the Indian sub-continent in this microcosmic world of short stories, poems and essays

There is a prescribed text bookfor the first year students, compiled by the Department of English, Christ University and intended for private circulation.

The first semester has a variety of writing from India, Pakistan and Nepal. The various essays, short stories and poems deal with various socio-economic, cultural and political issues that are relevant to modern day India and the Indian sub-continent and will enable students to comprehend issues of identity-politics, caste, religion, class, and gender. All of the selections either in the manner of their writing, the themes they deal with or the ideologies that govern them are contemporary in relevance and sensibility, whether written by contemporary writers or earlier writers. An important addition to this syllabus is the preponderance of North-Eastern writing which was hitherto not well represented. Excerpts from interviews, autobiographical writings, sports and city narratives are added to this section to introduce students to the varied genres of literature.

The objectives of this course are

to expose students to the rich literary and cultural diversity of  Indian literatures

to sensitise students on the social, political, historical and cultural ethos that has shaped the nation- INDIA

to enable to grasp and appreciate the variety and abundance of Indian writing, of which this compilation is just a passing glance

to learn and appreciate India through association of ideas in the texts and the external contexts (BhashaUtsav will be an intrinsic help in this endeavour)

1.      Keki N Daruwala     “Migrations”

2.      Kamala Das            “Forest Fire”

3.      Agha Shahid Ali      “Snow on the Desert”

4.      Eunice D Souza       “Marriages are Made”

1.      Rabindranath Tagore    “Babus of Nayanjore”

2.      Ruskin Bond  “He said it with Arsenic”

3.      Bhisham Sahni       “The Boss Came to Dinner”

4.      N. Kunjamohan Singh    “The Taste of Hilsa”

5.      Mohan Thakuri                “Post Script”

1.      Mahatma Gandhi       “What is True Civilization?” (Excerpts from Hind Swaraj)

2.      Ela Bhatt                    “Organising for Change”

3.      Sitakant Mahapatra     “Beyond the Ego: New Values for a Global Neighborhood

4.      B R Ambedkar             “Waiting for A Visa”

The text book copy "Reading Diversity"

CIA 2: Mid-semester written exam for 50 marks

CIA 3: Collage, tableaus, skits, talk shows, documentaries, Quizzes or any proactive            creative assignments that might help students engage with India as a cultural space. This is to be done keeping in mind the objectives and learning outcomes of the course.

Question Paper Pattern

Mid Semester Exam: 2 hrs

Section A: 4x5= 20

Section B: 2x15=30

Total                  50

End Semester Exam: 2 hrs

Section A: 4 x 5 = 20

Section B: 2 x 15= 30

Total                   50

The ‘English Phonetics and Communication’ course focuses on the important knowledge and skill area of the pronunciation of English sounds and speech for the students of Theatre and Music. It also focuses on platform speeches to enable to support the platform roles which are integral to the programme involving theatre

                                                                          Hours: 20

1.     Transcription and Pronunciation

a.   Spelling and Pronunciation

b.   Transcription

c.    English Consonants and Vowels

d.    The Place and Manner Articulation

        2.      How to use the Daniel Jones

1.    The Syllable

a. Morphemes

b. Assimilation and Elision

      2.  Word Accent

      3.  Intonation

      4. Tag

1. Mother tongue influence on English in India
2. British and American English, Language and Power
3. English and Social Mobility in India

1. Public Speaking – The four stages, flourishes (use of anecdotes, humour, proverbs, quotes etc)
2. Types of Speeches(Lecture Series)

a.     Inaugural, Valedictory, Welcome, Vote of Thanks, Chief Guest’s Speech, Presidential Remarks, Felicitation Speech, Keynote Address, Convocation Address, Panel Discussion.; Platform Speeches: President, Master of Ceremony, Moderator, Compere, Commentator, Announcer, Anchor Person, Panel Interview. Platform Roles: Protocols and conventions of stage programmes.

b.     Intellectual Assemblies: Intellectual assemblies and artists’ assemblies.

c.     Conference, Seminar; Symposia, Panel Discussion, Workshop, Training, Convention, Rally

CIA 2: Pronunciation of words: 50 Marks

CIA 3: Stress Marking: 20 Marks

 ESE: exam

Assessment pattern:

Course Description:

This course will serve as an introductory course for British Literature. The course will locate the texts in their respective socio-political and historical contexts. The selection aims to introduce different genres of British literature.

Course Objectives

• To introduce  students to the socio-political, religious, cultural, and linguistic aspects of the UK through English literary texts
• To help students understand texts as products of a historical, political and cultural processes
• To enable students to identify different forms, genres and subgenres in literature
• To sensitize students to human values through an exposure to socio-historical concerns of subjectivity, identity, community and nationhood.
• To sharpen critical appreciation and analytical writing skills through an introduction to models of literary criticism

Emergence of English language, History of England from 42 BC to Norman Conquest- salient features

 Impact of Norman rule on English social structure, English language in the medieval period,mystery, morality plays and miracle plays, feudalism 

Protestantism, Bible translation, religious literature, humanism, English Renaissance, Baroque and Rococo Styles

Metaphysical Poetry, Epic conventions, Mock epic, Puritanism, Restoration, Rise of the novel, the English novel in the eighteenth century, Gunpowder plot, Oliver Cromwell,

Dissolving the parliament, Periodical essays, empiricism, Influence of French culture through restoration, the enlightenment 

Romanticism, notion of literary creation and poets, closet drama, the French Revolution, Victorian morality, industrial revolution, utilitarianism, rise of nation-states, impact of colonialism on England, emergence of universal education in England 

William Shakespeare:          

Sonnet 116

‘O that this too solid flesh would melt” Soliloquy by Hamlet in Hamlet Act 1 Scene 2

‘To Be or Not To Be’ Soliloquy by Hamlet in Hamlet Act 3 Scene 1

Francis Bacon: “Of Truth”

John Donne: “Canonization”

John Milton: Excerpt from Satan’s speech in Book 1, Paradise Lost

John Dryden:  First three stanzas of “Mac Flecknoe”

Alexander Pope: Belinda’s Boudoir from The Rape of the Lock

Addison and Steele: “Character of Will Wimble”

Oliver Goldsmith: “Beau Tibbs”

Oliver Goldsmith: She Stoops to Conquer / Christopher Marlowe: Dr. Faustus 

William Wordsworth: “Lines Written in Early Spring”

S.T. Coleridge: “Christabel”

Shelley: “Ode to the Westwind”

Keats: “La Belle Dame Sans Merci”

Charles Lamb: “Dream Children”

Mary Shelley: Frankenstein

Ferguson, Margaret, Mary Jo Salter and Jon Stallworthy. Eds. The Norton Anthology of Poetry. 4^th Ed. New York: WW Norton, 1996. Print

Gordden, Malcom, and Michael Lapidge. The Cambridge Companion to Old English Literature. Rpt Cambridge: CUP, 2006. Print.

Gupta, Ambika Sen. Selected College Poems. Rpt. Hyderabad: Orient Longman,   1999.

Herman, Daniel. The Cambridge Companion to Narrative. Cambridge: CUP, 2007. Print.

John, Eileen, and Dominic McIver Lopes. Philosophy of Literature: Contemporary and Classic Readings. Oxford: Blackwell, 2004. Print

Maxwell, Richard, and Katie Trumpener. The Cambridge Companion to Fiction in the Romantic Period. Cambridge: CUP, 2008. Print

Sampson, George.The Concise Cambridge History of English Literature, 3^rd Ed. Cambridge: CUP, 2005. Print

Ramarao, Vimala. Ed.Explorations. Vol I. Bangalore: Prasaranga, Bangalore University, 2004. Print

Shingle, Michael. Daniel Defoe Robinson Crusoe. New York: WW Norton, 1994. Print

1. group presentations on topics relevant to British literature/Art and literary movements
2. an exhibition/display based on different eras, movements and literary and non-literary genres

CIA III will be a moddle test on the Novel

These are suggested examples of CIAs. However, during the course of teaching, there could be other suggestions, and CIAs could be slightly modified based on class dynamics and calibre of students.

Selected Texts chosen to be taught may be revised / used as extended reading which may be tested in CIA 1, 2 or 3. Example : only 1 soliloquy may be taught.

Mid Semester Examination CIA II: 2 Hours

Section A: Short Notes – 5x3 marks= 15 (5 questions out of 7)

Section B: Essay Questions – 2x10 marks = 20 (2 questions out of 3)

Section C: Long Essay Questions – 1x15 marks = 15 (1 question out of 2)

Total: 50 Marks

End Semester Examination: 3 Hours

Section A: Short Notes – 10x3 marks = 30 (10 questions out of 12)

Section B: Essay Questions – 4x10 marks = 40 (4 questions out of 6)

Section C: Long Essay Questions – 2x15 marks = 30 (2 questions out of 4)

Total: 100 Marks

French as a second language in the UG program. The method Génération A1 consists of a student's book and an activity book, both included in the digital manual. It consists of 6 units preceded by an initial section of 'Welcome'. The structure of each unit marks a real learning journey.

Course Objectives

·       To develop linguistic competencies and sharpen oral and written communicative skills

·       To familiarize learners to certain aspects of francophone civilization.

·       To enable learners to engage in simple everyday situations

 Lexicon – Countries and nationalities, domestic animals, days of the week

 Grammar -Subject pronouns, verbs ‘to be’ and ‘to have’, definite and indefinite articles

 Speech acts – Greeting, asking how one is

Lesson 2: Hello, my name is Agnes.

Lexicon – Months of the year, numbers 0-69, the family

Grammar – Formation of the feminine / plural, possessive adjectives

Speech acts -Introducing oneself and others, asking and saying dates

La cigale et la fourmis (The grasshopper and the ant)

Le renard et le corbeau (The fox and the crow)

A French movie

      2.  De Lafontaine, Jean. Les Fables de la Fontaine.

           Paris, 1668

Course Description

The detailed text book “Samakaleen Hindi Kavitha” edited by Dr.N Mohanan is an anthology of contemporary Hindi Poems written by representative poets of Hindi Literature. From the medieval poetry ' Kabir Ke Dohe and Sur ke pad 'is also included.  The poets reflect on the social, cultural and political issues which are prevalent in our society since the medieval period. Hindusthani sangeeth-parampara eva kalakar is one of the module. Since translation is a significant area in language and literature, emphasis is being given on it in the syllabus.Bharath ki pramukh sanskruthik kalayein  Yakshagana,Kathakali,Ram Leela,Krishna Leela etc. included in the syllabus to enrich cultural values among students.

Course Objectves: 

Students will be exposed to read, analyse and appreciate poems by learning poetry. Through translation, students will be able to develop translation skills while translating from other language articles. Students will be able to analyses critically the different cultural art forms by learning about the Famous cultural art forms of India.

’  Samakaleen Hindi Kavitha (Collection ofcontemporary Poems)  Edited By: Mahendra Kulashreshta Rajpal and Son’s, New Delhi

Level of knowledge: Analytical

Translation-Practice                English to Hindi and vice- versa.

Ramleela,Krishnaleela,Yakshagaana,kathakali.

Utbhav,Vikas aur paramparaein

Pramukh Sangeethkar-1.Bhimsen Joshi 2.Gulam Ali 3.Pandit Ravishankar 4. Bismillah Khan.

1. 'Samakaleen Hindi Kavitha’ (Collection of Poems) Edited By: Dr.N Mohanan,  Rajpal and Son’s,New Delhi.

1. A Hand Book of Translation Studies         By: Das Bijay Kumar.               

2. Saral Subodh Hindi Vyakaran,                 By: Motilal Chaturvedi. Vinod pustak mandir, Agra-2

3. Anuvad Evam Sanchar –                         Dr Pooranchand Tantan, Rajpal and Son’s, Kashmiri

4. Anuvad Vignan                                       By: Bholanath Tiwar

5. Anuvad Kala                                           By: N.E Vishwanath Iyer.

CIA-2(Mid semester examination)-50 marks

CIA-3(Digital learning-article creation in Hindi Wikipedia)-20 marks

End sem examination-50 marks

Selections from Old Kannada, Medieval Kannada and Modern Kannada Literature are introduced for I Semester BA/ BSc. courses in the syllabus. This will enrich the students' Language and Communication skills, and also their critical and analytical skills.  This will help them to enhance their social sensitivity.  The rhythm of poetry helps the students to acquire natural speech rhythm.

1. Raghavanka- Harishchandra Kavya. Selected chapter( Purada Punyam Purusha Roopinde Pooguthide) 

2. Vachanas- Devara Dasimayya, Basavanna, Akkamahadevi, Aydakki Lakkamma, Gajesha Masanaiah.

    Keerthanegalu: Purandaradasa, Kanakadasa

3. Modern Kannada poetry: Mumbai Jataka- Dr. G.S. Shivarudrappa, Kari Heggadeya Magalu- B.M.Sri 

1. Dheera Kumara- A Folk tale

2. Mandannana Marriage- (An episode in Novel Karvalo) K. P. Poornachandra Tejaswi

3. Gili Kathe-(Translation) -  Ravindranath Tagore

1. Differences in Prounounciation ( L-l) (A-H) 

2. Change of meanings

3. Translation: English to Kannada 

1.Folk Art forms of Karnataka

1. Dollu Kunitha

2.Pooja Kunitha

3.Goravara Kunita

4. Patada Kunitha 

       2. Yashodhara Charite- Janna (Selected Episode) 

       3. Harishchandra Kavya- Raghavanka (Selected Episode) 

       4. Shree Sahitya- B M Shreekantaiah

       5. Janapada Kathegalu- Jee sham paramashivaiah

2. Vachana Chandrike- L Basavaraju

3. Purandara Sahitya Darshana- S K Ramachandra Rao

4. Kanakadasa- Basrur Subba Rao

5. Samagra Kannada Sahitya Charithre- Ed. G.S Shivarudrappa

CIA-2 Mid Semsester Examination- 50 Marks

CIA-3 Translation Assignment- English to Kannada -20 Marks

Attendance -05 Marks

End Semester Examination- 50 Marks

Western music features a set of core skills that enable musicians to communicate, translate, share and use ideas throughout all other musical skills. This foundation set of knowledge results in a toolbox that is practised to increase one’s musical fluency from a core focal point. Such a toolbox involves an integrated approach to practicing, reading, hearing and notating western music; understanding the underlying structures of music theory and singing by sight.

Course Objectives

• Introduce the foundations of western music using and integrated approach.
• Provide for ear training, sight singing, basic theory and notation skills.
• Integrate all practical foundational skills to form a multi-purpose toolbox.
• Promote fundamentals for fluency in practicing, listening, singing, reading and writing western music.
• Use tools learned to autonomously develop an empathetic musical ear through indentification of temporal and melodic musical structures.
• Develop a repertoire of approaches to transcription, practice and self-development.
• Transcribe rhythms in any combination up to semiquaver subdivision; and melodies in both simple and compound meters.
• Introduction to the fundamental concepts of Western Music theory.
• Understanding of the fundamental concepts related to pitch and rhythm.
• Applying theoretical knowledge to develop transcription, sight singing and performance skills.

Pitch & Relevant Terminologies; Accidentals & Introduction to Rhythm & Meter; Simple Time Signatures & Beaming rules; Compound time signatures and beaming rules and Odd time signatures.

Intervals; Major Scale and Minor Modes; Parallel and Relative Minors, pentatonic and whole tone scales; Key signatures and Circle of Fifths, Triads & inversion, Diatonic chord qualities; 7th chord qualities and inversions; Dynamics, Articulation, and ornamentation terminologies.

Reading Notation; Deciphering Rhythms; Basic Conducting Schemes; Interval Solfeggio; Syncopation & Practical Application of Concepts learned Music Theory.

You, Music and Developing Your Ears; Rhythmic Transcription: Simple and Compound Meters; Diatonic Intervals in Detail; Melodic Transcription.

Working Backwards, Transcription and Practice, Honing on Areas of Improvement, Creating Musical Games for Practice, Establishing a Practie Routine.

Kostka, Stefan M. and Dorothy Payne. (2018). Tonal Harmony, with an introduction to twentieth-century music. New York: McGraw-Hill Education. 

Edlund, L. (1963). Modus Vetus: Sight Singing and Ear-Training in Major/Minor Tonality, Edition Wilhelm Hansen Stockholm, J & W Chester, London.

Steven G. Laitz. (2003). The complete musician: an integrated approach to tonal theory, analysis and listening. New York; Oxford: Oxford University Press.

A Major is a student's practical music specialization. It is the most important course among all music courses as it is the medium through which musical communication occurs. This course offers small-group and one-on-one interaction between instructor and learner. These interactions help in efficiently determining the theoretical and practical level of each student. The instructor will develop individual course plans to suit each student’s needs and requirements. The Major is a six-part course that will be completed throughout the three years of study in the music program. The course concentrates on developing an individuals piano techniques. 

Course Objectives

•  Implement theoretical understandings from other courses into practice
•  Exploring repertoire from different historical eras of western classical music. 
•  Understand personal strengths and weaknesses and develop practice habits accordingly
• Understanding of common western classical piano repertoire in performance through historical and harmonical context.

Students will be directed individually with respect to the following guidelines:

• Implement theoretical understandings from other courses into practice.
• Perform selected repertoire with appropriate technical ability and musical expression.
• Understand personal strengths and weaknesses and develop practice habits accordingly.

A Major is a student's practical music specialization. It is the most important course among all music courses as it is the medium through which musical communication occurs. This course offers small-group and one-on-one interaction between instructor and learner. These interactions help in efficiently determining the theoretical and practical level of each student. The instructor will develop individual course plans to suit each student’s needs and requirements. 

The Major is a six-part course that will be completed throughout the three years of study in the music program. The course is divided into technical and Ensemble Units. The former unit concentrates on developing fundamental piano techniques through primary technical exercises, the latter focusing on general mentalities and nonverbal communication skills that contribute to successful group performances in differing piano ensemble settings (4-hands, 6-hands, multiple pianos, etc.) and/or vocal accompaniments.

Course Objectives

• Implement theoretical understandings from other courses into group performance
• Perform selected repertoire with appropriate technical ability and musical expression.
• Understand personal strengths and weaknesses and develop practice habits accordingly. 
• Develop a rigorous practice routine of fundamental technical exercises for pianists. 

• Students will work together in groups assigned by the professor per skill levels and ability.
• Progress will be monitored and difficulties attended to on an individual / group interaction basis.
• Groups will have regular performance opportunities in front of peers, wider department and beyond. 
• Develop a solid piano techniques through primary exercises which directly contributes to technical development of a students’ piano repertoire for Major in Piano – Solo.

NOTE: 

* The student has to achieve a min pass mark to receive an overall pass for Major in Piano (Ensemble) - I. If the student fails to achieve the min. pass mark in either of the component (Technical exam or collaborative event), it will be considered an overall fail. 

Major is the most important course among all music courses. This course offers one-on-one interaction between the instructor and the learner. These interactions help in determining efficiently the practical and theoretical level of learning of each student. The Major is a six part course that will be completed through the three years of study in the programme. The course aims at making each individual a better musician by helping them to understand the form better and be creators of it as well.

The individual student will be taught vocal technique, customised to individual strengths and weaknesses

• Implement theoretical understandings from other courses into practice.
• Perform selected repertoire with appropriate technical ability and musical expression.
• Understand personal strengths and weaknesses and develop practice habits accordingly. 

End semester examination – practical exam; 100 marks

This course offers small to large group interaction between the instructor and the students. These interactions help students by giving them the opportunity to play in various combinations of piano groups to a professional standard. The course joins with Major in Piano (solo) and is part of holistic performance education.

Students will work together in groups assigned by the professor per skill levels and ability.

Progress will be monitored and difficulties attended to on an individual / group interaction basis.

Groups will have regular performance opportunities in front of peers, wider department and beyond.
Essential References

This course is an introduction to the study of basic psychological processes offered to the first-semester undergraduate students of psychology. It is an introductory paper that gives an understanding of the field of psychology, scope, and multiple perspectives and disciplines that provide a holistic picture of human behaviour. Students will learn the key concepts, classic examples, and modern and practical applications of fundamental psychological theories, methods, and tools. Emphasis is on the basic psychological processes of personality, learning, consciousness, motivation and emotion. This course allows them to learn the basics and demonstrate the skills that a student needs to move on to the more specific and in-depth psychology courses that follow. This course will help the learner to learn about

• The world of Psychology with a brief historical sketch of the science of psychology, multiple perspectives and recent trends in the field.
• The biological basis of behaiour
• The fundamental processes underlying human behaviour such as learning, motivation, emotion, personality
• Ethics in studying human behaviour and using them in academic assignments. Students will have an opportunity to develop skills such as writing, making presentations and using technology for academic purposes and teamwork.

In this unit, we will examine the history of Western psychological theorizing from its beginnings in ancient Greece, through to the schools and perspectives of psychology including Structuralism, Functionalism, Psychodynamic, Biological, Behavioristic, Gestalt, Cognitive, Cross-cultural, Humanistic and Evolutionary. The aim is both to build a familiarity with psychology’s intellectual origins and to foster an awareness of its many false steps, dead-ends, and alternative pathways to gain a better appreciation of the social, cultural, and, above all, psychological influences on the theorizing of psychologists. Students will be able to define psychology and understand what psychologists do and identify the major fields of study and theoretical perspectives within psychology and know their similarities and differences. In the end, students will be ale to gain a better appreciation of why contemporary psychology takes the shape it does, describe the evolution of psychology and the major pioneers in the field, identify the various approaches, fields, and subfields of psychology along with their major concepts and important figures and describe the value of psychology and possible careers paths for those who study psychology

Explain the biological perspective of psychology as it applies to the role of the nervous system and endocrine system in regard to behaviour and mental processes. Identify and describe the important structures of these systems. It is an introductory survey of the relationship between human behaviour and brain function. Discuss the interaction between biological factors and experience, methods and issues related to biological advances, develop an understanding of the influence of behaviour, cognition, and the environment on the bodily systems, and develop an appreciation of the neurobiological basis of psychological function and dysfunction. 

Laboratory Demonstration: Biofeedback/ EEG/ Eye-tracking

This unit is an introduction to the psychological study of human personality, broadly speaking and more specifically in terms of how we may understand individual differences in personality and the personalities of individual persons. Personality psychologists use empirical methods of behavioural and clinical science to understand people in biological, social, and cultural contexts. Students will learn the strengths and weaknesses of the major personality theories, as well as how to assess, research and apply these theories. As much as possible, application to real-life situations will be discussed. Students would be able to identify the various perspectives that are common in the area of personality psychology and critically evaluate each in terms of its explanatory and predictive power, discuss theories and perspectives of personality development: psychoanalytic, humanistic, trait, and social-cognitive, understand classic and current empirical measurement tools and approaches to investigation for personality assessment in psychological and clinical science and develop an understanding of the concept of individual differences with the goal to promote self-reflection and understanding of self and others.

 Laboratory Demonstration: Sentence completion test, NEO-PI, Type A/B

The unit will explain how behaviour is energized and directed by the complex mixture of motives and emotions and describe the various theories that have been developed to explain motivation and emotion. Unit aims to explain motivation, how it is influenced, and major theories about motivation. We will describe hunger and eating in relation to motivation, obesity, anorexia, and bulimia; sexual behaviour and research about sexuality; and explain theories of emotion and how we express and recognise emotion

Laboratory Demonstration: Level of motivation, Achievement motivation, 

Gazzaniga, Heatherton, Halpern (2015). Psychological Science, 5th Edition, Norton.

Feldman.S.R.(2009).Essentials of understanding psychology ( 7th Ed.) Tata Mc Graw Hill.

•  CIA I –Written Assignment /Individual Assignment  - Total Marks 20     
•  CIA II – Mid Semester Examination                        - Total marks 50                          
•  CIA III –Activity-based Assignment                        - Total marks 20
•   CIA I + II + III                                                      = 90 /100 = 45/50 
•   Attendance                                                            = 5 marks 
•  Total                                                                      = 100 = 50 

End Semester Examination : Total Marks=100=50

Question paper pattern

•  Section A        Brief, concepts, definitions, applications               2 marks x 10 = 20
•  Section B         Short Answers: Conceptual/Application                5 marks x 4   = 20
•  Section C        Essay Type: Descriptive/Conceptual                       15 marks x 3 = 45
•  Section D        Compulsory: Case Study (Application)                    15 X 1           = 15

Janakiharana of Kumaradasa is the first Sanskrit mahakavya, so far as the extant literature goes, to deal solely with the whole of the Ramayana story. Its further interest is that it was produced in Ceylon, showing thereby the wider world over which Sanskrit had its sway. After manuscripts of the full text of the poem in twenty cantos had to come to light in South India, what is now presented was the first systematc and critical study to be undertaken to the author and the text and its position vis-a-vis other Mahakavyas. In addition to the above study and the critical edition of the cantos which were at that time unpublished the examination of the large number of extra-verses found in some MSS of the text and showing them as interpolations.

Selected shlokas 1-60 shlokas

Kumāradāsa is the author of a Sanskrit Mahākāvya called the Jānakī-haraṇa or Jānakī’s abduction. Jānakī is another name of Sita, wife of Rama. Sita was abducted by Ravana when she along with Rama, exiled from his kingdom, and Lakshmana was living in a forest which incident is taken from Ramayana ('Rama’s Journey'), the great Hindu epic written by Valmiki.

The Sinhalese translation of his work, Jānakī-haraṇa, gave credence to the belief that Kumāradāsa was King Kumāradhātusena (513-522 A.D.) of Sri Lanka but scholars do not make any such identification even though the poet at the end of his poem says that his father, Mānita, a commander of the rearguard of the Sinhalese King Kumāramaṇi, died in battle on the day he was born and that his maternal uncles, Megha and Agrabodhi, brought him up. Rajasekhara, who lived around 900 A.D., in his Kāvyamīmāmsā refers to the poet as born blind - मेधाविरुद्रकुमारदासादयः जात्यन्धाः. There is also a tradition that this poem was written by Kalidasa. Kumāradāsa came after Kalidasa and lived around 500 A.D., later than Bhāravi but before Māgha. While writing Jānakī-haraṇa, he certainly had before him Raghuvaṃśa of Kalidasa.^[1] 

Sandhis and lakaras          

Samasa prakaranam

1)      Janakiharanam of Kumaradasa edited by  C K Swaminathan

2)      Janakiharanam edited by G.R. Nandargikar

3)      Sanskrit Grammar Translation from English to Sanskrit by M.R. Kale

Sanskrit Grammar Kannada version by Satish Hegde.                                   

Champu Ramayana of Bhoja 

CIA 1 Wikipedia assignments

CIA 2 Mid semester examinations

CIA 3 Wikipedia assignments

Poems of Bharatiyar and Bharatidasan and poems by women poets with feminine sensibilities  will initiate the students into the modern period with all its complexities. The short stories by Ambai offers a matured vision of life through a varied characters and situatins. A new concept, Cultural Studies, will take the students beyond prescribed syllabus to include music, theatre, painting and films out of whcih the art form of music is taken up for the first semester.

1. Kannan yen sevagan

2. Kannan yen kozhandhai

3. Kannan yen vilayatu pillai

4. Kannan yen kadhalan

5. Kannan yen kadhali

1. Kadal

2. Kundram

3. Nyaairu

4. Aal

5. Chittrur

Prose including reference to contemporary literary issues

1. Oru karupu silanthi udan oru iravu- Ambai

Cultural studies, Indian festivals

1.Ottadai -Thamarai

2. Kapinaani thozhudhal- Ponmani vairamutu

3. Yendhan tozha- Subhathra

4. Kadal konda pen puram- Andal priya dharshini

5. Pen- P. Kalpana '

Pira mozhi chorkal

Isai

Malliga, R et al (ed).Thamilppathirattu I.Bangalore: Prasaranga,2011

     ‘Oru Karuppuchilanthiyudan Or Iravu’ by Ambai,

      published by Kalachuvadu Publications, Nagercoil, 2014

 Varadarajan, Mu.  Thamil Ilakkia Varalaru . New Delhi:Sahitya Akademi, 2008

 Sivathambi, Ka.Thamil Sirukathaiyin Thorramum Valarchiyum.Coimbatore: NCBH, 2009

 Ragunathan,C.Bharathi: Kalamum Karuthum, Chennai:NCBH, 1971

Ramakrishnan S 100 Sirantha Sirukathaigal, Chennai: Discovery Books, 2013

The second semester has a variety of writing from India, Pakistan and Srilanka. The various essays, short stories and poems deal with various socio-economic, cultural and political issues that are relevant to modern day India and the Indian sub-continent and will enable students to comprehend issues of identity-politics, caste, religion, class, and gender. All of the selections either in the manner of their writing, the themes they deal with or the ideologies that govern them are contemporary in relevance and sensibility, whether written by contemporary writers or earlier writers. Excerpts from interviews, autobiographical writings, sports and city narratives are added to this section to introduce students to the varied genres of literature.

The objectives of this course are

to expose students to the rich literary and cultural diversity of  Indian literatures

to sensitise students on the social, political, historical and cultural ethos that has shaped the nation- INDIA

to enable to grasp and appreciate the variety and abundance of Indian writing, of which this compilation is just a passing glance

to learn and appreciate India through association of ideas in the texts and the external contexts (BhashaUtsav will be an intrinsic help in this endeavour)

1.      Jayanta Mahapatra    “Grandfather”

2.      Meena Alexander    “Rites of Sense”

3.      K.Satchidanandan      “Cactus”

4.      Jean Arasanayagam   “Nallur”

1.      Temsula Ao             “The Journey”

2.      A. K Ramanujan       “Annaya’s Anthropology”

3.      Sundara Ramswamy   “Waves”

4.      Ashfaq Ahmed            “Mohsin Mohalla”

5.      T.S Pillai                      “In the Floods”

1.      Salman Rushdie        “Gandhi Now”

2.      Amartya Sen             “Sharing the World”

3.      Suketu Mehta            “Country of the No”

4.      Rahul Bhattacharya     “Pundits From Pakistan” (An Excerpt)

CIA 1: Classroom assignment/test for 20 marks keeping in tune with the course objectives and learning outcomes.

CIA 2: Mid-semester written exam for 50 marks

CIA 3: Collage, tableaus, skits, talk shows, documentaries, Quizzes or any proactive            creative assignments that might help students engage with India as a cultural space. This is to be done keeping in tune with the course objectives and learning outcomes.

Question Paper Pattern        

Mid Semester Exam: 2 Hrs

Section A: 4x5= 20

Section B: 2x15=30

Total                  50

End Semester Exam: 2 hrs

Section A: 5 x 5 = 25

Section B: 5 x 15= 75

Total                   100

The ‘Writing Skills’ course introduces the students of Theatre and Music to the various forms of writings in a workplace.  Communication in a workplace depends on clear, effective written words. It emphasizes the importance of writing at work; helps the students to observe, to think, to plan, to organize and to communicate. 

a.   Writer

b.   Purpose

c.   Audience

d.   Tone

e.   Context 

1.  The different kinds of Essays

a. Planning

b. Drafting

c. Revising

1. The Purpose of Research

a.     Basic Skills of Researching

b.     Collecting Information from People

c.     Collecting Published Information

d.     Designing Pages

e.     Design for Readers

f.      Elements of Page Design

 Basic Design Guidelines

1. MLA style, APA style, Chicago Manual Style

1. Creating and Discussing Visual Aids
2. Using: Tables; Line graphs; Bar graphs; Pie charts; Flow charts
3. Using illustrations: Photographs; Drawings; Guidelines

1. Memorandums
2.  Informal Reports -

a.     IMRD Reports

b.      Progress Reports

c.     Formal Reports

d.     Recommendation Reports

e.     Feasibility Reports

f.       Oral Reports

3.  Proposals

CIA 2: 50

CIA 3: 20

ESE: 50

Assessment pattern:

Course Description:

This course will build on the previous course and continue the objectives of the previous course. The completion of this course should provide sufficientground to introduce literary theory in their fourth semester and postcolonial studies in the later semesters.

Course Objectives

• To introduce  students to the socio-political, religious, cultural, and linguistic aspects of the UK through English literary texts
• To help students understand texts as products of a historical, political and cultural processes
• To enable students to identify different forms, genres and subgenres in literature
• To sensitize students to human values through an exposure to socio-historical concerns of subjectivity, identity, community and nationhood.
• To sharpen critical appreciation and analytical writing skills through an introduction to models of literary criticism

Darwin and the publication of Origin of Species, Victorian morality, utilitarianism, working class struggles, realism, naturalism, neorealism, Marxism 

Modernism, The World Wars, The Boer war, Russian revolution, Surrealism, Cubism, Expressionism

British Beat Generation, Performance Poetry, Postmodernism, Diaspora, Multiculturalism, Hybridity

Robert Browning: “Porphyria’s Lover”

Gerald Manley Hopkins: “TheWindhover”

Charles Dickens: Great Expectations/David Copperfield/Tale of Two Cities

Bernard Shaw: Pygmalion

W B Yeats: “Easter 1916”

T.S. Eliot: “The Love Song of J. Alfred Prufrock”

James Joyce: “The Dead”

Katherine Mansfield: “A Cup of Tea”

 Harold Pinter: The Birthday Party

Adrien Mitchell: “The Question”

Ted Hughes: “Hawk Roosting”

Benjamin Zephaniah: “Dis Poetry”

Neil Gaiman: Coraline

Corcoran, Neil. The Cambridge Companion to Twentieth-CenturyEnglish Poetry. Cambridge: CUP, 2007. Print

Davis, Alex, and Lee M Jenkins. The Cambridge Companion to Modernist Poetry. Cambridge: CUP, 2007. Print

Ferguson, Margaret, Mary Jo Salter and Jon Stallworthy. Eds. The Norton Anthology of Poetry. 4^th Ed. New York: WW Norton, 1996. Print

Gupta, Ambika Sen. Selected College Poems. Rpt. Hyderabad: Orient Longman,1999. Print

The Cambridge Companion to Narrative. Cambridge: CUP, 2007.Print.

John, Eileen, and Dominic McIver Lopes. Philosophy of Literature: Contemporary and Classic Readings. Oxford: Blackwell, 2004. Print

Kaplan, Fred, and Monod, Sylvere. Hard Times. New York: WW Norton, 2002. Print

Sampson, George. The Concise Cambridge History of English Literature, 3rd Ed. Cambridge: CUP, 2005. Print

 Ramarao, Vimala,. Ed. Explorations. Vol II. Bangalore: Prasaranga, Bangalore. Print

1. A class test / presentation / exhibition/ performance based on the texts prescribed

CIA III

       1. A moodle test on the play / short stories/ age

These are a few suggested CIAs. However, during the course of teaching, there could be other suggestions, and CIAs could be slightly modified based on class dynamics and calibre of students.

Selected Texts chosen to be taught may be revised / used as extended reading which may be tested in CIA 1, 2 or 3.

Mid Semester Examination CIA II: 2 hrs

Section A: Short Notes – 5x3 marks= 15 (5 questions out of 7)

Section B: Essay Questions – 2x10 marks = 20 (2 questions out of 3)

Section C: Long Essay Questions – 1x15 marks = 15 (1 question out of 2)

Total: 50 Marks

End Semester Examination Pattern

Section A: Short Notes – 10x3 marks = 30 (10 questions out of12)

Section B: Essay Questions – 4x10 marks = 40 (4 questions out of 6)

Section C: Long Essay Questions – 2x15 marks = 30 (2 questions out of 4)

Total: 100 Marks

Notes:

1. For all texts Norton Editions are to be treated as the official prescribed editions.
2. For critical material The Cambridge Companion Series of CUP, Case Book Series of Macmillan and Palgrave, and Norton series of WW Norton are officially prescribed.

French as a second language in the UG program. The method Génération A1 consists of a student's book and an activity book, both included in the digital manual. It consists of 6 units preceded by an initial section of 'Welcome'. The structure of each unit marks a real learning journey.

Course Objectives

·       To develop linguistic competencies and sharpen oral and written communicative skills

·       To familiarize learners to certain aspects of francophone civilization.

·       To enable learners to engage in simple everyday situations

1. Demain dès l'aube (Tomorrow from dawn)- Victor Hugo

Revision of grammar and skills

2.  De Lafontaine, Jean. Les Fables de la Fontaine. Paris, 1668

 Course Description:

The text book ”Samakaleen Kahaniyam is a contemporary socio-political issues based story collection edited by Dr.Vanaja  Published by Rajpal and sons, New Delhi.  In this semester four visual texts/film appreciation and famous four film directors of India from different languages have been incorporated along with conversation writing and practices to improve the spoken skills of the students.

Course Objectives:

Students are exposed to the world of Hindi fiction particularly short stories. Film appreciation helps them to improve their writing and analytical skills and know more about the thematic and technical aspects of Cinema.  The module ‘Film Directors’ will inspire students to achieve professionally and personally.  Conversation practice enable them to use the correct form of language by which spoken communication skill will be enhanced.

The text book “  Samakaleen Kahaniyam    ” is a story collection edited by Dr. Vanaja from contemporary writers of Hindi Literature.

• Movie review-Theesari Kasam, English-Vinglish,Dangal and Ankur.                                           ,
• Bharathiya cenema ke vikhyath kalakar-Satyajit Roy,Girish Kasaravalli,Shyam Benegal and Adoor Gopalakrishnan.                                             

Level of knowledge: Conceptual

At least 10 exchanges each on the given context.                                                                                                                                                                               

Level of knowledge: Basic

1. Story Collection‘Samakaleen kahaniyam’ (Full Text) Edited By: Dr. Vanaja Published By: Rajpal and Sons Kashmiri Gate, New Delhi-6.

Bharathi, New Delhi.

2. SaralSubodh Hindi Vyakaran,       By:MotilalChaturvedi. Vinod pustak

mandir , Agra-23. Cinema AurSamskritiMazoomRizaRahi

3.Bolchalki Hindi aursancharBy:Dr.MadhuDhavan.Vaniprakasan,New Delhi.

CIA-2(Midsemester examination)

CIA-3(Digital learning-Wikipedia)

End semester examination

Course Description: The prescribed play AMRAPALI  by Dr. Prabhushankar, and the selection of short stories, Essays and Academic science writings are the texts for Second semester Kannada The Legend of Amrapali originated in the Buddhist Jataka Tales some 1500 years ago. Amrapali is a great character in the Indian history. She was known as a dancer and also a philosophical thoughts oriented woman. A key goal of this course will be to familiarize students with the basic techniques of analysing written drama and its stages performances. The selected prose will extend the concerns of Environment, Current Marketing trend, Folk beliefs and social justice.

Course Objectives: Students will be able to read drama scripts in Kannada and understand main ideas and details in different kinds of dramatic scripts.  The Play improves listening comprehension of different types of spoken texts-for main ideas, details and speakers’ attitude and emotions. It helps in develop and use language learning strategies for all language skills.

Act-1 ( Scene-1 ) Pages 07-13

Act-1 ( Scene-2 ) Pages 13-19

Act-1 ( Scene-3 ) Pages 19-28

Act-1 ( Scene-4 ) Pages 20-42

Act-2 ( Scene-1 ) Pages 42-50

Act-2 ( Scene-2 ) Pages 50-58

Act-2 ( Scene-2 ) Pages 59-65

Act-2 ( Scene-2 ) Pages 66-70

1. Essay Writing
2. Dialogue Writing
3. Letter Writing

1. Syntax formation

2. Difference between L & l , H & A, Gha & Ga

3. Synonyms , Idioms, Phrases & Opposites

2. Kannada Sahitya Charithre- Rum Shri Mugali

3. Ranga prapancha- K.V. Akshara

4. Kannadada Hadu Padu: K.C. Shivareddy

2. Desheeya Chinthana- Chandrashekara Kambara

3. Yugadharma hagu Sahitya Darshana- Keerthinatha Kurthukoti