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: Elaborate and adapt critical, emotional and discursive thought processes and approaches to solving problems using knowledge of musical structure and critical listening skills.

PO3: Elaborate on aspects of interpreting the world through one?s individual lens using language, musical structure or the body to communicate.

PO4: Exhibit attitudes of responsibility and integrity in ways that demonstrate respect for others.

PO5: Exhibit attitudes of responsibility and integrity in ways that demonstrate respect for others.

PO6: Create questions that frame research projects or aim to reach the essence of any phenomenon of inquiry.

PO7: Exhibit awareness of one?s environment through participation in socially-driven projects, performances, collaborations and research.

PO8: Demonstrate musicality through refinement of individual methods to practice and achieving musical flow.

PO 9: Demonstrate a coherent understanding and comprehensive knowledge of the fundamental process underlying human behavior in the multidisciplinary learning context

PO 10: Demonstrate critical thinking, scientific inquiry, and sensitivity to diversity while applying psychological concepts to everyday life and real-world situations.

PO 11: Design, conduct and communicate basic psychological research following fundamental methods and ethical standards

PO 12: Use the knowledge of psychology to enhance self-awareness, well-being, interpersonal relationships, career-decision making, and social responsibility in personal and professional domains

Programme Specific Outcome:

PSO2: Evaluate musical structure to the degree that emotions can be identified, distinguished and expressed throughout individual, social and cultural contexts.

PSO3: Evaluate approaches to interpretation of music as expressions of individual, social and cultural perspectives

PSO4: Evaluate differing histories of musical interaction through analyses of sociology, professional performances and/or comparing stylistic uses of musical structure.

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

PSO6: Evaluate quantitative and qualitative approaches to research design and select relevant approaches to individual projects of interest.

PSO7: Evaluate cultural approaches to music by investigating seminal themes, performances and traditions.

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

●      Ability to understand the nature of British Standard English Pronunciation with regard to sounds, stress and intonation and use the understanding in everyday and formal spoken communication in English

●      Ability to use the understanding of pronunciation in theatre speeches and singing

●      Ability to transcribe words from RP to IPA

●      Ability to learn the pronunciation of English words using Daniel Jones English Pronouncing Dictionary

●      Inquisitiveness appreciation for  towards languages in general

●      Understanding of the requirements for various intellectual assemblies and platform speeches and ability to write platform speeches.

                                                                          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 second language for the UG program

Lesson 1: Good Morning, How are you?

Lesson 2: Hello, My name is Agnes.

Lesson 1: Who is it?

Lesson 2: In my bag , I have......

1. La cigale et la fourmis

A French Film 

Lesson 1 : How is he?

2. Le renard et le corbeau

Lesson 2: Hello?

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

2. French websites like Bonjour de France, Fluent U French, Learn French Lab, Point du FLE etc.

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:

• to impart the knowledge of poetics
• to acquire translation skills
• to expose students to veriety of texts to interact with them
• to help students develop a taste to appreciate works of literature through the organisation of language
• to help students understand the relationship between the world around them and the text
• to improve their oral and written skills
• to expose them to the world of music

’  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.  

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, Kari Heggadeya Magalu

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. Report Writing

4. Folk Art forms of Karnataka ( Dollu Kunitha, Pooja Kunitha, Goravara Kunitha, Patada Kunitha ) 

       2. Yashodhara Charite- Janna

       3. Harishchandra Kavya- Raghavanka

       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.

1. Define fundamental terminologies used in western music theory.
2. Learn to read and write Western music notation.
3. Relate the theoretical concepts to enhance transcription, sight singing and sight-reading skills.
4. Link the theoretical knowledge through musical analysis to enhance your practical performance.
5. Sing basic melodies upon first sight using Solfeggio.
6. Transcribe rhythms and melodies in simple and compound time signatures to semiquaver subdivisions.
7. Reflect on learning experiences and practice approaches to achieve self-developing musical goals.
8. Use sounds heard within the environment as musical references.

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

Intervals; Major Scale and Minor Modes; Parallel and Relative Minors and other types of scales; Circle of Fifths, Dynamics and Articulation; Transposition; Basic Analysis.

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.

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 is divided into Solo and Ensemble Units. The former unit concentrates on developing individual techniques, 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.).

Course Objectives

• 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.

• Translate musical notation, language and nomenclature of each piece being performed into English.

• Determine appropriate practice techniques to solve musical problems within performance of repertoire.

• Develop appropriate practice regime to suit individual performance requirements.

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.

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.

Opportunities will be available to help in group performances across departments.

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. 

End semester examination – practical exam; 30 marks

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.

Develop musical expression.

To engage in the musical repertoire.

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; 50 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 gain a better appreciation of why contemporary psychology takes the shape it does.

2. Describe the evolution of psychology and the major pioneers in the field
3. Identify the various approaches, fields, and subfields of psychology along with their major concepts and important figures
4. 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.

1. The interaction between biological factors and experience
2. Methods and issues related to biological advances
3. To develop an understanding of the influence of behaviour, cognition, and the environment on the bodily systems.
4. To 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.

1. 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.
2. Theories and perspectives of personality development: psychoanalytic, humanistic, trait, and social-cognitive.
3. Understand classic and current empirical measurement tools and approaches to investigation for personality assessment in psychological and clinical science
4. To 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.

1. Explain motivation, how it is influenced, and major theories about motivation
2. Describe hunger and eating in relation to motivation, obesity, anorexia, and bulimia
3. Describe sexual behaviour and research about sexuality
4. 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.

Baron, R.A and Misra, G. (2014). Psychology (Indian Subcontinent Edition).Pearson Education Ltd.

•  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

The I semeste B.A/B.Sc students are prescribed wih the text " Ruthusamharam"

Strotra shithya 

poery Buddhacharitham III canto, up to 52 stanzas.

Level of Knowledge: Conceptual/ descriptive/ Analytical.

Ruthusamharam

Strotra sahithya 

Grammar

Grammer- Sandhis and lakaras                                                          

 Level of Knowledge:  Analytical /Conceptual

language component.

Translation from Sanskrit to english                                                     

Level of Knowledge:  Analytical/. Conceptual

Composition to write in Sanskrit                                                              

Level of Knowledge:  Analytical/. Conceptual

Comprehension in Sanskrit                                                                     

Level of Knowledge:  Analytical/. Conceptual

Ruthusamharam

 Strotra sahitya : Madhurashtaka and Geeta govinda                                    

                            M.S. Subbalakshmi , Balamurali Krishna 

2) Ruthusamharam- Dr. K . Narayanabhatta

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

4) Sanskrt Grammar Kannada version by Hegde. 

CIA 2 Midsemester examination   Evaluated for 50 marks

CIA 3  Wikipedia assignment   Evaluated for 20 marks

          End semester   Evaluated for 50 marks

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.

Poems of Bharathiyar, Bharathidasan and women poets

2  Grammar as reflected in the poems

Prose including reference to contemporary literary issues

Language Skills:  Piramozhichorkal

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. 

●      To use writing as a way to explore an idea, concept

●      To develop the ability to read their own writing critically

●      To make the students conversant with conventions of writing that clarify and

      enhance meaning   

●      To compose variety of correspondence for specific purposes

●      To write clearly, persuasively, ethically and to a deadline

●      To use current available technology to streamline and maximize the effectiveness     

of written and verbal reports and to facilitate research

●      To find and organize material appropriate to audience, purpose, and situation

●      To develop clear, complete, and accurate written and spoken messages

●      To recognize communication barriers and how to remove them

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 second language for the UG program

Lesson 1: Hobbies

Lesson 2: The routine

1. Demain dès l'aube - Victor Hugo

Lesson 1 : Where to shop?

Lesson 2: Discover and Taste

A French Film

Lesson 1: Everyone is having fun

2. Le Lac - Alphonse de Lamartine

Lesson 2: Daily routine of Teenagers

2.   Poèmes : Demain dès l'aube par Victor Hugo & Le Lac par Alphonse de Lamartine (contenu rédigé sur ligne)

2.      French websites like Bonjour de France, Fluent U French, Learn French Lab, Point du FLE etc.

The text book ”Samakaleen Kahaniyam is a story collection edited by Dr.Vanaja  Published by Rajpal and sons, New Delhi.  In this semester Film appreciation is also included along with Conversation Writing.

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

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

Level of knowledge: Conceptual

At least 10 exchanges each on the given context.                                                                                                                                                                               

Level of knowledge: Basic

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

Level of knowledge: Analytical

CIA-2(Mid semester examination(

CIA-3(Digital learning-Wikipedia)

End semester examination

Course Description: Two texts are prescribed for this course. The one is a Play (AMRAPALI) written by a famous Kannada writer Dr. Prabhushankar, and the other one is a selection of short stories, essays and academic science writings.

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. Conversation Writing
3. Letter Writing

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

Building on concepts taught in MUS131 Music Foundations I, this course expands the basic foundations taught to include chromatic elements that enable modulation and the switching of tonality. 

Course Objectives

• Break out of compartmentalisation habits using cross-discipline methods to form a multi-purpose toolbox.
• Use tools learned to continue to autonomously develop an empathetic musical ear.
• Provide for stylistic blueprints, ear training, sight singing, diatonic theory and psychologically-informed skills.
• Combines psychology tools to confront performance anxiety through use of a reflective journal.
• Promotes fluency in western music listening, singing, reading and writing in combination with psychological learnings.
• Further develop the ear to identify temporal and melodic musical structures in chromatic contexts.
• Transcribe rhythms in any combination up to semiquaver subdivision and melodies heard in any simple, compound and complex meter.

1. Recreate musical forms and styles using underlying musical blueprints.
2. Transcribe rhythms and melodies in simple, compound and complex time signatures to semiquaver subdivisions.
3. Reflect on performance experiences and psychological approaches to achieve self-developing musical goals.
4. Use sounds heard within the environment as musical references.
5. Use basic music analysis to uncover chordal progressions.
6. Relate the theoretical concepts to enhance chromatic transcription, sight singing and sight-reading skills.
7. Link the theoretical knowledge through musical analysis to enhance practical performance.
8. Sight sing notated scores that use accidentals and other chromatic elements.

Nomenclature; Binary, Ternary and Rondo Forms; Baroque Vocal and Dance Forms; Classical Sonata, Concerto and Symphonic Forms, Romantic Sonata, Concerto and Symphonic Forms.

Diatonic Scales and Key Signatures; Triads and Seventh Chordal Qualities; Diatonic Tendencies; Basic Analysis of Chordal Progression; Establishing and Switching Tonality.

Consonance; Resolution; Dominant Seventh; Canon; Rhythmic Dictation; Chromaticism; Two-part Solfeggio.

Rhythmic Transcription in Simple, Compound and Complex Meters; Combining Music Theory with Transcription; Melodic Transcription with Modulation to the Dominant.

Managing Performance Anxiety; Coping Strategies; Performance Practice; Avoidance Habits; Defence Mechanisms; Practical Application and Reflections of self; Healthy Reviewing Techniques.

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 is divided into Solo and Ensemble Units. The former unit concentrates on developing individual techniques, 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.).

• Translate western music notation and nomenclature of each piece being performed into English.

• Determine appropriate practice techniques to solve problems within performance of repertoire.

• Develop appropriate practice regime to suit individual performance requirements.

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.

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. 

Opportunities will be available to help in group performances across departments.

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. 

End semester examination – practical exam; 30 marks

Course Overview

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 interactions between instructor and learners. These interactions help in efficiently determining the theoretical and practical level of each student's vocal abilities. The instructor will determine and develop groups to suit each student’s needs and requirements.

Course Objectives

• 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.

Course Outcomes

• 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.

Singing of old italian songs and arias

The testing pattern will consist of music to be performed at the end of each semester. Repertoire selected by the instructor is tailored to each student's personal abilities.

The end of semester solo performance will be judged using the following criteria / rubrics:

TOTAL                       /100

Course Overview

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 interactions between instructor and learners. These interactions help in efficiently determining the theoretical and practical level of each student's vocal abilities. The instructor will determine and develop groups 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 Solo and Ensemble Units. The former unit concentrates on developing individual, duet and trio technique, switching back and forth between small group and individual vocal contexts. The latter unit focuses on general mentalities and nonverbal communication skills that contribute to successful choral performances.